Klondike weather? Timely 100-year-old poetry

wpid-ladyluck_big.jpeg

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With the thermometer hitting record single digits here in Southwest Virginia, the weatherman threatening negative double-digits overnight, and a Facebook conversation getting me thinking of Robert W. Service, I went looking for my old LP  of Debby McClatchy singing a couple of his poems set to banjo tunes. (It’s “Lady Luck,” out of print, but she will sell you a copy at her website.)

Haven’t found a YouTube clip of her performing the poem, but stumbled on these instead. Light a fire and enjoy…

Johnny Cash – Cremation of Sam McGee:

And if that’s not enough irony for you, here’s a version by Hank (ahem) Snow..

And a dramatized reading, with plenty of Klondike atmosphere:

Want to read along? Here’s the text:

http://www.poetryconnection.net/poets/Robert_William_Service/5350

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I also found a Project Gutenberg copy of the first tattered leather-bound 1909 collection of Robert Service poems I ever owned,
Ballads of a Cheechako.”.

It does not have Sam McGee, but it does have the “Ballad of Blasphemous Bill,” almost a sequel, which I recommend highly.

   I took a contract to bury the body of blasphemous Bill MacKie,
     Whenever, wherever or whatsoever the manner of death he die—
     Whether he die in the light o’ day or under the peak-faced moon;
     In cabin or dance-hall, camp or dive, mucklucks or patent shoon;
     On velvet tundra or virgin peak, by glacier, drift or draw;
     In muskeg hollow or canyon gloom, by avalanche, fang or claw;
     By battle, murder or sudden wealth, by pestilence, hooch or lead—
     I swore on the Book I would follow and look till I found my tombless dead.


The rest of Blasphemous Bill (text)

And … Hank Snow reciting The Ballad of Blasphemous Bill

Posted in Music, poetry, storytelling, weather, winter, youtube

February and Facebook

A confession: I’ve developed a Facebook habit and, with three other more-or-less active blogs, have neglected this one for months.

Facebook is especially good for sharing things and starting conversations with far-off family, friends, neighbors, or interest groups. For me, that includes old-time music, clawhammer banjo or ukulele enthusiasts, photographers, and patrons or fans of particular musicians, bands, venues or events.

If Facebook were a university, “Colorful sunset pix” and “Comparative winter weather” also would be top majors, sometimes passing “cats” and “babies.”

I’ve indulged in sunsets before, but here are selections from my sequential contribution to the winter genre:

After two snow-free winter months, we finally had an 8-10 inch storm on Feb.16, so I shot driveway pictures at two-hour intervals.

It was more fun than shoveling.

12:00

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2:00 and 4:00

secondoffoursnowy driveway

6:00

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Posted in Uncategorized

November

Being thankful for a Thanksgiving week cold that had me at home around sunset on Tuesday,  even if I did miss a Radford Pizza House jam session because of it…

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Posted in Uncategorized

Change

Why buy a house on top of a hill?

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This is where I do my kind of cloud computing.

I would probably get more writing done if I lived at the bottom of the hill, or put the computer in a room without a window.

Posted in Uncategorized

Back to blogging

It has been nine years since I updated my “About Weblogs” backgrounder page, the first draft of which was a page on a now-defunct server for a class at Emerson College in 2000.

The blogging server where I maintained that page from 2002 to 2009 went out of business, so I moved the page to my frozen-in-time “oldblog” folder.

But blogging itself has not been frozen, and early blogger Dave Winer has suggested I update my definition, just as he did recently. Here’s Dave’s “I know what a blog is,” expanding on his “unedited voice of a person” definition.

Winer’s software “Manila” and “Radio Userland” were two of the early blog-publishing systems I used, along with Trellix and Blogger, after writing blog-style Web pages in plain HTML. To me, these “edit in your browser” programs, which automated the last-page-in date-stamped diary format, were the real definition of blogging a dozen years ago. Now, the same systems can be used to create other kinds of websites, which was the point of this WordPress “Not a Blog” demo I did for students a few years ago.

