Archive for the ‘Music’ Category

Obit watch: September 28, 2020.

Monday, September 28th, 2020

A quick round-up of obits I’ve been meaning to make note of over the past few days.

Michael Lonsdale, actor. He was “Hugo Drax” in “Moonraker”, but he did a whole bunch of other work. Some of it was in “avant-garde” films, but he also played “Lebel” in the original “Day of the Jackel”, “Jean-Pierre” in “Ronin”, and a long list of other work “with a Who’s Who of directors, including Mr. Spielberg, François Truffaut, Orson Welles, Luis Buñuel, Jean-Jacques Annaud, and James Ivory”.

Pierre Troisgros, famous French chef.

The Troisgros brothers eventually took charge of their parent’s restaurant and transformed it into a gastronomic destination, at the cutting edge of the culinary revolution known as la nouvelle cuisine. That style was influenced by the austere finesse of Japanese cooking and known, at its extreme, for tiny portions on huge white plates, a caricature in which the Troisgros brothers never indulged.
Their contribution was to showcase the innate flavors of seasonal ingredients, and to pare down some of the overblown creations buried in thick sauces that had come to represent French haute-cuisine.
It earned them Michelin stars and top ratings from other guides. And it put the restaurant high on the list for tourists starting in the 1970s, many of whom, like safari-goers ticking off the “big five,” went to France mainly to experience its top restaurants, collecting souvenir menus along the way.

The restaurant’s most famous dish was salmon with sorrel sauce (saumon à l’oseille). In the Troisgros kitchen the sauce was not thickened with starch but depended on well-reduced sauce ingredients and a touch of cream. Mr. Boulud pointed out that the dish was cooked in a nonstick pan, noting that Mr. Troisgros was among the first chefs to use one.
Alain Ducasse, the chef and restaurateur who is part of a generation that followed in the footsteps of Mr. Troisgros, Mr. Bocuse and others, said in a statement that the Troisgros brothers had developed the basis for nouvelle cuisine, but that their food was never austere or posed.

Robert Gore, inventor of Gore-Tex.

Mr. Gore’s billion-dollar invention was born out of failure and frustration. In 1969, as head of research and development for W.L. Gore & Associates, the manufacturing company founded by his parents, he was tasked with creating an inexpensive form of plumber’s tape for a client. The tape was made from polytetrafluoroethylene, or PTFE, known commonly by the brand name Teflon.
Mr. Gore sought to make more efficient use of the material by stretching it, not unlike Silly Putty. But each time he heated and stretched a rod of PTFE in his lab, it broke in two.
“Everything I seemed to do worked worse than what we were already doing,” he told the Science History Institute in a short film. “So I decided to give one of these rods a huge stretch, fast — a jerk. I gave it a huge jerk and it stretched 1,000 percent. I was stunned.”

Mr. Gore became president and chief executive of W.L. Gore & Associates in 1976 and pursued new applications for his invention. He would stand in a rainstorm to check garments and footwear for waterproofness, and he filled his home with prototypes. He called the company’s 800 numbers to make sure the customer service was up to par.
“Bob was the guy who made things happen,” Bret Snyder, the chairman of W.L. Gore & Associates and Mr. Gore’s nephew, said in a phone interview. “He had a passion not just for the theoretical, but how the products worked in customers’ hands.”

Somebody ought to write a book. (Part 1)

Wednesday, September 23rd, 2020

Book ideas, free for the taking! My only ask is: if you end up writing this book, please send me one autographed copy.

Somebody should do a really nice coffee table type book with lots of color photos about Steinway pianos. Especially the custom ones.

Now, I have no discernible musical talent (as confirmed by highly sensitive instruments placed in orbit by NASA) and my photography skills are questionable. But I was struck by this when I read it:

Steinway had made many beautiful instruments over the years—not just the classic ebonized concert grands, but also a number of art-case pianos. Among the best known are an elaborate white-and-gilt decorative piano mode for Cornelius Vanderbilt, with paintings of Apollo surrounded by cherubs, and a piano created for the White House, with legs formed of carved eagles. For the Waldorf Astoria Hotel in New York, Steinway had built a tortoiseshell decoration surmounted by a candelabrum. For the oil magnate E.L. Doheny, the company designed a gilded piano in a Louis XV style with carved legs and elaborate moldings. Even Steinway’s standard-issue polished-ebony concert grands were stately and handsome, if also austere.

