Not for nothing do we call him Big Rock Head... with bonus technical report!

*
The lad we sometimes call Big Rock Head (BRH), who has now adopted "Rock Head" as his Official Rock & Roll Stage Name, proved that he deserves this monicker late Friday during a nighttime game of Capture The Flag at a park in Urbana. It is reported that some drinking was involved, not that it's unusual for drinking to be involved in anything that grad students might do on a Friday evening. Much more unusual is the fact that the youth of today were out playing like kids of yesteryear on a weekend night, at a baseball diamond in meatspace, exerting themselves physically.

It seems that BRH, in defending his goal, was pursuing his quarry with a singlemindedness of purpose that led him to become unaware of a chain-link fence installed along the third-base line. The slanted fencepost with which BRH posed for this photo spread this morning brought his sprint to an abrupt halt, skullwise (upper right). The placement of the split could not have been executed any more purposefully by a Hollywood makeup artist. So if the 10 stitches shown above leave a scar as a legacy, then the graphical layout makes a fine style statement in addition to its reeking of masculine essence.

After getting his noggin rattled, and the contents probably lightly concussed, the poor baby was surprised in the dark by what a sweat he had worked up---it was even streaming into his eyes! As we now know, this was actually leakage from his circulatory system, which still dotted the dirt on the dugout floor Saturday morning (center right), along with a fat drop on the left Converse sneaker which he had discovered a bit earlier.

The fencepost is not one of the security-grade jobs you find at industrial and government installations, but it is a steel fencepost after all. Because I am not a trained incident-site investigator, my forensic analysis was necessarily informal. I judged the post to be well-anchored, with indications of some ductility when the cap was pushed back and forth. The slant of the post is significantly more pronounced than the corresponding post at the far end of the first-base line (not shown), and the direction of the lean corresponds well to the vector of the BRH sprint. At the base of the subject post I found well-defined buckling (bottom right). The discolorations above the buckling are ambiguous. They could have been made by a previous impact with the post, such as might occur when scuffed by the deck of a riding lawnmower. However, the marks do not make any obvious sense as an effect of the deformation of the post, either Friday night or at a previous time. Therefore, I judged the markings to be a red herring, forensics-wise.

Finally, if you click on the spread and look closely at the enlargement of the lower-right picture, you may see a few crisp cracks in the parched mud in the lower-right quadrant adjacent to the base of the post. These cracks show up better on the high-resolution images, so you may take my word that they are there. These cracks radiate out from the base of the post opposite of the direction from which BRH impacted it. This is a geological artifact I would expect to see as a result of such an impact.

Big Rock Head is somewhat over 6 ft tall and weighs approximately 200 lb. Having some knowledge of his physical capabilities and the joie de vivre with which he plays, I do not think it is farfetched that he might have struck the post at 15 mph---a sprint that could produce a 4 minute mile, but which need be sustained only for a few moments of alcohol-assisted galumphing to produce the documented effect on the pole.

Therefore, it is concluded that solely with the hardness of his cranium, body mass, and autolocomotion, BRH caused a ductile failure in a steel fence post during a nocturnal session of Capture The Flag. The young gentleman whom he was tracking at the time should feel thankful for the good offices provided by said fence post, bodily-harmwise.

What I saw south of town last evening

*

Touring on the road bike, trying out a new pair of shoes:

1. A soaring red-tail hawk, landing atop a tall utility pole, then pacing me with slowly flapping wings about 100 ft to the east, heading south. I wasn't sure of my identification and I told it to show me his tail, not expecting to have my request acknowledged. After about 15 seconds he caught a draft and executed a soaring banked hairpin U-turn that gave me visibility of his back, including a fiery red tail that was emphasized by the late-afternoon sun.

2. Upon my approach, a sudden rustling in some short rows of drought-stressed corn at the edge of the field to my immediate west. An awkwardly galloping groundhog, bounding along the row opposite my direction, with a cartoon-like cloud of dust drifting on the wind from where he first bugged out.

