Saturday, October 9, 2021

Somewhere else behind

Dwight Yoakam's interpretation of Rodney Crowell's "Thinking About Leaving" appeared on Yoakam's 1999 compilation Last Chance For A Thousand Years: Greatest Hits from the '90s, and was released as a supporting single. The song's credited to both Crowell and Yoakam, though Crowell recorded the song first, in 1995, on his Jewel Of The South album, on which it's credited solely to him. His version is memorable—the song's so great, really, and so unbreakable, that only a willfully sabotaged version can harm it—yet relative to Yoakam's, his take sounds buttoned-up, slick, a bit safe. Yoakam respects the gorgeous changes and the melody of Crowell's original, but adapts the song to his style by dressing up the stately pace with a rich and sonorous guitar hook, a mournful pedal steel guitar (played by Gary Morse), and, via guitarist and longtime ally Pete Anderson's shiny yet warm production, a roomy arrangement that gives plenty of space for interpretation. Yoakam plays with the lyrics in places: love is now a "soft rope" that ties the singer down; a guitar isn't simply desired, it "owns" him; Crowell's life "strung out on the highwire lines" becomes in Yoakam's performance an "every morning" that "leaves somewhere else behind." Both singers are in bed with a woman, though Yoakam neglects to name his.

It's Yoakam's vocal that makes "Thinking About Leaving" his to keep. Yoakam is a deeply expressive singer, and I feel that, outside of his country music idiom, he's under appreciated. His voice is traditional, and ageless ("classic"), and he's capable of reaching tremendous depths within a fairly circumscribed genre, and moving among that genre's vocal and lyric requirements—what casual listeners might dismiss as clichés, what country fans call holy writ—he often makes moving and authentic discoveries. He rounds the corners of the inevitable changes in "Thinking Of Leaving" with such feeling and heavy-lidded world-weariness, as if the song's being composed as we listen and yet we know the story's as old as dirt, the mood moving between sadness, relief, loneliness, and happiness without fully resolving anything. Few singers can get around such a melancholy argument like Yoakam. Part of me wants to resist the song for its well-worn trope that a man naturally yearns for the road and the crowds and the women at the end of that road, yet feels reluctantly pulled back toward home by the loving embrace—that soft rope—of his partner. No one can tie me down, etc.. Yet Yoakam obliterates those banalities, singing, as the greatest singers do, with such deep sentiment—against sentimentality—that even a clichéd conflict can sound, and feel, as new as a fresh, healing wound.

Photo by Yoakam via Third Man Records

Thursday, October 7, 2021

Don't fence them in

Screen shots from Amyl and the Sniffers' terrific one-take live performance of their new album Comfort to Mefilmed on an Australian pier. Amy Taylor sang, roared, shimmied, jogged, ran sprints, danced alone, threatened to tumble into the sea, waved at passing boats. The band cooked behind her. Rock and roll as the sun sets. 

Tuesday, October 5, 2021

"NO words."

Tonight, the New York Yankees and the Boston Red Sox play a Wild Card game to determine which team goes on to face the Tampa Bay Rays in the first round of the American League playoffs. In 1978, the Red Sox and Yankees faced each other in game 163, a season-ending tie-breaker; the Yanks defeated the BoSox to win the American League East Division. The stakes were a bit higher forty-three years ago. From No Place I Would Rather Be: Roger Angell and a Life in Baseball Writing:
The Red Sox would draw within a run in the bottom of the eighth against closer Goose Gossage. Angell was watching the game from his customary place in the press box, but his heart was in the stands. Stirred by the game’s excitement, he abruptly moved from the press box to the “dark, ancient grandstand” along the first base line “among hundreds of clustered, afflicted rooters who had gathered behind the sloping stands for a closer look at the end of it.” “I’m in crowd with weak knees,” he scribbled in his notes. After Rick Burleson walked, Jerry Remy struck a drive to right field, where Lou Piniella, though blinded by the intense, late afternoon sun, snagged the ball on a hop, holding Burrelson at second. Jim Rice flied out to right, and Burleson moved to third. “Crowd is terrifically noisy,” Angell wrote in his pad, standing shoulder-to-shoulder with hoarse Boston rooters. Carl Yastrzemski strode to the plate with the tying run at third. “A whole season, thousands of innings, had gone into this tableau,” Angell wrote later. “My hands were trembling. The faces around me looked haggard. Gossage, the enormous pitcher, reared and threw a fastball: ball one. He flailed and fired again, and Yastrzemski swung and popped the ball into very short left-field foul ground, where Graig Nettles, backing up, made the easy out. It was over.” 

