Something for Thursday

Nettl used this the other day, and it’s sufficiently good for me to pass on to you all. Here’s the first movement of Mendelssohn’s Violin Concerto:

This has been one of my favorite concerted works — in fact, one of my favorite works, period — ever since I first heard it many years ago. Some of the things in this movement that always strike me are its lack of an introduction (the soloist comes in, playing the main melody of the movement, in the second bar), the placement of the cadenza in the middle of the movement instead of toward the end, and one of my very favorite passages in all of classical music, which comes at about the 2:50 moment, when the soloist climbs to a very high note, holds it a bit, and then arpeggiates back down to a very low note, which he then sustains while the clarinets play a lovely countermelody. It’s not only a gorgeous moment, but an ingenious one as well.

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Shouldn’t some developer have built a strip mall there by now?

SamuraiFrog points out that today is the 40th anniversary of Sesame Street. Wow. That means that the show was only a few years old when I was a part of its core audience. My memory of that period of my life is admittedly vague, but I recall being distinctly upset when it seemed like most of the day was gone and Sesame Street was still a few hours away from being on teevee. (I think it was on at 4:00 or something like that.) My era was, of course, pre-Elmo. I had no idea who Elmo even was until The Daughter came of the age to watch the show, and I remember thinking, “What the hell is ‘Elmo’s World’ all about? Did somebody drop some bad acid or something when they came up with this character?” There’s a lot in Sesame Street for adults to find enjoyable while the kids eat it up, but really, Elmo ain’t one of them.

But anyway, here are some clips from the show over the years. Here’s Nathan Lane, singing what may be the show’s signature song, called “Sing”:

Lots of other celebrities have shown up on the show to do musical numbers with the various Muppets in attendance. Here’s Gloria Estefan doing the same song, partly in Spanish (and looking very cute in overalls!):

REM came on to do this take on one of their own signature tunes:

One of the coolest guys in history came on the show, Johnny Cash:

I suppose it’s typical that all of my favorite Sesame Street moments involve music. Here’s the earliest appearance on the show of “Mahna Mahna”:

Of course, the definitive rendition of “Mahna Mahna” would later be done by The Muppet Show, but this is pretty cool too.

Here’s classic Kermit the Frog:

And hey, what is the name of that song, anyway?

Sesame Street‘s sense of humor was a lot stranger back in the day, when they’d use trippy animations to teach lessons about sneezing:

Or when they’d demonstrate subtraction using cream pies:

And, of course, one of the most famous clips in the show’s history, when the producers had to figure out how to address death:

Happy anniversary, Sesame Street, and thanks for the memories.

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Consolidating my tool bag….

Toolmonger brings me an interesting bit of news: Black and Decker is being bought out by Stanley. Wow.

B&D already owns a number of already-existing tool lines, the most notable in my personal experience being DeWalt and Porter-Cable. I don’t own any tools under the actual B&D label, but my power tools are evenly split between DeWalt and Ryobi. (Oh wait, I just got a Makita hammer drill, so now they’re in the mix, as well.) I do own a number of Stanley products — their tape measures are a constant on my belt — although for hand tools I tend to stick with either Husky (Home Depot’s “house brand”) or Klein Tools.

I’m not entirely sure what to make of this, but I hope that it doesn’t result in either a dilution of quality (especially from DeWalt) or a raise in prices. I’m never sure it’s a good thing when big companies get even bigger, but then, I’m just the guy who buys and uses the tools.

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Sunday Burst of Weirdness

Oddities abound!

:: After reading this, it seems to me that the candy companies are missing a prime marketing strategy, in which they would push candy that has twice the demon as the other leading brands!

:: Having lived in Western New York for more than 28 years, it bothers me that this video’s existence is necessary at all — but of course it is, because so many people have absolutely no idea how to do this. So here’s how to eat a chicken wing:

:: In honor of last night’s Halloween festivities, check out this amazing Cthulhu-lantern. Wow!

