Something for Thursday

“To me, Seven O’Clock Shout is a declaration of our survival. It is something that allows us our agency to take back the kindness that is in our hearts and the emotions that cause us such turmoil. … We cheer on the essential workers with a primal and fierce urgency to let them know that we stand with them and each other.”—Valerie Coleman

Valerie Coleman is a flautist and composer who grew up in Louisville, KY, before becoming an influential musician in a number of ways: a flautist who formed the Imani Winds, a prominent woodwind quintet, while following a busy solo career, and a composer of a diverse body of work for soloists and ensembles all the way up to full orchestras.

Coleman’s piece Seven O’Clock Shout was written for, and premiered by, the Philadelphia Orchestra. The work is directly inspired by the COVID-19 pandemic and the early response to it. From Coleman’s website:

Seven O’Clock Shoutis an anthem inspired by the tireless frontline workers during the Covid-19 pandemic, and the heartwarming ritual of evening serenades that brings people together amidst isolation to celebrate life and the sacrifices of heroes.  The work begins with a distant and solitary solo between two trumpets in fanfare fashion to commemorate the isolation forced upon human kind, and the need to reach out to one another. The fanfare blossoms into a lushly dense landscape of nature, symbolizing both the caregiving acts of nurses and doctors as they try to save lives, while nature is transforming and healing herself during a time of self-isolation. 

When a composer has the rare opportunity to create for musicians they have gotten to know, the act of composing becomes an embrace tailored to the personality and capabilities of the musicians with elements of both challenge and appreciation. One such moment is dedicated to humanity and grace, as a clarinet solo written for Ricardo Morales, followed by a flute solo with both Jeffrey Khaner and Patrick Williams in mind, providing a transition into a new upbeat segment. Later, to continue tradition from the first commission the composer received from the orchestra, a piccolo solo dedicated to Erica Peel dances with joy.

The piece is lyrical and optimistic, even in the face of the horrors of the pandemic–especially the early days, when everyone was sequestered from one another, with no real sense at all for when, or even if, things might start to get back to “normal”.

Who knows how we might have responded back then if we had realized that two years would then elapse during which we couldn’t entirely return to “normal”…but that’s a discussion for another time. Seven O’Clock Shout is one musician’s response to the great difficulty of our time. And why not? Much great art is.

Here is Seven O’Clock Shout by Valerie Coleman.

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Pizza Thoughts

Oh yeah babe.

Raise your hand if you grew up in a town with terrible pizza.

[raises hand]

OK, good. I’m not alone. But more on that later.

Today is apparently National Pizza Day. I have no idea why today is National Pizza Day, but I do not generally question such things. But at least I can honor the occasion by dining on some pizza!

That’s leftover frozen pizza that I’ve reheated, actually. But no, this is not a bad thing! Frozen pizza has come a long, long, long way since the days of the really cheap crusts that tasted vaguely (or not so vaguely) of the cardboard box. This is actually a new brand to me, by a company called the Motor City Pizza Company. Every few weeks at home we have Frozen Pizza Nite for dinner, whereupon I buy a gluten-free pizza for The Wife (she is partial to the Freschetta brand), and I buy something for myself. I don’t have a favorite, which is nice for some pizza exploration each time out.

This last one was apparently a Detroit-style pizza, which means that it’s oblong rather than circular, the crust is thick and chewy (not unlike Buffalo-style pizza, in all honesty!), and the cheese (Wisconsin brick cheese) is spread all the way to the edge, so that it melts and scorches a bit around the edges, giving the outer crust a cheesy, carbonized crunch. I don’t know how well this particular frozen pizza holds up as an example of Detroit-style pizza, but I did like this brand and I would buy it again.

(Pro tip: When reheating leftover pizza, don’t use the oven OR the microwave. Use a frying pan, on the stove, on medium to medium-low heat. Put a lid on it to get the cheese melty again, while the pan re-crisps the crust.)

Generally speaking, pizza might be the single food I’ve eaten more than any other (maybe second after sandwiches), and I suspect I’m far from alone in this. Americans tend to be nuts about pizza. What’s one of the first question anybody asks in this country when they relocate to a new city? “Where’s the good pizza around here?” Pizza is so huge that it’s simply not acceptable that celiacs live a pizzaless existence, hence the existence of many gluten-free pizzas.

