Casinos, museums, and parks

What do museums and parks have in common with casinos? They are among the items in a series in Senator Tom Coburn's (R-OK) proposed Amendment No. 175 to the American Recovery and Reinvestment Plan (aka the "stimulus package"):

None of the amounts appropriated or otherwise made available by this Act may be used for any casino or other gambling establishment, aquarium, zoo, golf course, swimming pool, stadium, community park, museum, theater, arts center, or highway beautification project, including renovation, remodeling, construction, salaries, furniture, zero-gravity chairs, big screen televisions, beautification, rotating pastel lights, and dry heat saunas.

Senator Coburn may have had a traumatic experience or two involving zero-gravity chairs and saunas, but that's no reason to remove culture from the proposed legislation.

If you agree, here's a way to let your senators know:

Vote NO on the Coburn "Limitation on Funds Amendment No. 175" (American Arts Alliance)

(via Musical Assumptions)

Goodbye, Pages for All Ages

A bookstore's closing is reason for a special sort of sadness, as it's nearly certain that no other bookstore will be coming along to take its place. My family began buying books at Pages for All Ages in 1988, the year the store opened. Pages was for many years the bookstore in our corner of the world. My children spent hours in the children's section, which featured a nifty nook for reading and play. The kid-sized stools had legs that looked like giant pencils.

Along came Borders. Along came Barnes & Noble. (Or vice versa.) Pages moved to a new location and added CDs and coffee. And DVDs. The owner of a recently closed record store came on as the music manager, and the CD selections became a marvel of discernment. (Thank you, Morgan Usadel, for bringing so many good jazz recordings to central Illinois.)

In recent years (post-Amazon), the inventory — of all sorts — began to dwindle. Books that you'd think would be there weren't there. The CD shelves grew emptier, then empty. I'd go in and end up buying something, anything, to do my bit. I noticed last year that the store was not stocking 2009 planners — that seemed like a bad sign.

On my last visit to Pages, in late December, I was looking for a copy of Charles Dickens's Bleak House. No soap. When my daughter and I drove to Pages last week, the store was dark, and a sign on the front door announced a closing for inventory. That closing is now permanent, as the evening news just announced.

Goodbye, Pages.

Pages for All Ages a victim of recession (The News-Gazette)

Domestic comedy

"I'm so glad that you're not a fraud."

"Thank you."

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One doctor's bag

I wondered a while ago about the likely contents of the doctor's bag I remember from the housecalls of my childhood. The Life photo archive offers what might be the best answer I'll ever find.


[Photograph by W. Eugene Smith, 1948.]

Smith took this photograph while working on what became the September 20, 1948 Life feature "Country Doctor," a look at the daily routine of Dr. Ernest Ceriani, of Kremmling, Colorado. I'd like to know what someone in medicine might find interesting in the details of the full-size photograph.

[T., any thoughts?]

Joe Ades

Watch the late Joe Ades in action and try to imagine resisting his sales pitch.

RIP, Joe Ades (kottke.org)

[The peeler is now available from Amazon.]

Review: Leave Me Alone!

[Harvey Pekar and Harvey Pekar.]

Leave Me Alone! A Jazz Opera in Two Acts
Streamed live from Oberlin College, January 31, 2009

Leave Me Alone! seems to me to add up to less than the sum of its parts, the parts being Harvey Pekar's libretto and Dan Plonsey's music (with additional words by the principals' spouses, Mantra Ben-ya'akova Plonsey and Joyce Brabner, and additional music by Josh Smith). Pekar's stated intention, to create an opera about the fate of the avant-garde and "the problems faced by turn of the 21st century artists in general," feels unrealized in performance: what I saw and heard on my laptop (in what appears to have been the opera's sole planned performance) is less an inquiry into artistic production and reception and more an examination of problems in the lives of Harvey Pekar and Dan Plonsey: day jobs, domestic quarrels over chores, opossums in the basement. The opera's final moments enact a squabble between the Plonseys over ibuprofen dosage. Earlier, a recorded telephone conversation between Pekar and Robert Crumb lets us hear Crumb's skepticism about whether the opera-in-progress is going to work. "A buck is a buck, man," says Pekar, who spends most of his time on stage sitting on a couch reading.

The four-singer cast works gamely, with movement and masks adding interest here and there. But the libretto — e.g., "Music is against system, even when employing systematic elements" — often leaves little room for expressive singing.

Bright moments: Dan Plonsey's music, with deep influences from Charles Mingus and the Association for the Advancement of Creative Musicians; Joyce Brabner's monologue, offering another perspective on the Pekar-Brabner household; and the work of the instrumentalists, particularly the tenor saxophonist, who contributed a volcanic, voluminous opening solo. (Was it Josh Smith? The credits are vague.)

[Corrections: Co-Musical Director Daniel Michalak notes that Dan Plonsey played the opening solo. (I wish I'd been able to see that!) And there were five singers in all.]

