Composer Focus: Jean Sibelius (part one)

 So here’s something new I’ll be trying for a bit, based on my experience in 2020. I wrote a lot last year about Ludwig van Beethoven, which was fitting since 2020 marked his 250th birthday. I don’t plan to focus on a specific composer every year (or every day or every month) for their particular anniversaries, but I did greatly enjoy spending a lot of time in a specific composer’s sound world, so that’s what I’m going to try to do for a while: spending several months focusing on a particular composer. This isn’t to say that I’ll only be listening to the music of a particular composer, but I’ll be focusing that way.

I’m going to start with Jean Sibelius.

Quite a stern looking fellow, wasn’t he? (Obviously the second photo is Sibelius as a younger man. I screwed up the uploading and decided to leave it.)

Sibelius is known as Finland’s greatest composer, and there’s some good reason for that. From what I’ve read, Sibelius’s reputation has waxed, waned, and waxed again in the almost a hundred years since his main period of active composition came to an end. After the mid 1920s, Sibelius’s output dried up almost completely, and he lived out the remainder of his years–thirty of them, until he died in 1957 at the age of 91–composing little. As David Dubal notes in his book The Essential Canon of Classical Music, “[Sibelius’s] lifespan far exceeded his ability to fathom new artistic developments.”

Sibelius, like Rachmaninov (whose own long lifespan took place within the boundaries of Sibelius’s), straddled the transition from Romanticism to Modernism, and thus the transition from traditional tonality to the various systems that followed it. While Rachmaninov kept composing music that made him seem more and more anachronistic as his life progressed (though it did his reputation no harm), Sibelius’s music is more individualistic, so his reputation has had a harder time. Dubal, again:

Sibelius’s place in music history was once more secure than it is now. Around 1920 in various quarters, he was proclaimed the ideal modern composer and an antidote to the seeming chaos of Schoenberg, Stravinsky, and Bartok. But by the late 1940s, his reputation had begun to decline. The composer Virgil Thompson, listening to the great Seventh Symphony, wrote, “I do not believe for a moment that its gray and dirty-brown orchestral coloring is a depiction of either the Finnish soul or the Finnish landscape…I think Sibelius just orchestrates badly.” Thirty years later Harold Schoenberg called Sibelius “a dated bore” but conceded for him “an honorable place among the minor composers,” while giving to the Danish Carl Nielsen “as much sweep, even more power, and a more universal message.”

I cannot at this point comment on Thompson’s impression of Sibelius’s Symphony No. 7, as I haven’t heard it yet. We’ll see. And I may decide that Schonberg is incorrect; again, we’ll see. I do like Carl Nielsen a great deal, but that’s for another time.

In my college years, I only played two works by Sibelius, on the same program, in my freshman year. The big one was the Violin Concerto, which I disliked quite a bit at the time. It was a hard setting in which to get to know a piece of music, though, and I fully grant that my view at the time was very poorly informed. At that point, the orchestra in college didn’t even have a full complement of players until just before the performances, when our music director (my beloved Dr. Janice Wade) would bring in musicians from surrounding towns to fill out the group. On the one hand, I didn’t know shit, being only 17 (I certainly thought I knew shit, but believe me, I most certainly did not), but on the other hand, that’s also a very difficult scenario under which to form a fair impression of a work.

The other piece was Finlandia, which is by far Sibelius’s most well-known and popular work. It is literally a musical love-letter to Sibelius’s own homeland, and it chock full of orchestral color, some deeply exciting material (the middle section somehow feels march-like without being a march), and then a deeply beautiful hymn-like melody that sounds like a folk anthem (even though all the melodies in the piece are of Sibelius’s own invention). Finlandia has become as beloved in Finland as The Stars and Stripes Forever has to Americans, and it’s as good a place as any to enter Sibelius’s sound world. This particular performance adds a choir to the proceedings, for stirring effect.

In future weeks I’ll look at Sibelius’s tone poems (many inspired by the folk epics of Finnish legend), his symphonies, and, yes, that Violin Concerto that vexed me at seventeen. Stay tuned!

Here’s Finlandia.

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2021 in the Books: Beethoven, Merlin, and the Hardy Boys meet Veronica Mars

 Here’s some of my recent reading!

::  Beethoven: The Relentless Revolutionary by John Clubbe is simply superb. I wanted to get this one done in time to blog about it during 2020, but getting it done this year is fine.

