ghost of miles

I'd forgotten about Schmidt's "hardest-hit single," an anecdote that I remember hearing or reading about at some point as a kid in the media mists of the pre-Internet 1970s. Wynn, Schmidt, Cedeno, so many names I haven't thought about in years, but I sure remember them from box scores, baseball cards, NBC's "Game of the Week," and Strat-O-Mat baseball. In current-day news, Shohei Otani's going to be posted this winter: Nippon Ham Fighters will post Shohei Otani Texas has the most remaining international pool bonus money to potentially sign him, followed by the Yankees.

I remember that book as well! Wasn't there a football equivalent too? It included a story about a college player sitting on the bench who came off the sidelines to tackle an opponent who was on his way to scoring a touchdown? EDIT: found it, and said story is depicted on the cover. This book was well-thumbed by my brothers and me! Can't remember if we also had the baseball one or not.

Just finished The Sopranos, now on to this--inspired partly by the David Chase connection, and by my memory of how much my parents enjoyed this show when I was a kid:

Wow, had never heard that story, but yeah, sounds like Rader evidently had some issues. I just remember him still being around when I first started following baseball as a kid--my memory being that he was a good fielder and occasionally could hit for power, but his primary value was his glove.

Me, I miss old-fashioned newspaper box-scores... truly! Doug Rader had himself a hell of a day!

Please, please, no, can't I be the DARK Knight? No white knight am I, just trying to follow the same path of evolution to which Jsngry alludes. Although I do have insecurities, y'know, that maybe the Creator was more generous to his "mangina" than mine?

Just finished The Bronx Is Burning: 1977, Baseball, Politics, and the Battle for the Soul of a City, which is not exclusively a baseball book, but which put me in mind of this topic.. .that and there being no games to follow in the evening anymore. Here are a few more titles that I've either picked up or have had my interest piqued by: Crack Of The Bat: A History Of Baseball On The Radio Negro League Baseball: The Rise And Ruin Of A Black Institution (reminds me, anyone seen Joe Milazzo lately? EDIT: looks like he's resurfaced recently after not posting for much of 2017?) October 1964 (David Halberstam) The Game Must Go On: Hank Greenberg, Pete Gray, and the Great Days of Baseball on the Home Front in WWII The Last Innocents: The Collision Of The Turbulent Sixties and the Los Angeles Dodgers Dynastic, Bombastic, Fantastic: Reggie, Rollie, Catfish, and Charlie Finley's Swingin' A's ...only 95 days till Pitchers and Catchers!

Thanks so much for this tip--I Xeroxed the relevant pages from the reference copy of Dixonia over at the Music Library, and it is indeed useful. Amazing book! Ben Young strikes again. Dan Morgenstern's review of the festival actually runs side-by-side with one from Martin Williams. Of the two I'd say Williams' is more unabashedly enthusiastic, while Morgenstern generally offers praise but tempered with a bit of caution about where these musical directions could lead. Granted, any perusal of DownBeats from late 1963 and throughout 1964 reinforces the notion that the "New Thing" wasn't new to those on the NYC jazz scene in late 1964. The absence of Ornette Coleman is also noted by writers from time to time when you glance through the issues from that period.

Sure, and let's remember the Maine while we're at it. Stalin murdered millions of people, not Walter Duranty, and you yourself pointed out that 80 years later the Times has a mea culpa on its website about Duranty's reporting. (Btw, how do you feel about Breitbart, Fox, and other media outlets that are "enabling" the current Putin regime in Russia--one that assassinates journalists, I might add--or the American president who has benefited so much from the assistance of said murderous authoritarian thugs? That's happening right NOW, not 80 years ago.) And I brought up Judith Miller and the WMD reporting because that's a critique from the left, not the right, of erroneous journalism. But who do we hold accountable for the Iraq debacle? Judith Miller, or the Bush administration, which so actively pushed U.S. intelligence agencies to exaggerate and willfully misrepresent the potential presence of WMDs in Iraq? Sorry, that's not on the NY Times, that's on the U.S. government. I assume you just as roundly condemn all of the rightwing media outlets that so eagerly egged on that invasion, btw, with overblown war-fever "reporting"? And of course the administration that orchestrated the invasion, correct? Re Osby, he needs to take responsibility for saying what he said. Notice how there's been next to no discussion of the two other faculty members named in the article? Whatever nasty or wrongheaded things they may or may not have done, they didn't then make beyond-the-pale remarks to the Globe denigrating the accuser on the basis of her looks and using a term that makes women sound like prey. That's on Osby. The Globe reported what it did because he's one of the three former Berklee faculty members who's been accused of some form of sexual misconduct. First it's that they're out to get Osby, then it's they just roll over him because he's insignificant? Or is it simply that he's part of the story and said some really stupid and insensitive things in response?

