The commencement of the author of “The Good Old Song”

Page 3 of the 1895 Public Days program showing E.A. Craighill, Jr.

A while ago, I picked up an interesting historical keepsake from eBay–the program from the University of Virginia’s 1895 Public Days, aka graduation. I was hoping to find some Glee Club value here, and I got it. The program lists 1895-96 Glee Club president McLane Tilton, Jr. as completing his undergraduate degree, and also has a familiar face picking up his Law degree–E. A. Craighill, otherwise known as the author of “The Good Old Song.”

It’s fun to look at the document and realize how different the University was then. Most of the degrees are professional or graduate degrees because the four-year bachelors degree was virtually unknown then. It wouldn’t be until a few years later that curriculum reform at Virginia and other universities standardized the four-year undergraduate degree that we are all familiar with today.

I posted scans of the whole thing to Flickr; enjoy.

The least known Walt Kelly Christmas song

You’ve heard “Deck Us All With Boston Charlie.” You may even have heard “Good King Sauerkraut Looked Out On His Feets Uneven.” But have you heard of “The Twelve Days of Crispness“?

Three wench friends

No?

Me neither, until tonight, which kind of astonishes me. But after seven performances this season of “The Twelve Days of Christmas” with the Boston Pops, it sounds pretty good. There are actually two extant versions:

On the first day of crispness,
My true love sent to me,
One turkle dove,
Two pounds of ham,
An’ a parsnip in a pear tree!

On the secon’ day of crispness,
My true love sent to me,
Two turtle doves
an’ a parsnip in a pan-tree.

Or the more bizarre but equally satisfying:

Conifers stay of Crispness,
MacTruloff sentimie
A parsnip Anna Pantry.

Honor Sick an’ Davey Criss-Cross,
MacTruloff said to me,
Tutor Killduffs
Anna Pottage inner
Pair threes.

Under Thursday of Crispness,
MacTruloff sanity,
Three wench friends,
Tu-dors above,
An’ the parson
Up a psaltree.

I don’t know about you, but my three wench friends should love this one.

 

Well, forget you too, iTunes Match

I’ve got about 5000 tracks I’ve purchased from the iTunes store over the last 8 years. That’s a lot of dough. And I’m willing to spend more–$25 a year more–to have those tracks available in the cloud.

I also have about 30,000 other tracks, purchased from Amazon or eMusic, or ripped from my own library. I’m not a BitTorrent collector. I’ve replaced just about everything I ever downloaded in the glory days of Napster with legitimate copies of songs.

But Apple won’t let me participate in iTunes Match because I’m over the 25,000 song limit.

Well, that sucks.

Hope the service is less disappointing for those that actually get in.

Update: There is a workaround, apparently, if you want to manage multiple libraries.

Waiting for changes to be applied

So far iOS 5 has been just fine on my iPhone 3GS (yes, still), but for one important exception: I don’t think the phone has ever completed a sync without my having to eject it.

The symptom is one of those things that gives long-term iTunes users pause: text in the iTunes status window that appears at the end of the sync, saying, “Waiting for items to copy,” or “Waiting for changes to be applied.” And stays there, pretty much indefinitely. Turns out it’s a common problem, with no consistent solution. I have tried leaving the phone syncing all night long (both wired and wireless), even tried turning off syncing of all content. Nothing.

So today I tried the ultimate: restore to factory settings, then restore from backup. And, as of right now, things are… “waiting for items to copy,” while syncing podcasts.

Sigh. Wonder how long I have until we can buy the 4S?

There is one note of wonderment though: as I was plowing through the console looking for clues as to what was going on, I found this:

Nov 10 07:11:44 iTunesHelper[248]: AMDeviceConnect (thread 0x7fff7c774960): This is not the droid you're looking for (is actually com.apple.mobile.restored). Move along, move along.

Heh.

UPDATE: Aaaand just as soon as I pushed Send to Blog, I found the answer: voice memos. Specifically, deleting all voice memos on the phone was sufficient to fix the problem and allow the sync to complete. Now, mind, this was after a restore to factory settings and restore from backup, so I don’t know if those steps were necessary, but it worked.

Five things I learned from Steve Jobs

Steve jobs think different

Last night’s news about Steve Jobs hit me hard. Not that it was a surprise; Steve was the one CEO I know who was most in touch with, and open about, his own mortality. Of course that was out of necessity; it’s hard to sweep pancreatic and liver cancer under the rug. But Steve’s response to it was like so much else: instead of ignoring it, he acknowledged it while publicly focusing on where things were going next.