Beethoven: The Relentless Revolutionary, Clubbe

While not really a “life and works” biography, Clubbe’s book has enough of that within its pages that it would suffice if one was looking for a single-volume account of Beethoven’s life. Clubbe is more interested in tracing through Beethoven’s life and music the influences of late-18th and early-19th century revolutionary history and politics. Beethoven emerges not just as a towering figure in art, then, but as an important historical figure in his own right. Many histories of music and biographies of artists don’t really do this kind of heavy lifting; any history is often treated as incidental. Mozart, for example, is often shown not as a part of history, but as a force of his own, only occasionally interacting with history, such as in his dealings with Emperor Joseph II of Austria.

Beethoven, on the other hand, was profoundly impacted by history, and Clubbe shows this readily by tracing Beethoven’s artistic influences and artistic goals in the light of the revolutions in human rights and political philosophy that shaped that time. Napoleon Bonaparte turns out to be a deeply important figure in Beethoven’s world, going far beyond the famous anecdote of the great composer initially dedicating his Symphony No. 3 in E flat major to Napoleon, and then ripping the dedication away when the Frenchman declared himself Emperor.

Clubbe writes:

Beethoven’s music thus reflects both the turmoil of the age in which he lived and no less the turmoil within himself. As he matured, he affirmed ever more passionately the ideals in which he believed. By focusing on the revolutionary origins of his music, itself a response to the revolutionary age in which he lived, we enter the heart of his genius. For listeners, past and present, who have yearned for political and social change, Beethoven’s music has been and remains an inspiration.

This book is outstanding and I highly recommend it.

::  The Crystal Cave, by Mary Stewart.

The Crystal Cave, Mary Stewart

This was a re-read of the first book in Stewart’s Merlin trilogy, which I first read almost thirty years ago when I went on a massive Arthurian binge during my collegiate years. I was obsessed with “the Matter of Britain” back then, and those stories have held a special place in my heart ever since. I remember finding Stewart’s trilogy, with a fourth book she added on later, in a boxed set in a shopping mall bookstore while on a tour with my college band, someplace in Wisconsin, and I read the four books the following summer. I remember loving them as I read them, but I never re-read them until now, although I’ve intended to re-read them for several years now. Time to get that job done!

Stewart wrote The Crystal Cave in 1970. How does it hold up fifty years later? Quite well, in all honesty. Stewart writes a very historically-focused story here, keeping the fantastical elements to a minimum. The Arthurian saga has always presented problems to those who would write stories based on it, seeing as how there is no single “Arthurian saga”; what we call that, or “the Matter of Britain”, is a collection of tales and stories that accrued and gathered and evolved over hundreds of years. This can result in a lot of versions to take on a disjointed feel, which Stewart avoids by making Merlin, not Arthur, her main character; in fact, Arthur himself doesn’t arrive on the scene, and then only by virtue of being born, until the very end of The Crystal Cave. Everything up to then is Merlin’s story: his questionable birth, his entry into the world of post-Roman Britain mysticism, and his dealings with the pre-Arthurian Kings like Vortigern and Uther.

Stewart’s prose is cooler than I remember, heavy on description and with long paragraphs. In this she might not appeal quite as much to modern readers, but I like this Tolkienesque approach. Her characters are sharply drawn, though, and Merlin’s adventures are interesting throughout. There’s a lot of military maneuvering in this book as armies tromp all over Wales, which is something I didn’t remember from my first reading, but then…it’s been a while!

I will be reading the other two books in the trilogy later this year.

::  The Montague Twins: The Witch’s Hand, by Nathan Page and Drew Shannon.

I checked this out of the library on a whim, because I like to use graphic novels as way to cleanse my reading palate from time to time. This one is an absolute delight. I loved it!

The Montague Twins: The Witch's Hand, Page and Shannon

Basically, what you have here is something that reads like The Hardy Boys mashed up with Veronica Mars, set in a small New England town in the 1960s, with magic and witchcraft thrown in. Actual magic and witchcraft, mind you, not the Scooby-Doo fake magic-and-monsters that always turns out to be Old Man Carruthers in a rubber suit and latex mask, who “woulda got away with it if it hadn’t been for you meddlin’ kids.”

Our leads here are, yes, “the Montague twins”, but they have a larger supporting cast to the point where it seems like actually calling the book The Montague Twins feels like a bit of a misnomer. But they’re two late-teen twin brothers who wear their hair in stylish pompadours and who investigate local crimes. As the book opens, they’ve successfully located the missing dog of the local Very Rich Family Who Owns Everything, and yet oddly, the Very Rich Family doesn’t seem quite as happy with this as they should, which does play in later in the book. There’s a lot of bad-blood history in this book that comes out over the course of its story, not all of which is exactly surprising but a lot of which is satisfying in the “A-ha, I knew it!” way.