Don't have it, but will check it out, thanks!

Yes, although I never had any intention of wading so deep into this--my comment that nobody should be surprised by the Berklee story, given that these reports and allegations are coming from every spectrum of American culture, a comment that seems pretty reasonable and level-headed to me--evidently "triggered" (can't resist using that term here) BBR. Osby's quotes bummed me out, because I've always liked the guy's music (though I'm more of a Coleman guy myself, a la Jsngry) and in fact had recently revived a thread about him in the artist forum. There's a wider discussion to be had, perhaps, about where the point arrives when an artist's personal attitudes or behavior begin to preclude a listener, reader, or viewer's enjoyment of that artist's work. It's a question for media organizations, too, albeit motivated by more of a commercial factor; most TV stations don't rerun The Cosby Show now because of the numerous reports of sexual-misconduct allegations against Bill Cosby. You know, I think Scientology's a crock of crap and that the organization itself has done some downright malevolent things, but I still enjoy listening to Chick Corea. Miles Davis sure didn't have an admirable track record in many ways when it came to women, but I still listen to his records. I'll still listen to Greg Osby's records, though I think he made some really pig-headed remarks that traffic in some sexist tropes. My point again is simply that it's hardly astonishing that sexual harassment appears to have been an issue at Berklee as well. Given some of what I've seen on Facebook in the past two or three days since this article was published, don't be surprised either if similar accounts from the jazz world surface in the future. It ain't a jazz thing, it's a (hu)man thing.

The AJC, NY Post, CNN and others did not "fabricate" stories about Richard Jewell. The FBI initiated that fiasco by treating him as a suspect--the media initially reported him as a hero for discovering the planted pipe bomb. Should we henceforth treat law enforcement as "the world's second-oldest profession," a bunch of contemptible gadabouts who don't care one whit about humanity and only want to bust a suspect ASAP? Yes, it's terrible that Jewell went through what he did, and yes, some media organizations may have been too quick to run with the FBI's suspicions. Guess what? Jewell sued all of them and they all settled with him. (Richard Jewell) Rolling Stone bought into "Jackie's" account with yes, professionally criminal neglect and perhaps even some of the willful recklessness or malice that you allege. They were thoroughly castigated by the Columbia University School of Journalism and other media watchdogs. They have also faced legal action from some of the injured parties in the case. The Duke Lacrosse case? Media, specifically the News & Observer and the Duke student newspaper, actually played a part in questioning the ultimate credibility of the accuser's story. (But while you're at it, check out a Duke lacrosse player's e-mail from the night in question. I cite that not as evidence of what happened that night, but as evidence of the rampant all-in-a-night's-play misogyny that some seem to think ain't no big deal or doesn't even exist.) The prosecutor in that case was disbarred. The three athletes who were arrested filed lawsuits and received significant financial settlements. You are cherrypicking some high-profile aberrations to condemn media in general and neglecting to mention that there were significant repercussions for the media outlets and other institutions involved in said aberrations. The best journalistic organizations trade in credibility, and any mistakes that are made, whether they arise from sloppiness or any sort of agenda, are made on a big stage where they can ultimately be held to account. Now, how about the innumerable women in every walk of life whose lives have been permanently harmed or even destroyed by sexual assault, and who have been made to feel demonized for ever trying to hold their attackers to account? How we change that culture is a topic suited for another, non-jazz-related forum, I suppose, but grinding an ax against a free and independent media is also best-suited for another forum.

I haven't read Morgenstern's contemporaneous account of the festival, but I'll report back once I do and try to scan a copy for this thread. (Btw the piece does not appear to be included in Living With Jazz.) Yes, I was thinking about using them as well! I've thought about devoting an entire program to the October Revolution and may still do so at some point, in which case Tchicai/New York Art Quintet, Dixon, Bley, and others would all be included. I'll also probably do an episode devoted solely to Blue Note recordings from 1964, which produced so many excellent albums. This show will be more along the broader lines of previous The Year In Jazz Night Light shows.

You're starting to sound borderline -misogynistic, dude. Not sure why you're so insistent on personalizing this debate, and you have no clue at all about me--nor, evidently, about what many women have to deal with in this culture. "IMHO" equals "In My Horse#*%@ Opinion," I can tell you that much regarding your statement above. Not sure what the issue would be with no-fault divorce laws either, unless one is of the opinion that women become the property of the men they marry. (Encoded in the patriarchal tradition of the woman taking the man's last name... One of those widely-accepted commonplaces that upon closer examination merits a genuine WTF?) "Attention whores?" On behalf of only the many women I know who posted "Me too" after suffering in silence to various degrees for many years, go back to your cave.

