8.29.2018

new york, bruce springsteen, and other things i love

We are here! Staying here. Going to this!  Also here, scene of many past celebrations.

Ah, New York. And Bruce!!

That is all.

8.06.2018

mlb.tv, roku, and appletv: why is this so difficult?

If you're an app developer for MLB, or if you're with Roku or AppleTV, skip down to the final paragraphs!

Because Allan and I follow an out-of-town baseball team, we subscribe to MLB.TV, and have done so for ages. As much as I dislike pay-per-TV services, being able to watch any baseball game at any time, with either the home or away feed, is amazing.

Once we were able to do this by streaming, as opposed to through cable, the price went down and the quality went up. I've blogged many times about the wonder of the Roku streaming device, and how it solved so many issues for watching baseball, TV series, and movies.

Last year, I learned that the Canadian streaming service CraveTV offers lots of Showtime and HBO content. Thanks to exclusive licensing deals, Crave is not available on Roku; it only streams on AppleTV. (You can watch on a computer or mobile device, but we don't like that.) So in order to get the additional Showtime and HBO content, we bought an AppleTV device.

Lo and behold, AppleTV is now way better than Roku! When Roku first came out, it was widely agreed that it was the best streaming device on the market. Now fourth-generation AppleTV blows Roku away. The streaming quality is much better, the interface is easier, and it offers more premium content.

Here's where baseball comes in. MLB.TV on Roku lets users choose separate video and audio feeds. For many reasons, I prefer the NESN (Red Sox) TV feed with audio from the local Red Sox radio on WEEI. Roku lets you do this, and it syncs. (In the olden days, I would watch baseball on TV with the sound on mute, and keep the game on the radio. This was my preferred way to enjoy baseball, but the audio and video were completely out of sync.) So Roku did away with all that, and we've been in baseball heaven.

But now, with the 2018 season, the Roku MLB app is a total shambles. It stutters, freezes, and crashes constantly. We could barely make it through a half-inning without frustrating stops, starts, and reboots. And the definition is awful. It's like we're streaming some analog feed with a dial-up modem.

On AppleTV, MLB streams beautifully and in good-quality hi-def. However, the MLB app on AppleTV does not let you choose separate video and audio feeds. We can watch NESN with the NESN announcers, or listen to WEEI with no video at all, but we can't mix-and-match feeds.

Roku: Please fix your MLB.TV app!

AppleTV: Please get your MLB.TV app to have this capability!

MLB.TV: Please get your developers on this!

google does it again: recent blogger updates are not user-friendly

Once again, Google has reduced the ease and functionality of Blogger.

A while back, the layout of the Blogger dashboard changed. I used to be able to see an overview of all my blogs plus my "following" list on one dashboard page. I found this very useful, and I imagine that other users who also moderate more than one blog would have agreed. Now I can no longer check for and moderate comments on all blogs at the same time, and I no longer have one-stop-shopping for which blogs on my list have updated.

For comments, I have to check each blog separately, necessitating many more clicks.

For blogs I read, I had to subscribe to email updates, on blogs that offer this function. Not everyone does. (I don't like using feeds; I prefer to visit blogs and websites on their native platforms.)

Next, Google discontinued the option to have comments on your own blog emailed to you. So, for example, if Allan put a bunch of comments through on wmtc, those comments would be emailed to me.

I'm talking about this, found in Settings > email, which tells you when a comment has posted --


 -- not this, found in Settings > posts, comments, and sharing, which emails you when a comment is waiting to be moderated:


Now to check for new comments, I now have to go to Comments > published. I have to remember to do this for each blog in order to see what comments may have posted. Not very convenient.

Google also discontinued the option for any user with any ID to comment. Previously, the choices were Anyone (including anonymous), Any ID (Google, Yahoo, Hotmail, etc.), or Only Members of this Blog. This has changed to Anyone (including anonymous), User [sic] with Google ID, or Only Members of this Blog.


When "Any ID" disappeared, I didn't want to exclude readers who might not have a Google ID. As a result, I've been deleting about 20-30 spam comments every day. It's become so annoying that I've changed commenting to anyone with a Google ID. I wanted to be more inclusive, but Blogger and spammers have conspired against that.

It's been months, and I'm frustrated. 

8.01.2018

listening to joni: #6: court and spark

Court and Spark, 1974

Writing about the music of Joni Mitchell has been a huge challenge. My love of music and my writing abilities seem to live in separate spheres: I write with my brain, but I listen with my heart. If writing about Joni's music has been challenging, writing about Court and Spark feels impossible. The love and connection I feel for this music is impossible to put into words. So with that disclaimer, I will now attempt the impossible.

Court and Spark is many Joni fans' favourite album. I mentioned that fans over a certain age seem to choose Blue; fans under that age, those younger than the boomer generation, seem to gravitate towards Court and Spark.

Listening to this music in retrospect, you can follow the very clear musical progression from Blue to For the Roses to Court and Spark. But in its day, no one could have been prepared for this masterpiece.

On Court and Spark, Joni more fully realizes many threads that emerged on previous albums. The music itself is richer, more layered, more polyphonic than Joni has written before. Woodwinds, strings, brass, percussion, and vocal harmonies are all a major part of this album, often taking centre-stage. The lyrics are at once some of the most poetic Joni has written, but also among the most accessible, with some of her familiar themes elegantly fleshed out.

Inside Cover; the back is solid tan with music credits
Something unusual on this album is Joni's use of instrumental breaks to continue the story she's telling. The best example is on the album's centrepiece, "Down to You".