It made me think about the lessons I carry with me as a product manager, and I suppose as a person, that are directly traceable to Steve:

Thing 1: Always look forward

Steve, and Apple as his company, never hesitated to sacrifice backwards compatibility or even whole product categories if they sat in the way of something better. Viz: a whole long list of things–the 3.5″ floppy drive (which Apple helped popularize), ADB, SCSI, and even hard drives and optical media (on the MacBook Air, at least). PowerPC support. Mac OS Classic.

For most of this list, I don’t think we miss the items. And certainly we couldn’t have the products that we have today if Apple had continued to hold onto the older standards past their sell-by dates. By contrast, it’s inconceivable to me that my HP work laptop, just a year old, has a 9 pin serial port. Really? I would bet that not one in 10,000 users has any use for that port. What a lot of money and engineering QA time they’re wasting including that port in every laptop they ship.

I think one of the hardest things to do as a PM is to recognize the things that are standing in the way of your success, especially if they’re features, technologies, compatibility points, that your customers are using. Steve Jobs’ Apple was always the evidence that if done correctly, moving beyond outdated features and standards could have enormous payoffs for you and your customers.

Thing 2: Do fewer things better

When I was a young developer, just starting out, I wanted to make everything I did like the Mac. I wanted to simplify, to reduce the number of options, to make everything clean to use. It turned out to be really hard, and to require a lot of engineering to make things clean and to just work right. But it was almost always worth the payoff.

As a product manager, it’s a lot harder. Instead of keeping a user interface simple, you’re keeping a product offering simple. But again, the payoff is enormous: having an offering that does something so well that it blows everyone’s mind is so much better than a kitchen sink offering that is “just good enough” to check boxes on someone else’s feature chart. There’s time to expand to other areas of the feature chart, if you want to, but make sure they’re done well first.

Thing 3: Think big

The iPod was never about selling hard drive based music players. It was about turning a corner in so many ways: getting Apple into the selling-content-online business, which became the App Store business a few years later; changing how people consumed music, which arguably saved the music industry from Napsterization (though I suppose few RIAA members would stand up and thank Steve for doing so); even transforming Apple from a computer company into … well, how would you characterize Apple today? Maybe a personal computing device company?

Everybody else’s iPod follower was about selling hard drive based music players. There wasn’t a broader vision about changing the market, the customer’s behavior, or how the company was oriented. No wonder they all flopped.

Thing 4: Emotional connections matter

In technology this is such a weird perspective to have. These things we build, they’re just chips and transistors, right? Just bits. But to the people using them, they’re about getting things done that, if they’re worth doing, have a real impact on their lives. Carrying your music anywhere you go. Connecting the Internet to you in the palm of your hand. Creating a great reading and video experience in the iPad. Making computing so simple a four year old could do it. Connecting people in real and tangible ways.

Talking about features, clock speed and such, doesn’t cut it. This is one area where watching the post-Steve Apple will be telling. There was a fair amount of clock-speed talk in the iPhone 4S rollout, and maybe there should have been a little more storytelling.

Thing 5: Life is short; ignore the haters

I think this last one goes to the question of Steve’s awareness of his own mortality. He summed it up in his 2005 commencement address at Stanford, a year after his initial diagnosis of pancreatic cancer, in which he said:

No one wants to die. Even people who want to go to heaven don’t want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life’s change agent. It clears out the old to make way for the new. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true.

Your time is limited, so don’t waste it living someone else’s life. Don’t be trapped by dogma — which is living with thae results of other people’s thinking. Don’t let the noise of others’ opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary.

Steve, we owe you a lot, but maybe more than anything else, we owe you for that.

12 things about me (musically)

When you’re as rusty on the blog as I am, you don’t say no to a meme when it drops into your lap. Thanks to Eileen Huang, fellow TFCer and collaborative pianist, for the tag.

  1. First instrument: piano. Thanks, Mom, for the instruction.
  2. Age at first music lesson: Five, I think.
  3. First piece performed in public: I can’t remember any of the piano ones, so we’ll go with my solo vocal debut, a retrospectively cringe-inducing version of Sting’s “Sister Moon” with saxophone accompaniment at the Virginia Governor’s School for the Sciences talent show in 1989.
  4. Piece most recently performed in public: A slightly odd John Jacob Niles arrangement of “Wayfaring Stranger.”
  5. Band camp: Nope. Not even orchestra camp.
  6. Marching band: With a violin?
  7. College a cappella? Undergrad, no; not for lack of trying. Grad school: yes, though we weren’t very good, not for lack of trying.
  8. Absolute pitch: no.
  9. Movable do or fixed do: Fixed, I suppose, though I never gave it much thought.
  10. Faux pas: At the same Governor’s School talent show, forgot all the words to Weird Al’s “One More Minute.” My collaborator slapped me to try to restore my memory. It only ensured that I could never remember the words ever again.
  11. Favorite conductor hair: Jimmy Levine, of course.
  12. I wish I could play: any instrument these days. Happy I can still sing.