What I loved most about this one is that it takes its time. We live in a storytelling epoch in which pacing is seemingly everything, in the sense that the faster-paced the better. One bit of writing advice I see all the time is “Every word must advance your story, and if it doesn’t, cut it!” This has resulted in stories that are constantly rush rush RUSHing their way through their plot beats, with no time for the reader to digest or think or linger in the world or enjoy a quiet moment here or there with characters. The Montague Twins: The Witch’s Hand does not rush, which pleased me greatly. Not every story has to whip by like a damn episode of a CBS procedural, folks!

I read that a sequel is forthcoming to this book. I hope it’s a success and there are more to come!

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Super Bowl trivia questions!

 It’s THAT weekend, again! If you need some Super Bowl trivia questions for your socially-distanced Super Bowl Party On Zoom, here you go! These are recycled from last year, with revisions to two questions based on the results of last year’s game and this year’s champions (I can no longer say that no team has ever played a Super Bowl on its own home field!). Answers are in the comments (with one question’s answer having changed after last year’s Super Bowl result).

1. What is the highest combined point total in a Super Bowl?

2. What is the lowest combined point total in a Super Bowl?

3. What winning team scored the fewest points?

4. What losing team scored the most points?

5. What is the oldest existing venue to have hosted a Super Bowl?

6. What is the oldest existing stadium that is home to an NFL team to have hosted a Super Bowl?

7. What is the last Super Bowl to be played in a stadium that was not home to an NFL team?

8. According to a Super Bowl-related episode of THE SIMPSONS, who are the favorite teams of Homer Simpson and Moe Szylack?

9. Three American Idol winners have performed the National Anthem at Super Bowls. Which ones?

10. These two teams have met in three Super Bowls.

11. These teams have each met in two Super Bowls.

12. These three teams are 1-0 in the Super Bowl.

13. This is the only team to be currently undefeated in multiple trips to the Super Bowl.

14. As of 2021, this team has gone the longest without returning to the Super Bowl.

15. As of 2021, this team went the longest between Super Bowl victories.

16. To date, this is the only Super Bowl whose participants played their home games in the same state.

17. Following each of this team’s last two Super Bowl victories, the starting quarterback for both games retired. Name the team and the two quarterbacks who retired as champions.

18. These teams have won at least four Super Bowls.

19. These teams have lost at least four Super Bowls.

20. This player is the only special teams player to have been named Super Bowl MVP.

21. The team with the NFL’s season rushing champion has advanced to the Super Bowl only four times. Name the players, the teams, and the Super Bowls.

22. Since the NFL adopted a 16-game regular season, seven teams have posted records of 15-1 or better. Only two of those have won Super Bowls, however. Name the two champions, and the remainder of the teams and their results.

23. This is the only team to win the Super Bowl after being outscored during the regular season.

24. Over the course of 12 months, this city hosted the NHL Stanley Cup Finals, the World Series, the Super Bowl, and the NCAA Final Four. Which city was it, and which Super Bowl was hosted?

25. Four coaches have each lost the Super Bowl four times apiece. Name them.

26. Which of the following has never happened in a Super Bowl: a punt return for a touchdown, two wild-card teams meeting in the Super Bowl, a play from scrimmage over 90 yards, or a head coach winning a Super Bowl with two different teams?

27. Name the four teams that have as yet never reached the Super Bowl.

28. In only two Super Bowls did neither team commit a turnover. Which ones?

29. The closest geographical proximity between the two cities represented in a Super Bowl was 164 miles. Which two cities, and which Super Bowl?

30. What is the earliest in a Super Bowl that a winning team has taken its final lead?

31. No team has ever won three consecutive Super Bowl championships. What two teams came closest to doing so?

Enjoy, and go Chiefs! Evil Tom MUST be denied a seventh victory. ON THIS ALL DEPENDS.

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The history….

 It’s February (sorry about the lack of posting, there’s some stuff going on that’s not horrible but occupying lots of brain cycles), and with it comes, as always, Black History Month. Here is a thread I saw on Twitter yesterday, from a user going as “LEFT Ph. D”, describing in brief the part that something near and dear to me plays in Black history in America: overalls!

