Evan Valentine, Stay-at-Home Dad

Jaime had a good idea to just let the video camera run while she fed Stephen the other night, and I could just edit it down. I took it from seven minutes in length to just under three minutes in length. It's still a bit too long. Stephen is attempting to feed himself pureed carrots with a spoon. If you get tired of watching it, skip to 2:35 when jaime grabs the camera again.

From the outside, everything looked great for The Monkees in 1967. In one year they had leaped from semi--or total--obscurity to overnight superstardom. They had a hit TV series, two #1 singles ("Last Train to Clarksville," and "I'm A Believer"), and two #1 albums ("The Monkees," and "More of The Monkees"). The only problem was the Monkees weren't allowed to play on their own records. Why not? Because Don Kirshner, the musical supervisor of The Monkees, said so. It was... well... embarassing. Here they were, pretending to be a real group, when in fact they had almost nothing to do with "their" music. Critics made fun of them. Even worse, teenyboppers idolized them for something they weren't doing. And to add insult to injury, Kirshner made more money from their records than they did. They each got a 1.5% royalty, but Kirshner go 15%! They had their pride, after all.

Trouble had been brewing for some time between Kirshner and the group, particularly Mike Nesmith, who wasn't even allowed to play guitar on the songs he wrote. That was Kirshner's studio policy, The Monkees just sang vocals while studio musicians played on the tracks. But what the hell, Kirshner reasoned, he was getting results--hits--and that was his job. So what if Nesmith had to stand by and watch Glen Campbell put the guitar licks on his own song, "Mary Mary"? This was the only way management could be sure it was right. The bottom line was what counted, after all. Nesmith, a genuinely creative individual, just stewed.

"Essentially, the big collision I had with Don Kirshner was this," said Nesmith; "he kept saying, 'You can't make the music; it would be no good, it won't be a hit.' And I was saying, 'Hey, the music isn't a hit because somebody wonderful is making it, the music is a hit because of the television show. So, at least let us put out music that is closer to our personas, closer to who we are artistically, so that we don't have to walk around and have people throwing eggs at us,' which they were."

Eventually the feud came to a showdown in early '67 at Kirshner's suite at the Beverly Hills Hotel. Kirshner had just handed the four Monkees some new demos (including "Sugar, Sugar," a bubblegum hit later for Kirshner's Archies) that they would be putting vocals on. Nesmith stepped forward and demanded that musical control be given to The Monkees. When Kirshner refused, Nesmith angrily smashed his fist through the wall, declaring, "That could have been your face!" Then The Monkees went off to record some original material without Kirshner's approval.

What happened next is a little unclear. While The Monkees were working out their own songs, Kirshner appears to have approached Davy Jones, one of the members of the group, and talking him into going into the studio without the rest of The Monkees. Jones put the vocals on several tunes, one of which was "A Little Bit Me, A Little Bit You." But The Monkees weren't doing the backing vocals. Who was it? Eric Lefcowitz, author of The Monkees Tale, speculates "Kirshner was quoted once as saying that Neil Diamond and Carole King had sung back-up vocals on some Monkees songs, and I think that if you listen closely to 'A Little Bit Me,' you can hear them. It sounds like Neil Diamond to me." And why would Jones record without the rest of the group? "I don't know, of course," Lefcowitz says, "but Davy Jones hadn't ever had the chance to sing lead before. This was his session. Maybe that had something to do with it."

Maybe, maybe not. The important thing is that in a power play, Kirshner recorded and released "A Little Bit Me, A Little Bit You" without even telling The Monkees he was doing it! That was the last straw. Monkees' producers Bob Rafelson and Bart Schneider wanted hits, but they weren't going to put up with that from anyone. They fired Kirshner, and yanked the single out of American record stores. Then they re-released it with a Monkees original--Nesmith's "The Girl I Knew Somewhere"--on the B side. Finally The Monkees could smile. They were out from under Kirshner... and a song they'd actually played on made the Top 40--"The Girl I Knew Somewhere" reached #39 on the charts.

There is a lot of talk recently about enacting new "Financial Literacy" requirements in order for students to finish High School in this area. A lot of schools have pushed back the launch of the program for another year because of budget problems. So, the states who mismanaged their money are teaching our children about financial literacy? Am I the only one bothered by this? To quote Bill Hicks, "It's irony on a base level, but I like it. It's still a hoot."

I got this link off fazed.org: The 100 best free science documentaries online. This is my kind of thing. Documentaries. Free. Online. The list loses a great deal of credibility when Super Size Me is the first "science documentary" on the list, though. Just saying.