More next week.

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“Your conscience is sensitive, Dan. I don’t think it’s my favorite part of you.”

I’ve always enjoyed Westerns, for the most part. I’ve been trying to think of a Western that I actively disliked, and I’ve been unsuccessful; the best I can do is find Westerns that aren’t my cup of tea, like The Searchers and the ‘spaghetti Westerns’ of Sergio Leone. But every Western I’ve ever watched has been, at least, admirable or entertaining on some level.

Most recently I watched 3:10 to Yuma, the 2007 remake of a 1957 film of the same name. What struck me about this film is the way it is not a “deconstruction” kind of Western; it’s not a Western that feels the need to make statements either about the genre itself (Unforgiven) or different statements about the West (Dances With Wolves). 3:10 to Yuma is nothing more than an archetypal blood-and-guts Western, with good ranchers who are down on their luck, bad guys who are very good with their six-shooters, towns where the marshals are openly corrupt when they need to be, tense evenings around the campfire, ill-advised ventures into Indian territory, stagecoach robberies, and all the rest.

Russell Crowe is Ben Wade, the leader of a gang of criminals who are extremely brutal in their crimes -but interesting, Wade himself isn’t shown to be especially brutal himself. His underlings, though, are very brutal, chief among them his second-in-command, the possibly psychotic Charlie Prince. Just once in the film is the question raised of how bad a man must Wade be to actually lead these guys.

On the other side of the moral ledger, we have Christian Bale as rancher Dan Evans, who is just about as down on his luck as he can be. His ranch is desperately close to foreclosure, the railroad company is itching to take his land, the water to his ranch has been diverted, his older son thinks he’s a failure, and he’s trying to do the best he can despite the fact that he lost a leg in the Civil War. Evans meets Wade by chance early on, and then again a short while later, when Wade is captured. However, Wade’s gang is still at large and will clearly do whatever they need to do to get him back, so a dangerous mission is undertaken to take Wade to the town of Contention, where they will put him on the train that departs at 3:10 pm for Yuma, and the prison there. The 3:10 to Yuma. Dan, our rancher hero, is good with a rifle, and volunteers to go, for $200. They set out, and it’s a race against time and a group of violent bandits.

What’s interesting about this particular race against time is that it’s almost an anti-race against time. Most races against time are of the “Do X before Y happens or else”. Here, the goal isn’t to do something in an allotted span of time but to get something done at a very specific time, even though that specific time is a little ways off and there are all kinds of obstacles between. It’s a combination, really, of a race against time and a dread-filled wait for a moment where we all know all hell will break loose. These two relations to time come into play over the course of the film, creating very different kinds of tension in very different places.

This is, simply, a very good film. Its performances are all first-rate, and the chemistry between Christian Bale and Russell Crowe is outstanding. The supporting cast is superb across the board, most notably Ben Foster as Charlie Prince, a man whose devotion to Wade is never explained, or even speculated upon, but is yet somehow suggested. The conversations in the film, especially those between Evens and Wade, all feel quite real and almost unscripted, as both men feel each other out and stake out their own moral claims on what is going on.

That’s what impresses me so much about the film: the fact that it so clearly understands the notion that even villains see themselves as the heroes of their own story. Ben Wade acts, throughout the film, in accordance with a very real moral code, and we, somewhat like others in the film, admire him for that, even as we acknowledge that his moral code is not a good one. But it is a code, and we know that, for all his murder and robbery, Ben Wade is actually more moral than some of the men who capture him.

3:10 to Yuma is a terrific film. Highly recommended.

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Everyone here is highly gruntled.