I tried embedding the individual tweets, but for some reason the code to do so was kind of wonky, so I’m reproducing the text and images below, in sequence as they appeared. WARNING: One of the images is a difficult one, a stark reminder of the casual way we used to show our devaluing of Black lives.

The SNCC referred to in LEFT Ph.D’s commentary is the Student Nonviolent Coordinating Committee, a student-led movement that was one of the main methods for students in the United States to engage with and support the growing Civil Rights movement. More on them here.

(One of these images is difficult.)

Our clothes come with a politic.

SNCC used denim overalls as a counterbalance between women and men. They used overalls as a symbol of solidarity with sharecroppers in the rural South during Jim Crow. They used overalls to combat politics of responsibility.


Yesterday, my 5-year-old asked me why I always wear overalls. He was curious about the buttons that I wear on my clothes. I didn’t give him a history lesson on denim/workwear and Black folks, but I did show him pictures. I did tell him that those pictures were of our ancestors.

When Dr. Martin Luther King Jr. was arrested in Birmingham, Alabama in 1963, he was wearing denim workwear. He wasn’t wearing his “Sunday best.”

He was aware of the politics of denim.

It was this MLK that wrote ‘Letter from a Birmingham Jail’.

When Joyce Ladner, Kwame Ture (then (Stokely Carmichael) and other members within SNCC purposely rocked denim overalls, as a uniform, it was a conscious effort to build with Black folks that were most terrorized by violence of Jim Crow America.

 

I found this all pretty fascinating. Obviously for me, overalls are a thing of comfort and a bit of statement of personal weirdness and quirk. But there’s history behind them, a dark and important history that hasn’t even played out completely yet.


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From the Books: WORLD OF WONDERS by Aimee Nezhukumatathil

2021-01-31_02-50-22

From summer 1976 to summer 1977, my family lived in LaCrosse, Wisconsin while my father taught at the university there. That school year I was in kindergarten, while my sister was in…sixth grade, I think? My memories of LaCrosse aren’t grounded by very many specifics these days, but there are things I remember of that year. I remember a couple of the pizza places we went to: one was Rocky Rococo’s, and the other…wasn’t. There was a bar and restaurant called Schmidty’s that I vaguely recall serving a pork chop on a steel serving plate, which I thought was really cool. I also vaguely recall my father jokingly calling that place “Shitty’s” because he always did like a funny rhyme, though he and my mother were less amused by me trying that same joke on for size. Bummer! Swear words are fun!


I also recall one morning when we were gearing up for one of our usual Saturday (I assume it was a Saturday) road trips. A fixture of my childhood was all of us getting in the car and driving someplace an hour or two away, seeing what was there for a bit, and then coming home, usually with a stop at some tavern someplace for dinner. On this morning, I asked my mother where we were going, and she said, “Iowa!” I had no idea what “Iowa” was; remember, I was five years old and pretty hazy on the concept of states and stuff. I don’t remember what we saw that day on our drive to Iowa, but that was the first time Iowa was ever on my radar. Maybe we went to Dubuque? I don’t know.

I think back on that day, though, and I realize that as a kindergartner was hanging out with his parents, about a hundred seventy miles or so west there was a first grade girl hanging out with her parents, and that thirteen years or so later, that girl would meet that kindergartner in college, and a year after that, he’d ask her to go see a movie with him (Edward Scissorhands), and fast-forwarding to today, as that onetime kindergartner writes this very post, she’s taking measurements for a new bed for one of our dogs. We grew up worlds apart, but then there was this one period when we weren’t that far from each other. Just a few hours’ drive apart, for that one day. Later in summer ’77, we’d move to Hillsboro, Oregon…and a couple years after that, to Allegany, NY. That young girl I’d marry was a couple thousand miles thataway…and then she was a thousand or so miles thataway. Until finally the thataways converged, and we were together, hoping for as few thataways as possible.

I’ve been thinking about this a lot, after reading this passage from Aimee Nezhukumatathil’s remarkable book World of Wonders: In Praise of Fireflies, Whale Sharks, and Other Astonishments. At this point, Nezhukumatathil is in sixth grade, living in Kansas with her family through a year she doesn’t seem to have enjoyed very much:

I could not have known that just one hour south of Larned State Hospital the person I would eventually marry, the father of my sons, was likely practicing layups in his driveway or hitting baseballs into a field not too far from a buffalo range. Just one hour from my life’s love! One hour! A white boy who would one day take my brown hand in his, putting it to his heart when he makes a promise so I can feel his heartbeat and the warmth residing there. If only the narwhal could have taught me how to listen for those clicks of connection, that echo reverberating back to me.