Michał Jacaszek finally came to America. Just come do D.C. and I'm there! A partial clip from his concert in NY on Feb 11:

I like to say how much I love Lightroom and that I don't miss Photoshop at all. This is only partially true. I sort of have to say that because I spent $299 on Lightroom version 1. With that money, you get all 1.xx upgrades until version 2 comes out, then you have to pay $99 to get all version 2.xx upgrades. I saved my $99 and did not get version 2, but version 3 is coming out this April, and I will spend the 99 bucks on it. They have put some Photoshop-like features in that will make me miss Photoshop even less, such as the ability to make selections, the ability to combine photos into HDR images, and improved features all-around, notably sharpening and noise reduction.

I have been wearing Acuvue 2 contacts for about ten years. These are now considered the "old style." They have advanced several generations since then. Now the contact lenses are made of different material and they allow your eyes to "breathe" more. When I got an eye exam two weekends ago, the optometrist gave me one pair of Acuvue Oasys and one pair of my good old standbys, Acuvue 2. I put on the Oasys contacts at the doctors office, and at first my vision wasn't as clear as it should have been. I think that after I got used to them, they were fine, since I do not notice a major difference right now (I just switched to the Acuvue 2 pair about ten minutes ago). The side of the story that I did not tell my optometrist is that I never take proper care of my contacts/eyes. I leave them in for 2-3 weeks without ever taking them out before bed. This is why I am leaning towards the newer, more expensive contacts that allow oxygen transfer through the lens. Another notable thing from my exam: I haven't needed a stronger prescription in the last two years, so that's a good thing.

I finally figured out what makes my desktop PC freeze. It's µTorrent, which is supposed to be the bittorrent client that is more streamlined. Before I had µTorrent, I was using Vuze, but that was too bloated and so forth. Anyone have any suggestions of torrent management software (preferably one with a smaller footprint than Vuze or BitComet)?

I take 3mg of melatonin before bed every night. Well, every night that I don't forget. I have been doing it for about a year now, and I really like it as a sleep aid. It is a naturally occurring biochemical, so it doesn't have the same effect as a "drug" would. The purpose is not to make you really sleepy or groggy; it just makes you feel naturally tired. Around 20-40minutes after taking it, I just sort of yawn and say "I think I should go to bed now. That would be good." It has other advantages, too, like the fact that it allows me to get up feeling completely normal if Stephen starts crying at 2am (where 99% of sleep aids make it much harder to get up before you have gotten 8hrs of rest). It is safe, has no side effects, and has no chance of addiction. The problem is that an overwhelming majority of the population says that melatonin has no effect on them. I will say that it took two weeks of me taking it every night before it had an effect on me. Maybe I wasn't noticing the subtleties before that, or maybe my body had not gotten adjusted to 3mg of melatonin at roughly the same time every day. No idea, but I like it.

And finally, How Tough are NES Games? Answer: really, really tough. Like, getting-run-over-by-a-car-and-still-working tough. Like, getting-dropped-thirty-feet-onto-concrete-and-still-working tough. (Note: usually when I find out about a YouTube video via another blog, I don't actually link to the blog post, but this is my friend Martha's blog, so I didn't take the credit this time)

Edit: fazed.org copied me for once (not really), and put up a link to the 60 Minutes story about the Bloom Box. Nice try, copycats! I was first!

Leon Redbone is a fringe performer with a dedicated following. I have seen him 8 or 9 times in concert.. if that's not dedication, I don't know what is. I have traveled to different states on more than one occasion to see him. I was literally the only one left to see his last 3 songs during a hurricane in Chattanooga at an outdoor concert. Leon Redbone strikes a chord with some people, and I am one of them. I am seeing him again next Friday, and I'm already excited.

Redbone's history begins at the beginning of his career because virtually nothing is known about his background or personal life. His real name, birthday, country of origin and ethnicity are all unknown, though people have speculated about these things for 35+ years now. He has claimed to have been born in Bombay during a monsoon to parents Niccolò Paganini (a composer and violinist who died in 1840) and Jenny Lind (a singer who died in 1887), which contributes to the mystique about his age. He has also listed his date of birth as October 29, 1929, the day of the stock market crash that sent America into the Great Depression. He often claims (erroneously, of course) that songs written well before his time were "stolen" from him. It hearkens back to the days before information was so readily available about celebrities' personal lives and upbringing. It appears he has worked very hard to create and maintain this mystique.

