Life at Gravity Payments

In April, Dan Price announced that he would be raising his company’s minimum salary to $70,000. I cheered. An OCA reader thought that the story would have to take a twist. The New York Times reports today that things aren’t working out well at Gravity Payments.

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August 19, 2022: This story is ending badly: “Social Media Was a C.E.O.’s Bullhorn, and How He Lured Women” (The New York Times ).

Khoi Vinh on what’s wrong with iTunes

Khoi Vinh calls iTunes “a convoluted mess”:

More than a textbook case in how not to design usable software though, iTunes has for me come to represent all the things that Apple is doing wrong, even as the company’s profits continue to snowball. On just one level, the application is an executional mess that speaks to the company’s worrying inattention to detail. iTunes is slow and bloated; it’s a terrible, poky, unreliable network client; it’s embedded into the operating system and yet works well with few other apps; its management of iOS devices (for those who don’t use iCloud) is painfully inelegant. And if all that weren’t enough, it just looks incredibly ugly.

I’ve begun to think of iTunes as Microsoft Word for music.

[Please, no arguments about Word. That’s my analogy. Feel free to substitute another application to make an analogy of your own.]

Proprietary time

When did television weather forecasters begin speaking of time as personal property? Your morning, your evening. Time owns us .

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3:14 p.m.: I fixed the misspelling in the title. Ouch.

Notebook sighting

[The Spiral. And Marilyn Monroe as Iris Martin. Click for a larger view.]

Home Town Story (dir. Arthur Pierson, 1951) is a fable that smacks of a Reader’s Digest article or Paul Harvey monologue. A failed politician turns crusading newspaper-editor and strikes out against “big business,” until he realizes how wonderful big business is. With Donald Crisp as Charles and David Koch. (Kidding.) As Marilyn Monroe as the newspaper’s secretary. (Not kidding.)

Home Town Story has fallen out of the hands of big business and into the public domain. The film is available at archive.org. The People’s Netflix.

More notebook sightings
Angels with Dirty Faces : Cat People : Les Dames du Bois de Boulogne : Dragnet : Extras : Foreign Correspondent : Journal d’un curé de campagne : The House on 92nd Street : The Lodger : Murder at the Vanities : Murder, Inc. : The Mystery of the Wax Museum : Naked City : The Palm Beach Story : Pickpocket : Pickup on South Street : Quai des Orfèvres : Railroaded! : Red-Headed Woman : Rififi : Route 66 : The Sopranos : Spellbound : State Fair : T-Men : Union Station : The Woman in the Window

Reading Rainbow at Netflix

A former student sends the news that Reading Rainbow episodes will soon be streaming at Netflix. But you don’t have to take his word for it: he included a link to a Times-Picayune article.

Recalling why the PBS show ended offers an opportunity to think about the why of reading. (Hint: it’s not to practice skills.) As you may already know, LeVar Burton has created new Reading Rainbow episodes, available at YouTube.

Thanks for sending the news, Zayne.

A related post
Reading Rainbow ends (A sad day for PBS)

Pocket notebook sighting

[As they say at Field Notes, “I’m not writing it down to remember it later, I’m writing it down to remember it now.” Click for a larger view.]

Here is a pre-Code notebook, as seen in Murder at the Vanities (dir. Mitchell Leisen, 1934). It’s a fun film that teaches us that The Show Must Go On: a musical revue runs smoothly while murders are committed and solved backstage. Bonus points for Kitty Carlisle, Duke Ellington, and “Cocktails for Two.” This film introduced the song — and that notebook.

More notebook sightings
Angels with Dirty Faces : Cat People : Les Dames du Bois de Boulogne : Dragnet : Extras : Foreign Correspondent : Journal d’un curé de campagne : The House on 92nd Street : The Lodger : Murder, Inc. : The Mystery of the Wax Museum : Naked City : The Palm Beach Story : Pickpocket : Pickup on South Street : Quai des Orfèvres : Railroaded! : Red-Headed Woman : Rififi : Route 66 : The Sopranos : Spellbound : State Fair : T-Men : Union Station : The Woman in the Window

Paper campaign unfolding

The Washington Post reports on the paper and packaging industry’s campaign to promote its products: “Take note: The paper industry is planning a big comeback.” The campaign’s website: How life unfolds. That’s enough paper-based puns. I fold.

Related reading
All OCA paper posts (Pinboard)

[Has anyone else been surprised to see the commercials?]

Bryan Garner on “The fallacy of intelligibility”

Bryan Garner, from “The fallacy of intelligibility,” a short piece about the idea that it doesn’t matter how you write it as long as they understand what you mean:

Nonstandard, ungrammatical language irks educated readers. It distracts them and makes them less likely, even unwilling, to align themselves with you. Wrong words are like wrong notes in music: they spoil the tune. And wrong words make readers stop thinking about your message and start pondering your educational deficits.

If anyone tells you otherwise (that is, if someone says it don’t make no never-mind), don’t believe it.

Who would tell you otherwise? Well, there is the familiar construction, beloved of some teachers of writing, “This is not a grammar class.” But teaching writing without attention to grammar is like teaching painting without attention to color and form, or teaching music without attention to playing or singing in tune. Things come out wrong.

What Bryan Garner says about writing is plainly true. Teachers who encourage their students to think otherwise are cheating them.

Related reading
All OCA Garner-centric posts (Pinboard)

Duke Ellington, The Conny Plank Session

[The back cover.]