Angell’s game notes, scrawled in his ruled steno pad under high-pitch tension and alongside jostling fans, are barely legible. Deciphered, they reveal his deep and abject disappointment as a longtime Red Sox fan and Yastrzemski admirer. “yaz: it had to come to this—. . . Gossage in—WHAT A GAME! One of the great moments—.” 

He then writes: “POPS—Oh,—NO words.”

Angell eventually found the words. A week or so later, high above West Forty-Third or in the reflective stillness of his apartment, he took a wide-angle lens on the setback. “In the biggest ballgame of his life, [Yastrzemski] had homered and singled and had driven in two runs, but almost no one would remember that,” he wrote in “City Lights: Heartthrobs, Prodigies, Winners, Lost Children” in the November 20 New Yorker. “He is thirty-nine years old, and he has never played on a world-championship team; it is the one remaining goal of his career. He emerged after a while, dry-eyed, and sat by his locker and answered our questions quietly. He looked old. He looked fifty.” Angell quoted Emily Vermeule, a professor of classics at Harvard, who days after the game had written in the Boston Globe with Senecian stoicism, “The hero must go under at last, after prodigious deeds, to be remembered and immortal and to have poets sing his tale.” Angell understood this. “I will sing the tale of Yaz always,” he wrote, “but I still don’t quite see why it couldn’t have been arranged for him to single to right center, or to double off the wall. I’d have sung that, too. I think God was shelling a peanut.”

Angell's notes of those final moments:

Thursday, September 30, 2021


The other night my graduate creative nonfiction writing workshop met to discus Alexander Chee's essay "Girl" and an excerpt from Margot Jefferson's Negroland. The conversation was lively and thoughtful, and for the first time since students and teachers returned to face-to-face meetings after more than a year of meeting remotely, our discussion transcended the imposition of mask-wearing. My seven students this semester are diverse, serious, and sharply intelligent and, as we discussed the essays, the physical space we were in seemed to widen outward; there were some charges of narrow perspective and some defense of camp, talk of the value of satire and the limits of the personal-as-political, reckoning with a delayed first-person pronoun via the first-person plural, with writing personally versus autobiographically, with Halloween as a metaphor, with the essayist opening up the fiction writer's toolbox. The conversation was mature and respectful, and renewed itself effortlessly. Best of all, I realized pretty early on that I was going to have to take a back seat, learning as my students held forth smartly and seriously about their lives, as they deflected off of the essays into valuable explorations of their own experiences, sometimes humorously, sometimes contentiously. As the hour-plus moved along, the conversation mimicked, in many ways, the unpredictability, fluidity, and surprises of the essay itself.

In the second half of the class we turned to two of the students' drafts, the ideas and issues of the first half leaning their shadows over the workshop in the best of ways. We were all wearing masks, our glasses fogged, our countenances neutralized, but for the first time this semester I barely noticed. This was in large part due to my students' seriousness and enthusiasm. But I was blessed with serious and enthusiastic students in virtual settings, too, yet conversations via Zoom are often hemmed in by the remote—in all senses of that word—flatness and the inherent disconnection among the participants. A physical room to where we are obligated to trudge and gather and will ourselves to speak really matters, the proximity of bodies its own charged language. I'm looking at you too, my favorite local dive bar. (Recently in the Chicago Tribune, Alison Brown wrote about the emotional toll of a year of enduring half-hidden faces.) Thank you science, but here's hoping that soon we'll be feeling unmasked not because we're comfortable being open while covered, but because masks themselves will be a thing of the past.

Top image via The Conversation

Sunday, September 26, 2021

Moon, clouds, stars, I want it all!