I might also use something from the Paul Bley Quintet's Barrage, which was recorded just a couple of weeks after the October Revolution in Jazz series.

I'm working on a Night Lights show about 1964 and looking for something to represent the October Revolution in Jazz. Have any recordings of performances from the four-day series ever surfaced? I have yet to come across any, and right now I'm leaning towards using something from Bill Dixon's Savoy session recorded earlier in the year. (Also planning on using an Ayler/Cherry track at some point in the show, even though they did not participate in the Cellar Cafe concerts... I think they were in Europe at the time?) The Jazz Composers Guild recorded Communication about half a year later, it appears, although one track was made at the very end of December 1964. Here's an ad that lists the performers for the series (I also came across Dan Morgenstern's contemporary review for Downbeat):

Yep, I'm a man and I'm a feminist--not contradictory at all, if one applies "a little more critical thinking skills." Blame Alan Alda, who hopelessly corrupted me when I was a child into believing that masculine identity and a belief in gender equality were not somehow diametrically opposed or dangerously oblivious to the "war-between-the-sexes" paradigm to which you seem to subscribe, or that being a feminist somehow undermined a man's sense of strength and confidence. (Also, more power to Awful Terrible Really Really Bad third-wave feminism.) "The govt giving women power to cry sexual assault at a whim without proof?" What? People can and do get in legal trouble for false rape accusations, which constitute a very small percentage of rape and sexual harassment accusations in general. Or maybe the dozens and dozens of "me too" posts I saw in my Facebook feed recently were all imaginary, or vicious anti-man fabrications. Oh, and fuck ANY dynamic wherein a dominant class of people--white men in the case of America and European countries--benefit from and maintain power at the expense of those who don't share their race and gender. And fuck any dynamic wherein one's sense of strength comes only from dominating somebody else on the basis of gender and/or race.

Louis C.K. as well: Louis CK accused of sexual misconduct Another "open secret" story, evidently.

I'm a permament-wave feminist, and I've heard way too many stories from women friends, lovers, and relatives about this kind of behavior. Yes, it is endemic to the culture, despite whatever Trumpian b.s. you've chosen to inhale. "Virtue-signaling," eh? If that's what you chose to call sustaining a standard that men need to be a part of upholding, so be it. Have you actually talked to any young female jazz artists who've been subjected to this? I have, and they didn't tell me via the "MSM."

Why would the Boston Globe have any interest in "WILLINGLY AND EAGERLY" f'ing up Greg Osby's career? He's all but unknown outside of the jazz world. Women across every spectrum of culture are coming out with stories of being sexually assaulted and harassed, and it's no surprise that evidently it's been a problem at Berklee as well. In any event I'm not responding to the allegations, I'm responding to what Osby is quoted as saying. So far he hasn't denied that he actually said those things. If the Globe prints a transcript or offers a recording that shows him saying, "Now, suppose I were to say (insert offending quote)," then yeah, he's been sadly wronged. But if you believe that, I have a Trump Tower I'd like to sell you. And no, the NY Times isn't perfect--they certainly screwed up their WMD reporting in the early 2000s, indirectly enabling the Bush admin's unwarranted invasion of Iraq... but I'll take them over Fox or Breitbart or RT or any other propaganda outlet disguising itself as a news organization any day. Btw it's the NY Times that broke the Weinstein story, not any of the previously-named organizations. (And Fox, of course, is riddled with its own culture of sexual harassment.)

By all means, the Boston Globe should publish the full transcript of the interview. Hard for me to imagine a greater context where Osby's remarks "sound" better or don't come across as insensitive at best, but if the reporter is any kind of pro, the conversation was recorded and the quotes were not taken out of context. I have a high regard for old-school journalism, especially from papers like the Boston Globe and the New York Times, and if the Globe somehow misrepresented Osby here, they need to own up to it. I seriously doubt those quotes were invented out of whole cloth, and sure, let's see the context.

Yeah, very unpleasant responses from Osby. As somebody noted on Facebook, describing it as "open season" once students have graduated certainly strikes a tone of women regarded as prey, and the quote about comparing his accuser's looks to those of his girlfriend sounded downright Trumpian. Not really surprised, though, that something so endemic to our culture would manifest itself in the jazz world and a jazz-education institution. The bigger surprise would be if that weren't the case. (This story also can't help but remind me of the jazz-ed folks who were so up in arms about Whiplash, which offered a study of a very different kind of abuse, but one couched in a similar teacher-student dynamic.) There's a ton of gender injustice in jazz's past, and a considerable amount still in effect today, but I also think there's a much higher level of consciousness emerging about it...and the young musicians I know today are of no mind to put up with it, either.

Link to sound samples, discography, etc. At last! So glad there's a new Mosaic set on the way, and that it's this one in particular.