My old-time-radio friend Jimbo uses Blogger for sites that go far beyond traditional “blog posts” to become encyclopedic resources of a very special kind, like his “Vic & Sade” opus at vicandsade.blogspot.com

So if the software no longer defines “blogging,” what does?

Here’s what my AP Stylebook says:

20140627-113404-41644035.jpg

Notice that it doesn’t mention whether a blog has one voice, many voices, or if it can be the collaborative/communal voice of writers and editors working together. The Stylebook seems mostly focused on the length (“short”) of published items and a “usually (but not always)” reverse-chronological diary-style entries. The “but not always” would have to be added to “short” too, in order to include the work of admitted bloggers like NYU professor Jay Rosen’s pressthink.org and some of my longer items, including this one — or my last exploration of a 1940s Superman adventure.

This new interest in “what is a blog?” arose after The New York Times announced that it is cutting back on the publications it referred to as blogs, as distinct from the items it calls “news” or “opinion columns.” The lines between are probably a blur to folks who only read the Times online.

I don’t see a clear “About Times Blogs” explanation of how edited or collaborative they were, although what the Times has been calling blogs have been in latest-item-on-top order, had associated RSS and Twitter feeds, and apparently had a less formal tone than stories or columns intended for the print edition of the newspaper. Was “this is not going to be in print” the main Times definition of “blog”? Maybe.

You can find what’s left of the Times blogs at blogs.nytimes.com or
www.nytimes.com/interactive/blogs/directory.html

For many readers, seeing a blog-like page format may imply that the named author has total control of the words and opinions on that page. At the same time, seeing a gothic “The New York Times” logo on the page (or a “nytimes.com” in the address) may imply that the contents were subject to some level of editing. Actually, readers would be well-served by an “about” page that explained all the things “editing” can mean today — from help defining an assignment to revision issues of focus, length, consistent style (The Times has its own Stylebook), fact-checking, and copy editing for grammar and spelling.

Even the most personal of op-edit opinion columns get some editing. You can be pretty sure a page one story has had many more levels. The Public Editor column helps readers sort out those oversight issues from time to time, but even there you will find both “columns” and “blog posts.”:

topics.nytimes.com/top/opinion/thepubliceditor

publiceditor.blogs.nytimes.com

The difference? Her “about” panel is about frequency, not copy editing:

“Margaret Sullivan is the fifth public editor appointed by The New York Times. She writes about the Times and its journalism in a frequent blog – the Public Editor’s Journal — and in a twice-monthly print column in the Sunday Review section…”

For my own general definition, I’ll stick with being mushy and reporting the shifting usage of the word “blog.” Some sites that call themselves blogs appear to have more than one author, or at least editing help. Sometimes I wish I did. For my own blogs, I try to explain what I’m doing on a prominently linked “about” page.

Some blogs also may have internal rules about never changing an old post. I don’t have that rule here or at my book-in-progress blog about old-time radio’s dramatic portrayals of journalists, jheroes.com. I revise; my About page says so. If I see a misspelling or broken link on something weeks old, I’ll fix it. If I make substantial changes — add more links or pictures or change my mind about something — I’ll add a note of some kind.

[Note: I rarely use the iPad WordPress app that I used to post the first draft of this item. I may come back to it to improve the formatting with a full-featured editor.]

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Posted in Blogging, Newspapers

Have I been talking too much in class?

Jeanine Basinger’s five-week “Marriage in the Movies” online class at Coursera.org has wrapped up, and I had a great time… but I’m afraid I went overboard posting notes and links in the discussion forums. I’m calling it quits at 99 contributions.

The professor’s lectures were mostly about the ten assigned films and her history of Hollywood movies that are primarily “about marriage” — which she differentiates from films that are about married people doing other things, like solving “Thin Man” mysteries.

The students, however, were free to raise other topics in the discussion forums — and did, from “favorite movies” to “favorite quotes from movies” lists. Some folks were having so much fun that by the end they were discussing “forum” software and sites that would let them continue the conversation after the end of the class.