Amy Taylor makes demands—to be heard, to be seen, to be able to make her own choices on her own time. Even on occasions when her demands feel less urgent—to be let into a pub, say, or to be taken out to the country—each still feels as if it's accompanied by a gun to your head. Yet turn around and she's guffawing at the same time, pissed off, aggressive, but thrilled to be alive. Amyl and The Sniffers' new album Comfort To Me is a potent soundtrack to those demands, barreling forth with clamor and boldness, and it's one of the great rock and roll albums of the year.

A challenge for any riff-driven punk band is how to expand its ambitions while retaining its elemental power.  The Melbourne-based group—Taylor on vocals with drummer Bryce Wilson, guitarist Dec Martens, and bassist Fergus Romer—wrote and recorded Comfort To Me during the lockdown, wrestling with free time, a trans-oceanic production, and unexplored emotional and psychological vistas. In recent remarks, the band's cited influences from AC/DC and Wendy O Williams to current rap and hardcore. “A bunch of [the new songs] are classic and true to what we’ve done in the past, but we’re also exploring some new sounds and ideas,” Romer remarked to Louder Than War. “We’ve got some heavier, louder, and faster tracks than we’ve ever done before. There’s a complexity in how we’re playing and definitely in Amy’s lyrics; they’re a lot more political.”

The Sniffers' self-titled debut detonated in 2019, throwing sparks of mayhem, fun, and danger in every direction. (I wrote about that album's amazing song "Control" here.) The band's live show is famously stirring, the diminutive dynamo Taylor prowling and leaping from the stage in equal abandon, her band driving powerfully behind her. (I had tickets to see the band in Chicago last year; the show was postponed twice. Meanwhile, on October 5th, the band's streaming a full performance of Comfort To Me "in one take, on a slab of concrete in a suburban wasteland somewhere in Melbourne, Australia." Info here.) (EDIT: it was a blast.) The songs on Comfort To Me, though identifiably, ear-ringingly the Sniffers', aggressively push against the band's sonic walls, Taylor expanding her concerns to include national politics ("Capital"), the limits and pleasures of adolescence ("Snakes"), and the mess of romance ("No More Tears"). As always, Taylor's chiefly vibing off the power of self-expression and the autonomy necessary to establish her own boundaries, and to piss on her own territory. "I've got plenty of energy" she gleefully chants in the album's first track, the remarkable "Guided By Angels," because "It's my currency." Such energy hums through the album, a dangerous current sparking at both ends of the power line, from the unbridled urge to go out to dance and jump around to the nervy desire maybe get in some trouble, too. Freaks to the front! she invites her fans.


Two songs on Comfort To Me powerfully demonstrate Taylor's emotional range. One is rollicking, irresistible, and brimming with joie de vivre, the other's pissed-off, embittered, and mournful—the album ricochets from one end of that spectrum to the other. "Hertz" is a great driving song about driving. She wants to rent a car, grab her friends, and hit the road, with the wind in her hair and the sun on her face. During this escape from the graffiti, grime, and toil of the city, everything delights her, from the mosquitoes buzzing past her to the employees at the fish and chip shop who "act like mates," and the music, a UK-flavored Post-Punk/New Wave martial-stomp, is as overjoyed as Taylor is. "Take me to the beach! Take me to the country!" Taylor demands, in what first sounds like a hijacker at your neck; the chorus revs up like an engine, and we're off. In interviews, Taylor's acknowledged that "Hertz" turned out to be a love song of sorts, the dawn of a new relationship about which she sings explicitly—in her fashion—in "Maggot." ("Come on maggot, put your maggots in me!" Hallmark, are you listening?)