Leon Redbone has made a career out of arranging and performing songs that originated before my grandparents' time, though he attracts a wide and varied audience, ranging in ages and musical tastes. His style is hard to pin down as it is a mix of old-time blues, ragtime, jazz, country, and vaudeville. If it were necessary to sum up his style, one might say he does cleaned-up renditions of Tin Pan Alley classics from the 1920's and 30's. He has a very unique voice and is able to pull a lot of yodel-style octave jumps. He is also an excellent acoustic guitarist, which is often obscured by his interesting baritone vocal stylings. He is somehow able to emulate all the counterpoint of ragtime on a six-string acoustic guitar--a feat not attempted by many. Upon his arrival to the music scene, Leon Redbone was rumored to be an alter-ego of Bob Dylan, Andy Kaufman and even Frank Zappa.

He composed/performed the theme song to Mr. Belvedere (and apparently composed/performed the theme song to the sitcom version of Harry and the Hendersons, which I did not know existed). He voiced the character Leon the Snowman in the 2003 film Elf, where he was also featured heavily in the soundtrack and film score.

Seeing Leon Redbone live is akin to stepping in a time machine. His fedora hat, dark sunglasses and cane contribute to the mystery and timelessness of the act. The stage versions of his songs are stripped down to the bare essentials. For the past ten years or so, he most often performs with just a trumpet player and pianist. His act is peppered with banter and jokes that feel over a century old. He often shuffles through papers and proposes "a sing-along" to his instrumentalists; the suggestion is met with a sigh and eyerolls as Leon breaks into song (usually "I've Been Working on the Railroad" or "Twinkle Twinkle, Little Star"). At the end of nearly every show, he re-emerges on stage to take a picture of the audience. If I were to ever develop a stage presence, I often wonder which of Leon Redbone's stage gimmicks I would "borrow."

Here is a video of Leon performing Please Don't Talk About Me When I'm Gone, originally released in 1930:

Some of those guitar licks are extremely difficult. It is very laid-back and does not give that impression, but do not be fooled. This is the magic of Leon Redbone. It sucks that his left hand is obscured in this particular camera angle. Here are some more videos...

On Alf's talk show
I Ain't Got Nobody
Walking Stick
Harvest Moon (better version than the Alf one)
Leon Redbone can certainly whistle

There are rumors of another big snowstorm on the horizon. No one is saying how big or what portion of it is hysteria, but the current Wolfram|Alpha prediction for Manassas is snow all day Monday and Tuesday (Feb. 22nd and 23rd). I still haven't dug my car out of the snow from Feb. 6th and 9th.

We got another fish for our one-fish bowl this weekend. He is a red Betta named Monte. I took several pictures, but none are any good. I'll get one eventually. Aquarium photography is nearly impossible.

Steve (my friend) and I were watching this video last night, and it made Stephen (my son) so happy for some reason. He had a big huge smile while he rocked his head and pulled on some guitar strings. It was quite adorable.

Travelers Insurance chooses good music for their commercials. First it was Trouble by Ray LaMontagne, and now Worries by Langhorne Slim.

Another Travelers commercial, this one, also has a great song that was specifically composed for the commercial and consequently can not be heard anywhere else. It really sounds like the "hot jazz" playing of virtuoso violinist Stéphane Grappelli (though it is clearly not, because Grappelli has passed). More information about this style can be found in my article about Django Reinhardt.

We got a package of "leftover" gifts that my parents forgot to bring with them when they visited at Christmas. Stephen has improved at opening presents in the past month. He was having quite the good time with the wrapping paper by the time my wife turned on the camcorder. There is also a compilation of videos from Christmas day that I just uploaded, which I'm sure is terribly boring to people outside of my family.

The 40th anniversary of Sesame Street was so widely publicized that it was impossible to go anywhere without hearing about it. Google even changed their logo for a whole week leading up to the anniversary date. Apparently the staff celebrated the anniversary with a custom cake from Carlo's Bakery of Cake Boss fame. The episode featured no other cakes (they typically feature 2 or 3 custom cakes per episode) as it was an extremely large cake. For inspiration, the staff of Carlo's Bakery visited the Sesame Street set, complete with active puppets. Then they delivered the cake with the entire staff present: watch here.

