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.

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?

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!!!!”

New mix: Hurricane Irene

Well, here we are again, in the middle of a storm. So far, knock wood, it’s been a lot of rain and very little wind, but this will be the day that Massachusetts really gets it. So I threw together some music to weather the hurricane by.

  1. A Hard Rain’s A-Gonna FallBob Dylan (The Freewheelin’ Bob Dylan)
  2. Rain In the SummertimeThe Alarm (Eye of the Hurricane (Remastered))
  3. Goodnight IreneTom Waits (Orphans: Brawlers, Bawlers & Bastards)
  4. Florida HurricaneSt. Louis Jimmy (Chess Blues 1947-1952)
  5. Goodnight IreneJohnny Cash (Sun Recordings)
  6. I Can’t Stand The RainAnn Peebles (The John Peel Singles Box)
  7. The Rain SongLed Zeppelin (Led Zeppelin Remasters)
  8. RainThe Beatles (Past Masters, Vol. 2)
  9. Have You Ever Seen The Rain?Creedence Clearwater Revival (Pendulum)
  10. Devil Sent The RainCharlie Patton (Founder of the Delta Blues)
  11. In The RainThe Dramatics (The Stax Story: Finger-Snappin’ Good [Disc 3])
  12. When It Rains, It Really PoursElvis Presley (The King of Rock ‘n’ Roll: The Complete 50s Masters)
  13. Rain (Falling From The Skies)Frank Sinatra (The Complete Capitol Singles Collection)
  14. Comes a HurricaneShannon Worrell (The Honey Guide)
  15. IreneLead Belly (Where Did You Sleep Last Night?)
  16. Ballet For A Rainy Day (2001 Digital Remaster)XTC (Skylarking)
  17. Blowin’ In The WindBob Dylan (The Freewheelin’ Bob Dylan)
  18. Wild Is The WindCat Power (The Covers Record)
  19. The WindPJ Harvey (Is This Desire?)
  20. Sauget WindUncle Tupelo (Still Feel Gone)
  21. Rain Please Go AwayAlison Krauss (Lonely Runs Both Ways)
  22. Dry the RainThe Beta Band (The Three EP’s)
  23. It Can’t Rain All the TimeJane Siberry (City (collaborations))
  24. Goodnight IreneRobert Cage (Can See What You’re Doing)

New mix: a piece of hope holding us together

End of summer is happy mix time. Now that I’m putting out only two mixes a year, it seems like one is downbeat and the other is happy. Lots of fun tunes in here, including a rare Shannon Worrell track that I had to pull off a 17 year old cassette tape.

  1. Moonlight In GloryMoving Star Hall Singers (Sea Island Folk Festival)
  2. SunflowerLow (Things We Lost In The Fire)
  3. Postcards from ItalyBeirut (Gulag Orkestar)
  4. The Ballad of Ronald Jeremy HyattJustin Rosolino (The Leaves Are Right to Tremble – EP)
  5. Boy With a CoinIron & Wine (The Shepherd’s Dog)
  6. LighthouseShannon Worrell (Shannon Worrell (EP))
  7. LowdownMy Morning Jacket (At Dawn)
  8. You Can Have It AllYo La Tengo (And Then Nothing Turned Itself Inside-Out)
  9. HexNeko Case (The Tigers Have Spoken)
  10. HomeEdward Sharpe & The Magnetic Zeros (Up From Below (Deluxe Edition))
  11. Love And AngerKate Bush (The Sensual World )
  12. In LiverpoolSuzanne Vega (99.9 F°)
  13. Neither Heaven nor SpaceNada Surf (Let Go)
  14. My Back PagesBob Dylan (Another Side Of Bob Dylan)
  15. Begat BegatJane Siberry (Maria)
  16. Inside of LoveNada Surf (Let Go)
  17. Give Up the GhostRadiohead (The King of Limbs)
  18. Polegnala e TodoraBulgarian State Television Female Choir (Le Mystere Des Voix Bulgares)

Earliest Virginia Glee Club concert program

I got a digital download the other day from the Small Special Collections Library at the University of Virginia. It contained what I’ve jokingly been calling my Historian’s Christmas present–high resolution scans of ten artifacts from the Glee Club’s archives, which have been donated to Special Collections over the years and have therefore been less accessible to Club. One of the items was of particular interest: the earliest known Glee Club concert program, dated December 1891.

Let’s put that in context for a second. This concert happened a mere 20 years after the Glee Club’s founding, and a few years before its first significant tours in 1893. It was before the authoring of the Good Old Song. It was before Thomas Jefferson’s original Rotunda burned to the ground. In fact, the concert was held in the Public Hall, which was the large auditorium in the Annex that was totally consumed by the fire and never rebuilt.

I had known that the concert program existed, because a scan from it was used to illustrate a library exhibit on American song. But that scan was only of the cover. The library digitized both sides for us, including the program and list of members. In doing so, it gave us one of our earliest full Glee Club rosters, and a rare glimpse at the repertoire performed back in the banjo & mandolin days.