The first part of the song paints an image of depression. The subject of the song is lonely, alienated:
Things that you held high and told yourself were true
Lost or changing as the days come down to you.
She (I think "she", but it doesn't have to be) seeks solace in a one-night stand. Then,
In the morning there are lovers in the street
They look so high
You brush against a stranger
And you both apologize
You brush against a stranger and you both apologize: is there a more perfect image of loneliness and alienation?
Old friends seem indifferent
You must have brought that on
Old bonds have broken down
Love is gone
Love is gone
Written on your spirit
this sad song
Love is Gone
After the spiritual-sounding repetition of that line, there is a musical break. It starts out with slow, deep, somber notes, but the tempo picks up, the waves of strings give way to pizzicato, the piano shines through -- the dark bass notes give way to a more lighthearted treble -- and piano chords become triumphant. We have survived the dark night. Then at last the woodwinds signal: a new day has dawned. There's an oboe trill that completely takes me apart, every time I hear it.

When the long instrumental break ends, we look around to discover we're in a totally different place -- one of acceptance, affirmation, maybe even transcendence. When the lyrics return, they celebrate that life is always changing -- that life is change -- and that we all hold all of human potential in our hearts.
Everything comes and goes
Pleasure moves on too early
And trouble leaves too slow
Just when you're thinking
You've finally got it made
Bad news comes knocking
At your garden gate
Knocking for you
Constant stranger
You're a brute you're an angel
You can crawl you can fly too
I can't imagine how many times I've listened to this song, yet as time goes by, it only means more to me.

Court and Spark is full of so many moments like this. Writing this post, I saw that on the cover of my original LP, in the lyrics to "People's Parties," two lines are underlined in blue pen.
I feel like I'm sleeping
Can you wake me
This is probably the only lyric underlined on an album cover in my entire collection. (I didn`t realize it was there until I wrote this post.) The girl with that blue pen was struggling with depression, and the continuing effects of an abusive upbringing, and the beginnings of her own liberation. I was waiting to wake up to myself. I related to the girl in the song:
One minute she's so happy
Then she's crying on someone's knee
Saying laughing and crying
You know it's the same release
There is much internal conflict in the lyrics of Court and Spark. The "art vs. commerce" conflict, this time round, is not hers, but someone else's -- in "Free Man in Paris," famously about Joni's close friend, the producer David Geffen. Poor Geffen was so deeply closeted, that he reportedly begged Joni not to release the song, feeling that it outed him as gay. There's really nothing in the lyrics that imply anything about sexual orientation. Geffen's fear speaks to the paranoia that comes with a life in hiding.

The other conflict, presumably Joni's, in Court and Spark, is career vs. love. From "The Same Situation":
Still I sent up my prayer
Wondering who was there to hear
I said Send me somebody
Who's strong and somewhat sincere
With the millions of the lost and lonely ones
I called out to be released
Caught in my struggle for higher achievements
And my search for love
That don't seem to cease
Joni hits us with this right up front, in the title track. Love has "come to my door" -- this love understood her so well, that "it seemed like he read my mind, he saw me mistrusting him and still acting kind" -- but she couldn't leave her life and her career in California.

Bad critic comment of the album

On JoniMitchell.com (an amazing resource), I found some joker from the Oakland Tribune who clearly wasn't up to the assignment. In his opening paragraph, he accuses Joni of "tiptoeing in and out of love just enough to gather some material together for a new song." He writes that "Free Man in Paris" "infers" (by which he means implies) "that business responsibilities leave her cold" and in another song, "seems to be acknowledging the fact she may end up an old maid". All I can say is I'm glad my first juvenile attempts at writing aren't preserved on the internet.

For serious criticism, though, Court and Spark appears to have been universally acclaimed. But don't worry, the "bad critic comment" section will soon be very useful.

The album cover

Joni's Japanese-inspired drawing combines mountains, water, and an abstract wave that is also a lover's comforting embrace. Against a tan background, the title and artist's name embossed in Joni's own handwriting, it's understated and elegant. Inside, an abstracted photograph of Joni, eyes closed in what seems like musical bliss.

Cacti or stockings?

The most famous song on this album, Joni's "biggest hit" -- a strange concept to apply to this music -- was always my least favourite. But "Help Me" contains an iconic Joni image: "the lady with the hole in her stocking", who has by now become the Joni's stand-in, the lyric-persona Joni.

On "Just Like This Train," that lady with the hole in her stocking looks out the window at the "rocks and these cactus going by".

You know, even that hole in the stocking is a conflict. She wears stockings -- "a refinement" ("Ludwig's Tune") -- but she's also a bit unkempt, or more likely defiant, refusing to wear the proper clothes. Part of the glitz and the glamour, but apart from it, too.

Other musicians on this album

This is the first album for which Joni takes producing credit, knocking Henry Lewy down to "sound engineer". Lewy felt he had been her producer. Joni felt she has always been the producer, with Lewy merely a technician.

Drums and percussion, John Guerin
Bass, Max Bennett, Jim Hughart, Wilton Felder
Chimes, Milt Holland
Woodwinds & reeds, Tom Scott
Trumpet, Chuck Findley
Electric Piano, Joe Sample
Background voices, David Crosby, Graham Nash, Susan Webb, Cheech and Chong
Electric Guitar, Larry Carlton, with Wayne Perkins, Dennis Budimir, Robbie Robertson, Jose Feliciano
Joni: piano, clavinet, and background vocals
String arrangements by either Tom Scott, Joni, or both. The string musicians themselves are anonymous.