—Katie Hafner, A Romance on Three Legs: Glenn Gould’s Obsessive Quest for the Perfect Piano (affiliate link)

Those were not the only folks to commission art-case Steinways. “The Steinway firm received orders for “fancy pianos” from America’s illustrious and wealthy citizens: F. W. Woolworth, E. L. Doheny, Sen. Thomas F. Walsh, Henry G. Marquand, George J. Gould, Stanford White, Cornelius Vanderbilt, etc. They also produced decorated instruments for the crowned heads of European countries and influential and wealthy people throughout the world.

It seems like someone could put together a really nice photo book with these, plus some of the more famous non-art-case Steinway piano (Glen Gould’s, obviously, but also Vladimir Horowitz’s, and I’m sure there are more artists that I’m not aware of yet). Accompany that with documents from the Steinway archives (I wonder if they have photos as well)…I’m certain you can get a book out of this.

That book may already exist, to be honest, but I can’t tell. There’s a book called Steinway that was published in 2002, “with more than 200 photos, designs, sketches, and paintings”, but I don’t have it (and don’t want to spend $70 to get it from Amazon) so I’m not sure if it covers this territory.

(I did do some research. I found an auction listing from 2018 for what may be the Vanderbilt Steinway. The White House Steinway is currently in the White House Museum. I can’t find anything on the Waldorf’s Steinway, though they do still have Cole Porter’s Steinway. I found a reference to a reproduction of the Doheny piano, and a LAT story about an auction of the Doheny collection in 1987.)

(One way to know if a book is really good: it gives you ideas for a different book. One way to know if a book is really bad: it gives you ideas for a better book on the same subject.)

(Final side note: it’s kind of fun to see E.L Doheny pop up again. The Doheny family and their scandals are a large part of Richard Rayner’s A Bright and Guilty Place: Murder, Corruption, and L.A.’s Scandalous Coming of Age (affiliate link) which I read a couple of months ago at the recommendation of friend Dave, and heartily recommend. The family was also a large influence on Chandler’s work.)

Obit watch: September 23, 2020.

Wednesday, September 23rd, 2020

Gale Sayers, one of the great NFL players.

A consensus all-American at the University of Kansas — where he was called “the Kansas Comet” — Sayers chose to play for the Bears of the established N.F.L. over the Kansas City Chiefs of the upstart American Football League in 1965. He went on to have one of the greatest rookie seasons ever.
He led the league in all-purpose yards (rushing, receiving and runbacks) with 2,272 yards, scored 22 touchdowns, six of them in one game, and was named to the all-league team for the first of five consecutive years.

He was injured in 1968, went through knee surgery, and came back in 1969.

But 1969 became a somber season. For two years the Bears had matched players by position when they shared hotel rooms on the road. Sayers, who was Black, was paired with his backup, Brian Piccolo, who was white — apparently the first time a Black and white player had shared a hotel room for an N.F.L. team. The two men bonded, partly through racial jokes.
But in November that year Piccolo was found to have embryonic cell carcinoma of the lungs. Sent to the Memorial-Sloan Kettering Cancer Center in New York, he underwent surgery to remove a malignant tumor, but doctors found that the disease had spread to other organs.
The following May, Sayers was given the George S. Halas Award for the Most Courageous Player. In his acceptance speech, he said: “I love Brian Piccolo. I might have received this award tonight, but tomorrow I will take it to Brian Piccolo at Sloan Kettering. When you hit your knees tonight, please pray for Brian Piccolo.”
Piccolo died on June 16, 1970, at 26. Sayers was a pallbearer at his funeral.

An injury to his left knee held Sayers to only two games in both 1970 and 1971. After fumbling twice in three carries in an exhibition game in 1972, he retired. He had scored 39 touchdowns in only 68 pro games and compiled a career average of 5.0 yards per carry.
In 1977, Sayers was inducted into the Pro Football Hall of Fame at 34; he remains the youngest person to receive the honor. He was inducted into the College Football Hall of Fame the same year.