I had no special expertise on this category of films — or on the general subject of marriage — but I shared what I could about online film-research resources. I managed to avoid saying too much about old-time radio “replays” of movie plots, which I write about elsewhere,  or about ukuleles, folk, blues, Irish and Appalachian music,  and other topics near and dear to me. (One of the films we watched, The Marrying Kind, does have a heartbreaking scene involving Judy Holliday playing a ukulele, but saying more than that about it would be a plot “spoiler.”)

When the course was over, I went back to see just how much I had written for a course whose students are told to expect a work effort of four to six hours a week. That’s Coursera’s generic time estimate, and I think some students spent much more time than they expected.

For some class members — especially those outside the U.S. — just tracking down the assigned films was a challenge, and a topic for discussion. As a volunteer “community teaching assistant,” I tried to help with that, although assistants based in Europe and Asia might know more about availability of films in their regions.

So how much did I write? Almost as much as I would in a full-semester graduate seminar — minus the exhaustive “lit review” and minus the coherence of building a thesis and drawing conclusions in traditional “term paper” format. My attention deficit disorder had fun here!

Coursera does let you go back and look at all your own contributions to a discussion, so here are mine, exported as a PDF file (since no one else’s comments are included, I assume I’m within my “copyright” rights here: 6814 Marriage and the Movies_ A History _ Coursera

My Macintosh says that PDF file would be 41 pages long if printed! My notes might not always be understandable, removed from the original discussion context, but most stand on their own, and the links to other film resources should still work — at least they do in my copy when opened in a PDF viewer. I’m posting it here so that I can get at those links from other computers, and in case its of interest to a couple of non-Coursera film fans I know.

Posted in 2014, coursera, Education, film, media studies, MOOCs, movies, wesleyan

Another film course coming up… Marriage and the Movies

This should be fun. I’m enrolled in Wesleyan University’s latest Coursera “Massive Open Online Course (MOOC), a film history course taught by the head of the film studies program at my alma mater.

Listed below are the movies we’ll be watching and discussing in “Marriage & the Movies,” taught by Jeanine Basinger, starting April 21 and running for five weeks — two films a week, plus her online lectures, student discussion forums and quizzes.

This blog post is also an experiment to see if I can copy the HTML code of a list I made in a Coursera discussion forum and paste it into my blog for quick reference without logging into the Coursera system.

I don’t know whether Coursera’s international students will get much use from http://Worldcat.org‘s service, but in a small college town in southwest Virginia (with a bigger university a half hour away and a bigger city an hour north), I had great luck using it for “Language of Hollywood” last fall. So I wrote this to recommend the service to classmates, along with the Internet Movie Database, which has an entry for each film.

Worldcat is not only a catalog of books and films, but a zip-code-based pointer to local libraries that have the material. Last semester, I used it to locate sources within driving-time and to frame interlibrary loan requests for others. I’ve also used it in research for my “Newspaper Heroes on the Air” old-time radio journalism-nostalgia project.

In addition to providing library listings, Worldcat has background information — cast list, a short abstract, awards, notes, DVD special features, source (related novel, its author etc.) and more.

I noticed last time that at some institutions films might be listed under the titles of a “bundled” box set or series collection, which can be an extra search trick. For examples, see Brief Encounters, Adam’s Rib and Heartburn below.

Of course some students may rely on Netflix, Amazon, Warner Archive and other sources, but I suspect a lot of them (like me) are on a budget — so libraries and Web searches could be our best friends. I’m trying to limit my media-purchasing to my main research obsession — films and radio shows that have journalist characters. Alas, only one of these (as far as I know) falls into that category.