Anyone want a tag to continue the meme?

Ch-ch-changes

Minor housekeeping stuff here. First, I’m no longer using the Delicious auto-poster; looks like access to monkey with the settings is not working and it hasn’t been running for me for a while. So I’m using a WordPress plugin instead called “Fresh from FriendFeed and Twitter.” While it has some additional functionality which is pretty cool, it’s got a ways to go; I can’t restyle the output as easily as I could with the Delicious feed, and I haven’t figured out how to turn off my avatar image. But at least my link blog is back online.

Second, in the course of fixing a security hole, I broke my header image rotator. So you won’t see rotating images showing up for a while. I have temporarily pointed the script at a fixed image until I can get the rotator fixed.

Just Another Touchdown for U.Va.

HolsingerFootballLambethField
UVa football at Lambeth Field, Holsinger studio

It’s Saturday, so it’s time for another post about UVa’s football song heritage. This week’s contest isn’t one of those like the South’s Oldest Rivalry that has inspired its own set of songs—Virginia has only played Southern Mississippi a handful of times in the history of the program. The contest against Southern Miss in 2009 did not have the best outcome for UVa, so this week’s song is to inspire those members of the Cavaliers community to redouble their energies in supporting the team.

Stephen M. O’Brien, who graduated from the University in 1902 and went on to the Kentucky House of Representatives in 1914, would have appreciated having “Just Another Touchdown for U.Va.” used in this context. His song, written to the tune of “Just A Little Bit Off The Top” (the same tune as “When Johnny Comes Marching Home”), has been used to marshal the spectators against Carolina, Norfolk, and Georgetown at various times. The third verse in the oldest printing of the lyrics extant (Songs of the University of Virginia, 1906) is as follows:

We’ve just come from Norfolk for the day–the day,
To-morrow we’ll go back to U.Va., V-a,
We’ll gather in Carolina’s tin, Virginia’s sure to win,
Ray! ray!! ray!!! then, and make a mighty din.

But in the 1911 University of Virginia football songbook, it’s transformed to:

We’ve just come to Georgetown for the day–the day,
Tomorrow we’ll go back to U.Va.,
We’ll gather in old Georgetown’s tin, Virginia’s sure to win,
Yell like hell then and make a mighty din.

And in the version performed by the Virginia Glee Club (arranged by Club’s conductor Arthur Fickenscher sometime between 1920 and 1933), the third verse is omitted entirely, but in the second verse the song has “Carolina’s mighty lame” (sometimes “Maryland’s mighty lame”) instead.

So I’d propose this set of words for this week:

Just another touchdown for U.V-a, V-a,
Just another touchdown for U.V-a, V-a,
Carry the ball a yard or two, we’ll tell you when to stop,
Yell, boys, yell, boys, Virginia’s on the top.

Just watch the men whose jerseys bear the V, the V
If up-to-date football you want to see, to see,
They stop the bucks, they block the kicks, the Golden Eagles are lame,
And the ball goes over, Virginia’s got the game.

The South’s Oldest Rivalry

Unidentified North Carolina crowd at the UVa Thomas Jefferson statue; photo by studio of Rufus Holsinger

 

Last Saturday wasn’t the best day in the Jarrett household. Having taught my four year old daughter to sing The Good Old Song, it was a disappointment to lose to Carolina, 28-17. But you have to have a long view in these things. The fight with Carolina is The South’s Oldest Rivalry, after all, and in the long view we’re only back four games (58 Carolina victories, 54 Virginia victories, and 4 ties).

Being a member of the Virginia Glee Club gives some unique perspective on the longevity of the rivalry. One of the songs on the most recent Glee Club CD, Songs of Virginia (available for purchase on Amazon! and on the Glee Club’s site!), reflects the rivalry. “Oh, Carolina” is one of the few numbers on the disc that manages to be both edgy and funny at once:

See the Tar Heels, how they’re running
Turpentine from every pore.
They can manufacture rosin,
But they’ll never, never score.