Wait, you might be asking. What’s this about a narwhal?


The book is called World of Wonders, and as I flipped through it in the bookstore where I found it (a brand new bookstore in Ithaca that is one of the most beautiful little bookstores I’ve ever seen and had the terrible luck of opening as the COVID pandemic was apparently shutting down the world), I figured it for a poetical look at a quirky selection of the world’s creatures, quirky and poetic. And it is certainly that, as Nezhukumatathil is a poet by vocation. But more than that, Nezhukumatathil uses all of these amazing creatures of the world as metaphorical gateways to discuss her personal biography and her experiences in the world.


Nezhukumatathil, being a poet, writes with language that is beguiling and lyrical. The book has the feel of being one long prose poem. Here she is on fireflies:


For a beetle, fireflies live long and full lives–around two years–though most of it is spent underground, gloriously eating and sleeping to their hearts’ content. When we see these beacons flashing their lights, they usually have only one or two weeks left to live. Learning this as a child–I could often be found walking slowly along untrimmed lawns, stalling and not quite ready to go inside for dinner–made me melancholy, even in the face of their brilliance. I couldn’t believe something so full of light would be gone so soon.


One aspect of Nezhukumatathil’s life to which I can relate is moving a lot as a young person, but I cannot relate to her experiences as a person of color living in all these rural American locations. I can, though, readily envision the kind of experiences she had. There was an Indian family that moved to my town when I was a senior in high school, and one of their daughters (I think there were at least two kids in that family) was in my class, for all of one year. She was an incredibly smart and very nice (and, I might add, beautiful) person who was very well read; her favorite book was The Great Gatsby, which I myself read that year for the first time. She and I had some discussions on that book that I remember fondly. But some other things, I remember less fondly. As the year began to dwindle and as graduation neared, it was time for the yearly academic awards, and she won a bunch of them. Some of my classmates–all of them as white as anything–groused in the quieter moments of study halls that “Why should she get all the awards, she only came to town that year, she’d be gone soon, she was an outsider.” This at the time reminded me of my sister’s experience six years earlier in the exact same school district, when we’d moved in when she was a junior and she proceeded to win a lot of academic accolades. But of course her experience couldn’t possibly map to Shazia’s (that was her name), because Shazia had the added hurdle of moving to small-town rural Western New York as a person of color.


Throughout World of Wonders, Nezhukumatathil occasionally makes glancing reference to time she lived in Western New York. I had no idea of this when I bought the book, but it caught my attention. But when the subject comes up, it’s a very quick mention, gone as quick as it comes, and I wondered if Nezhukumatathil had a bad experience here. I wondered where she lived in WNY, and how much of her experience here I would recognize, even as the person watching it unfold instead of living it. Late in the book, though, Nezhukumatathil names her town: Gowanda, NY. I know the town. It’s a small village in the hilly country between Erie and Cattaraugus Counties, a very beautiful area that I value highly for its hills and valleys and gorges and streams and waterfalls. But Nezhukumatathil writes of a single year there, and I think back on my classmate Shazia.


Later, Nezhukumatathil writes of living in Western New York, during her chapter on the red-spotted newt:


These newts are one of the only amphibians to contain a ferromagentic mineral in their bodies, and that, combined with their incredible capacity to memorize sun and starlight patterns to return to their original pond waters, make them an animal on par with salmon for their excellent homing capabilities. What’s particularly amazing is that in its lifetime–thanks to its innate magnetic compass–a newt doesn’t usually stray farther than just over a mile from its origins pond, staying within the range of about eighteen football fields.


My own homing instinct was stronger than I ever could have thought. A decade after I left Western New York as a teenager, I was finishing up a fellowship year in Madison, Wisconsin. I scanned the academic job boards for entry-level professorships and had to blink twice when I saw there was an opening not too far from my old home. It was a long shot, I knew, but I applied anyway, even as I drove around to local bookstores and coffeehouses in Madison to apply for jobs there. Coffee barista, English professor–I felt guilty for even daring to hope I could land a tenure-track job–all I knew was that I wanted to stay in the classroom, but I also wanted to be able to spend time outdoors and write.