I don’t remember a time of my life that was Before Pizza. In our oddly-nomadic life in my first ten years, during which we moved each year, we had a favorite pizza place in each town. Pizza Caboose was a run train-themed pizza place in the Portland area (some locations had an actual caboose inside, which you could sit in as long as the whole thing wasn’t rented out for a party), and there was another place (now gone) called the Organ Grinder, which was a trip in itself. These places, I remember liking very much, even if I, as the youngest member of the family, rarely got to pick the pizza toppings, so I had to deal with sliced tomatoes and mushrooms and having Dad admonish me for trying to pick the pepperoni off the freshly-served pizza.

(But really, isn’t it a pizza law that you pick off one slice of pepperoni from the fresh pizza? How many things in life are better than that first, and only, piece of pepperoni, picked from the top of the still-bubbling pie, dripping hot grease and pulling along with it a fine tendril of molten cheese?)

Another joint I remember, from the year we lived in LaCrosse, Wisconsin, was Rocky Rococo’s. This place served up slices of deep-crusted goodness. I also remember a couple of other pizza joints in LaCrosse…one of them had barber chairs that kids could play in while waiting for food (maybe this was actually Rocky Rococo’s? I dunno) and another was a bar/restaurant in LaCrosse’s downtown section, whose name I don’t recall but I do recall their pizza being very well-endowed in the cheese department.

And then there was Olean, my hometown of roughly twenty years.

Olean, bless its heart, was not a place for great pizza. I know that some of the locals down there will quibble with this assessment, but I cannot tell a lie. One local joint, located in the mall there, is absolutely beloved, but it’s really on par with Sbarro, and it serves the same kind of product (the cheap thin NYC-style slice that you can fold). It wasn’t bad, but I never once pined for it the way many there do. Another joint served slices of square pizza cut from sheet pans, and each slice had two pepperoni slices on it. That’s it: two. This place was also beloved. I never understood why.

There were a few other mom-and-pop joints that came and went, but generally, Olean was not really a place to get great pizza. Maybe its pizza scene has improved since I moved away–it’s been more than twenty years now, after all–but at the time, well…a case can be made that Pizza Hut really was the best game in town. (And honestly, as much as I might say about working at Pizza Hut, I do still believe that their product, at least back then, was perfectly respectable, at least for a corporate “Every pizza must be the same!” joint.)

One special mention must be made of a pizza place in Pittsburgh, the city of my birth: Vincent’s Pizza Park is the home of some amazing pizzas, but they’re rather idiosyncratic. They are big, heavy, loaded with grease, and the crust goes for miles. I mean, look at these:

That’s some amazing pizza–I have never been able to find Italian sausage on a pizza that had quite the same bite as the stuff that Vincent’s uses–but when you’re eating it, you might well flash back to that episode of The Simpsons when during breakfast Bart is complaining of chest pains while Homer orders him to butter his bacon.

(Vincent’s was also apparently a bit less well-maintained, in earlier days when sanitary standards were a bit more lax than they are nowadays. My father loved telling the story of how once he was at Vincent’s when my parents were relatively newly wed, in the early 1960s, and he called home from the pay phone to tell Mom he was going to be a while because some poor guy had gotten locked in the bathroom and was shrieking to be released from whatever eldritch terror dwelt within. Dad had to see that one play out.)

What are my pizza preferences? I mean, everybody has a preference, right? My favorite right now would almost certainly be Imperial Pizza in South Buffalo, a joint that is rightfully legendary. It breaks my heart that The Wife can’t eat their product anymore. Curse you, Gluten Gods! But Imperial’s crust is that wonderful thick pillowy Buffalo crust, topped with a sweetish sauce and piled with cheese and whatever your toppings are. Each year at Christmas I treat myself and a couple of coworkers to pizza and wings from Imperial, and given the opportunity to have pizza from any place right now, I’d likely choose Imperial.

Or Cappelli’s…they may an amazing chicken finger pizza that tastes like pizza and wings all in one dish…and their crust, a bit thinner than the standard Buffalo crust, is ideally suited for one of my favorite topping combos, Italian sausage and banana peppers.

