accepted stroke, left

Tonight I went with friends - my America-tourin' out-o'-town pal Anna Borg, and Lisa McGuire, who's local but with whom I hadn't hung out in an embarrassingly long time - to see Julian Casablancas, aka "That Strokes Guy," at the Cannery Ballroom.

I know, you're used to detail-filled concert reviews, but in this case, I'm not the man to provide one. I owned the first Strokes album for about a minute, wasn't thrilled with it, sold it, and haven't kept up with the Strokes or Strokes-related things since. Setlist? Not when I don't know the songs!

Actually, none of us fortysomethings were really expecting much of anything. We were mostly just looking for something fun to do together, it seemed like the best entertainment option available tonight, and Lisa could get us in for free. Winner!

Anyway, if anyone wants to know where the hipster doofi of Greater Nashville were tonight, it was at the Julian Casablancas show. In fact, tonight I had the revelation that I listen to Old Person Music, because I realized that the hemlines at the shows I usually attend are no longer nearly as short as those sported by even the most conservative young women at tonight's festivities. So I guess I also no longer listen to Short Skirt Music, since I don't see them anymore when I go out.

I also wasn't prepared for how LOUD the show was! I wore earplugs to almost every show in the '90s, but hearing loss plus the fact that I listen to Old Person Music in small clubs had led me to abandon the practice with no discernible ill effects. But tonight, the sound was so loud that I could barely hear all the songs I didn't know.

Anyway, That Strokes Guy played That Strokes Song - actually very early, three songs in - plus some other songs that are probably from his recent solo album. The crowd was enthusiastic, bopping and singing along between trips to the bar for more PBR.

That Strokes Guy also played a faithful cover of Bruce Springsteen's "Dancing in the Dark." When it first started, I thought "huh, he's playing a song that sounds like... wait a minute, IT IS!" And to close the regular set, he played "I Wish It Was Christmas Today," the latter-years Saturday Night Live yuletide staple (Anna recognized it long before I did). I would have been even more amused if he had covered Courtney Love's "But Julian, I'm a Little Older Than You."

Still haven't quite figured out what That Strokes Guy was wearing, and we also didn't figure out if he was bored or if that's just the way he rolls, super mumbly and hanging on to the microphone stand for dear life. His band did rock out effectively, and the crowd was eating it up, so he was indeed able to connect successfully to the Short Skirt/Hipster Doofi demographic.

After we felt like we'd seen enough and were tired of standing up - after all, we are consumers of Old Person Music - we prepared to exit at what we thought was an early departure point, but it turned out to be the end of the regular set! We were out of the building by the time the encore(s?) started, beating the crowd to the exits and returning across the Cumberland unhindered by traffic. Having observed Hipster Doofi in their natural habitat, we were relieved to be back to our homes and cats and physical media before midnight. It was a great evening mostly because of the company, but That Strokes Guy didn't hurt it either.

(Photo courtesy Lisa McGuire; title reference courtesy Game Theory)

sweet cream of jesus

When I was in high school, if one of our athletes had muscle aches and pains, the remedy our teams used was an analgesic cream. While I was merely the statistician for our basketball teams, and only played baseball my senior year (and even then, not often and not well), I spent a large chunk of my extracurricular time involved with our athletic programs. And the distinctive aroma of this product - somewhere between ammonia and Ben-Gay - still wafts across all of my high school sports memories.

I had remembered two things about this substance besides its smell, only one of which turns out to be true:

1. It was called "Creamogesic."
2. Most of our players inevitably called it - and they weren't joking, they really thought it was the actual name - "Cream of Jesus."

Misunderstanding the name kind of makes sense. Jesus healed the sick. Why wouldn't a cream named after Him miraculously cure your inflamed bicep? I can still remember basketball star Antonio Martin, who had a notoriously balky knee even as a junior, always calling out for the "Cream of Jesus." Jesus-infused or not, the ointment helped Antonio lead Northfork High School to the West Virginia AA final in '82-'83 and to a championship in '83-'84, so maybe it did have that saviouriffic touch.

Since those days, I had tried to Google "Creamogesic" a few times, with no success, but for some reason, I found it today. I also found out why I hadn't stumbled upon it earlier: I had misremembered the name. Turns out that it's Cramergesic, a product of (surprise!) Cramer Sports Medicine.

Despite my surprise at discovering that I too had goofed on the name, this makes Cramergesic's etymological transformation into Cream of Jesus even more amusing to me, since it involves misinterpretation of both halves of the product name.