I have watched a fair amount of Sesame Street in the past four months, and as an adult, I certainly have a different perspective. I can't help but notice how expertly the puppets are manipulated. They are extremely lifelike and I wonder every day how they do it. These are excellent puppeteers to say the least. Sometimes it seems that it would take more than two people to run one of these puppets, especially when there are facial expressions and arm movement involved (for instance, Elmo squishes up his face and goes cross-eyed when he is about to sneeze). Murray is a large orange puppet that goes out on the streets and performs human-like tasks, like playing a real drum set or breaking a board with a karate chop. When Buddy and his crew visited the set of Sesame Street, I was hoping for some "behind the scenes" footage of the puppets being operated, but there was none. Searching around on the internet did not reveal much, but here is a pretty good one:

I really couldn't find much more footage than that. There is some behind the scenes footage of the Kobe Bryant sketch, which I just recently saw, but it's of a different nature. More like getting a chance to interview Kobe Bryant, and they didn't care about the Sesame Street aspect of it.

Also, here is a funny parody called Preschool Musical.

Though Emmett Miller is little remembered today, his influence was far-reaching during the dawn of country music. He was born in 1900 in Macon, Georgia, and was performing in minstrel shows as early as 1920. His backup band The Georgia Crackers included noted jazz musicians Tommy Dorsey, Jimmy Dorsey, Gene Krupa, and Eddie Lang. Some of his earliest recordings have been "lost," but his was the first voice to utilize yodel-style vocals in popular music. He performed in blackface into the early 1960's, long after it had fallen out of fashion/favor with the public. His influence on early country vocalists is most evident in early Jimmie Rodgers recordings, and Hank Williams' recording of Lovesick Blues is nearly identical to Emmett Miller's recording. Most of his recordings and performances open with skits that feature African American stereotypes and voices (such as I Ain't Got Nobody), making him a polarizing figure in the history of music.

Leon Redbone's version of "Big Bad Bill" is very similar to Emmett Miller's original recording. The same can be said of "I Ain't Got Nobody," "Sweet Mama (Papa's Getting Mad)," and many others. It seems that Miller is Leon Redbone's most direct influence, particularly in singing style and song selection.

Much of Emmett Miller's material from the 1920's can be found on archive.org if one searches his name.

Most people are at least somewhat familiar with savant syndrome (savantism). Some savants can do difficult calculations in their head (I hear they are also excellent drivers... excellent drivers), while some can remember every song they have ever heard and play it back on a piano. Derek Paravicini (born 1979) is more than that--he has been called the "super savant." He not only can play back every song he's ever heard (over 10,000), but he can improvise among the best in the world.

Derek Paravicini was born quite prematurely, at 25 weeks. He is blind and severely autistic. He does not know his birthday and he can barely tell his left from his right. He can only dress/feed himself with a great deal of assistance. But let me tell you, sit him down at a piano and the boy can play. It seems that most of his brain is dedicated to music. It is not known whether his brain was born functioning this way, or if his neuron paths have slowly reconfigured (a feat thought impossible until recently) throughout his life. Here is an excerpt from his Wikipedia article:

Though autism is thought to be the source of Derek's extraordinary musical ability, his blindness may contribute. Because Derek is blind, the part of his brain that would normally be used for sight and light detection could be used for extra auditory ability. Derek is able to, with a great deal of precision and accuracy, detect and recognise not just one but multiple notes played at once (so far he can distinguish over 20 notes).

Most "normal" people, even the ones with an extremely keen musical sense (ie, perfect pitch), can only distinguish 2 or 3 notes at once. Being able to distinguish over 20 notes is way off the charts. Incredible.

I first saw a little 20 minute piece about Derek on NOVA as part of a larger episode about music and the brain. A search on YouTube brought up video about Derek put together by Ben Gooder. This TV special is phenomenal. It is 47 minutes, so it has to be split up into five parts on YouTube. The video goes into a lot more than just Derek's history and talent. A little bit of neurology and related information spread throughout. The piano playing itself isn't what makes it interesting, it's the whole picture. The portrait of a man who can not cross the street or open a bag of chips, but when he sits down at a piano, he has a level of understanding that can't be fathomed.

The Musical Genius - Derek Paravicini - Part 1

The Musical Genius - Derek Paravicini - Part 2

The Musical Genius - Derek Paravicini - Part 3

The Musical Genius - Derek Paravicini - Part 4

The Musical Genius - Derek Paravicini - Part 5

His only short-coming (and I feel like an ass for even saying that) is that he doesn't quite have a handle on all the emotions of music, though he is much better than other savants in this area. He more than makes up for it. He's the best improv musician I've ever seen. The musical limitations of his mind have yet to be discovered. You don't have to believe me; Jools Holland says the same sorts of things in the video (his opinion regarding piano expertise is worth 20 of my opinions). The icing on the cake for me is that Derek's favorite piano pieces are from the early 20th century.

"Even though it's hard to believe, I think music is an inherent part of the universe."
--David Pinto, founder of Academy of Music for the Blind

I couldn't agree more.