But more generally? I really do love all kinds of pizza. The New York City thin crust experience really is special, and I love it to death. But I am equally fond, if not moreso, of the Chicago deep-dish experience, in which a buttery and flaky crust contains multitudes in terms of tomatoes, cheese, and who knows what else. And everything in between! Buffalo pizza, Detroit pizza, and from my little experience with it, that super-thin crust stuff they make in St. Louis.

Pizza is so amazingly versatile that I can’t imagine ever tiring of it, or getting militant about one particular variety of it. Pizza is large. Pizza contains multitudes. You can make breakfast pizza, you can make white pizza, you can make any variation of the “traditional” pizza you can think of, you can make dessert pizza. Pizza makes life better, and we owe eternal gratitude to whichever ancestors it was who made a flatbread and then started putting stuff on it.

And then to those who made beer to wash it down with, and wings to pair with it.

Happy National Pizza Day, everyone!

Posted in On Food and Cooking | Tagged | 1 Comment

Tone Poem Tuesday

I last featured the work of 20th century American composer Ulysses Kay two years ago, which is probably too long to have allowed to lapse without revisiting him. Kay is an important voice in the Neoclassical tradition, but his music represents a broad array of influences, some of which show up in today’s work. Chariots is an orchestral rhapsody in which Kay’s main literary influence was apparently the use of chariots in the poetry of William Blake. The work was premiered by the Philadelphia Orchestra, under the baton of the composer himself–and that’s the performance featured here.

Enjoy Chariots by Ulysses Kay.

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“So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it’s gratifying to have something you have done linger in people’s memories.” — John Williams

John Williams was born ninety years ago today.

I’ve written many times in the years I’ve been blogging about John Williams’s influence on my creative world. He has been a central figure in the cinematic stories that shaped my life and stamped their print on my storytelling soul, all the way back to when I was five years old. Williams is, of course, best known for his many filmscores to some of the most prominent movie franchises of the last fifty years: Star WarsIndiana Jones, Harry Potter, and more. The Winter Olympics are going on right now, so I’m sure we’re hearing a steady dose of his Olympic Fanfare on the telecasts. He is absolutely a gigantic part of the sonic character of our time.

In addition to being very prolific, Williams is also versatile. He has scored intimate character studies, historical epics, and psychological thrillers. He has done horror as well as escapist fun…and he has also written a good deal of music for the concert stage. Pretty impressive lifetime of work for a guy who was once “Johnny Williams”, a session musician in 1950s Hollywood who did things like play the piano part on the theme to Peter Gunn.

Thank you, John Williams! Here are some selections, which I tried to draw from his “deeper cuts”–i.e., trying to stay away from the Big Hits. John Williams’s body of work really rewards a deeper look, even beyond the “usual suspects”.

(Oh, and a reminder: No, Williams did not steal the Jaws theme from Dvorak.)

 

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And now, four animals.

I got nothin’ else today, so here are two dogs…

They are waiting for food here. Cane is acting like life is over and has no meaning. Carla is being patient.

…and two cats.

I’ve no idea what they were staring at.

Have a great night, y’all!

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And now, a lamp-post

It seems an odd visual to like, but I’m always fascinated by light poles in parking lots, especially when there’s weather. This human-made object stands there, adding unnatural light to a scene while nature does its thing all around. The resulting contrast interests me. Why, I don’t know. It just does.

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And now, some Cosmic Perspective

Here’s a photo from the Hubble Space Telescope:

From NASA’s Flickr stream:

In this image, the NASA/ESA Hubble Space Telescope captures a side-on view of NGC 3568, a barred spiral galaxy roughly 57 million light-years from the Milky Way in the constellation Centaurus. In 2014 the light from a supernova explosion in NGC 3568 reached Earth – a sudden flare of light caused by the titanic explosion accompanying the death of a massive star.

Photos of entire galaxies always blow my mind a little…and that photo contains many galaxies. What an amazingly grand universe!

 

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An Addendum to the Matter of the Poofy Shirt.

So I referenced the other day my adoption of the Poofy Shirt as part of my ongoing aesthetic. I in fact first mentioned this back in the fall, though, when I noted that I might be approaching too swiftly the look of “Jerry Seinfeld in the pirate shirt”.