Here are links that worked for me for our 10 —  I’ve put IMDB.com links on the titles themselves and worldcat links on the next line. At two films a week starting April 21, this whole set should make for a cinema-rich month of May! Given the subject matter, perhaps I should either get a date, invite over some married friends, or both…

1: WILD ORCHIDS (Franklin, 1929) 
http://www.worldcat.org/title/wild-orchids/oclc/417665256&referer=brief_results

2: MADE FOR EACH OTHER (Cromwell, 1939)
http://www.worldcat.org/title/made-for-each-other/oclc/56961569&referer=brief_results

3: THE MARRYING KIND (Cukor, 1952)
http://www.worldcat.org/title/marrying-kind/oclc/53278216&referer=brief_results

4: ADAM’S RIB (Cukor, 1949)
http://www.worldcat.org/title/adams-rib/oclc/44917944&referer=brief_results
also in…
http://www.worldcat.org/title/greatest-classic-films-collection-romantic-comedies/oclc/310976949&ref…

5: BRIEF ENCOUNTER (Lean, 1945) 
http://www.worldcat.org/title/brief-encounter/oclc/76953036&referer=brief_results

http://www.worldcat.org/search?qt=hotseries&q=se%3A%2250+years+of+Janus+Films.%22

6: VIVACIOUS LADY (Stevens, 1938)
http://www.worldcat.org/title/vivacious-lady/oclc/864686963&referer=brief_results

7: SUSPICION (Hitchcock, 1941)
http://www.worldcat.org/title/suspicion/oclc/56493609&referer=brief_results

8: SINCE YOU WENT AWAY (Cromwell, 1944)
http://www.worldcat.org/title/since-you-went-away/oclc/56622243&referer=brief_results

9: HEARTBURN (Nichols, 1986)
http://www.worldcat.org/title/heartburn/oclc/55676813&referer=brief_results
(Combined with “The Hours”)
http://www.worldcat.org/title/hours-heartburn/oclc/422769599&referer=brief_results

10: THE WAR OF THE ROSES (DeVito, 1989) 
http://www.worldcat.org/title/war-of-the-roses/oclc/48635396&referer=brief_results

Posted in 2014, Education, film, Internet, movies, popular culture, wesleyan

Making MOOC music in a second mode

My exploration of Massively Open Online Courses (MOOCs) continues with two music courses offered by the Berklee College of Music in Boston. I’ve completed a film history class and a communication science class, but slipped out the side door of two other free courses, including a University of Edinburgh one I wrote about a few months ago.

I jumped into my first Berklee class, jazz improvisation with Gary Burton back in February, and decided it was a bit over my musical head — as well as competing for my time with the communication science class I wrote about here last time. I  watched Gary’s lectures and listened to the music, but didn’t attempt  the assignments — which were to be recorded and uploaded for listening and critique by other students.

In a moment of musical hubris, I had felt the level description of “intermediate” might describe me — but as soon as the class started it was obvious that some accordion lessons when J.F.K. was alive, a few months of guitar lessons (Johnson administration), and a lot of off-and-on noodling since then does not add up to “intermediate” at Berklee.  Or, as a friend of mine once said, “Can you play that thing, or do you just ‘know some tunes’?”

Most of my tune-learning over the years has been in American and Irish folk music, sea chanteys, some blues, and a few rock ‘n’ roll or pop standards… on the guitar, mandolin, mandola, five string banjo, ukulele and banjo ukulele. I do read music, but I’ve never had a need for the Gm7(b5) chord and accompanying modal scale, which started Gary’s first assignment.

While I like many kinds of music, I’ll admit the Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian and Locrian mode names are all Greek to me, even when they describe music I’ve been playing for years. (Mostly “Ionian,” I guess.)  I think a couple of them describe music I’ve never attempted — including the first scale in that improv class.

Luckily, I noticed on the schedule that Berklee was also offering a “Developing Your Musicianship” class that, no joke, started April 1. So I signed up, and I have just completed the first week’s work. The teacher is jazz pianist George W. Russell Jr., and he is excellent — as are his Berklee students whose online performance rounded out the week’s 10 short video “lectures,”  about 40 minutes altogether. George’s description of the first week made it sound challenging, but within my skills:

In this first lesson, we are going to explore some basic musical terms. What is harmony? What is ear training? What is an interval? From there, we are going to look at the major scale and how it is constructed. We are then going to explore two intervals: the major 2nd and the major 3rd. It is very important that you develop your ear and your ability to recognize intervals. And, last but not least, we are going to explore the tonal center, or the key a song is in.