Oh–I’ve also been able to do some mini-bios of the Club members listed as officers. See the articles on W. H. Sweeney, W. P. Shelton, W. S. Stuart, Charles L. DeMott, and O. W. Catchings. I particularly like the history on DeMott’s involvement with the founding of the Natural Bridge Appalachian Trail Club.

The Diamond Sea

I am often awakened these days at 4 am by our dogs. As I stumble over the pile of clothes I leave beside the bed for the early morning wakeups, our girl dog whines urgently. I take them outside in the early morning pearl-light and return to bed.

This day, like many, the next step is my son awakening at 5:15. My wife takes pity on me this morning and gets him, leaving me to unsettled dreams. I am just starting to get past the unsettled sleep schedule that has kept REM sleep at bay for almost a year, and my dreams crowd in resentfully when they are allowed.

This morning, after I rolled back over, I helped house guests down to our basement, where we walked through the tunnels that connected the house to Boston’s Red Line. Arriving a few stops later, we were in DC, where we walked past the Space Needle and along the booths of an outdoor festival. I spotted a pair of students from the University of Virginia, who helped me find graduation programs and band posters from the early 1990s. It struck me that it was like eBay but with sellers you could actually talk to. And then I woke up.

It seems as though the last 17 years, since I started as a young, know-nothing business analyst at American Management Systems, have flown by. It was only a few years after that that I picked up Sonic Youth’s Washing Machine and had the top of my head removed. I’m listening this morning to the uncut version of “The Diamond Sea,” and as always I’m floating in infinity, carried along by the interplay between Thurston and Lee. Then hits the point about 11 minutes in where the ripples have calmed and all that is left is the drone, until a new voice clusters around the second and diminished second in the chord. A storm has blown up. All I can do is hold on and ride.

Tanglewood, 2011

I’ve been indulging myself at Tanglewood this week for the TFC’s opening weekend performance. I used to do several residencies a summer; with two young kids at home and a lot of other family vacation planned I’m limiting myself to one this year. It’s been a worthwhile residency, despite the compression, because I’ve actually had time to sit and think and read and digest.

Our repertoire for the run has consisted of one old friend, the Berlioz Requiem (which I last sang over ten years ago with the Cathedral Choral Society–man, how time flies), and a new one, Bellini’s Norma, from which we sang excerpts. The Bellini performance was last night as part of the opening night show. Musically the opera is not particularly complex, particularly compared to the Berlioz, but it has some beautiful moments, including of course the “Casta Diva” aria which we sang. (Opera newbie that I am, I didn’t realize until this run what that aria was, though I heard it often, including in sampled excerpt at the beginning of Shannon Worrell’s song “Witness.”)

The Berlioz is a whole different matter, in ambition, scope, and energy required from the singer. For this run the most taxing thing about it has been forcing the Latin text into my brain. I have the music fairly well internalized but the texts are, as always for me, a different story. When I sang it at age 25 it was taxing for a completely different reason: I simply didn’t know how to sing.

I’m envious of my friends in the chorus who have formal voice training. It took me about ten years of singing in amateur choruses to find the person who would set me on the road to vocal health–Christina Siemens. She finally taught me that sound is produced with the whole body and amplified through the facial mask, and that truly resonant vocal sound isn’t forced. It’s a lesson every singer should learn, that I hope Frank Albinder is teaching the current Virginia Glee Club, and that I learn over and over again under John Oliver’s tutelage. I need that lesson for just about every minute of the Berlioz. While as a second tenor I don’t have some of the most thrilling vocal lines of the work, there are plenty of cases where we’re called upon to provide power and volume in a high range. As long as I remember the words it works, as I can keep the vocal production forward and resonant. If I have a brain cramp and forget part of the text, oddly, the instrument has trouble working too; the vocal production falls back in the mouth and suddenly everything’s forced. It’s literally easier to sing correctly. I hope I can remember that tonight for the actual performance.

Ten thousand voices: alumni singing from the Glee Club reunion weekend

Rehearsing with John Liepold, March 19, 2011

I’m slowly processing mountains of data from the Virginia Glee Club 140th Anniversary Weekend. After a long delay, the audio recordings of the alumni sings and the banquet speakers have been posted at the Virginia Glee Club wiki.

While there are a few glitches in the performances here and there (unsurprising given only a morning’s rehearsal), what’s moving to me is hearing voices from multiple Glee Club eras come together on both Club standards (“Shenandoah”, the Biebl “Ave Maria,” the “Winter Song”) and one or two that were new to many. I think for me the standout performance is the Fenno Heath arrangement of “Sometimes I Feel Like a Motherless Child” with Morgan Whitfield reprising a solo he had sung almost twenty years previously. You’d never know that most of the alums had never sung the work with John Liepold.

The banquet speeches are good too, if you’re into that sort of thing. Of particular interest to me was the description by Patrick Garner about how the Club’s first European tour came to be. But the whole thing is well worth a listen.

Next project: sort through a few gigs of high resolution photos from the weekend and get them up on the site.

