music Personal Warren's music: Antigravity String Band musical history
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From the Vault: The Antigravity String Band, 1981
Around 1980, I worked out the fingering for a guitar arrangement of multiple parts of the Agbekor drum rhythms which I’d been studying with David Locke. The arrangement I came up with had the Totodzi part in the thumb, the Kagan part in the index finger, and the Gankogui (bell) part in the middle and ring fingers. I messed around with it for a while as a way of internalizing the relationship of the three parts, but never found a chordal structure that seemed satisfactory.
Then one day I was fiddling around with a DADF#AD open tuning, and discovered that the I-IV-I-V progression that manifested so often in group arrangements of Shona music (like Dumisani Maraire’s marimba ensembles) fell naturally under the fingers.
There were some other people in the Agbekor ensemble at the time who played stringed instruments, including Dee Wood (known at the time as “Dogwood”), my brother Stefan, Michelle Kisliuk and Anne Goodwin, and we began experimenting together with multi-instrument versions of the piece. I shifted to bass, and it started to turn into something delightful. Soon after that, we added the fiddle playing of Eddie Parente (known at the time as “Skip”), and we did a few concerts together, presenting our version of the Agbekor rhythms/Shona harmony along with some other pieces we threw together. Skip was a wonderful violinist who brought a beautiful sound to the group, and I was sorry to see him move on after a few months; he got offered a fabulous gig with a major Irish band and would have been a fool not to take it.
Here are a few recordings from our first concert, in May of 1981 at Studio Red Top in downtown Boston. We put together a 45-minute set that included two “Shona-ized” Ghanaian dance rhythms, Dee Wood’s nice arrangement of Abdullah Ibrahim’s piano piece “Tokai,” an Afghani melody called “Lover’s Desire” that I learned from an old lp by the Human Arts Ensemble, and my original composition “Night Melody.” The audience loved us. Loooooved us. That was rare for me; most of my performance ensembles were greeted with desultory applause and phrases like, “Gee, Warren, that was interesting.”
But I digress.
We led off with “Lover’s Desire.” I had threaded paper through the strings of my bass to give a buzzing sound.
The African adaptation that started it all, which we called “Shona Agbekor.” In rehearsal we would sometimes play this for an hour without stopping. Fun.
My original composition “Night Melody.” The scale is that of raga Malkauns, but the ensemble organization was inspired by recordings of Sundanese music which I’d been enjoying.
Abdullah Ibrahim’s “Tokai,” in Dee Wood’s beautiful arrangement — like a chorus of stringed instruments.
“Gahu” was the other African theme we developed…a real dance-party piece.
The band went through some personnel changes in the months after this concert, but continued to gig regularly for the next several years. I’ll be posting more of those recordings in the weeks to come.
Enjoy.
Education Personal: assessment epistemology learning teaching
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Things I Learned In School, Pt. II
More thoughts on things I learned about teaching and learning…from teachers.
High School:
As a student in a public high school in Sudbury, Massachusetts, I had some friends who were officially my teachers; we talked about life, learning, politics, culture…and if they had to give me a C or a D in class, I really didn’t care. It was obviously a game we all had to play for the benefit of…who?
There was one history teacher, Mr. M_______, who taught a single course: a comprehensive year-long survey of Russian history. A classroom virtuoso, his teaching was part lecture, part dance, part abstract painting (his hyperkinetic scribbling on the chalkboard served as an outlet for an incessant need to move), part arts and crafts. He conceived Russian History not as a body-of-material-to-be-mastered, but as a medium through which students found out about the world and about themselves. At the time I took his course, which was open only to juniors and seniors, he was employing a very unusual grading method:
“In this class,” he said on the first day, “you are granted the symbol A. Depending on your contributions and participation, you will either receive a Large A, for ‘amazing,’ or a small a, for ‘awful.’ In either case you will have the symbol A. I do not want any of you doing work in the class because you crave a symbol. I want you doing the work because you genuinely want to do the work.”
It was a wonderful course. And what I took away from it was a general gestalt understanding of the sweep of Russian history…and a huge practical insight about what effective teaching could and should be. It didn’t matter that in the first semester I got an A and in the second an a. That, if anything, served to reinforce my growing awareness that the grades I got had nothing at all to do with what I learned.
Lesson: The System may require grades, but there are many ways to skin a cat.