Tommy DeVito, one of the original members of the Four Seasons. Interesting fact:

The actor Joe Pesci, a friend since childhood (whose character in Martin Scorsese’s “Goodfellas” is named for Mr. DeVito), had lived with Mr. DeVito for a time before he was famous, and once Mr. Pesci broke through, he repaid the favor, helping Mr. DeVito out and getting him bit parts in movies, including “Casino” (1995), also directed by Mr. Scorsese.

Ron Cobb, noted production designer and artist for SF films.

He created some creatures that appeared in the cantina scene of “Star Wars: Episode IV — A New Hope” in 1977. He was also asked to help with spaceship illustrations for a movie pitch that would eventually become the 1979 blockbuster “Alien,” starring Sigourney Weaver.
Mr. Cobb’s work has appeared in several movies that have become classics of science fiction and fantasy. He designed scenes and costumes for the 1982 movie “Conan the Barbarian.” And he was a consultant for “Back to the Future” in 1985, helping to design the famous DeLorean time machine that transported Marty McFly, the character played by Michael J. Fox, back and forth through time.

“He was passionate about making the science correct,” Ms. Love said. “He wanted accurate science, and he wanted great design.”
Mr. Bissell said Mr. Cobb devoured knowledge wherever he could find it and shared books on subjects including philosophy, technology and evolution. “Here’s a guy who actually just never cared about money,” Mr. Bissell said. “He always just cared about his work.”

Obit watch: September 17, 2020.

Thursday, September 17th, 2020

Lawrence sent over a pointer to the NYT obit for Stanley Crouch.

Mr. Crouch defied easy categorization. A former Black nationalist who had been seared by witnessing the 1965 Watts race riots in his native Los Angeles, he transformed himself into a widely read essayist, syndicated newspaper columnist, novelist and MacArthur Foundation “genius award” winner whose celebrity was built, in part, on his skewering — and even physical smackdowns — of his former intellectual comrades.
All the while he championed jazz, enlarging its presence in American culture by helping to found Jazz at Lincoln Center in New York, one of the country’s premier showcases for that most American of musical genres, and by promoting the career of the celebrated trumpeter Wynton Marsalis, who co-founded the jazz center in 1991 and remains its artistic director.

Espousing that pragmatism, he found ready adversaries among fellow Black Americans, whom he criticized as defining themselves in racial terms and as reducing the broader Black experience to one of victimization. He vilified gangsta rap as “‘Birth of a Nation’ with a backbeat,” the Rev. Al Sharpton as a “buffoon,” the Nation of Islam leader Louis Farrakhan as “insane,” the Nobel laureate Toni Morrison “as American as P.T. Barnum” and Alex Haley, the author of “Roots,” as “opportunistic.”
By contrast, he venerated his intellectual mentors James Baldwin, Ralph Ellison and Albert Murray, who, by his lights, saw beyond the conventions of race and ideology while viewing the contributions of Black people as integral to the American experience.

After transplanting himself to New York in 1975, Mr. Crouch wrote for The Village Voice, where he was hired as a staff writer in 1980 and fired in 1988 after a fistfight with a fellow writer.
“The two best things that have ever happened to me were being fired by The Voice and being hired by The Voice, in that order,” he told The New Yorker.

Mr. Crouch said in an interview with The Times in 1990 that too many discussions of race were “simple-minded and overly influenced by the ideas of determinism — if you’re poor, you’re going to act a certain way” — a self-perpetuating path that, he said, his public-school teachers had stopped him from taking.
“These people were on a mission,” he said of his teachers. “They had a perfect philosophy: You will learn this. If you came in there and said, ‘I’m from a dysfunctional family and a single-parent household,’ they would say, ‘Boy, I’m going to ask you again, What is 8 times 8?’
“When I was coming up,” he continued, “there were no excuses except your house burned down and there was a murder in the family. Eight times eight was going to be 64 whether your family was dysfunctional or not. It’s something you needed to know!”

Your loser update: week 1, 2020.

Tuesday, September 15th, 2020

Apparently, the NFL started their regular season this weekend.

I just barely noticed.