Well, flash forward to one day in December while I was out shopping a bit in Waikiki. Wouldn’t you know it, but one store actually had a Funko Pop of Mr. Seinfeld in that exact outfit! Yes, of course I bought it.

 

Obviously it’s all in the attitude. Jerry didn’t wanna look like a pirate, whereas…well, I don’t necessarily wanna look like a pirate, but as a cottagecore Renfest thing? Yeah, I’m totally on board with that.

But you know, this does raise an interesting question–interesting to me, anyway. I know that fashions change, but why did the “poofy” (for lack of a better term) shirt seem to vanish so decisively from men’s fashions? When did we collectively decide that lean, “athletic” fits are the thing, body types be damned? To see men in any kind of “poofy wear”, one has to go to a Renaissance Faire or watch a movie like a pirate film or a fantasy film or a historical epic. I make no secret that one of my personal fashion models is Kevin Costner in Dances With Wolves:

Now, if I want to emulate that look, I find myself turning to women for fashion inspiration (or “inspo” as the kids are calling it). Here is Tasmanian chef and cookbook author Sarah Glover, for instance:

And I never understand why more cooks don’t wear overalls! They’re perfect for cooking! Lots of pockets for stuff like thermometers or whatnot, and if you have a hammer loop you can hang a towel down there for wiping your hands!

Or these two images, from vintage clothing dealers I follow on Instagram:

I don’t really understand the way we’ve decided that entire areas of fashion and clothing are either masculine or feminine and that the twain shall not meet. And it’s not just in the arena of poofy tops with a bit of fringey-lacey stuff on them. It’s also in the colors we endorse. Everyone knows that pink is a “feminine” color…but thing is? Once upon a time, it wasn’t. But just try to find a pink cable-knit sweater for men these days. I’d have an easier time finding a pink poofy shirt….

Hey, wait a minute….

 

Posted in Fashion, On Bib Overalls, On Clothing | Tagged , | 1 Comment

Something for Thursday

Actor Howard Hesseman, perhaps best known (at least to my generation) as rock DJ Dr. Johnny Fever on WKRP In Cincinnati, died the other day. In a lovely remembrance post on Facebook, actor Wil Wheaton related a story that shows what a lovely person Mr. Hesseman must have been:

I also remember that one day on the set, we were sitting in cast chairs, talking, and the subject of jazz came up. I confessed that my familiarity with jazz musicians was ten feet wide and half an inch deep, but I enjoyed Miles Davis, Dave Brubeck, Chet Baker. He asked me if I had ever listened to Charles Mingus. I told him that I hadn’t hear OF him, much less heard him play music, so Howard walked to his car, which he’d driven up from Los Angeles, and came back with a cassette of Mingus Ah Um that I still have today.
“You will love listening to this while you burn through the 5 on your way back to LA,” he said.
I loved the image of burning through interstate, just setting it afire and letting it turn to ash behind you before it blew away, having served its (your) purpose. It was so much more romantic and rebellious than the reality of trudging through mile after mile of “are we there yet” and cattle yards during seven monotonous hours.
“How can I get this back to you?” I asked him.
“You won’t want to,” he said. “I’ll get another copy. Forget it.” I can still hear the glee and enthusiasm that was in his voice. He was giving me so much more than a cassette tape.
Anne, Nolan, and I listened to Mingus Ah Um on the way home, and Howard was right. We loved it. I still love it. And I have Howard Hesseman to thank for it.

I have to confess to not being terribly familiar with Charles Mingus, either, so I looked him up. I’d heard the name, but that’s about it, which is kind of a bummer, since Charles Mingus was actually one of the most important jazz musicians of the 20th century. His name is as important to jazz as Louis Armstrong, Duke Ellington, and Dizzy Gillespie.

While reading a bit about Mingus, I found that entire album, Mingus Ah Um, available online.

I honestly don’t have the familiarity with jazz to discuss it in any intelligent way at all, beyond “Hey, this is cool! I like this! It grooves!” This album is…well, it’s cool! I like it! It grooves!