The discussion forums — as has been true with the earlier classes I’ve taken on Coursera — are full of fascinating people from all over the world. The “introductions” forum already has more than 400 contributions. The last four were from students in Zagreb, Croatia; Madrid, Spain; Peterborough, Ontario; and the Boston area. I’ve also noticed posts from Dublin, Stockholm, Tokyo, Brussels, Athens, Delhi and San Antonio. This should be fun.

This week’s homework included spending some time on YouTube looking for music in the key of C… and I enjoyed it so much that I submitted more than the three assigned examples. I decided not to include any ukulele tunes — although I’ve already been part of a course discussion forum with a couple of other students who are using ukes instead of keyboards to work through the lessons. (My only keyboard is a virtual one on my iPad screen, but it works.)

Here, I’ll share the C-tunes I found with you, too, copying and pasting from my Coursera submission:

This was a fun assignment, and I hope it wasn’t cheating to search (YouTube) for the phrases “key of c” and “played in c” to make the search more productive. But I did start with songs that I know are often played in that key. I went beyond the assigned three.

“Keep on the Sunny Side of Life” by Mother Maybelle & The Carter Sisters https://www.youtube.com/watch?v=3qEhj-rQSAU

“Two little fishes” by Sister Rosetta Tharp
http://youtu.be/CTmQ9Kzxp-Q

“Creole Belle” and “Louis Collins” (from Mississippi John Hurt) played and taught by Stefan Grossman

http://youtu.be/Wc1qpH8dmGw

“Melody in C” by Frederic Mesnier

http://youtu.be/dI09Rdq9n9I

“The Christmas Song” by Mel Torme, sung by Nat King Cole (in D)

http://youtu.be/__kQ1PCP6B0 … And a guitar arrangement in C:

http://youtu.be/6WY51MV5znA

I am curious how many of you (like me) searched YouTube for “the key of C” and found Victor Borge’s comedic presentation of Mozart’s “Bagatele in the key of C”

it does not fit the requirements for this assignment, but I am glad I found it. I had not heard him in years and he is a wonderful entertainer, although he does not actually play the piano in this clip!

http://youtu.be/S9Y0ceC3rw0

I mentioned this general technique of finding things in a course discussion forum, and while I was writing that note I confirmed my suspicion that there is even a Wikipedia page for “C major” that includes lists of classical compositions and pop songs written in that key. So much for difficult homework, unless I completely misunderstood the assignment! If I did, someone will tell me. It’s all learning!

I do hope the classmate or classmates who review that assignment enjoy the Borge item… but that will be next week when we do “evaluations.” I’m also looking forward to another Coursera film course starting in a couple of weeks — once again, from my graduate alma mater, Wesleyan University: Marriage and the Movies.

Posted in 2014, Education, Music

Another month, another MOOC

Now I’m studying “Communication Science” at the University of Amsterdam via Coursera.org

One of my classmates used a system called Zeemaps to let students post their locations visually. Here’s the result so far:

zeemaps.com For UvA Communication Science class -- first 122 students

zeemaps.com For UvA Communication Science class — first 122 students

The map can zoom in to show exactly where in Uzbeckistan one student is, or where the two of us are in Virginia — depending on how specific we made the location in Zeemaps. (I just gave my city, not my street address. Some students may have just given a state — or a nation.)

On the day I captured this, only 122 students had pinned themselves on the map. That’s just a beginning. In a reply to one of my posts in the course discussion area last week, Professor Rutger de Graaf apologized for not only being able to respond to messages personally — his enrollment had just passed 37,000. That map could get crowded! But it already shows the marvelous diversity of the student body.