It isn’t so much the politics, although McThag has a good post up on that. I’m just finding it really difficult to care.

Still, one of the motivations for starting this blog was the NFL loser update, and as a wise man once said…

NFL teams that still have a chance to go 0-16:

San Francisco
Carolina
Tampa Bay
Atlanta
Dallas
Philadelphia
New York Football Giants
Minnesota
Detroit
Cincinnati
Cleveland
Denver
Indianapolis
Houston
New York Jets
Miami

In other semi-related football news, I have been reading as much of Gregg Easterbrook’s Twitter as I can stomach, and there has been no mention of “Tuesday Morning Quarterback” at all. Not just a lack of pointers to the current column, but also a lack of “if you liked it, write our sponsor” messages. I have to assume that he’s not doing it this year, though his silence on the subject is a little strange.

Obit watch: September 13, 2020.

Sunday, September 13th, 2020

Toots Hibbert, of Toots and the Maytals.

Lawrence has a good tribute up.

Kevin Dobson. He never did a “Mannix”, but he did a fair number of other cop shows. His two most famous roles were as Kojak’s sidekick, and as a detective on “Knots Landing”.

Mr. Dobson was less active on the big screen than the small one, but he did appear in some notable films, including “Midway” (1976), as part of an all-star cast that also included Henry Fonda and Charlton Heston, and the 1981 romantic comedy “All Night Long,” in which his character was married to Barbra Streisand’s.
In 1981 he played Mike Hammer, the hard-boiled detective created by Mickey Spillane, in the CBS television movie “Margin for Murder.” “Mr. Dobson is given a valuable opportunity to step outside of his usual ‘nice guy’ image,” John J. O’Connor of The New York Times wrote in a review. “He makes the most of it, reinforcing Mike’s toughness with an impeccably accurate New York accent.”

“What you gonna do when you get out of jail?…” part 166

Saturday, September 12th, 2020

My current boss is an amateur radio operator, and has far more experience and knowledge than I do. Since the lockdown started, my work group has been holding virtual “happy hours” outside of the work context (consumption of wine, beer, and spirituous liquors is allowed, but not required) and amateur radio is a frequent topic of discussion.

So I thought Saturday might be a good day for some radio related stuff.

First up, “What Happened to the Numbers Stations?”

(Numbers Stations Research and Information Center. Which is kind of a misnomer, because they cover things that aren’t numbers stations as well.)

Bonus #1: “HM01 – The Ultimate Radio Mystery”. HM01 is a numbers station broadcasting out of Cuba.

Bonus #2: “Tracking The Lincolnshire Poacher”. The first video above mentions the Lincolnshire Poacher early on, but if you didn’t watch it, LP is another famous numbers station.

Bonus #3: For something different, “Listening to Astronauts ON THE ISS with a Baofeng UV-5R”.

Baofeng UV-5R+ on Amazon. (Affiliate link.) It is a very slight exaggeration to say that you can get one of these with the change you dig out of your couch cushions.

Obit watch: September 8, 2020.

Tuesday, September 8th, 2020

By way of Hacker News, I found this obituary for Verne Edquist on the Glenn Gould Foundation website.

Mr. Edquist was born with congenital cataracts and was nearly blind. He trained as a professional piano tuner.

Years later, Verne often took to quoting his tuning teacher, J. D. Ansell, whose favorite aphorism was “The only place where success comes before work is in the dictionary.” To give Verne experience, Ansell started taking his young protégé into town to tune pianos in private homes. Verne was allowed to keep the money – $2.50 per piano, and sometimes, when he got lucky, $3.00 – which he put toward some basic tools: a tuning wrench, a tuning fork, needle-nose pliers, gauges for measuring the diameter of piano wire, and rubber wedges for muting strings.

He moved around a lot, sometimes working for piano makers, sometimes working as a freelance tuner.