I played in jazz bands in high school and college, but for some reason, despite my best efforts, I always felt like jazz was keeping me at arms’ length. There was always something about jazz, about the jazz approach and the way a musician has to think to be an effective jazz player beyond just being a decent section horn, much less being a good jazz player, that was just slightly beyond me as a musician. This used to bother me, and I would occasionally get irritated at my general inability to grasp jazz, but…well, I picture jazz itself, just standing there with its saxophone, smiling and saying, “Well, Kelly, that sounds like your problem, not my problem.”

And so it was.

In this album, beyond all the extraordinary virtuosity audible in the improvisatory work of these musicians who also have total control of their instruments, I hear harmonies of incredible complexity. Jazzfolk do things with chords that make my ear happy in that dizzy, “I’ve no idea what’s going on!” kind of way. I listen to something like the fourth track, “Self Portrait in Three Colors”, which drifts into and out of and back into ensemble playing and passages where it sounds like each player is doing something that is both entirely reliant on, and completely independent from, what the other players are doing.

I’m also struck by the tutti passages, where the whole group is playing. This album has some of the tightest ensemble playing I’ve ever heard. This is on par with what you might hear from the best string quartet playing Beethoven. Listen to the way everyone is on the same page in the first track! Amazing.

Often jazz musicians are working “on the fly”, thinking of what they want to say and how they want to say it, at the very moment they’re playing. This boggles my mind. Surely writing is partially improvisatory, you might object–and indeed it is, but even so, I have to spend long amounts of time thinking before I get around to execution. I was rather the same way in my music days, which might be a big part of why I was never able to really grasp jazz.

But you don’t always have to really grasp things, do you? I’ll likely always be unhappy with my general outsider’s view of jazz, but really, it’s perfectly OK sometimes just to say, “Hey, this is good! I like it! This grooves!”

Here is Mingus Ah Um by Charles Mingus.

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Continuing Adventures in Overalls Nation: Vintage Lee Overalls from the 90s

I’ve mentioned before that though I love many different brands and styles of overalls, my personal “Platonic ideal” of overalls is the classic ones that used to be made by Lee Jeans. They’re the ones that look like this:

(If you’re curious about the Poofy Shirt, I briefed on this last November!)

Or, in their Hickory-striped version:

Mention “overalls” to me and this is almost certainly what I will visualize. Lee has not made overalls like these in decades, sadly–at least not in the United States; from what I’ve seen, these styles are still made by Lee in Japan. To find Lee overalls like these, one has to delve into the wonderful world of vintage dealers, which can be a bit…pricey.

Lee Jeans did get back into the overalls game in the 1990s, though, when overalls suddenly became significantly more popular than they had already been. Many people think that overalls came out of nowhere to prominence in the 1990s as part of the whole “grunge” movement and the concurrent nostalgia for the 1970s, but in truth, overalls were common in the 70s and 80s, though they were never as ubiquitous in those decades as they were in the 1990s. Then a backlash happened in the 2000s as clothing became all about tight fits that displayed every single curve of the body. But I digress….

The overalls that Lee made in the 1990s were neat garments indeed, but they took their inspiration not from the classic Lee overalls of most of the 1900s, but from makers like Washington Dee Cee. Gone was the two-compartment bib pocket with snap enclosures; in its place was a single pocket with a single snap-down flap enclosure, and also gone were the old buckling hardware with the classic Lee logo. None of this should be interpreted as a complaint, though! The Lee overalls of the 1990s are neat looking all on their own, and a while back I finally found a pair that fits nicely.

I like these a lot! They’re made of thick and solid denim, and the stonewashing is not overdone to the point of giving the overalls too much fade. The hardware is solid brass, which isn’t always a standard–some overalls of the 1990s have hardware of aluminum or some other softer metal, which means that it’s not unheard of for clasps to break completely. I am keeping my eye out for more of these; I’d love to know if Lee made these in a hickory stripe or even in other colors. (One problem is that Lee also made virtually identical overalls for women, and a lot of eBay sellers don’t know the difference. Not only do womens’ overalls fit completely differently, they’re sized differently and they don’t have a functioning fly. I fell victim to this years ago, when I thought I was getting a neat pair of white Lee overalls. The Wife ended up getting them….)

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