The joys and freedom of that road trip, the pleasures of roaming the world with no purpose, are made complex by the hair-raising narrative in "Knifey," the record's other brilliant track. In this lament, Taylor describes the mounting frustrations she feels while alone on a walk, danger and violence lurking around her. The band slows things down here—if any Sniffers song can sound reconciled to anything, it's to the darkness at the center of "Knifey," a dirge relative to the band's faster tunes—and the spaces opening up allow Taylor to seethe about the simple pleasures denied her as a woman:

All I ever wanted was to walk by the park
All I ever wanted was to walk by the river, see the stars
Please—stop fucking me up

Sung by Taylor in a naked, plaintive voice, these lines are intensely moving, as is her grim recognition of the aggression she's obligated to act out when alone: "Out comes the night, out comes my kniefy, this is how I get home nicely." This is followed by a vulnerable confession, the album's emotional center: "I turn around and back track, because I ain't that tough." And yet, "Still, you fuck me up." What brutally stark realities. The safeguards she's forced to adopt, in conflict with the sinking and scary knowledge that her self-defense will likely be easily overwhelmed, inspire a fantasy in which Taylor herself fucks up her assailant, though it's only that, a fantasy. She confidently, if ruefully, admits at the end of the song that she's now "fucking tough," because she has to be. Though the last chord feels less resolved than resigned.

Listening to the heartbreaking "Knifey," you re-see that country side blissfully speeding past Taylor in "Hertz" and recognize how qualified that road trip was: she's out with a friend and future lover, traveling in numbers. "The moon, clouds, the stars," she gasps, "I want it all!" That she can't have it on her own without her knife getting her back home "nicely" (a fantastic, ironic spin on the language of good-girl decorum) is the unhappy, galling flip side to the joys and abandon of "Hertz." Listening, I'm put in mind (again) of the embittered complaints Sylvia Plath made in her journals: "Being born a woman is my awful tragedy," she writes. "From the moment I was conceived I was doomed to sprout breasts and ovaries rather than penis and scrotum; to have my whole circle of action, thought and feeling rigidly circumscribed by my inescapable femininity.” She adds,

Yes, my consuming desire to mingle with road crews, sailors and soldiers, bar room regulars—to be a part of a scene, anonymous, listening, recording—all is spoiled by the fact that I am a girl, a female always in danger of assault and battery. My consuming interest in men and their lives is often misconstrued as a desire to seduce them, or as an invitation to intimacy. Yet, God, I want to talk to everybody I can as deeply as I can. I want to be able to sleep in an open field, to travel west, to walk freely at night.

"I carry weapons; I'm a really paranoid person," Taylor recently acknowledged in New Musical Express. About "Knifey," Wilson added, "It’s a pretty hectic subject to talk about. It feels powerful when we play it." That three men are providing the music behind Taylor is poignant, and perhaps culturally important: "When we play 'Knifey' the boys all get around it," Taylor says. "It hits them up emotionally."


"Music should be for everybody and about expressing ourselves,” Taylor remarked in New Noise Magazine. "Just a place that’s free of any kind of judgment to be whatever the fuck you want and to represent yourself." Punk AF. Taylor and her band make that space on Comfort To Me, grinning all the while at the intense and freeing pleasures that rock and roll can bring, even as soundtracking the more grim realities of what it means to be alive.

Amyl and the Sniffers photo by Jamie Wdziekonski

Friday, September 24, 2021

Sentiment, meet sound

The Voodoo Dolls, ca. 1992
Often, good rock and roll enacts its own argument; great rock and roll will attempt to subvert that argument. A song I love immoderately, the Voodoo Dolls' "The Good Part's Over," from their one and only album, 1993's Not For Sale, is a complaint about being alive and a tune that wants to put the lie to that complaint, at least for the two-and-a-half minutes it's around. The problem? Good stuff doesn't last, and that sucks. The solution? Turn it up. Yet a song has to finish, and the wrenching conclusion of "The Good Parts Over" only serves to prove the point that "It comes so fast, it goes so quick." A rock and roll paradox. Sentiment, meet sound.

The Voodoo Dolls were fronted by singer Cam Ackland, whose urgent and passionate vocals I've loved for a long time. (I wrote a bit about his earlier band, the Prime Movers, here.) Ackland really gets behind the pissed-off melancholy of the lyric here, you hear it in his voice, but his band—guitarist David Harrison, drummer Bruce Pierce, bassist Bob Martel, and guitarist Evan Shore, who wrote the tune with Ackland—won't let him get morose about it; they're too busy kicking ass. As usual, a blistering guitar solo adds a wordless voice to the singer's disillusionment, but of course neither guitar nor singer can solve the dilemma, as some blend of regret and wistfulness will always win out in the end. It's best to plug in, ride those thrilling chord changes, let the middle lift you high enough that a solution seems near, and then just cry at night, later, when you're alone and your ears are ringing.