While there’s no good record to indicate how long the song has been around, it may date almost to the beginning of the rivalry. The author of the lyrics, William Roane Aylett, Jr., graduated from the University in 1895 with his medical degree and was in his first autumn on Grounds in 1892 when the first match was played (Virginia won the first match that year in Charlottesville, Carolina the second in Atlanta). Eleven years later, the song was still in circulation, as evidenced by its presence in A. Frederick Wilson’s collected Songs of the University of Virginia (published 1906). It also appears in a 1911 football program book along with other song texts. And after that, nothing until the Songs of Virginia recording.

There’s no evidence that the song was ever performed in a Glee Club concert, for instance–though there would have been lots of opportunities. UNC was the Virginia Glee Club’s oldest partner in its annual fall openings concerts (later “kickoff concerts”), with joint performances with the UNC Glee Club in 1953, 1954, 1955, 1956, and 1977 and with the UNC Women’s Chorus in 1988 (from the records we have handy); none of the programs mention anything about the smell of turpentine.

But the song is handy as a reminder: not only did (do) UVa students take this hundred-plus-year rivalry with the Tar Heels seriously, they also sang about it. In the bleachers. At football games.

Say, maybe it’s time to make up a song about the Hokies…

From Rugby Road to Vinegar Hill

Gearing up for today’s UVa football game against Indiana is a lot more fun now that my daughter is old enough to enjoy the game. Since last week she’s been imploring me to “sing ‘The Good Old Song,’ daddy! –and the second verse!” I’ve also started to teach her “Virginia, Hail, All Hail.”

One Virginia song that I won’t be teaching her is “From Rugby Road to Vinegar Hill.” This most problematic, often hand-wrung-about of the Virginia songs is unlike any of the other ones I’ve written about because there is no clear author–as well as little among the lyrics that can be sung in public. But I think that if you put on a different hat, that of the folk song collector, it’s easy to find something to admire in the song, even sober.

One of the Glee Club’s past officers was Arthur Kyle Davis, Jr., about whom I’ve written before. His Traditional Ballads of Virginia shows how folk songs change as they are passed from person to person, and even how some lyrics move from song to song; for instance, verses of “Lady Isabel and the Elf-Knight” (known in Virginia as “Pretty Polly”) fetch up in “Young Hunting” (known as “Lord Henry” or, in Bob Dylan’s rendition, “Love Henry”). Also, melodies tend to get reused from song to song, with lyrics appropriate for the occasion being fit to much older tunes.

So it is with “From Rugby Road to Vinegar Hill.” Let’s start with the tune. Like many Virginia songs–“The Good Old Song” from “Auld Lang Syne,” “Oh Carolina” from “Clementine,” “Hike Virginia” from “Hot Feet,” “Just Another Touchdown for U.Va” from “Just a Little Bit Off the Top”–“Rugby Road” recycles another tune. In this case, the roots of the tune reach back to Charles Ives’ “Son of a Gambolier,” penned in 1895, and maybe even to “The Bonnie Blue Flag,” a Confederate marching tune, but the immediate antecedent is “Ramblin’ Wreck from Georgia Tech.” The history of college songs generally is full of this sort of campus-to-campus transmission of melody, arguing for college songs as a special form of folk song.

Then there are the lyrics, and here the similarity to transmitted ballad songs is even more apparent. While the first verse is highly topical to Virginia, with echoes of the shot that killed John A. G. Davis on the Lawn in 1841 ringing through “The faculty are afraid of us, they know we’re in the right,” and the traditional poles of Grounds (“Rugby Road”) and downtown Charlottesville (“Vinegar Hill”) serving as the site of the revels, the second traditional verse is more timeless. The second verse of “Rugby Road” begins:

All you girls from Mary Washington and R.M.W.C.,
Don’t ever let a Virginia man an inch above your knee

Far from being a waggish invention of some Wahoo or other, this line is practically a lock-stock-and-barrel lift from “The Dundee Weaver” (2022 note: the original site is now dead, so here’s an archive link), a bawdy Glaswegian street song:

Come aa ye Dundee weavers an tak this advise fae me
Never let a fellae an inch abune yer knee

Does knowing the history of the song make it any less offensive to a modern, coeducational University? Maybe not, especially considering how very offensive are some of the other verses that have been dreamed up over the years. But I think trying to throw the song out in its entirety misses an important clue to how the college songs that Wahoos sing as they watch football–and drink–came about and why some persist.