From my freshman year in high school, I knew that I wanted to be on the school newspaper. I joined the staff and began writing and participating in the marathon layout sessions. It was my ambition to be the editor of the paper in my senior year; I felt this strongly enough that when my parents got one-year faculty appointments in Toronto for the duration of my junior year, I argued that I had to stay behind, or I would lose my place in the queue. I lived with my grandmother that year, and I kept my place (as “Associate Editor”); when my senior year began, I was the Editor, and I did a hell of a job, if I do say so myself. The paper had a Faculty Adviser, who stayed out of our way and signed forms as required. He was responsible for giving us all grades; everyone got an A. The grade was required by the system, but it was irrelevant to my motivation, which was purely that I wanted to edit the newspaper.
Lesson: You can get a good grade for doing a good job, and it still doesn’t necessarily mean anything.
Education Personal: assessment learning music learning teaching
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A Few Lessons In Learning From Forty Years Ago
Elementary School:
Even when I was a kid, it was apparent to me that the grades I got in school didn’t really say much about what I was learning. It was also apparent that the grades kids got were irrelevant to who they were as people. My mother told me that when I got my first report card, she admired my grades and asked about how I stood in comparison with the other kids — whereupon I responded, more or less, “Why should I care about them?”
Lesson: Sometimes people use grades to compare your work to a standard metric; sometimes people use grades to compare your work to that of your peers.
Junior High School (aka Middle School): Two lessons from a bad teacher; one lesson from a good teacher.
6th grade English class. Free reading. I take out my copy of Martin Gardner’s “Annotated Alice” (loaded with footnotes explaining the math problems Dodgson/Carrol was referencing, the political humor embedded in the Mad Hatter’s Tea Party, and the chess game that continues throughout the entire “Looking Glass,” among other things). Mrs. P___ comes around, asks, “What are you reading?” I hold up my book. She looks astonished, and says, “That’s for little kids!”
Lesson: Just because they’re teachers doesn’t mean they know what they’re talking about.
8th grade English class; it’s Mrs. P___ again. I loathe her. My grades are slipping, because I cannot bring myself to do any work for that woman. My mother very wisely hears my complaints, and then says, “If Mrs. P___ is so stupid, why should you let her make you stupid, too?” I start doing all the classwork very assiduously, and begin getting good grades again. Every A on every paper is the result of me angrily refusing to let my teacher make me stupid; every completed assignment is a secret “f**k you, Mrs. P___.”
Lesson: Good grades don’t mean what other people may think they mean.
8th grade Music. An elective class, it’s billed as “Music Listening.” The teacher is the new, young, long-haired & bearded Mr. M___. The first day of class, he tells us that we’ll be listening to different kinds of classical music and learning what makes it tick. The students protest that they don’t want to listen to classical music (I don’t say anything; I’m sitting in the back row). Mr. M___ asks, “What do you want to listen to?” The answer comes back, “We want to listen to rock!” Mr. M___ says, “Okay.”
That moment is etched in my memory. It was the first time I ever saw a teacher voluntarily and enthusiastically transform an entire curriculum plan on the spur of the moment, in response to the needs of the students.
It turned out that Mr. M___ knew the history and development of rock and popular music backwards and forwards: over the semester we did an exhaustive cultural and historical survey of American music, with recordings of blues, rockabilly and all the precursors of the rock music we were hearing every day….and, of course, the rock music we were hearing every day.
It was that class that introduced me to Frank Zappa and the Mothers of Invention, changing my life forever (I vividly remember sitting in class listening to “Who Are The Brain Police?” and being utterly amazed that music like this was possible. “Freak Out” was one of the first three LPs I bought with the money I earned doing chores. I still have it, by the way.). I have no idea what grade I got at the end, because it really didn’t matter in the least. It was an incredible class, and it made me absolutely certain that whatever I did in my life, I wanted to do it in music. And the most important part of it was that it was obviously designed on the spur of the moment, in response to the stated needs of the students.
Lesson: Good teachers listen to their students. Good teachers are prepared for change, and welcome it. Good teachers know their subject(s). If a learning experience is genuine, the grade received is largely irrelevant.
environment Gardening Personal: DIY Gardening sustainability vegetables
by Warren
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My Big Fat Garden Project
It’s Independence Day! And I’m just going to brag on my garden a little.
Our little household will never be able to get off the food grid entirely (can’t grow rice in the Boston suburbs! No room for the spaghetti trees!) but we’ve been getting better at it every year.