Leave Me Alone! (Real Time Opera)
Dan Plonsey (composer's site)

Related reading
All Harvey Pekar posts

Erica, Erika

The New York Times Corrections column makes for unpredictably enjoyable reading:

An article on Jan. 11 about the television show United States of Tara, whose protagonist has dissociative identity disorder (once known as multiple personality disorder), misidentified a soap opera character who has the illness and the actress who portrays her. Viki Lord Davidson, a character on ABC's One Life to Live played by Erika Slezak, has the disorder — not Erica Kane, a character on ABC's All My Children portrayed by Susan Lucci.

The Four (at Least) Faces of Tara (New York Times)

My friend Stefan Hagemann caught this mistake last month. Stefan, feel vindicated!

[The Times correction links to the wrong article; I've linked to the right one above.]

George Schneeman (1934-2009)

[Window. Color photocopy, 2006.]

The painter George Schneeman died a few days ago:

If George Schneeman was an “unfairly obscure” painter, as The New Yorker once called him, he did not mind it very much.

For Mr. Schneeman, making art was a deeply personal act, though also a highly social one. He was known in an intimate New York circle for his long, fruitful collaborations with a flock of well-known poets, among them Peter Schjeldahl, Anne Waldman, Larry Fagin and Ted Berrigan.

George Schneeman obituary (New York Times)
George Schneeman slide show (New York Times)

Plagiarism policy plagiarized?

There's a Little Rascals short, Hook and Ladder (1932), in which the kids spot a fire in the firehouse. "Fire in the firehouse!" they shout.

If Southern Illinois University had a firehouse, it would be burning today. The committee developing a university-wide plagiarism policy appears to have plagiarized Indiana University's plagiarism policy.

Here's the relevant passage from Indiana:

Plagiarism is defined as presenting someone else's work, including the work of other students, as one's own. Any ideas or materials taken from another source for either written or oral use must be fully acknowledged, unless the information is common knowledge. What is considered "common knowledge" may differ from course to course.

a. A student must not adopt or reproduce ideas, opinions, theories, formulas, graphics, or pictures of another person without acknowledgment.

b. A student must give credit to the originality of others and acknowledge indebtedness whenever:

(1) directly quoting another person's actual words, whether oral or written;

(2) using another person's ideas, opinions, or theories;

(3) paraphrasing the words, ideas, opinions, or theories of others, whether oral or written;

(4) borrowing facts, statistics, or illustrative material; or

(5) offering materials assembled or collected by others in the form of projects or collections without acknowledgment.

And now behold the following passage from Southern's draft policy, offered without attribution:

Plagiarism is presenting another existing work, original ideas, or creative expressions as one's own without proper attribution. Any ideas or materials taken from another source, including one's own work, must be fully acknowledged unless the information is common knowledge. What is considered "common knowledge" may differ from subject to subject. To avoid plagiarizing, one must not adopt or reproduce material from existing work without acknowledging the original source. Existing work includes but is not limited to ideas, opinions, theories, formulas, graphics, and pictures. Examples of plagiarism, subject to interpretation, include but are not limited to directly quoting another's actual words, whether oral or written; using another's ideas, opinions, or theories; paraphrasing the words, ideas, opinions, or theories of others, whether oral or written; borrowing facts, statistics, or illustrative material; and offering materials assembled or collected by others in the form of projects or collections without acknowledgment.

Says Arthur M. "Lain" Adkins, chair of the SIU committee that created the draft policy, "It could be a coincidence."

Says SIU administrator David West, "We think this is a non-story. It hasn't become official yet. If there's a problem with the draft, we will correct it."

As a college prof, I'm familiar with student use of coincidence and draft defenses. They don't work. Words and phrases and sentences don't organize themselves into parallel series as a matter of coincidence. And when work is submitted for critical evaluation, it becomes something more than a draft. Saying that one hasn't yet added the necessary citation defies any measure of what's plausible. SIU's draft policy has been publicly available for download, as its creators sought comment from the university community. USA Today reports that SIU's trustees will be voting later this spring.

Read more:

SIU accused of copying plagiarism policy, with links to relevant documents as PDFs (The Daily Egyptian)
Southern Illinois' plagiarism policy appears plagiarized (USA Today)

A related post
"Local Norms" and "'organic' attribution"

A few words from Harvey Pekar

One of my favorite moments in the film American Splendor (dir. Shari Springer Berman and Robert Pulcini, 2003) comes from Harvey Pekar's story "Alice Quinn" (words by Pekar, art by Sue Cavey). Pekar has been thinking about a college classmate and "all the decades of people" he has known:

The more I thought, the more I felt like crying. Life seemed so sweet and so sad, and so hard to let go of in the end. But hey, man, every day is a brand-new deal, right? Just keep on working and something's bound to turn up.

Leave Me Alone!, a jazz opera by Pekar and Dan Plonsey, streams from Oberlin College tomorrow night, 8:00 EST.

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