Virginia, Hail, All Hail

Tenthousandvoices
Excerpt from the manuscript of the Fickénscher arrangement of “Virginia, Hail, All Hail”

Here it is, the best part of most UVa seasons–that time when the first game hasn’t started yet and the air is still full of anticipation. I’ve been playing UVa songs, mostly Virginia Glee Club repertoire, since earlier this week, and can’t wait to see what the new year’s football team will bring.

In honor of the week, here are a few past articles I’ve written about UVa football songs:

UVa’s second Jewish professor and the Virginia Yell Song. “Lehman’s humor is present in the “Virginia Yell Song,” written when he was an undergraduate. The only UVa football song with a parenthetical interjection, it sounds in places like a conversation between slightly jaded onlookers who will only cheer a winning team…”

Glee Club football songs: “Hike, Virginia”. “As I noted earlier this year, spectators used to sing at Virginia football games. And not just “The Good Old Song”–there were songs for every occasion and for every foe. A 1911 football song book that has come into my possession indicates part of how they were able to pull this off, by having lyrics in front of every fan, but there was much more required to make it happen, from the presence of a band (or the Glee Club) at games to Virginia fans who would write songs to be sung by the crowd. One of these fans was L. D. Crenshaw, and the song was “Hike, Virginia,” cowritten by Crenshaw and C.S. McVeigh.”

Glee Club history: from “The Cavalier Song” to McCarthy. “the University’s two official songs were chosen through a contest sponsored by College Topics (now The Cavalier Daily) in 1923. Seeking official University songs, the contest netted “Virginia, Hail, All Hail!“, byGlee Club alum John Albert Morrow, and “The Cavalier Song,” by English instructor Lawrence Lee and Glee Club alum Fulton Lewis, Jr. While most alums are familiar with “Virginia, Hail, All Hail!” only, if at all, through Glee Club performances, “The Cavalier Song” has been played at Virginia sports events by the various bands (University Band, Pep Band, Cavalier Marching Band) during the school’s history since its introduction. Because it’s typically performed as an instrumental, its lyrics have faded into obscurity, meaning that it is Fulton Lewis Jr.’s tune that we know best about the song.”

“Vir-ir-gin-i-a”: from the UVa iPhone app to Bob Dylan. “Featuring an arrangement by long-time Club conductor Donald Loach based on a tune by Handel, the text is by UVa professor Arthur Kyle Davis, Jr. (1897-1972). Davis himself sang in the Glee Club shortly after the group’s reformation by Alfred Lawrence Hall-Quest, serving as secretary during the group’s 1916-1917 season (during which Club performed the blackface musical Oh, Julius!,” a minstrel-show story of life in ancient Rome)….”

The Good Old Song of … The Virginia Glee Club. “Here’s the guy credited with writing the lyrics to “The Good Old Song” between 1893 and 1895—in an 1893 Glee Club photo! The guy who wrote the freakin’ “Good Old Song” was in Club!!!!”

The market failure of application security

Part 1 of an as yet indeterminate number of posts about why application security has historically been broken, and what to do about it.

Software runs everything that is valuable for companies or governments. Software is written by companies and purchased by companies to solve business problems. Companies depend on customer data and intellectual property that software manages, stores, and safeguards.

Companies and governments are under attack. Competitors and foreign powers seek access to sensitive data. Criminals seek to access customer records for phishing purposes or for simple theft. Online vigilante groups express displeasure with companies’ actions by seeking to expose or embarrass the company via weaknesses in public facing applications.

Software is vulnerable. All software has bugs, and some bugs introduce weaknesses in the software that an attacker can use to impact the confidentiality, integrity, or availability of software and the data it safeguards.

Market failure

The resources required to fix software vulnerabilities are in contention with other development priorities, including user features, functional bugs, and industry compliance requirements. Because software vulnerabilities are less directly visible to customers than the other items, fixing them gets a lower priority from the application’s business owner so fixing them comes last. As a result, most software suppliers produce insecure software.

Historically, software buyers have not considered security as a purchase criterion for software. Analyst firms including Gartner do not discuss application security when covering software firms and their products. Software vendors do not have a market incentive to create secure software or advertise the security quality of their applications. And software buyers have no leverage to get security fixes from a vendor once they have purchased the software. The marketplace is not currently acting to correct this information asymmetry; this is a classic market failure, specifically a moral hazard failure, in which the buyer does not have any information about the level of risk in the product they are purchasing.

So the challenge for those who would make software more secure is how to create a new dynamic, one in which software becomes more secure over time rather than less. We’ll talk about some ideas that have been tried, without much success, tomorrow.