Even though it turned out to be merely Crameriffic, this sports cream will always have a heavenly glint for me, especially when I look at those two West Virginia State Basketball Tournament plaques on my wall. Can't tell me that there wasn't divine intervention involved.

the secret of a happy marriage, as determined by me at approx. age 9

My mom and dad divorced, acrimoniously, when I was six years old.

I certainly wasn't one of those classic "kids of divorce" who went around thinking it was their fault. I didn't believe that for a minute! But thinking ahead even then, I desperately want to figure out what had gone wrong with their marriage. That way, when I became an adult and entered a relationship, I could avoid the pitfalls that ultimately drove my parents apart.

Unfortunately for me, there wasn't a lot of information about their troubles to help me out. My dad and mom were rarely together under the same roof (yes, I see as an adult how that in itself was a huge issue), and I don't remember seeing them fight when they were, so I completely lacked observational data.

"Why not ask your mom?", you might say. Well, my mom ain't one to be talking about that. She rarely brings up anything about my father or their relationship. Even now, 37 years after the divorce, it still hits a nerve for her. Since we live 400 miles apart and see each other rarely, our time together is precious, and I certainly don't bring up my dad or the divorce unless absolutely compelled to do so. And when I was a kid, under the same roof? No way was I going to cause her pain or antagonize her. So I didn't ask, and and she didn't tell.

But one day, out of the blue, she volunteered something. It was the first thing she had ever confided in me about their troubles. And it was this:

She and my father had fought about which way to put the toilet paper roll on the holder.

I held onto this piece of information like it was gold during a recession. I vowed to myself that when I got married, I would find out which way my spouse preferred the toilet paper to go, and that's how it would go, forever and ever, amen. To my little kid mind, this small bit of spousal consideration would ensure that my marriage would succeed where my parents' had failed.

As it turned out, my first wife did not have a preference. Perhaps our willy-nilliness when it came to putting toilet paper on the roller symbolized larger inconsistencies in how we conducted our lives, or violated some basic feng shui tenet, since she and I ended up splitting.

Mandy and I have had no toilet paper incidents thus far, but it occurred to me the other day that we really haven't faced this crucial relationship hurdle yet. "How can that be?" you ask. "Haven't you guys been together for nearly three years? Surely you use toilet paper and not corncobs or the Sears-Roebuck catalog, unless you carry on your West Virginia outhouse customs?"

Why yes, Dear Reader, Mandy and I have been together for nearly three revolutions around Old Sol. Nevertheless, we have not had to broach this issue, because our tiny bathroom in our tiny house does not have a toilet paper holder. Instead, we have one of those free-standing roll-holder dealies, where you can stack three rolls on top of each other.

So the number one most important pressing concern for any cohabitating couple, as determined by me from the evidence I gathered as a child, has never come up. If Mandy and I move to a new place next year and get divorced not long after, you'll know that it was an Under-Over marriage, and ne'er the twain shall tolerate each other for long.

tin ears and tin mines

or Reason #2,317 why I'm not a musician

When I watched the telecast of the Grammy Awards Sunday night, Taylor Swift's performance was actually my favorite of the evening. Yeah, it wasn't studio perfection, but Ms. Swift exuded lots of charm and enthusiasm, seeming genuinely glad to be on stage not only performing bits of two original songs, but exuberant that she got to sandwich them around Fleetwood Mac's "Rhiannon" with Stevie Nicks herself joining Ms. Swift onstage. (And, for that matter, Stevie Nicks sticking around to contribute backing vocals and tambourine to "You Belong With Me.")

So after the broadcast, when I did what any self-respecting person does immediately after a major TV event - check my Facebook live feed - I was shocked to see comment after comment about how Taylor Swift cannot sing. This was particularly common among my many musician friends, who responded en masse like dogs gathering around the source of a sound that only they could hear. "Pitchy." "Butchering 'Rhiannon.'" "Atrocious." Status after status, comment after comment, the pros and accomplished amateurs had nothing but bad things to say about Hendersonville's Own and the pain that her attempted warbling had put them through.

But really, was Taylor Swift's performance that horrendous? My own initial impression, as stated above, was favorable. Sure, I didn't think she was note-perfect, but I thought she was well within acceptable parameters for live singing. But suspecting that over 50,000,000 musicians on Facebook can't be wrong, I watched the performance again today via YouTube, listening with very critical ears this time.

