This is the last year I’ll be asking you for money for the National Multiple Sclerosis Society Historic New Bern Bicycle Tour. Did that get your attention? If you’re reading this letter you probably know that I’ve been raising money for the NMSS for the last 5 years through this unique method of “I ride my bicycle 150 to 200 miles over 2 days, you donate money to the MS Society”. Why do we do this? Well, I love riding my bicycle long distances through beautiful countryside AND I’ve lost several good friends to this terrible disease we call multiple sclerosis and have several friends living with the disease right now and through this bicycle tour have met dozens of other people living with the disease and praying for a cure. I don’t have money to donate myself to this organization which has helped so many people in Eastern North Carolina who have the disease so I do what I can to help raise money. If you’re reading this now it is probably because you’ve donated to my ride in the past and, as I’ve discovered, it’s probably because you’ve lost a friend or loved one to MS or know someone currently living with MS. Over the last 5 years almost every person who has donated has told me of someone close to them with MS.
So that’s the game we’ve been playing. When I started doing this I had no idea I could ride a bike 100 miles in a day. I’d never come close to doing that before. And I had never asked anyone for money for any kind of cause and really did not expect to succeed at that, either. But I discovered physical strengths I didn’t know I had and, most importantly, discovered the generosity of my friends. The first year I raised almost $2000. It’s been a little less than that in the following years but always over $1000 thanks to you and many others.
So why will this be my last year? Well, I’ll be 60 next year and feel a need for some change. I think it’s time to find other ways to “make good” in the world – maybe something on a more one-to-one basis. And I’m acutely aware of the concept of “donor burn-out” and want to head that off at the pass. I know everyone is bombarded with requests for help from all kinds of worthy causes and also most people I know are struggling financially themselves. I know I’ll keep riding and doing the small group fund raising rides. We did one this morning where there is a small entry fee that goes directly to the organization so I do the riding and the paying myself.
So, if you can help, great. If not, that’s fine. No amount is too small and here’s the drill:
2.) Or mail a check made out to the National Multiple Sclerosis Society to my address: 2512 Mount Sinai Rd, Chapel Hill, NC 27514. Do NOT make the check to me!
We ride out of New Bern September 8th and 9th. We’ll be doing at least 75 miles each day and hopefully 100 on at least one of them. It’s exhilarating, exhausting, fun (well, mostly fun) and challenging. I can accept donations up until October 1st. And, yes, Karen is riding again this year!
I hate “tap to click” on a laptop touchpad. In many installations it seems to be enabled by default. Some have a control panel for the mouse/touchpad set-up but in my current installation of Lubuntu 12.04 on my laptop there is no control panel setting. This article gives instructions for changing settings. However, it may not be clear from reading it that you will edit or create a new file called ~/.config/lxsession/Lubuntu/autostart and add the value @synclient MaxTapTime=0 to it and then reboot to have the new setting take effect. That one will disable “tap to click”. There are many other settings you can alter.
These instructions are specifically for Lubuntu but the directory structure can be changed to match your particular installation.
Recently Emily White, an intern at NPR All Songs Considered and GM of what appears to be her college radio station, wrote a post on the NPR blog in which she acknowledged that while she had 11,000 songs in her music library, she’s only paid for 15 CDs in her life. Our intention is not to embarrass or shame her. We believe young people like Emily White who are fully engaged in the music scene are the artist’s biggest allies. We also believe–for reasons we’ll get into–that she has been been badly misinformed by the Free Culture movement. We only ask the opportunity to present a countervailing viewpoint.
My sister sent this recently. When my parents split up when we were younger many family memorabilia “disappeared”. Lately things have been “reappearing”. I thought this was forever lost. This was one of three nights playing at Carnegie with a stellar list of soloists.
As a bassist I spend most of my musical life as an accompanist. It’s a special skill and one I quite enjoy – doing everything I can to make other musicians sound good. In a jazz setting I frequently get to “solo” – to improvise melodies while others accompany me – but most of the time it’s laying down the harmonic foundation and playing with the right nuance and subtlety to allow the “real” soloists (vocalists, violinists, saxophonists, etc.) to shine through. It has been said that every bassist is a closet cellist – that instrument that imitates the sound and range of the human voice more than any other. And it is true, I have dabbled in cello playing ever since I fell in love with Elinor, a cellist in Junior High orchestra who was a year behind me in school. Playing solo Bach on the cello is gratifying but not something I would do in public. There are so, so many who can do it much better. But in recent years playing for English country dances (where I get to play the tune) and other folk and classical settings has satisfied some of my need to spin melodies while others toil around the harmonies.
Yes, I know of and have played many of the various bass concerti, sonatas, and the like. But it’s just not the same. And, to tell the truth, it’s just plain too much work. Give me an instrument that plays naturally in the singing range without having to go to extremes. Enter the viola da gamba. About 25 years ago UNC professor Brent Wissick introduced me to the bass viol by way of the violone which I had started playing with The Society for Performance on Original Instruments (later known as Ensemble Courant). Here was a bass instrument that could play the foundation role in a continuo band, be an equal partner to any vocalist, or being the searing, soaring soloist in an intricate Marais composition. And it has frets. It’s incredibly easy to learn to play and devilishly hard to master. But there aren’t 7 million (grossly exaggerated guess – I mean, how many people DO play the cello worldwide?) other folks out there doing the same thing so I sometimes get my moment in the spotlight.
So a couple of times a year or so I get to be the soloist or one of the soloists on viol and this weekend is one of them. I’ll be playing a Buxtehude Sonata for viola da gamba and violin with Baroque violinist Andrew Bonner and accompanied by harpsichordist Beverly Biggs in a Baroque and Beyondconcert at the Chapel of the Cross church in Chapel Hill. Ironically, Andrew was a nerdy young violin student in my Intermediate Orchestras at the Duke University Precollegiate String School many years ago (I won’t say how many!) and is now making his way as one of the many young, talented professionals in our area.
I’m always amazed by the violinists who break a string at a rehearsal or concert and they don’t have an extra one in their case. What were they thinking? You never broke a string before? Just came across this article which is more geared toward folks playing electric instruments but it’s a good starting place for thinking about what you should have handy. Essential Items for the Gigging Bassist: A Gig Survival Checklist.
Unlike other modern bowed string players, bassists have to decide between two different bow types (or use both). I grew up hearing them referred to as French or German (also called Butler). I never learned the origin of these names but use them to describe the differences between the natural sounds of the two bows. The French bow makes it easiest to play and articulate like the sound of the French language, and the German most easily plays like the sound of the German language. Of course both bows are multi-lingual in the hands of a good player – but they both have their strong points that are very different from each other.
Today John Rutledge sent me this interesting bit about the names we use, though:
German and French as designations seem to be based on English-speaking conventions:
… die Franzosen sagen “sur la baguette”. Die Deutschen sagen “Oberbogengriff”. ….[die] Hand hält den Bogen von unten, also “sous la baguette”. Auf deutsch “Unterbogengriff”.
The French say “sur la baguette” (upon, above the baguette), the Germans say Oberbogengriff, grip from above the bow, or (humorously) “beneath or below the baguette”, in