Let me describe our layout. We live on the side of a hill. 47 steps lead from street level to our front door. When we bought the house, the front yard was a very steep slope, covered with weeds and debris. There is a garage at street level, inset into the hill. When we bought the house, the garage had a peaked roof in wretched condition.
I started a garden four years ago. It took a lot of work. The weeds and debris had to go — and individual planting beds had to be made out of rock, rubble, and concrete. I mastered the technique of building a leaky stone structure (dig shallow ditch & fill with gravel; plop rocks and rubble on top of gravel; slap concrete on top of rocks and rubble; allow to dry; add more rocks and rubble; add more concrete; repeat until you’re at the height you want, then add soil) and at this point have fifteen or sixteen fully operational planting beds in my front yard.
My front yard during the off-season. Note the drip-irrigation hoses.
humor Personal Politics: Richard Nixon
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A Message From Tricky Dick
As far as I can figure out, my maternal grandparents must have written to Nixon, telling him they supported the war. He sent back this postcard, which they kept. At some point it fell into my hands, whereupon it disappeared for decades. A recent digitization push has brought it to light again…and now it’s readily available on the Intertubes.
Education environment India Indian music music Personal Warren's music: copyright intellectual property open mics songs
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You Can’t Steal A Gift!
My ongoing exploration of alternative ways of thinking about our economic paradigm has given me a new set of lenses to use when I look at the things I already do.
I’m a musician; it’s how I make my living.
Recently a colleague linked to a story in the Boston Globe:
Across New England, church coffeehouses, library cafes, and eateries that pass the hat to pay local musicians or open their doors to casual jam sessions are experiencing a crackdown by performance rights organizations, or PROs, which collect royalties for songwriters.
His FB comment described them as: People trying to get something for nothing and then whining when they are thwarted.
Sympathetic though I am to the needs of working professionals, his words nevertheless didn’t set well with me. This post is my attempt at resolving that dissonance.
I’m a musician. It’s how I make my living — but it’s also how I make my life.
Tired.
I was at a conference all day today. Rode my bike into Cambridge from my house, did the conference from 8:15 to about 5:15, then rode home…and got caught in a torrential rainstorm on the way. Monsoon-type rain; by the time I got home I was soaked to the skin. At least it was warm.
Enough time for dinner, then two hours of teaching.
Normally I’d be writing tomorrow’s letter now…but I’m gonna hang it up in about 30 seconds and go to bed. I’ll write tomorrow’s letter tomorrow. That’s what tomorrow is for.
Personal: New York Times
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Ta-Daaah!
The second time so far this year.
Education environment Personal: consumerism parenting
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On Consumerism and Daddying
I am alone.
My wife and daughter are in India, dealing with the recent passing of my father-in-law. The past two weeks have been hysterical; as the stay-at-home-and-work component of our marital pair, I’ve been responsible for organizing tickets, organizing passport renewals (thanks to Ed Markey’s office for their support!) and emergency visa authorizations. And, because I have massive amounts of work (including a Very Important Concert), I couldn’t go with them.
I am, instead, trying to clean and straighten the house, so that when they return in mid-summer there is order instead of uproar. Which means that I’m currently dealing with a problematic epiphenomenon of 21st-Century American Childhood. To wit, a serious stuffed toy problem.
My daughter is five, and I think her teddy-bear count is somewhere in the low thirties, with stuffed penguins running close behind. How in Sam Hill did this happen?
Education Personal Warren's music: Brother Blue genius memorial storytelling
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Remembering The Greatest Storyteller in the World
Today was the memorial service for The Greatest Storyteller in the World. Hundreds of storytellers, musicians, dancers, artists, poets, professors, politicians and just plain folk gathered at Boston’s Cathedral of Saint Paul to celebrate the life and times of Brother Blue — The Greatest.
Brother Blue, aka Hugh Morgan Hill, died peacefully at home on November 3, 2009 at the age of 88. An internationally renowned storyteller, mentor to hundreds, inspiration to thousands…Brother Blue’s life exemplified his passionate belief that telling and listening to stories changes the world. His stories have changed the worlds of everyone who heard him.
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Brother Blue — Dr. Hugh Morgan Hill.
I was part of the memorial, held in Boston’s Cathedral of Saint Paul. I drove in with my tamboura and got stuck in traffic, but I was unable to curse my fate, for I was going to sing for Brother Blue, a man whose personal clock moved on mythic time.