And... ok, she was perhaps more off than I thought she was initially, but no way was it even close to the crazy bad disaster that I keep hearing about. From all the commentary, you'd think this was a trainwreck on the level of Roseanne Barr or Carl Lewis attempting "The Star-Spangled Banner." Even after relistening, I think Taylor Swift's performance was not only genuine, open, and fun, but was hardly the affront to professional singing that everyone else seems to think. In fact, I think she got stronger as the performance went on, and she brings things home in fine style with suitable shadings of vulnerability during "You Belong To Me."

But then again, I'm almost certainly not the best judge. Even though I love music beyond almost anything else, I have known since at least junior high that I lack the natural skills that real musicians exhibit without even trying. In umpteen years of playing piano and trumpet (I abandoned both when I graduated from high school), I was always a slave to the sheet music. I rarely could play anything by ear. To this day, I can't tell you what chord is being played, or what key a song is in. If you asked me to sing a "middle C," I probably couldn't. I'm not tone deaf, at least according to the definitions I've read and the online tests that I've taken, but I'm pretty sure I'm not musician material.

Nevertheless, I still opine that this is a good performance. And thanks to YouTube, you can be your own judge:

around the october horn

Baseball has been my favorite sport as long as I can remember, but somehow in more than a year of blogging, I don't think I've mentioned it outside of a passing reference to a Strat-O-Matic draft.

I find this odd, since I truly love the sport, and spend a lot of my leisure time with Strat or Baseball... um... Sports Weekly. And I devote a good chunk of my time on the Internet to superb baseball websites like Baseball Prospectus, Dodger Thoughts (I'm not even a Dodger fan, but Jon Weisman is such an eloquent, fair-minded writer and the DT community that's grown around the blog is so fun to read that it's always worthwhile to hang out there), Baseball Musings, Aaron Gleeman's Twins blog, and a bevy of others. In fact, I usually eat breakfast at the computer while pouring over the previous day's baseball bloggitude.

So here's some random and not-so-random baseball thoughts on this cloudy October day.

• I'm rooting for the Phillies in the World Series. Following the Reds all these years has made me a very solid National League fan, and unless I view the NL entrant as despicable in some way and/or see the AL team as historically outstanding, I'm always for the NL team. The 2009 Phils do not strike me as objectionable, therefore I want them to win.

• Plus the Phillies are playing the New York Yankees. I'm for anyone who's playing the Yankees. While I do not loathe the Yankees of the '90s and 2000s like I did the loathsome 1970s Yankees of Reggie Jackson, Billy Martin, Thurman Munson, Mickey Rivers, Bucky Dent, and Roy White, there is no way I can ever be for any incarnation of this franchise.

• Three of the races for individual honors in MLB should be no-brainers (operative word there: "should"): Zack Greinke for AL Cy Young, Joe Mauer for AL MVP, and Albert Pujols for NL MVP. The NL Cy Young is less clear-cut, with about seven or eight pitchers having decent cases, but I'm going with a repeat for Tim Lincecum, slightly edging out Adam Wainwright. For the record, I'm a pretty standard sabermetric thinker on these things, heavily discounting team-dependent counting stats like runs, RBIs, saves, and, worst of all of 'em, pitcher wins. I also don't give a crap whether someone played on a contender or not when it comes to an individual award. For instance, I believe Mauer should be the AL MVP even if his Twins had collapsed during the final week of the regular season. Yep, the Twins did go on that hot streak that got them into the postseason, but as far as Mauer's deservingness goes, to me it doesn't matter if they won by 10 games or finished 20 games out. If he's the best player, he's the MVP. Period.
  

• Speaking of things I don't give a crap about, the whole performance enhancing drug thing is a total non-starter with me. I am not interested in it. I don't care. I am not morally outraged if athletes attempt to perform at a higher level. I don't think it's wise to use human growth hormone, steroids, etc., but I am not going to get worked up about it if they do. I don't think the stars of the '60s and '70s should be disgraced because many of them were swallowing greenies by the handful, nor is there a public outcry that they should be. For some reason, steroids generate more faux outrage amongst the press. The bottom line for me is this: Barry Bonds was the best player I've ever seen (Johnny Bench was my favorite, and he's arguably the best catcher ever, but Bonds was a better player). Roger Clemens was not only the best pitcher of his generation, but has to be in any discussion of the five or ten best starting pitchers in baseball history. Excluding them or Mark McGwire from the Hall of Fame strikes me as completely silly.