After a few days’ worth of interviews, I received the magical call welcoming me back, and I spent fifteen more years in Western New York. I was married there. My babies were born there. But it wasn’t my forever home. Though we still keep in touch, my best friends had long since moved away. I was still one of too few brown people in town. I was tired of acquaintances at the post office asking about “my people,” meaning Filipinos or Indians; tired of people saying Namaste! to me in the grocery store, when I was least prepared for it; tired of the increasingly hostile climate at work if I dared to suggest more diversity on campus; and simply tired of being the one brown friend to so many people. On top of that, I spent fifteen winters navigating roads clogged with lake-effect snow. I was done with that pond. I would need to keep searching.


Everyone has to find their own home, their own place to belong. Nevertheless, it makes me a little sad that the place that’s my home, my place to belong, wasn’t someone else’s. A bit selfishly, I mourn that my region had for a time someone living here who is capable of writing a book like World of Wonders…but for this reason or that, she felt that she couldn’t really live here. This happens for a lot of reasons, not all of them bad…but still. A place is a bit sadder when it says farewell to its poets, and a bit sadder than that when it doesn’t even realize its poets have left.


Anyway, World of Wonders is a beautiful book.

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A Note on the Lack of Music on this Blog of Late.

 You may have noticed that I’ve been posting very little music-related content here of late. That’s mainly because I went really hard-core into music posting the last few months of 2020 (December especially), and this month I’ve been focusing on some other goals (starting a book, celebrating the end of Issue 45 of The American Presidency (worst issue ever!), watching horror as my own fellow citizens tried to perpetrate a coup with the help of actual elected Republicans). Music posting will return in February, which is just a few days away, so…yay!

And with that, here’s two doggos.

New bed 4: Y U IN MY BED #Cane #dogsofinstagram #greyhound #greyhoundsofinstagram #Carla #pitbullsofinstagram #pitbullmix #pittie #staffordshirebullterrier #staffiesofinstagram

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Competence Porn

 Recently, one of the hosts of a writing-related podcast that I enjoy (Functional Nerds, if you must know!) referred to “competence porn”, meaning stories wherein the characters are actually, well, competent. They know what they’re doing, they know their jobs, and they work to get the job done. Which isn’t to say that there aren’t complications! Not at all. But none of the major plot developments arise from someone being dumb or inept or not having a clue what they’re doing. That is refreshing.

Competence Porn can also refer, I think, to instructional videos or documentary-type videos in which people who know what they are doing simply go about doing their job. This particular video is an outstanding case in point. The YouTube algorithm served this up for me, and I have no idea why–maybe it’s because I’ve watched railroading videos, or occasional construction videos, but not many of those at all. The concept is incredibly simple: a contractor was using an excavator (the modern version of what I learned as a kid was a “steam shovel”) to dig out a pond someplace. Unfortunately, the ground appears to have been too saturated and the operator appears to have not used proper equipment in moving the excavator, resulting in the excavator sinking into the mud all the way up to the cab.

In steps Our Hero, the fellow making this video. This is nothing but 41 minutes of this guy doing the job of digging out this excavator, but it’s just amazing to watch. It starts with his laconic attitude. The sight of the excavator buried in mud is disconcerting, and at first glance I thought, “I have zero idea how they’re going to get that thing out of there.” But Our Hero just says in a gentle drawl, “Well, there’s the problem,” and next thing we know, he’s in an excavator of his own, working on digging out that one. This involves moving a whole lot of mud so that the water won’t flood the hole as they dig into it; it involves delicate placement of mats that will provide support for these giant tools. The ‘mats’ consist of half a dozen railroad ties all bolted together and laid out side by side so that the excavators can drive over them, and the most fascinating part of this video is Our Hero’s manipulation of the mats. He moves them quickly and precisely with his excavator, and he taps them into position to line them up, and at one point (about halfway through the video) he even picks one up and moves it while he looking at and taking to someone else!

There’s never any questioning it here, never a shown moment of “Oh wow, let me call somebody, I don’t even know where to start.” Just a cursory “Well, there’s the problem,” followed by the work to get the job done. Apparently the whole job only took an hour and a half from their arrival to the end, and it just seemed like a day at the office for these folks.

Competence porn, indeed!

(This video is so even-keeled that the droning sounds of the excavator engine as it digs and dumps, digs and dumps, digs and dumps has a kind of ASMR effect, I noticed. This was actually relaxing to watch!)

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A Thousand Falling Shadows

On the street where I live #wny #winter #snow

 In old movies–especially the black-and-white noir films–you’ll often see someone standing under a streetlight. In the movies the streetlights always cast a distinctive pool of light below, with a relatively sharp boundary between the light and the darkness beyond. In reality, though, streetlights haven’t been like that for years, owing to the high-pressure sodium lamps used in modern streetlights. These lamps cast the familiar, ridiculously-bright light that spreads outward in all directions, fading at length.

