Posts Tagged ‘Columbus’

Homeschooled at 43

Monday, August 12th, 2019

I was back in Columbus to see my parents with the kids again this weekend–my third time in my hometown this summer, including a quick trip for our anniversary at the end of July and the early July trip that I wrote about in my last post.

You can’t go home again, of course, but the visits have been good for everyone, I think.

This weekend, I figured out a few things, so I’m putting them down.

I dated a girl, Krista, in my senior year of high school, and I’ve not stopped mulling it over for twenty-five years. She often comes to mind when I’m home, and there’s nothing to be done about it now, since she was murdered about 10 years ago. I’m not going into all the details of that, or of our relationship in high school, which was hesitant, largely because of me. Suffice to say, that I realized this weekend that, at age 17 and 18, I was nowhere near mature enough to be a good partner to her, and it wouldn’t have worked out even if I had done better. I wonder if the ex-boyfriend who killed her and then himself had the same problem.

My mother, who is 71, took the kids and I to the public pool, and my father stayed home. Mom got in the water with us, which wouldn’t be a big deal for most people. When we arrived, she unhesitatingly took off her yoga pants and got in the water in her one-piece suit–no skirt attached, her large surgery scar on her back showing between the straps. I didn’t say anything, but in the van on the way home, she told me that she used to be self-conscious, but has realized that she spent many years letting that keep her out of the pool, even though she loved going in the water, and she’s done with that. Go, Mom! Maybe if she can withstand the stares of judgmental Upper Arlington moms at the pool, I can keep remembering to put myself and my music out there in a serious way (more on that in a future post).

Also at the pool (we went two evenings), my kids learned a lesson about money and justice. We arrived at about 7pm and planned to stay the two hours until close. The Hastings pool has a lap area and a diving well, but also a pair of waterslides, a lazy river, and a large shallow end perfect for Noah and Melia, who are still learning to swim. On Saturday night, we arrived at seven, paid the admission fee, and swam for the first hour until break was called. At the break, we were informed that the pool was closing for a private party–we weren’t told this when we entered, and they claimed there was a sign about it, but we hadn’t seen this, and it wasn’t evident as we left. No refund was offered, but my mother was told that we could go to one of the other city pools, but by the time we could have gotten there, there would have been little point. The kids were disappointed, of course, and I decided it was time for a lesson in society, so I told them this: “In our country, with enough money, you can do whatever you want, but that doesn’t always mean that what you want is right or good. Now you know how it feels to be kicked out of the public pool because someone was willing to pay to have it closed for a private party. Remember this feeling.” We also practiced nonviolent protest by using the restrooms and fully deflating our pool toys before leaving.

The last thing I learned this weekend was something I read in Ella Frances Sanders’ wonderful book Eating the Sun: Small Musings on a Vast Universe, which I would recommend to anyone as a collection of wonderful little vignettes combining fact and poetry in a Carl Sagan vein. This quotation from page 63 is going to be my apothegm and motto for the coming academic year:

Be one of the ones who doesn’t stumble about with eyes closed and hands in pockets.

The Music Man

Saturday, July 6th, 2019

Almost every summer since I was 9, I’ve gone to at least one movie at the CAPA Summer Movie Series at the Ohio Theater in Columbus. My parents started taking me in 1985 or so, with a screening of My Fair Lady, and I’ve listened to Clark Wilson play thousands of songs on the Morton organ–almost always arriving early.

I’ve missed a few summers when I was living in other places, but have always taken the opportunity to see classic films on the big screen whenever I can. My wife and I even had our first date there in 2004 (Ghostbusters).

Last weekend, Noah, Melia, and I were in Columbus while my nieces are visiting from Germany (they flew here as unaccompanied minors with plan changes and everything… total pros). I went to a Columbus Symphony Picnic with the Pops for the first time in about 25 years (their Columbus Commons venue is miles better than the old location at Chemical Abstracts), and I was amazed at the redevelopment that has happened downtown since I last lived in Columbus in 2007. City Center Mall, which was a cornerstone of my experiences downtown as a teenager and through my twenties, turns out to have been a millstone holding back the area, and Columbus has finally got the exciting, vibrant downtown it deserves–not the Continent, not the Short North, not the Brewery District, not the Arena District, but cool stuff happening right at the center of the universe, within spitting distance of Broad and High (it’s the center, because that’s where the street numbers start). As someone who has been going to downtown Columbus since the 1980s, I have to say that it has never looked better. Good job, Columbus!