• While broadcaster Joe Morgan's increasingly terminal case of old-player-anti-stats-crony-pimping-itis makes him an easy and deserving target for every baseball blogger's ire, I do want to point out that when Mr. Morgan began his broadcasting career in 1985 with the Reds' TV network, he was the best baseball color man I've ever heard. Joe's primary strength then and even now is his ability to explain how the game is actually played, and I learned more about baseball from listening to Joe Morgan cover the '85 and '86 Reds than I probably did in all my other years of watching baseball combined. Even my decidedly non-sports-loving mom chimed in during one of those games (maybe one of the epic '85 confrontations between Reds rookie Tom Browning and the Mets' mighty Dwight Gooden) that she enjoyed listening to Joe, because he made the game understandable to her. Unfortunately, these days it's Morgan's only redeeming quality, but back in the '80s, and even the early '90s, when he became ESPN's primary MLB color announcer, Joe was not so anti-stat, and much of his commentary was very friendly toward many of the same concepts that had captivated me in Bill James' Baseball Abstract annuals.^* In fact, on those '85 Reds broadcasts, I distinctly remember him explaining how then-Red Gary Redus was a valuable player despite his low batting average, because Redus walked a lot and stole bases at a high percentage. Modern-day Joe would dismiss Redus based solely on that low BA, and I for one mourn that as Joe has aged, he has allowed his mind not only to harden but to narrow. Just remember that it wasn't always that way.

^*I'm not suggesting that Joe Morgan read any of James' work back then. What I am saying is that what Joe Morgan said on those Reds broadcasts produced no cognitive dissonance in my mind with what Bill James, Pete Palmer, Craig Wright, et al, were writing about at the same time. As many folks have pointed out during Joe's dotage, it's ironic that he should be so anti-sabermetric given that Morgan's strengths during his Hall of Fame playing career practically make him the poster child for sabermetrics: he walked a lot, he got on base a lot in general, he hit for power at a premium defensive position, and he stole bases at a very high percentage. If only what came out of Joe's mouth then had stayed consonant with what made him an all-time great, Fire Joe Morgan would have been firetimmccarver.com instead.

not expecting both perspex and lowe bonnie

The musicians who spent most of Saturday night (October 17th, 2009) together on the Bluebird stage, none of them as they appeared on the Bluebird stage, but their photos do appear L-R in the configuration in which they stood: Abigail Washburn, Robyn Hitchcock, Rayna Gellert

After reviewing April's Robyn Hitchcock and the Venus 3 show at length, I think folks are expecting me to review Saturday's unprecedented second Robyn show in Nashville within a calendar year. Especially the person from Winfield, Alabama, who landed on that previous entry today while searching for "robyn hitchcock bluebird review." Since I don't want to let my happenstance audience down, I'm going to oblige him/her, if he/she Googles their way back here.

So's anyways, I certainly wasn't expecting a full-on rock extravaganza like April's show, given the tininess of the of the Bluebird Cafe's stage. I did think we might get a Venus 3 member or three, and likely some Gillian Welch and David Rawlings since it was a Nashville Robyn show on what appeared to be an off night for GilNDave's various projects. It could have ended up a repeat of the Basement Tapes covers/Spooked-heavy shows that characterized Robyn's non-V3 Nashville appearances during the 2000s.

Instead, none of those people appeared and none of those things happened.

A few minutes after the listed showtime of 9:30 PM, a pair of slender women walked onstage and set up banjos and violins. I thought they might be an opening act, though the show, billed only as "An Evening With Robyn Hitchcock," listed none. But then they left the stage, and Robyn, harlequin shirt donned and acoustic guitar in hand, walked on and began the show with Olé Tarantula's "Museum of Sex." Nothing out of the ordinary solo Hitchcock show there, and Robyn said something about some "friends" joining him later, getting the crowd all a-twitter (and probably all a-Twitter) over whom might be appearing.

Robyn would play four more songs by himself, including the always-gorgeous "I Often Dream of Trains" and Welch/Rawlings' "Elvis Presley Blues." During the intro to the latter, we learned that GilNDave would be elsewhere tonight, so two likely "friends" could be ruled out then and there.