Now, however, in the interests of energy efficiency, municipalities all over the country are switching from the high-pressure sodium lamps to energy-efficient LED fixtures. The LEDs really do cast distinctive pools of light below, with a relatively sharp boundary between the light and the darkness beyond. The light is a natural spectrum, thankfully, so the light doesn’t feel false–in fact, it feels even less false than the brilliant burning amber of the old lamps.

One thing you discover with LEDs is that unless they are filtered through frosted glass or something similar, their light is extremely directional, which means that shadows made in LED light tend to be very sharp and accurate. This was driven home for me tonight, when we walked our dogs as snow fell from the sky. It was a peaceful night, no breeze, so the snow was able to just flutter down to the ground on its own time and agenda. These are my favorite kinds of nights to walk, during the wintertime…and tonight I noticed something else, when we passed beneath the first of the new streetlights on our street.

The snowpile sparkled like snow usually does–but there was something else. Tiny shadows of darkness, all flitting in the same direction across the snow on the ground. It took me a minute to realize that I was seeing something I had never seen before, something I had never thought to see before. I was seeing the shadows of the snowflakes themselves, snowflakes casting their own shadows on their already-fallen brethren. I never thought for the tiniest of seconds that a snowflake could cast its own shadow.

But it turns out they do. And that, my friends, is a bit of magic.

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From the Books: THE BOYS OF SUMMER, by Roger Kahn

 

My years with the Dodgers were 1952 and 1953, two seasons in which they lost the World Series to the Yankees. You may glory in a team triumphant, but you fall in love with a team in defeat. Losing after great striving is the story of man, who was born to sorrow, whose sweetest songs tell of saddest thought, and who, if he is a hero, does nothing in his life as becomingly as leaving it.

–Roger Kahn, The Boys of Summer

I was once a huge baseball fan, mainly during the 1990s. It started with the Pittsburgh Pirates’ string of three consecutive National League Eastern Division championships (they were in the NL East back then, before the realignment that created the NL Central), each of which was followed by a heartbreaking loss in the NLCS. Those three years gave my father and I a lot to talk about and a rooting interest in common, which was a lovely thing. (It’s not like we especially needed that; it’s not as if we had a wounded relationship that was somehow healed by baseball or some shit like that. But a shared interest and joy is always good!) Looking back, it’s amazing how my college years were grounded by sports heartbreak: I’d watch the Pirates lose an NLCS in October, and then three months later I’d watch the Bills lose a Super Bowl.

As the 1990s came to an end, I still loved baseball even though by this time the Pirates had become bad (in an epic stretch of badness that would go on for twenty years), but as the 2000s arrived I had less and less opportunity to watch baseball on teevee, because we didn’t have cable. I never lost my admiration for the game itself, though. I loved its rhythm, I loved how it created moments of fantastic tension without the breakneck pace that lots of people seem to think is essential to an exciting sporting event. And I loved how baseball, for some reason, lent itself to wonderful writing. Good sports writing abounds all over the place, I have to admit, but there’s just something about baseball that makes it fodder for great writers.

I think it has to do with how much baseball there is. Each season lasts for six months, with games nearly every single day; unless there’s a no-hitter or a perfect game or some other kind of highlight, few individual games linger in the mind, which means that an entire season can take on the feel of a long epic struggle that feels sad when it ends, whether your team finishes as World Champion, or a pennant winner, or as just another also-ran along the way.

And it’s not just that the seasons are long; baseball itself has been around seemingly forever, too. The history of baseball lasts to around the time of the Civil War, if not before that, and its rise echoes evolutions of so much of America: the urbanization of our society, our ongoing struggles to find some semblance of racial justice, and the desire so many feel to hang on to aging traditions as our society seems to relentlessly speed up.

Baseball careers last a long time too, at least compared to other sports. A typical football career lasts, on average, only four or five seasons. A good baseball player, who manages to avoid catastrophic injury, can play ten, fifteen, even up to nearly twenty years before the inevitability of age takes its toll. And there’s also the progression from the minor leagues to the Majors to take into account: a poetic questing nature seems to apply to players who toil on and on, always chasing the dream.

Roger Kahn, regarded as one of the finest of all baseball writers, died in 2020 at the age of 92, and when he passed, many paeans to his most famous book, The Boys of Summer, showed up online and elsewhere. I had never read Boys, so I added it to my reading list, and I finally got to it just a couple of weeks ago. (Hooray for borrowing e-books from the library–but that’s for another time!) I finished Boys just a couple days ago, and it really is every bit as good as its admirers claim.