3. During a water stop, a frantic group of killdeer trying to pester and lure me away from some nearby ground nests. Three or four flew around me in wide, interleaved circles, producing a din of racket that sounded like angry baritone seagulls (I've never heard these birds say "kill-deer" as the are reputed to do). At the same time, about 50 ft back toward town, one of them put on the famous broken-wing act, which I'd never seen before. Typically, when a cyclist rides through their territory, they will escort the rider about 30 to 50 ft in advance, flying low and alternating with a rapid walk until the bike closes in to about 20 ft. At that point, they resume low flight over the blacktop.

4. The red-tail again, or one of similar proportions, flapping lazily toward the south from where I was returning. Behind it, a small, fast black bird of some kind. This puzzled me as big hawks should be kind of scary to smaller birds, but this one closed on the raptor quickly, looking like it was trying to win a race. Then suddenly, from slightly above, the blackbird divebombed the hawk, pecking once at its back then swinging wide to the right and getting lost fast. I recognized the call as belonging to a redwing blackbird. They are very aggressive about protecting their nests, which they build in ditches using grasses and mud. The males will perch on telephone wires to watch over their territory, and will sometimes get aggressive with passing bicyclists, pecking at their heads or helmets. Evidently they don't take any crap from red-tailed hawks, either.

Voodoo economics

*

In a dream last week I was granted an important revelation:

We now have more empirical evidence for the existence of real-world zombies than we do for the validity of supply-side economics.

First came Miami: the case of a naked man eating most of another man's face. Then Texas: a mother accused of killing her newborn, eating part of his brain and biting off three of his toes. Then Maryland, a college student telling police he killed a man, then ate his heart and part of his brain.

It was different in New Jersey, where a man stabbed himself 50 times and threw bits of his own intestines at police. They pepper-sprayed him, but he was not easily subdued.

Update: post title changed to the obvious, which I started to do several times during composition but forgot.

Friday Evening Prayer Meeting

*

This is neat!



For starters, I never get tired of listening to the radio version of this tune. There's so much to like. First, it's a delicately balanced rock ballad; the tempo is danceable and almost brisk while the chord progression includes lots of nifty chromaticism that carries an emotional tinge.

Second, the lyrics deal with the overworked topic of young heartbreak with precocious maturity and a heartening lack of melodrama. As an expression of support for a friend who has lost the "game," I always perceived that Gerry was singing to a female friend, but that's not actually "hard-coded" into the lyrics. Assuming my interpretation represents the band's intent, there is one big way this type of song can go wrong: the consoling party (that is, the singer) is using sympathy as a pretext to worm his way into a distraught lady's undergarments. There's no room for suspicion of that in these lyrics, though.

Third, the arrangement handles the orchestration perfectly. The small string section provides atmospherics, the brass instruments contribute dignity, and the oboe phrases evoke the moments before sunrise better than any other voicing I can think of. This part of the chart reminds us that some adults took part in the production, too---George Martin, maybe? Whomever: they did themselves and the band great credit through economy and understatement, avoiding both cloying sentimentality and over-formality.

But this performance, as I say, is particularly neat to my earbones. It's from a 1964 edition of The Ed Sullivan Show. The boys are playing live, for real, with a small orchestra stashed away somewhere behind the theatrical flats or on the sidelines. As you can hear, there were some problems keeping the orchestra in sync with the band in a few places, particularly a brass flourish at the end of the bridge (around 1:40). I find these production artifacts to be endearing, and don't hear them as errors. These are the fingerprints of a noteworthy pop music performance by talented musicians who at the same time sound like regular, approachable people.

Along those same lines, they Pacemakers sound like they're playing regular, everyday instruments. The rhythm guitar and piano don't sound cheap, but unprocessed and unaffected. Their tones are the same sounds that talented kids in the neighborhood could produce in Dad's garage if they had the same equipment and experimented with the knobs. And I enjoy hearing all the raw detail in those instrumental parts---especially the guitar---that were not conspicuous on the single.

