From the student paper I just read:
"For centuries, philosophers have been perceived as arrogant men that question everything. And in fact they are."
It's funny 'cuz it's true! I guess I shouldn't laugh too much, though:
"There are many things in science that do not have any explanation or answer. A philosopher would always be thinking about these things and could very well end up senile at a younger age."
We've been warned, Kevin and Tim.
Tuesday, November 20, 2007
Monday, November 19, 2007
C'mon Get Happy
Recently, a friend who was in serious need of cheering up sent out a request for happy thoughts. The best I could muster apparently garnered a mere smile--alas!. But I started thinking about the way I try to manipulate my own mood when the need arises.
Of course, there's always food--I'm a sweets man, myself. But I also turn to music. There are just some songs that reliably bring out a grin or a chuckle. So here's a virtual mix tape for those of you who need to kick the blues.
1. "Indiana," by Joe Venuti and Zoot Sims. I love the opening riff on this track so much that sometimes I'll restart it several times after just a few seconds when I need a pick-me-up. The song is so lighthearted and joyful that it even makes up for the boring wasteland that is its namesake (sorry, Tim, but you know it's true). There are other good versions out there, but "Four-string" Joe's is my absolute favorite, and one of my all-time favorite songs by any artist in any genre.
2. "Symphony No. 3 in C (first movement)," by Luigi Boccherini. It starts out light and dainty, but after a few seconds Boccherini sneaks up on you with a theme that is so unrestrainedly exuberant that you start to worry that you won't be able to stand it. Then he brings it back down, toying around with a minor key, but he keeps coming back to that wonderful theme.
3. "Summertime," by the Sundays. Yeah, it's girl-rock. But I defy any man to withstand the charms of Hariett Wheeler's pixie-like voice. Can't be done, so don't even try. The first time I heard this one on the radio, I thought it was decent, until the final chorus. That was when the chintzy synth-horns kicked in, and I was hooked.
4. "Shulie A Bop," by Sarah Vaughan. My favorite female vocalist, and this track shows that she could scat with the best of them. She throws in a line from "I Ain't Mad at You, Pretty Baby" for good measure.
5. "I Wanted to Tell You," by Matthew Sweet. I don't know what happened to this guy, but in the 90s he sure could write a hooky rock song. While "Girlfriend" is more recognizable (and a fantastic tune, to be sure), I might like "I Wanted to Tell You" even more. The great thing about Sweet's work on this album (and especially this track) is the bright, cheery backing vocals that contrast the stripped-down "garage" sound of the instruments. I'm pretty sure the BGVs are just Sweet's own voice overdubbed a few times. It works.
6. "That's Right (You're Not from Texas)," by Lyle Lovett. This song actually makes me wish I was. And that's saying a lot.
7. "Baraat," by Mychael Danna. This song that plays during the opening credits in the film, Monsoon Wedding (it's a pretty good title sequence, by the way). The song is performed by an Indian marching band, so it sounds a little like halftime entertainment in Mumbai.
8. "3:00 A. M. Blues," by Dick Hyman Group featuring Howard Alden. Another soundtrack number, this time from the Woody Allen movie, Sweet and Lowdown. As soon as I finished watching this movie, I told Watoosa I wanted the soundtrack for Christmas. It's got lots of good stuff on it, but this New Orleans-style jazz number is the tops. Toward the end, when the trumpet comes back in, I come undone.
Finally...
9. Pretty much anything by AC/DC. It's just so bombastic, I can't help but laugh. Which isn't to say I don't enjoy it. One night while riding in the car with a friend, one of their songs came on the radio, and we both just started snickering. I described their music as "big, dumb, and stupid," and I'm convinced that the redundancy is justified. Exhibit A: "For Those About to Rock," complete with actual cannon fire. It goes to eleven, if you know what I mean.
One other reason their music makes me laugh is that it reminds me of a funny story. The whole extended family had gathered at my grandparents' house for Christmas. As we were opening presents, my grandfather turned on the radio, thinking we'd all enjoy some Christmas music. But he didn't pay too close attention to what was actually being broadcast. It took us all a few minutes to realize it was "You Shook Me All Night Long." Watoosa was the first to realize the error, thanks to the line "... knockin' me out with those American thighs." Merry Christmas, indeed.
Of course, there's always food--I'm a sweets man, myself. But I also turn to music. There are just some songs that reliably bring out a grin or a chuckle. So here's a virtual mix tape for those of you who need to kick the blues.
1. "Indiana," by Joe Venuti and Zoot Sims. I love the opening riff on this track so much that sometimes I'll restart it several times after just a few seconds when I need a pick-me-up. The song is so lighthearted and joyful that it even makes up for the boring wasteland that is its namesake (sorry, Tim, but you know it's true). There are other good versions out there, but "Four-string" Joe's is my absolute favorite, and one of my all-time favorite songs by any artist in any genre.