Virginia Glee Club in the 1870s and 1880s

I’ve often complained that the founding era of the Virginia Glee Club is the most obscure, the hardest to get information on, the time most shrouded in mystery. (The uncertainty around the founding date of the group is just one example here.) Part of the challenge for the first twenty years of the group’s existence is the lack of primary materials: Corks and Curls came along in 1888, and College Topics (later the Cavalier Daily) was first published in January 1890. So where does the UVa historian turn for information about anything earlier than 1888?

Fortunately, students were still writing about their own activities in the 1880s and 1870s, in the only venue at hand: the Virginia University Magazine. Founded in the 1850s as the University Magazine, it continued under the sponsorship of the Jefferson and Washington societies as the V.U.M. or the University of Virginia Magazine through the 1920s. Up until the publication of Corks and Curls, it was one of the few outlets that talked about student activities in print, and its column “Collegiana” provides snapshots of student life during the period.

Now that Google has added quite a few issues of the Magazine to Google Books (most pertinently, 1870; 1877; 1878; 1879; 1880; 18861887; 1888; 1890, among others), we have a better view of the life of the Glee Club during those first twenty years. In particular, we now know:

  • The Glee Club faded in and out of existence in the 1870s, with its prototype emerging in 1870, the first official group forming in 1871 and the emergence of the “Claribel Club” in 1874 and 1875
  • We now also know that Glee Clubs went away entirely during the 1876-1877 and 1877-1878 seasons, then re-emerged in 1879-1880 (the year Woodrow Wilson was a member). Reassuringly, the Cornell Glee Club went through a similar patch in its early years, according to chronicler (and one-time Virginia Glee Club conductor) Michael Slon.
  • In 1880-1881 the Glee Club was seeking “a tenor” (only one? then the group was probably a quartet) after Wilson’s departure from Virginia, and may not have re-formed.
  • In 1886-1887 the Glee Club got more ink in the Magazine than any year before or since, probably explaining why in the 1930s they thought that this was its founding year. The group (re-)formed and went on tour in the “Northern states,” though nothing else is known about this tour.
  • 1886 is also the earliest year where we know the name of a Glee Club president: Sterling Galt. (Alas, we know almost nothing else about him.)
  • The group had a moderately successful 1887-1888, apparently enough so to swell their heads, since the magazine joked that, regarding the proceeds from an upcoming concert, that “Some think that the club will give the Ladies’ Chapel Aid Society enough to complete the chapel, and that all the rest, excepting probably a small amount which will be given to purchase four or five boats for the boat club, will be used to construct a Glee Club building. The building will be located at the foot of the Lawn.”
  • After 1887-1888, the group fell back into a swoon during 1888-1889 and did not organize at all, according to the Magazine.
  • This backsliding was remedied in 1889-1890, with a group that toured as far as Lynchburg and Richmond. This time things caught in earnest, and, save minor hiatuses in 1906-1909 and 1912-1914, things kept going from here.

It’s taken a lot of digging to build this timeline, and there are still quite a few blanks to be filled in. But I think at this point that things are relatively solid regarding the earliest history of the Virginia Glee Club.

New mix: every day is getting straighter

This mix has been percolating a while. I didn’t know how to move beyond Jeff Buckley’s absolutely epic reading of his lament for his dead father, but it turns out that anger works remarkably well when played against grief and loss. And that’s how the rest of the mix went.

I make no apologies for the elegiac (some would say self indulgent) triple punch of the Death Cab, Cure, and Jane’s songs stacking up all together. Somewhere there is a sixteen year old who’s just broken up with his girlfriend who only wishes he could put that much misery together in one place on the mix that he’s going to send her.

Bascom Lamar Lunsford’s a cappella version of “To the Pines, to the Pines” is both more matter of fact and more chilling than the version by Leadbelly (and the bloodcurdling Nirvana cover it inspired).

  1. Dream BrotherJeff Buckley (Mystery White Boy (Live))
  2. Careening with ConvictionMission Of Burma (The Obliterati)
  3. Written In ReverseSpoon (Transference)
  4. Company in My BackWilco (A Ghost Is Born)
  5. What Is Your Secret?Nada Surf (The Weight is a Gift)
  6. RevelatorGillian Welch (Time (The Revelator))
  7. The Queen Is Dead (Take Me Back To Dear Old Blighty)The Smiths (The Queen Is Dead)
  8. Pump It UpElvis Costello (The Very Best of Elvis Costello And The Attractions)
  9. Radio CureWilco (Yankee Hotel Foxtrot)
  10. ProgressMission of Burma (Vs. )
  11. TransatlanticismDeath Cab for Cutie (Transatlanticism)
  12. DisintegrationThe Cure (Disintegration)
  13. Then She Did…Jane’s Addiction (Ritual De Lo Habitual)
  14. To The Pines, To The PinesBascom Lamar Lunsford (Ballads, Banjo Tunes, And Sacred Songs Of Western North Carolina)
  15. Einstein’s DayMission of Burma (Vs. )