While the course is a basic introduction to concepts and theories in the (itself quite diverse) discipline of “Communication Science,” the online student-created discussions range from “This is Me!” introductions to “Is Communication an Art or a Science?” to “Have we lost our ability to communicate?”and “deliberate gender stereotyping?” — a 70-voice discussion inspired by the professor’s use of a cartoon showing a bouquet of flowers as a way to communicate “you are pretty” in one of his first slideshow lectures.

I’ve already gotten typically verbose trying to explain the structure of various academic “communication” organizations in the United States, where “Mass Communication,” “Media Studies,” “Communication Studies” and “Communication Science” can mix and match from campus to campus due to various quirks of academic organization, allegiance and ancestry. Here are just a few:

Posted in 2014, communication, Digital Culture, Education, Internet, socialnets

Utopias, communication, education & #edcmooc

Our #edcmooc online course discussion topics include technological utopias and dystopias, coincidentally a theme in the Digital Culture program created by David Bogen and colleagues at Emerson College in Boston.

I joined the team in 2000.

Digital Cuture 2000 at Emerson College

Digital Cuture, 2000

My class was called Digital Culture: “Mediamorphosis,” using Roger Fidler‘s book by that name (and Steve Outing’s preview of the book), while other professors added their own themes from “Utopias/Dystopias” to cyborgs and cyberfeminism (with Katrien Jacobs) to digital art and world ecology.

My focus on communication history — in that particular year and city — was a perfect excuse to introduce students to Edward Bellamy’s  utopian novel, “Looking Backward,” written in the 1880s, but taking place in Bellamy’s imagined Boston of 2000.

The class met in a computer lab and included introductions to online resources and software applications (Photoshop, Dreamweaver, etc.). Bellamy gave us an excuse to explore Project Gutenberg, where students could read the book or search its text for keywords in our discussion.

Here it is:

http://www.gutenberg.org/files/624/624-h/624-h.htm

(A Google search will find many more online editions of the book, including this one at the University of Virginia, but I prefer the simple searchable text version in one big file. )

To reach sections relevant to a discussion of technology, media and education, I would ask students to identify the major communication technology advances of the decade in which Bellamy was writing, the 1880s.

I am pleasantly surprised to see that my smartphone can open the full text of the novel and use its Android browser’s “search in page” feature to locate the words “telephone” and “newspaper.”

The surprise for most students (spoiler alert) is that Bellamy predicted the telephone would become a broadcast medium — bringing music,  lectures and genteel culture into the home.

We might also discuss my strange behaviour of opening an old book and immediately doing keyword searches instead of reading it in a linear fashion as intended by the author. That could be a bridge to an entire course on hypertext and postmodernism.

Another of my favorite searches in the book is for the word “umbrella” — which leads to a Bellamy form of socialist utopianism,  the communal street awning. And a search for “credit card” (yes, 1887) should prove surprising.

I wonder if Bellamy is on the radar of the course’s organizers at the University of Edinburgh? I am hoping that the course RSS pick up this short post and share it with them and my classmates.

image of his book, linked to his websiteToday, thanks to Google Books, we could try the same “search for keywords” trick with Fidler’s Mediamorphosis. At the time of its publication, Fidler had been a member of the Knight-Ridder videotex development team and Viewtron’s first director of design, developing a vision of “tablet” interfaces in the early 1980s.

Getting back to the turn-of-the-21st century, our 2000-2003 Emerson Digital Culture class included a film series on “digital culture” sub-themes including utopia/dystopia, cyborgs and virtual reality. It included some (*) of these, all made between 1982 and 2002:

(After the original posting, I added a few “did we show this…?” and “should we have…?” films to the list, put it in chronological order, and added IMDB links. The “*” films are the ones I’m pretty sure we did use at the time.)

—-
Note: this post is also an experiment in creating a blog item for the mooc RSS aggregator using only my smartphone and to a great extent its voice to text feature. Apologies for any resultant misspellings.

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Posted in communication, Digital Culture, Education, fiction, Newspapers, writing
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