2. "Symphony No. 3 in C (first movement)," by Luigi Boccherini. It starts out light and dainty, but after a few seconds Boccherini sneaks up on you with a theme that is so unrestrainedly exuberant that you start to worry that you won't be able to stand it. Then he brings it back down, toying around with a minor key, but he keeps coming back to that wonderful theme.
3. "Summertime," by the Sundays. Yeah, it's girl-rock. But I defy any man to withstand the charms of Hariett Wheeler's pixie-like voice. Can't be done, so don't even try. The first time I heard this one on the radio, I thought it was decent, until the final chorus. That was when the chintzy synth-horns kicked in, and I was hooked.
4. "Shulie A Bop," by Sarah Vaughan. My favorite female vocalist, and this track shows that she could scat with the best of them. She throws in a line from "I Ain't Mad at You, Pretty Baby" for good measure.
5. "I Wanted to Tell You," by Matthew Sweet. I don't know what happened to this guy, but in the 90s he sure could write a hooky rock song. While "Girlfriend" is more recognizable (and a fantastic tune, to be sure), I might like "I Wanted to Tell You" even more. The great thing about Sweet's work on this album (and especially this track) is the bright, cheery backing vocals that contrast the stripped-down "garage" sound of the instruments. I'm pretty sure the BGVs are just Sweet's own voice overdubbed a few times. It works.
6. "That's Right (You're Not from Texas)," by Lyle Lovett. This song actually makes me wish I was. And that's saying a lot.
7. "Baraat," by Mychael Danna. This song that plays during the opening credits in the film, Monsoon Wedding (it's a pretty good title sequence, by the way). The song is performed by an Indian marching band, so it sounds a little like halftime entertainment in Mumbai.
8. "3:00 A. M. Blues," by Dick Hyman Group featuring Howard Alden. Another soundtrack number, this time from the Woody Allen movie, Sweet and Lowdown. As soon as I finished watching this movie, I told Watoosa I wanted the soundtrack for Christmas. It's got lots of good stuff on it, but this New Orleans-style jazz number is the tops. Toward the end, when the trumpet comes back in, I come undone.
Finally...
9. Pretty much anything by AC/DC. It's just so bombastic, I can't help but laugh. Which isn't to say I don't enjoy it. One night while riding in the car with a friend, one of their songs came on the radio, and we both just started snickering. I described their music as "big, dumb, and stupid," and I'm convinced that the redundancy is justified. Exhibit A: "For Those About to Rock," complete with actual cannon fire. It goes to eleven, if you know what I mean.
One other reason their music makes me laugh is that it reminds me of a funny story. The whole extended family had gathered at my grandparents' house for Christmas. As we were opening presents, my grandfather turned on the radio, thinking we'd all enjoy some Christmas music. But he didn't pay too close attention to what was actually being broadcast. It took us all a few minutes to realize it was "You Shook Me All Night Long." Watoosa was the first to realize the error, thanks to the line "... knockin' me out with those American thighs." Merry Christmas, indeed.
Sunday, November 18, 2007
Pigeonholed
This past week I saw one of my students in the caf. Here's a transcription of our brief conversation:
She: Hey, Dr. Ickenham!* Are you here for the ______ meeting?
Me: What's that?
She: He's the Democratic candidate for _______.
Me: Oh yeah, I heard he was coming to campus. Actually, I'm just here for a department meeting. Besides, I'm not a Democrat.
She: Really? That surprises me.
Me: It does? Why?
She: Oh wait--that's right. You're from the South.
*Redacted
She: Hey, Dr. Ickenham!* Are you here for the ______ meeting?
Me: What's that?
She: He's the Democratic candidate for _______.
Me: Oh yeah, I heard he was coming to campus. Actually, I'm just here for a department meeting. Besides, I'm not a Democrat.
She: Really? That surprises me.
Me: It does? Why?
She: Oh wait--that's right. You're from the South.
*Redacted
Happy Birthday to the Monocle
I hadn't realized that my last post was on the first anniversary of the founding of this blog. To those of you who regularly read it, thanks for checking in. Extra-special thanks to commenters.
Sunday, November 11, 2007
Avast, Ye Dogs!
Watoosa and I have both recently developed a taste for stories set in the Age of Fighting Sail. Our appetite was whetted by the film adaptation of the novels of Patrick O'Brian, Master and Commander: The Far Side of the World, and the excellent A&E adaptations of C. S. Forester's Horatio Hornblower series. Watoosa read the first Hornblower novel, Beat to Quarters, insisted that I read it immediately, and then we were hooked.