The good news is that you can always lift the needle, turn up your stereo, and prove everyone wrong: the good part's just starting.


Thursday, September 9, 2021

When I'm in chaos

For a recent road trip from Illinois to Maryland and back I put together a 740+ song playlist of Detroit and Detroit-area rock and roll. The Paybacks' three superb albums were on there, of course, and muscled their way up through shuffle-play with ferocious tenacity. I fell in deeper love with Wendy Case's songs on that trip. The Paybacks were one of the great rock and roll bands of the aughts, and the tuneful roar of their songs has weathered the fallout from that era well. Two tracks in particular, "If I Fell" from the band's debut Knock Loud (released in 2002) and "Can You Drive" from their second album, Harder And Harder (2004), struck me again with their powerful blend of swagger and vulnerability, a poignant, paradoxical itch in the human condition that Case excels in scratching. Much has been written about Case's extraordinary voice, which can travel the long road from hoarse and raw to honeyed and nuanced, sometimes in the same line. A powerful, explosive singer, she can howl like a guitar cranked through an overdriven amp, the rawness of it all especially moving when she's singing about emotional spaces where she's been left surprised and unguarded.

"If I Fell" sets the stakes: if I fall for you, will you fall for me? A hedge against lowered defenses. That's the game, and the guy she's singing to is firmly in her sights, and possibly up for it. She persuades him that though this is dangerous stuff, it's worth it to be singed rather than duck for cover. "Say my name," she sings to him in the song's hottest line, "you're gonna do it anyway." She knows he wants to try it, but he ain't convinced yet, so she offers:
Love is like strip poker
and you never know what cards you're going to draw
until you get it, and you might live to regret it
but it's better not to fight the only game you can never win
Who knows if her amped seduction works as last call arrives, but to my ears it would seem awfully hard for him to resist, given the singer's sexy playfulness, her cajoling insistence that he must want her, too, and her willingness to fall with him. The great Jim Diamond produced Knock Loud with Steve King and the band—joining Case on guitar are John Szymanski on bass, Marco Delicato on guitar, and Mike Latulippe on drums—which provide the raw, pummeling soundtrack to Case's winking pitch.


Case had a raucous past, and she's been honest about her drug and alcohol abuse. Asked in an interview with The Center for Punk Arts about lessons learned from her early rough days, Case responded, "Lessons huh? Well... let's see..."
I learned how to run scrips on Chinese pharmacies, I learned how to break into a hotel room with a knife or a laminated bus pass and I learned how to tell when you are under surveillance by the man. I learned how to shimmy down drainpipes and fire escapes and I learned that jail sucks. What did it mean to me musically? Not much... I didn't start writing good music ’til I stopped doing drugs.
The astonishing "Can You Drive" (co-written with Delicato) sounds like a missive from those days, a desperate song about the limits of friendship, and how those limits can be tested under the duress of need. Here, the truths feel harder-won than on the edgy if comparatively upbeat "If I Fell." The singer's had a few beers and she needs a place to crash, so she asks him for help. They can walk. Or can he drive? "I'm just keeping it alive," she confesses to him. 

That "it" is the song's central mystery—the night? her high? her life?—and Case sings as if she needs the song to keep moving forward, or else. He's a got a girlfriend, but she could care less; she doesn't want to hear that noise, she came to play with the boys: she just needs a ride, the one thing that will keep it alive. In the song's middle—it feels like we're in the car now—things get gentler, and Case's vocals are just a marvel: shrugging in her beer, she sings that she thinks he'll do alright, whether that means getting her safely to wherever they're going, or something else, it's unclear, until the next line, where within a sliver of vulnerable candor in the dim interior light she admits that he looks good in the night. The way she sings the word "night," beginning with a growl and ending with a soft vibrato, is everything that's sensational about Wendy Case. Her band on this track (Syzmanski and Latulippe again, with recently departed Delicato returning to pitch in on guitar) knows enough to dial back the decibel levels and let Case work her way through the surprise on that ride. "In the night," she repeats again and again—before a powerful guitar solo takes the song to its end—while looking through that windshield, blurry with drink, aroused by the circumstances, at something maybe unexpected