One afternoon about a year after Verne started at Eaton’s, Miss Mussen sent him across town to Glenn Gould’s apartment to tune Gould’s old Chickering. All Gould wanted, he told Verne, was for the tuner to do what had been done hundreds of times before: get the piano into playable condition, if only for the time being. But Verne refused, telling Gould that the tuning pins were so loose they needed to be replaced.
Verne’s stubborn insistence on doing things his way had endeared him to Gould, and the encounter galvanized what was to become a decades-long association between a pianist and his technician.
Verne tuned for many famous musicians over the years, including Duke Ellington, Arthur Rubinstein, Rudolf Serkin, Victor Borge, and Liberace. But it was the business he got from Gould that eventually enabled him to quit Eaton’s employ and sustain his family for two decades.
Each tolerated the other’s idiosyncracies, which were in ample evidence in both men. Gould’s quirks, of course, were legion and legendary. One of their earliest conversations was about Verne’s physical limitations. “I can’t see very well, but I get the job done,” Verne told Gould. And Gould replied that of this he had no doubt. Nothing further on the topic was ever said.

All his life, Verne heard music through his own particular synaesthesia – in colors. If you asked him how he knew that an F was an F, he would say, “oh that’s blue.” C was a slightly lime green. The key of D was a sandy hue, E was yellowy-pink, A was white, G orange and B dark green. For years he was ashamed of this rather oddball talent. When he finally told Glenn Gould about it, his boss reacted as if it were the most natural thing in the world.

When I interviewed Verne for my book, I was struck by what a kind and gentle man he was. It came as a surprise to hear him voice some reservations, even a little bitterness, about his most famous client. Although Gould had often gone out of his way to accommodate Verne’s schedule and never uttered an unkind word to him, nor did he, in the two decades they worked together, gone out of his way to praise Verne’s tuning. To have gone so many years without hearing so much as a “nice job” had clearly taken its toll.

I’m not a musician, or a piano tuner, but that Katie Hafner book (affiliate link) sounds fascinating to me for some reason.

Obit watch: August 28, 2020.

Friday, August 28th, 2020

Gerald D. Hines, prominent developer.

At his death, Mr. Hines’s company had built 907 projects around the world, including more than 100 skyscrapers, many of them designed by architects like I.M. Pei, Harry Cobb, Philip Johnson and John Burgee, Cesar Pelli, Kevin Roche, Jean Nouvel, Frank Gehry, Robert A.M. Stern and the firm Kohn Pedersen Fox.
Hines built the Lipstick Building (officially 885 Third Avenue) in Manhattan and Pennzoil Place, Williams Tower and Bank of America Plaza in Houston, all designed by Mr. Johnson and Mr. Burgee. It was behind the Salesforce Tower, designed by Mr. Pelli, which is the tallest building in San Francisco; the DZ Bank in Berlin, designed by Mr. Gehry; the sprawling Porta Nuova complex in Milan; the Diagonal Mar project in Barcelona; and the Aspen Highlands ski area in Colorado, a favorite project of Mr. Hines’s. (He had a home in Aspen and continued to ski into his 90s.)
Architecture was his passion, although it would probably be more accurate to say that what he cared about most was fusing a point of intersection between serious design and profit-making real estate development. He took issue with colleagues who saw creative architects as dangerous to the bottom line. Spending a little more to create a better building would pay off in the end, he believed, because tenants would spend more to be in a better building that had a distinctive identity, and that would benefit both his tenants’ businesses and his own.

Ada Louise Huxtable, then the senior architecture critic of The New York Times, hailed Pennzoil in 1976 as a “rarity among large commercial structures: a dramatic and beautiful and important building.”
“It successfully marries art and architecture and the business of investment construction,” she added.Pennzoil was internationally acclaimed, and it led other developers to attempt the Hines formula of hiring celebrated architects and commissioning them to design one-of-a-kind towers that could be marketed as defining points of downtown skylines. (Not all of his peers were as good as Hines, however, in simultaneously encouraging creativity and controlling construction costs.)
The success of Pennzoil Place marked the beginning of a close and long relationship between Mr. Hines and the partners Mr. Johnson and Mr. Burgee. It would transform Mr. Johnson’s practice from a boutique firm designing mainly expensive civic and institutional projects into a major player in commercial architecture — one that would reshape skylines around the country. Hines also commissioned the Johnson firm to design Comerica Tower in Detroit, the Wells Fargo Center in Denver, 550 Boylston Street in Boston and 101 California Street and 580 California Street in San Francisco, among many others.
Mr. Johnson and Mr. Hines made an unlikely pair: the intellectual architect who rarely stopped talking and loved gossip and controversy, and the buttoned-up developer so averse to grandstanding that he would keep a slide rule in his pocket and take it out and pretend to use it during a meeting to avoid having to speak. But before his death in 2005, Mr. Johnson told the writer Hilary Lewis that he considered Mr. Hines his “first and greatest client.”