We went to a showing of the 1962 film adaptation of Meredith Willson’s The Music Man. I first saw this movie in middle school general music class (when it was only around 25 years old!), and have loved it ever since. It was something I showed to students regularly during my K-12 teaching years, and a part of me has always dreamed of playing Harold Hill. This was my first time seeing it on the big screen, and the first time my kids saw it. Noah got into it and had a good time; much was lost on Melia, who was restless, but she’s five and seemingly possessed of perpetual motion.

I’ve always gotten a little soft about this movie, especially at the end, and this time, having not seen it in quite a few years, I had a lump in my throat through most of the last 30 minutes. There’s so much to unpack:

The show is genius, and watching on a big screen with a crowd really helps drive home how wonderfully comedic it is–jokes always land better at the Ohio Theater, and The Music Man is full of them, from obscure slang of the 1910s to the outrageous hats of the women of River City, to the one-liners and sight gags that are relentless–not relentless in the way that Mel Brooks are the Zucker Brothers are, because every comedic moment is tossed off casually and serves to build the characters.

And the characters are endearing–they all have quirks and tics that make them familiar and unique–the mayor’s wife has about seven of the ten really great lines in the film (“What Eleanor Glynn reads is her mother’s problem!”). Yes, they are broadly-drawn, but it’s a musical–we don’t have time for character development beyond the principals, and yet, it seems to happen, at least in Winthrop and some of the River City ladies.

The romance between Harold and Marion is one for the ages, and predicable, but Willson uses music in such a perfect way–in the scene just before Harold’s arrest, we are shown that Harold and Marion have been literally singing the same song the entire time. They both have their pretensions and their ideas about life, about music, and their discovery of each other erases the cynicism with which they enter the film.

It speaks to this former band director on another level: I don’t know that I suffer from impostor syndrome, but there are times I feel like I might, and Harold Hill is a band director who is an actual impostor. And yet, his love of music carries him through, somehow, in the end.

And of course the incredible library dance sequence (and the bag of marbles that actually contains marshmallows–more of Harold Hill’s misdirection and trickery)!

Experiences like this are why I keep coming back to the Ohio–congrats on 50 years of summer movies, and here’s to 50 more!

Active Art

Tuesday, July 30th, 2013

NPR had a piece on playwright and actor Wallace Shawn yesterday (you know him… he played Fezzini in The Princess Bride).  He made a comment about “active art” and “passive art.”  Passive art is art that tells us how to think, and is everywhere.  Active art, on the other hand, is a wake-up call, a glimpse into a greater reality.  I immediately tried to think of pieces of music that might fit into these categories.  As obvious as it might be this year, I have no doubt that Stravinsky’s Le Sacre du Printemps is active art–after 100 years, it still feels fresh, it still challenges us; it makes us question just what a piece of music is, and just what it means to be modern.  Perhaps Mahler falls into the category of “active art” as well.  I’ve been at work on my piano concerto this summer, and I think this term “active art” is what I’m trying to accomplish with it (I’ve tried to be deliberate in my work rather than the kind of “white heat” composing that I’ve been prone to over the last couple of years… I just want to give the piece time to be what it will be).    Have I written music that is “active” in this way?  One or two of my recent works may approach this:  Moriarty’s Necktie and my Piano Sonata.

Otherwise, it’s been a busy-but-not-busy summer.  Getting used to the new house (oh yeah, we bought a house), spending time with Becky and Noah, teaching.  I’ve been teaching counterpoint to a private composition student, which has got me going back through the species and thinking about contrapuntal approaches in my music; also, I brought home my well-worn Well-Tempered Clavier and have spent some time with that, although the Beethoven quartets are still mostly unopened on the piano.  And letting the concerto gestate. And in that last couple of weeks, score study for the upcoming season with the Lakeland Civic Orchestra–Verdi, Mendelssohn, Milhaud, and Rimsky-Korsakov.

Last week, I had lunch with my graduate adviser Donald Harris and his wife Marilyn.  After a lovely lunch at his home in Columbus, we went to his study and played CDs of our recent work for each other.  I had the privilege to hear his Symphony No. 2, which received a strong performance by the Columbus Symphony Orchestra in April 2012.  It was interesting to see the similarities in our work, although when I was his student, he never had me study his scores intensively, and rarely gave comments that led me in his own stylistic direction.  Don seemed pleased with my recent work as well, which makes me realize that the recently-ended “Oklahoma Period” was not in vain.

That said–more blogging in the future, hopefully.  I’ve missed several months, but hopefully I can put that to rest.