It's an amazing song, one of Case's best. A decade ago she spoke to Beer Melodies about songwriting. “The best ones happen in a rush in about five minutes," she said. "Lyrics and music come together at once. It’s pretty awesome when that happens."
I just wish it happened all the time. Sometimes I’ll start with nothing but a song title and build on that. I only really write anything decent when I’m in chaos. So I wait around for the other shoe to drop ‘cause when I’m happy I write retarded cute happy songs. There’s got to be genuine passion.
In Case's hands, backed her extraordinary band, the passion in "If I Fell" and "Can You Drive" is as genuine as that often overwhelming feeling can get in rock and roll. Turn it up and learn something.

The Paybacks

After the Paybacks called it quits a decade and half ago following the release of the terrific Love, Not Reason (which I hope will be reissued on vinyl one day), Case stepped away from music. She's reunited the band to play live on several occasions, and has been writing and recording new material recently with Brian McCarty in Royal Sweets. Different vibe. Same truths.

Middle photo of Case via Dick Altavista (flickr)

Sunday, September 5, 2021


Clare, Illinois
Remains of the foundation of the Wilkinson Station, a train depot built in the late 1880s, operated through the 1940s, as a switching station and place for passengers and freight to exchange. The ruins exist in the Wilkinson-Renwick Marsh in Clare, Illinois.

Below is a photo of the original station, via the DeKalb County Forest Preserve District (from which I adapted the text above).

Tuesday, August 31, 2021

How did it feel?

As I wrote a bit about recently in my latest essay for The Normal School, I've spent a good part of the last few decades catching up with artists and bands that I was too provincial, scared, or otherwise tone-deaf to appreciate when I was in my late teens and early 20s. There were few bands back then that drove me off of the dance floor, and sometimes out of the bar, more than New Order and the Cure. Though I've never entirely warmed to either band, I've come to deeply respect the talent, nerve, and originality in each; pulling wide decades later has allowed me to appreciate their lasting and deep impression, and their sizable influence. But I won't hold back: I detested New Order's "Blue Monday" when it was released, and subsequently began popping up in every dj's arsenal at whatever bar my friends and I would drink and dance at. Its synthesized, processed, metronomic beat stood for everything I disliked about much '80s music, even that emanating from very cool scenes, and in the case of New Order, from the ashes of a highly original band. (It took me a while to come around to Joy Division, too.) I don't think that I minded the song's inherent darkness—a mood I'd often indulge in—rather I bristled at what I felt was its programmed aversion to messiness and spontaneity. I craved loud, sloppy guitars, stirring changes, indelible hooks in my rock and roll—I wasn't having Sumner, Hook and Morris's chilly approach to the stage, the antithesis to what I felt were the sonic promises made by rock and roll. Now I'm embarrassed, and I lament my stubbornness (read: immaturity), which didn't always put me in kind company with my friends and acquaintances, who likely were bored with my narrowness. Rightly so.

There was more brewing in my exaggerated distaste. On more than one occasion I recognized, with adolescent melodrama, that my dislike of New Order, the Cure, and others was often overpowered by my envy for those who loved that music, who danced to it at Poseurs, Cagney's, Back Alley Cafe, and the other D.C. joints that we haunted on the weekends, with genuine and joyful abandon, often, it seemed to me, coming alive before my eyes on the dance floor under black light and strobe while I mock-fumed in the corner, or at the bar in studied cool, all the while lamenting my inability to let go to the very music I was cold to. I didn't admit this to myself as much as I let it roil inside of me, yet another nameless, just-beyond-words discovery added to my overpowering emotional confusion at that age.