Walter Lure. Interesting story: Mr. Lure was the rhythm guitarist for the Hearbreakers (also known as Johnny Thunders and the Hearbreakers, as opposed to Tom Petty’s Hearbreakers) one of those legendary NYC punk bands.

The Heartbreakers were together for a brief three years and recorded only one studio album, “L.A.M.F.,” released in 1977 on the British label Track Records. But among the bands that clustered around downtown clubs like Max’s Kansas City and CBGB during the early punk years, the Heartbreakers had an outsize reputation.
“They were probably the best band besides the Ramones and the Dictators,” Legs McNeil, a co-founder of Punk magazine and the co-author of “Please Kill Me: The Uncensored Oral History of Punk” (1996), said in a phone interview. “But they’re kind of like mythical, you know, because no one ever saw them. And when they did, Johnny was usually too drugged out to perform.”

Mr. Lure had played mostly in cover bands before he joined the Heartbreakers in 1975, but he quickly bonded with the other members musically and otherwise. In his memoir, “To Hell and Back,” published in March, Mr. Lure wrote of his initiation into the band in Mr. Hell’s East Village apartment. His bandmates cut off his long hair, and Mr. Nolan cooked him up a shot of heroin.

He had strong opinions about how a rock band should sound. In his book he disparaged artier contemporaries like the Talking Heads and Television, writing: “It was as if everybody was so concerned about somehow sounding ‘unique’ that they forgot that, sometimes, the kids just wanna rock. That was the niche that the Heartbreakers slipped into, and that was why they’d excited me so.”

After the Hearbreakers, he went into product testing for the FDA (he had an English major and a chemistry minor from Fordham) and from there went into Wall Street.

It led to a position at a brokerage firm overseeing a team of 125 and a long career in finance that lasted until he retired, in 2015.

Mr. Lure remained a drug addict until sobering up in 1988. He continued to moonlight as a rock musician, playing reunions with the Heartbreakers throughout the 1980s and then touring and recording with the Waldos.

He was also the last surviving member of the Heartbrakers (with the exception of Richard Hell, who was briefly the Heartbreakers bass player. Hell left/was fired from the band and formed Richard Hell and the Voidoids. Heartbreakers entry from Wikipedia.)

After he heard the news of Mr. Lure’s death, Glen Matlock, the bassist of the Sex Pistols, who toured with the Heartbreakers in the 1970s, noted the end of an era, tweeting, “And then there were none.”

Obit watch: August 26, 2020.

Wednesday, August 26th, 2020

For the historical record: Gail “Passages” Sheehy.

Justin Townes Earle, singer, songwriter, and son of Steve Earle. He was only 38.

Norman Carlson. He ran the Federal Bureau of Prisons from 1970 to 1987.

Starting in the early 1980s, government policies like the war on drugs and mandatory minimum sentencing had led to mass incarceration, swelling inmate populations in both state and federal systems. Aiming to ease the stress on penitentiary inmates and staff, Mr. Carlson favored building more prisons; during his tenure, he created 20 new facilities, nearly doubling the existing number.
And in Marion, Ill., he established a tough new system of solitary confinement that became the model on which future supermax penitentiaries were based. These included the United States Penitentiary Administrative Maximum Facility in Florence, Colo., known as the ADX; it is the toughest prison in the federal system, housing those who have been labeled the “worst of the worst.”

Mr. Carlson was credited with professionalizing the Bureau of Prisons. He disciplined officers who beat inmates, setting a policy of zero tolerance for prisoner abuse. Guards were to call themselves corrections officers, and assistant wardens were to wear suits and ties. He often ate with prisoners and brought along his wife and children, to show that prison food was good enough for his own family.
And he was a stickler for cleanliness.
“Mr. Carlson viewed a dirty prison as a sign of poor management; consequently floors were highly polished and walls kept painted,” Mr. Earley wrote. He said that one warden was so eager to please the director that when the snow outside had turned muddy and brown, the warden had his staff sprinkle flour on it to make it look whiter before Mr. Carlson arrived.