After the fifth song, "Full Moon in My Soul," he called for those "friends" to join him. The two women who set up the banjos and fiddles beforehand reappeared, picked up their respective instruments, and assumed flanking positions around Mr. Hitchcock. Then some fiddling and picking commenced, but it wasn't until Robyn began singing that I knew what they were playing: the Beatles' "Tomorrow Never Knows."

Tonight's friends were Abigail Washburn on banjo and vocals, and Rayna Gellert on violin and backing vocals. Though both looked vaguely familiar to me, especially Abigail, I didn't immediately know them, and even after post-show Googling, haven't found a project of theirs I think I've seen or heard. As far as I can figure, the connection to Robyn Hitchcock may be that both women played in the band Uncle Earl, an album of whose was produced by Robyn's sometimes-collaborator John Paul Jones (yes, that John Paul Jones).

Anyway, after Abigail and Rayna joined Robyn, the rest of the set took on a very traditional/folk feel, more so than Robyn's work with violinist Deni Bonet or even on Spooked, the album he recorded here in Nashville in 2004 with Welch/Rawlings. During this most rootsy part of the setlist, we got two, maybe three "trad."-authored songs, along with an apparent new Robyn tune ("Thank You Timegirl"?), a very traditional-sounding song that Abigail sang from which I couldn't decipher a Google-friendly lyric, and, my personal highlight of the evening, a rare sighting of the beautiful "Birds in Perspex."

For the encores, Robyn started solo again, with a cover of the Doors' "Crystal Ship," following it with a song by "another dead songwriter," Nick Drake's "River Man." Abigail and Rayna rejoined Robyn for another song that it tickled me to hear: I Often Dream of Trains' "Ye Sleeping Knights of Jesus," which was perfectly suited for the banjo/fiddle/acoustic guitar setup. Then it was back to just Robyn, who returned to the Jim Morrison Songbook for the last tune of the evening: "The End."

While walking out of the Bluebird and even on the drive home, I had a lingering feeling that's difficult to put into words. It wasn't disappointment, because the quality of the show was high and Robyn put his heart into his singing and playing. So it's not a case of "Do you ever feel like you've been cheated?" Not even close.

I suppose it's more like confusion: I not only didn't get what I was expecting - which is not always a bad thing and wasn't a bad thing on this particular evening - but I'm still not sure just what I got or what Robyn's intentions were. New project? Fun one-off? Two Doors covers in one show? I left with more questions than answers, but I'm still glad that I went.

Complete setlist follows:

1) Museum of Sex
2) Elvis Presley Blues (Welch/Rawlings)
3) I Often Dream of Trains
4) I'm Falling
5) Full Moon in My Soul
[Rayna and Abigail join Robyn]
6) Tomorrow Never Knows (Lennon/McCartney)
7) Thank You Timegirl (?)
8) Lowe Bonnie (trad.?)
9) Ole Tarantula
10) ?? Something that Abigail sang
11) Birds in Perspex
12) Log Cabin in the Sky (Trad.?)
13) Balloon Man
==========
[Robyn solo again after brief encore break]
14) Crystal Ship (Doors)
15) River Man (Drake)
[rejoined by Rayna and Abigail]
16) Ye Sleeping Knights of Jesus
[just Robyn again]
17) The End (Doors)

baby, can i buy your car?

It happens the same way every time. I walk out of work, get in my car, turn the key, start to pull out, and then I spot it: one of these notes on the windshield.

They're always the same medium: ballpoint pen on paper grocery bag. And the same message, whether it's from Andre or Dave or Zach: they want to buy my car. As soon as possible.

I've gotten these notes eight or nine times this year, and twice this week.

My car is not a Lamborghini, Lotus, or even a Miata. It's not a Model A or '55 Chevy. It's a red 1998 Pontiac Sunfire GT with over 125,000 miles. In other words... uh, you want to buy this?

I was completely mystified until a few months ago when I posted a Facebook status asking why anyone would be so hot and heavy to buy my car. Jaimie Vernon responded thusly:

It's a popular chassis size that's easily converted into a street-racing car for the Honda Accord street thugs. Before I got rid of it, I had similar offers for my 1998 Ford Escort.

Huh. I had no clue. This makes me think I should be calling these guys and thanking them for offering to buy my car rather than just stealing it.

A few years ago, before I knew my wife, her '94 Mazda Protege got stolen. It turned up in a salvage yard a few weeks later, burned out and with "#90" spray-painted on the side. I hope the Happy Little Red Car does not have a similar fate awaiting it.