I began listening to audiobook versions of the O'Brian novels this summer on my commute to school. I had read the second one, Post Captain, several years ago, but I have decided that it's not good to start with it. I was surprised that so much of the story took place on land as the characters developed romantic attachments. It felt like a Jane Austen novel, which (according my then-benighted view of that author and genre) was a strike against it. I later discovered that such was O'Brian's explicit intent, as he wanted to pay homage to Austen.
It's made a big difference to start with the first novel, Master and Commander (the film is actually a composite of several of the novels). It starts out a bit slow, and I think it's harder to appreciate O'Brian's writing in audio form, but I was soon engrossed by it. I liked Post Captain much better this time, too. Last week, I finished the third book, H. M. S. Surprise, and it's my favorite so far.
The fans of these books argue over which series is greater, but I like them both, although for different reasons. Forester's books are more streamlined and focused on the action (although not at the expense of character development). As a result, they're a bit more exciting and harder to pull yourself away from. O'Brian also knows a thing or two about describing vividly the terror and exhilaration of battle. But he's more inclined to take his time getting the narrative under way, more interested in exploring the world of his characters.
Both use liberal amounts of seafaring jargon. It can seem daunting to some readers, but even if you simply read past the lingo, you can follow what's important about any given scene (the effect is similar to the techno-babble in Star Trek). However, one nice thing about O'Brian's books is that the character Stephen Maturin is a complete landlubber; the Navy and its language and traditions are completely foreign to him. That gives O'Brian a chance to explain the details of life in the Royal Navy via the words of his characters, as they point things out to Stephen. It also lets him inject comical moments into the narrative as Maturin commits faux-pas and makes wry observations on the absurdities of the world he's entered.
I can't recommend these books enough. Get them, read them, love them. And if they (ahem) float your boat, you'll want to check out this list I recently found: 101 Crackerjack Sea Books.
They treat series of books as a single entry, so the Aubrey/Maturin series is #4, and Hornblower is #9. I've read a handful of others on the list, and pretty much enjoyed them all (although I had to give up on Robinson Crusoe).
One of most enjoyable reads I've had in years is #77: George MacDonald Fraser's The Pyrates. It's full of swordplay, daring escapes, and battle, but it's also hilarious. Watoosa and I both snickered and guffawed while reading it. If you like pirates, British humor, historical fiction, or just a good ripping yarn, you won't be disappointed.
And ye may lay to that.
I began listening to audiobook versions of the O'Brian novels this summer on my commute to school. I had read the second one, Post Captain, several years ago, but I have decided that it's not good to start with it. I was surprised that so much of the story took place on land as the characters developed romantic attachments. It felt like a Jane Austen novel, which (according my then-benighted view of that author and genre) was a strike against it. I later discovered that such was O'Brian's explicit intent, as he wanted to pay homage to Austen.
It's made a big difference to start with the first novel, Master and Commander (the film is actually a composite of several of the novels). It starts out a bit slow, and I think it's harder to appreciate O'Brian's writing in audio form, but I was soon engrossed by it. I liked Post Captain much better this time, too. Last week, I finished the third book, H. M. S. Surprise, and it's my favorite so far.
The fans of these books argue over which series is greater, but I like them both, although for different reasons. Forester's books are more streamlined and focused on the action (although not at the expense of character development). As a result, they're a bit more exciting and harder to pull yourself away from. O'Brian also knows a thing or two about describing vividly the terror and exhilaration of battle. But he's more inclined to take his time getting the narrative under way, more interested in exploring the world of his characters.
Both use liberal amounts of seafaring jargon. It can seem daunting to some readers, but even if you simply read past the lingo, you can follow what's important about any given scene (the effect is similar to the techno-babble in Star Trek). However, one nice thing about O'Brian's books is that the character Stephen Maturin is a complete landlubber; the Navy and its language and traditions are completely foreign to him. That gives O'Brian a chance to explain the details of life in the Royal Navy via the words of his characters, as they point things out to Stephen. It also lets him inject comical moments into the narrative as Maturin commits faux-pas and makes wry observations on the absurdities of the world he's entered.
I can't recommend these books enough. Get them, read them, love them. And if they (ahem) float your boat, you'll want to check out this list I recently found: 101 Crackerjack Sea Books.
They treat series of books as a single entry, so the Aubrey/Maturin series is #4, and Hornblower is #9. I've read a handful of others on the list, and pretty much enjoyed them all (although I had to give up on Robinson Crusoe).
One of most enjoyable reads I've had in years is #77: George MacDonald Fraser's The Pyrates. It's full of swordplay, daring escapes, and battle, but it's also hilarious. Watoosa and I both snickered and guffawed while reading it. If you like pirates, British humor, historical fiction, or just a good ripping yarn, you won't be disappointed.
And ye may lay to that.
Subscribe to:
Posts (Atom)