Today in the car, I tuned in to Sirius's 1st Wave: Classic Alternative Rock channel, and "Blue Monday" came on. Nostalgia's a funny thing: though I don't think I'll ever fully warm to the song and the traditions it mined and trails it blazed—some part of taste, it seems to me, is inextricably lined in one's DNA—I melted in the memories. At once, the guys and girls dancing in my mind's eye weren't antagonists, or foils, but kids finding their true moments and joy on the floor, alone or in couples or threes, moving in whatever blend of adolescent miseries or triumphs, family dysfunction, romantic politics, and weekend drinking or drugging that drove them to the club and that tortured, or animated or inspired them, throughout the drudge of their week. The feeling was stronger than a fleeting song-as-time-machine memory: surprised, I mournfully recognized myself in those kids, the ones I rolled my eyes at way back then: we're all, then and now, dancing because we can, whatever the music is that's moving us. Nostalgia really means the deep desire to return to a home that no longer exists—that ancient, vexing paradox—and those kids' homes, both their complicated bedrooms and the dance floor with its bone-simple pleasures, became vividly clear to me as I idled in my car, in the lousy Hy-Vee parking lot, a thousand years later. So too did the opening verse of "Blue Monday" become clear, told, as I was now by those long-gone kids now firmly in middle age, how it did feel, and who they are.

Photo of Cagney's matchbox via eBay.

Sunday, August 29, 2021

End of August

We took advantage of a break in the heatwave to follow Puff around in the woods for the first time in a while. We're all ready to put August behind us.

Saturday, August 28, 2021

Charlie Watts, 1941-2021

"I hate leaving home." Charlie Watts once said. "I love what I do, but I'd love to go home every night."

It's beautifully appropriate, then, that Watts's final performance with his old band mates occurred as he played—air-drummed, really—from the quiet, secluded comforts of his own home. Watts loved playing music, but he might've loved being home with his family and his quirky accumulations even more. Rest in peace, Charlie.

Friday, August 27, 2021

Back at it

I taught in a classroom for the first time in seventeen months this week, the longest stretch I've experienced professionally sans students, including my sabbatical, since I started teaching in 1988. These first classes have been...tough, for students and for teachers alike. My university has sensibly mandated vaccines for all students and faculty members as well as mask-wearing in all buildings, and HEPA air filters have been installed in each classroom. Grateful as I am to my university's proactive concerns for its employees and students—"Protect the pack" is the phrase the school has adapted—the industrial-grade filters are very loud, even when set on low, and masked students are having great difficulty hearing me and each other. (The typical late-August heat and stuffiness in the rooms don't help matters.) Shy and softer-speaking students are adrift. Hearing-impaired students, already at a disadvantage unable to read masked lips, are now doubly blocked-out of discussions, which is unacceptable. My struggles teaching compare palely to those who are enduring work in hospitals, or long shifts in stores, factories, or in customer service suffer, let alone teachers facing all-day schedules K through 12, yet writ small the classroom reflects the vast difficulties that we're all enduring in the pandemic. My students and I did, and are doing, our best—as is the university—but the situation's rough. Perhaps a renewed, and renewing, sense of empathy might come as a result of all this.

Though teaching remotely has its considerable advantages, it's been great to get in front of students again, to vibe off off the collective energy, muted though it is, of a group of people eager to hang with each other and to think, talk, and write. I began my Creative Nonfiction 1 workshop by imitating a cluster that I'd produced earlier, to help the students generate material for subject matter. In my exercise, I'd found myself taking a detour from a subject that I'd hoped to explore toward something unexpected, different yet revealing, and hopefully more valuable in the long run. Here's hoping that this difficult semester takes an equally surprising turn for the better.


I enjoyed some measure of normalcy a couple weeks ago during a brief solo cross-country drive to visit my parents and few close buddies, who I hadn't seen since 2019. On the way east I caught a Clippers game in Columbus, Ohio, on the way back a Mud Hens game in Toledo. Few in attendance were masked, and I tried to keep my distance, yet being outdoors, drinking a beer, enjoying a slice, watching competitive baseball, did wonders for my general psyche. Viva Minor League Baseball. Viva science. We'll get through this. 

Fifth Third Field, Toledo, Ohio

"Knothole Gang," Toledo

Huntington Park, Columbus, Ohio

Huntington Park, Columbus, Ohio

Photo of Reavis Hall via Northern Illinois University