Duke Ellington and His Orchestra. The Conny Plank Session (Grönland, 2015). Total time: 29:21.

The Conny Plank Session is the only Ellington release I know of to be named for a recording engineer. Conny Plank (1940–1987) was an acclaimed producer and engineer who would become known for his work with Brian Eno and and Kraftwerk, among other musicians. I don’t suspect an undiscovered Ellington–Plank affinity: my guess is that Plank just happened to be the engineer in the Cologne studio where Ellington was adding yet another session to the countless sessions that formed the stockpile — music recorded at his expense to test ideas and document work in progress. Suffice it to say that the band sounds great: bright, clear, rich, and well-balanced. The work of the piano player in particular has startling presence.¹

This session — two tunes, three takes each — gives us the Ellington band in July 1970. Or 1970 A. H., After Hodges, the alto saxophonist Johnny Hodges, who had died on May 11. “Because of this great loss, our band will never sound the same,” Ellington wrote on that day. Yet the band continued, as ever, as a collection of idiosyncratic voices (who sometimes, it’s true, modeled themselves on earlier Ellingtonians). Wild Bill Davis was on board as organist: he had just appeared to great advantage (along with Hodges) on “Blues for New Orleans,” the opening section of Ellington’s New Orleans Suite. Fred Stone, trumpeter and flugelhornist, had played with Clark Terry-like fleetness on the Suite ’s “Aristocracy à la Jean Lafitte.” Norris Turney played a Hodges-like alto and was an important presence in the Suite as a flutist, the first band member to play flute on an Ellington recording (on “Bourbon Street Jingling Jollies”).² Davis, Stone, and Turney all have prominent parts in this session.

“Alerado,” by Wild Bill Davis, is the slighter of the two tunes here. It’s named for the record producer Alexandre Rado, who supervised the French RCA Integrale LP series of Ellington reissues. The tune is little more than its attractive chord changes, which evoke (strongly) the bridge of Rodgers and Hart’s “Blue Moon” and (less specifically) Dave Brubeck’s “The Duke.” Turney (flute, alto), Stone (flugelhorn), and Paul Gonsalves (tenor) solo briefly in what was likely designed as a concert showpiece for Davis.

Ellington never stopped listening: in his last official concert recording (Eastbourne, 1973), he was parodying the Art Ensemble of Chicago and other avant-gardists, giving the audience a taste of “the future” (as he derisively called it) with an atonal explosion that turned into “Basin Street Blues.” “Afrique,” a section of The Afro-Eurasian Eclipse (1971), is a more genuine engagement with the new: it gives us the band playing on a single chord (B minor, of all things) in a latter-day version of the so-called “jungle music” that established Ellington in the ’20s. (“Chinoiserie,” another section of the Eclipse, is another late engagement with the new: particularly in a 1973 performance that gives us the Ellington band hitting “the one,” the defining element of James Brown’s funk.)

The 1971 “Afrique” (released on LP by Fantasy in 1975) is primarily a vehicle for piano, trombones, and reeds, with Russell Procope (clarinet), Harry Carney (baritone), Gonsalves, and Turney (alto) engaging in call and response. The three 1970 takes are markedly slower and more devoted to exploring the atmosphere established by Rufus Jones’s untiring drumming. They are tremendously exciting music. Trombones, organ, and Gonsalves’s tenor are the key elements here, with Ellington’s piano at its most percussive. The third take is one of the wildest Ellington recordings I’ve heard, with an unidentified singer who evokes Adelaide Hall’s growls (“Creole Love Call”) and Alice Babs’s soaring vocalise (“T. G. T. T.,” from the Second Sacred Concert ). The profane and the sacred, in one voice! I can only wonder what further treasures remain in the stockpile.

Grönland’s presentation of The Conny Plank Session is less than satisfactory. The musicians are identified in nothing more than a line of abbreviations reproduced from W. E. Timner’s Ellingtonia: The Recorded Music of Duke Ellington and His Sidemen (2007):


[Got that?]

The line is partly hidden behind the CD spindle, with some of its text barely readable. But for anyone with some prior knowledge and a little time at Google Books, it’s easy enough to put together the band:

Cat Anderson, Mercer Ellington, Fred Stone, Cootie Williams, Nelson Williams, trumpets, with Stone doubling (?) on flugelhorn

Chuck Connors, Malcolm Taylor, Booty Wood, trombones, with Connors on bass trombone

Harold Ashby, Harry Carney, Paul Gonsalves, Russell Procope, Norris Turney, reeds

Duke Ellington, piano; Wild Bill Davis, organ; Joe Benjamin, bass; Rufus Jones, drums

The liner notes identify the brass soloist on “Alerado” as Cat Anderson, but it must be Fred Stone: the instrument is flugelhorn, not trumpet, played with the same facility as on “Aristocracy à la Jean Lafitte.” NPR and other sources identify the singer on “Afrique” as Lena Junoff but offer no explanation.

Related listening, via YouTube
“Afrique” (1971)
“Chinoiserie” (1973)
“Creole Love Call” (1927)
“T. G. T. T.” (1968)

Related reading
All OCA Ellington posts (Pinboard)

¹ Why piano player and not pianist ? Because Ellington mock-deprecatingly referred to himself as “our piano player.”

² Harold Minerve would soon play flute and piccolo (and alto). The trombonist Art Baron played recorder in the Third Sacred Concert (1973). I used to write papers this way in grad school, adding little bits of extra detail in endnote after endnote.³

³ But HTML limits superscripts to 1 , 2 , and 3 .

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