Kahn’s book is billed as a chronicle of the Brooklyn Dodgers over a remarkable period in which they were always very good and yet only won it all a single time, but the book is more than that. It opens with a long reminiscence of Kahn’s family life, of how he learned and grew and learned some more and eventually came first to writing and then to writing baseball. We don’t arrive with the Dodgers until some time in the book, and if you expect the kind of long telling of a great team’s championship season, well…that’s not what Kahn is up to here. He writes about baseball in the larger sense, with baseball’s dual feeling of being something unending, through which individual men come and go. In the book’s latter half, Kahn catches up with many of the stars from those Dodgers teams, the last ones to play in Brooklyn before the team’s eventually forsaking of Ebbets Field and Brooklyn for Chavez Ravine in Los Angeles.

Kahn doesn’t draw much attention to the way time is a constant theme in his book, but it is always there. Everyone whom Kahn profiles here is now dead, and the first edition of The Boys of Summer came out in 1972. The oldest players in baseball today were not even born when this book came out, chronicling baseball events that were already decades old. Baseball keeps on keeping on, doesn’t it?

Toward the end of the book Kahn discusses, almost in passing, the team’s move to Los Angeles. Though he doesn’t underline the point, it’s hard not to sense a disapproval on Kahn’s part of what he might describe as the corporatization of baseball. Even that, however, must be viewed through the lens of time. When Kahn was writing, Ebbets Field was still a living memory. Now, the Dodgers have been in Los Angeles over half a century, and the then-shiny and new stadium at Chavez Ravine is one of baseball’s oldest and most beloved venues. Baseball keeps on keeping on.

Finally, I close with a few specific passages that struck me. Roger Kahn is, among other things, a hell of a storyteller and wordsmith. An anecdote about Gil Hodges, who played first base for the Dodgers before becoming a manager:

A sense of strength stays with a man. When Hodges managed the Washington Senators, he learned once that four players were violating a midnight curfew. Hodges believes in curfews and he convened his ball club and announced: “I know who you were. You’re each fined one hundred dollars. But a lot of us are married and I don’t want to embarrass anyone. There’s a cigar box on my desk. At the end of the day, I’m going to look into that box and I want to see four hundred dollars in it. Then the matter will be closed.” Hodges gazed. At the end of the day, he looked into the cigar box. He found $700.

As Kahn travels around the country to meet personally with the retired stars of those great Dodgers teams, he finds himself often well off the beaten paths in towns that were once something but which are now just doddering along. The town that I grew up in is one of those, a onetime “city” in New York’s Southern Tier that is now just another small town with a lot of closed factories and empty buildings, but still enough people to keep the place being a place. Interestingly, my town–Olean, NY–is name-checked in The Boys of Summer, as the location of a tryout camp for guys who maybe wanted to play baseball. I have trouble imagining such a thing now, but that camp was Gil Hodges’s route to the big leagues.

This passage, about Newport, PA, rings very true to me. The towns of my youth were very much like this town.

The reasons for which Newport was built died along with the tannery and ironworks. A river bend no longer makes a town and jobs are so short at the Penn Central that only men with twenty years’ seniority survive recurrent layoffs. But Newport is not dying; the petrified village may even grow. It is a refuge for certain whites, raising young families, who talk about “the niggers stealing America.” No black man lives in Newport, Pennsylvania. None wants to come and none is asked. A few blacks who work for Bethlehem Steel have built a cabin near Lost Creek Gap, but the Newport elders say these aren’t bad ones.

And finally, a quote about the inevitable shifting of the world and how it appears to those living in as it shifts:

There is only so much space on the planet. Fathers perish to make room for sons. At the end, some go with grace, but the middle years–and these Dodgers are striding through middle years–shake with contention. Jack and Jackie Robinson; Clem and Jay Labine, father and son circling one another in a spiky maze of love.

It is too easy to lay griefs on the end of summer. Once I wrote the poet Robert Graves, asking, among other questions, how it felt to be seventy years old. He could not tell me, Graves responded, because in his own mind he was still twenty-one.

In The Boys of Summer Roger Kahn writes about the lives of baseball, and the way that baseball looms larger in those lives than maybe it should, since the baseball part takes up, what, one fifth or one-sixth of a life? Baseball isn’t a bad way to mark the time, though.

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