“We have to divorce ourselves from the notion that we can change human behavior, that we have the power to change inmates,” Mr. Carlson told Mr. Earley. “We don’t. All we can do is provide opportunities for inmates who want to change.”

(Pete Earley’s The Hot House is a swell book about Leavenworth specifically, and to some extent about the Federal prison system in general. I enthusiastically recommend it if you’re interested in prisons or criminal justice issues.)

“What you gonna do when you get out of jail?…” part 145

Saturday, August 22nd, 2020

This is another one of those days when I don’t have a real theme, so I hope you enjoy some things that amused me.

First up: Salvador Dali appears on “What’s My Line?” You’ve got to like the way he signs in.

Bonus: Orson Welles talks about Ernest Hemingway. That story about Welles and Hemingway attempting to trade punches and ultimately opening a bottle and toasting each other is also recounted in a neat little book, To Have and Have Another, about Hemingway and Hemingway’s cocktails. (Affiliate link.)

Last one, because this is a little longer.

“A Conversation with Igor Stravinsky” from 1957.

Airing on NBC from 1957 to 1965, the Wisdom series featured interviews with luminaries in science, the arts, and politics. These interviews were often conducted by a journalist or colleague well-known to the guest and usually took place in familiar surroundings such as the subject’s home or workplace. While each program forms a picturesque snapshot of the cultural conventions of the day, it frequently transcends its mid-20th-century broadcast style as it presents challenging and in-depth perspectives from a great mind. Guests include Igor Stravinsky, Robert Frost, Somerset Maugham, Eamon de Valera, Alfred P. Sloan, Robert Moses, Edward Steichen, Margaret Mead, Frank Lloyd Wright, Pearl Buck, Eleanor Roosevelt, Marcel Duchamp, Arnold Toynbee, and Carl Sandburg. 14-part series, 29 minutes each.

Obit watch: August 18, 2020.

Tuesday, August 18th, 2020

Great and good FotB Borepatch was kind enough to send over an obit for Don Williams. But I’m seeing other reports that Mr. Williams actually passed away almost three years ago, and I’m having trouble sorting out what’s what. I’m going to argue, though, that good music is timeless.

Speaking of good music: Julian Bream.

And not speaking of music at all: Charles Wetli. He was a forensic pathologist and medical examiner, first in Dade County, Florida, then as the chief medical examiner of Suffolk County, Long Island.

He’d been at that job for 18 months when TWA 800 happened. He took a lot of flack for some of his decisions:

When the bodies were not immediately recovered and identified, family members directed their fury at Dr. Wetli. They worried that swift action regarding their loved ones had become secondary to the retrieval of forensic evidence for a criminal investigation.
Beyond that, families and politicians accused him of making blunders that only compounded their grief — he did not immediately work around the clock, he initially refused the help of pathologists from other jurisdictions and he did not allow most family members to see what remained of their loved ones.

But the obit points out that a lot of those decisions were defensible: there was no point in doing autopsies around the clock if they didn’t have fingerprints or dental records, which it took time to get from the families. And he didn’t ask for help initially because he wanted to make sure he had a good process in place with his own people before bringing in others.

“There’s no point having everybody show up and wait around doing nothing or giving advice I don’t need,” he told The New York Times in 1996. “I don’t need 30 dentists at 8 o’clock in the morning.”

And as for letting family see the remains…

The explosion and a plunge of 13,800 feet into a wall of water had sheared the skin, clothes and limbs from many passengers, making them more difficult to identify — and more disfigured — than most bodies that end up in a morgue. He did not want families to see the gruesome remains.

In spite of all this:

Christine Negroni, a CNN journalist who covered the crash and was the author of “The Deadly Departure of Flight 800” (2000), wrote in a recent tribute: “Dr. Wetli should be remembered as a pioneering forensic physician who assembled an array of dentists, X-ray technicians, pathologists and tiny samples of DNA to put a name on every bit of human remains recovered.”