Although I can't be certain, this sounds like the same performance included on a disc I own that collects Ed Sullivan Show recordings of five British Invasion bands from 1964 - 1966. A few months ago I dug it out after it laid dormant in my "stacks" for almost 20 years, and became enamored of it. As I've implied, the sound will not impress audiophiles, but the audio fidelity is perfectly good for a live recording of the period, and most of the tracks offer fine performances replete with previously unheard details and artifacts like those I've mentioned above. The Billy J. Kramer material is good (two Lennon-McCartney songs). The Searchers track, Needles and Pins, is also very nice and makes me wish a few more had been included. Peter and Gordon are alright, and even the four (!) Herman's Hermits tracks are decent---much better than I expected. Besides the Pacemakers' three tracks, the disc ends with a great "set" by The Animals, who exude a genuine and unprocessed character that you could imagine being played in a bar or college gym. The only stinker of the lot is I'm Telling You Now by Freddie and the Dreamers (sorry, lads, but even as a kid I didn't care for your sucky novelty music). A production note about the disc: each "set" is well engineered to sound like a single performance, but many of them are edited together from different locations in the space-time continuum.

Anyway, back to the libretto: below I'm providing the catalog information from the version I own, which will deviate from the YouTube particulars because mine is audio and theirs is video.

Don't Let The Sun Catch You Crying, Gerry and the Pacemakers (performance 10 May 1964, from "The Sullivan Years: The British Invasion" [1990], TVT Records TVT 9428-2), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Odd: gas prices have fallen

*

I almost failed to notice that a gallon of gasoline costs about $0.50 less than it did here at the end of March. I guess this price decline didn't rise to my awareness because I haven't heard Republican congressmen and centrist pundits gabbing nonstop on NPR about how President Obama has done such an extraordinary job in this connection.

Out back

*

Still have more days off than I've used so far this hiatus. Here are three snaps of a job I dreamed up 2 years ago. I think slow.

I started the project 2 years ago by buying the wrong kind of cedar for the frame, but only discovered that after assembling the frame last summer. Since worrying about that for a year didn't transform the cedar into below-grade quality, I decided to sink it into the ground just to avoid more delays. I assumed this would would be a crap job that I'd have to redo in a few years anyway.

As it turned out, the quality happens to be pretty high. The photo on the left shows the frame with a compacted bed of soil and brick rubble, with four sacks of patio-base gravel (also called roadpack) tamped down over it manually. (The brick rubble backfill was probably a stupid idea that I will regret later, along with the off-spec wood.) The three sacks pictured just about filled the frame to where it needed to be. Lots more tamping ensued with an 8 x 8 cast iron plate mounted at the end of a heavy garden-tool handle. My big innovation was discovering that the paver stones are the same thickness as a 2 x 4, so I screwed together a float-type device, center picture, to level the roadpack to the correct recess, pulling the device back and forth and merrily tamping it all until I was pretty flurking sick of it. The right-hand photo shows all the stones in place, with roadpack having been carefully poured, swept around, tamped, etc., to fill in all the cracks. I should have wetted the stone for this final photo so it would match the other two. The pavers aren't as pale as they appear in the final shot. If you want a closer look, by the way, clicking on the picture should load a larger version.

Note the clump of Shenandoah switchgrass near upper left. After construction I backfilled around the frame with soil excavated from elsewhere on the estate, then moved the switchgrass to the end of the path to prevent drunken visitors from falling over the ledge. This edifice constitutes the scenic overlook of the estate, which is known to myself and the lads as Moronica International State Park.

To the left of the path is the asparagus garden, which is not doing so hot this year. Now that I have this job in the Done column, I can begin thinking about extending the path 90 degrees to the left. Why? Because some moron laid a mess of these pavers on top of playground sand on the west side of my house about 20 years ago, creating a paradise for ant colonies and invasive weeds. Two years ago I dug them out and stacked them on a palette. So this is a recycling project. Also a weight-control project.

Editor's note: Please forgive rusty, mediocre text. I am on hiatus, and so is my brain.