SamuraiFrog on The Office so far this season:

Last week’s episode of The Office was the best this season. I liked the wedding episode, but the “mafia” episode was a real dud. There were a lot of people out there screaming about shark-jumping, which I thought was premature. Besides, you can’t even claim a show jumped the shark at a certain point until at least a half-season has gone by: the phrase is about the overall effect, not immediate bitching about something that pissed you off. There’s a new phrase for that: “nuking the fridge.” That’s when you idiotically whine about how a series that features Nazis being melted by the power of God, a man surviving a fall from a plane in a raft, a guy having his heart ripped out of his chest and continuing to live, and a man simply walking off a gunshot wound after drinking from the Holy Grail is suddenly unrealistic because a guy survives a nuclear blast inside of a lead-lined refrigerator.

OK, them’s fightin’ words! Well, not really, but I do disagree with some of this, so here are my points of contention with My Right Honorable Friend.

While I haven’t opined that The Office has engaged in shark-jumping, I’ve wondered if it might be getting close to doing so, because for me, the show’s best moments — and there have been so, so many — have all been grounded in a strong sense of believability. We’ve all known bosses who are like Michael Scott: amiable, and even good at their original position, but utterly inept at management and who only succeed by virtue of the good people they have under them. We’ve all known managers who stay employed almost inexplicably: “How can the higher-ups not see this stuff going on?!” Michael is that boss, and The Office has followed the tried-and-true comedy strategy of taking something very familiar and simply dialing up the intensity just enough to allow for absurdity.

The problem, for me, is that the absurdity has usually been still believable on some level. The least successful episodes have all involved incidents in which Michael, or someone else, did something that I’m pretty confident would get them fired in nearly any real-life workplace. I remember a few seasons back when the Scranton office got flooded with the just-relocated members of the now-closed Stanford branch, and Michael outed one of the new people as a felon and humiliated another who was extremely fat. Or the episode where Michael “outed” Oscar as gay. Those episodes left bad tastes in my mouth, because things just wouldn’t return to normal after incidents like that, unless we’re talking about a very poorly run company indeed.

My problem this year is that so far it feels like the air of plausibility around The Office is feeling strained. Michael and Jim as co-managers? I’ve never seen any kind of co-manager scenario, except in a couple of cases where one manager was being transferred out but his “effective” date at the new place wasn’t for a week or two. Long-term co-managers? I don’t see how any workplace would try this.

Likewise, Jim and Pam in the same office. I have never heard of a workplace where this is allowed: a person allowed to work in an office where their spouse is their direct superior. This has already reared its ugly head on the show, in an episode where Michael and Jim had to decide which employees got raises and which didn’t. That kind of thing is a giant can of worms, and each week it goes on, I find it hurts the believability of the show.

My biggest problem with the show’s direction right now, though, isn’t about plausibility but about character. Dwight Schrute is one of the show’s signature creations, but so far this year, especially with the promotion of Jim, I fear that the writers are going too far with Dwight. They’re perilously close to making him not a very odd and paranoid character, but an outright malevolent one. I found the sadistic glee Dwight showed in bugging Jim’s office almost out-of-character.

However, I could still be wrong. It could be that the writers are setting up some storylines here. I hope so.

(On SamuraiFrog’s “nuking the fridge” comment, I do object there on the grounds that with the exception of the liferaft-from-the-airplane thing, the Indiana Jones moments he cites are all instances of something literally magical happening in the movies. Sure, I can accept the power of God melting the Nazis, because that’s the power of God. Sure, I can accept a sacrificial victim still living after his heart’s been plucked out, because that’s the power of the evil sorcerer-priest. Ditto the Hole Grail. There is no magic at work in the fridge-nuking, which is why that scene doesn’t work. It’s the same with the airplane jump: there’s nothing magical going on there, so all we have to go on in terms of plausibility is our own experience. Suspension of disbelief is a hard thing to get a handle on, sometimes.)

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Something for Thursday

Several early-morning starts at The Store this week, and a very full “To Do” list, have me feeling a bit irritable, so maybe a mood-lightener is called for. So here’s Kermit the Frog singing “Lydia the Tattooed Lady”.

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The official site of Kelly Sedinger: Reader, writer, photographer, and dreamer

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