I use AI tools for certain tasks. But there are other tasks I would never use them for. Bloomberg News has an article on how AI-generated recipes are taking over both the web and social media. And it’s not going well, neither for the food bloggers, nor for the people trying to use AI-generated recipes. They interview Eb Gargano, who writes the Easy Peasy Foodie blog:
“Instead of sending home cooks to her decade-old, well-tested recipes, Google increasingly inserts AI-generated summaries stitched together from bits of her work and others’ that often get the basics wrong. An AI-assembled version of Gargano’s Christmas cake, for instance, would have people cooking a 6-inch cake for 3 to 4 hours at 320°F (160°C). ‘You’d end up with charcoal!’ she said. Meanwhile, traffic to her turkey recipe is already down 40% year over year….
“All of this, food bloggers say, erodes the simple promise of a recipe: that someone has actually cooked it before you have. To Gargano, this is the core issue. ‘No matter how clever the AI is,’ she said in a recent interview, ‘it can never actually test a recipe in a real kitchen and see how it works.’”
As a follow up to a previous post on tumbaderos — a tumbandero is the washtub bass that’s played in the Caribbean and Central America — tumbandero player Axel D. Rodríguez sent links to some fabulous videos. If you’re interested in tumbanderos or washtub bass, you’ll be fascinated by these videos, both to hear the varied playing styles, and to see helpful visual cues for making your own instrument.
Thank you Axel! (Find Axel and his band on Spotify — and on Youtube.)
Tingo Talango — Cuba 1 — A must-watch video showing a musician building a Cuban version of the earth bow, called a “tingo tualango” or a “tumbandero.” The earth bow was the African instrument from which the washtub bass and the tumbandero are derived. Skip ahead to 2:50 to watch the building of the instrument, and then watch it being played both by plucking the single string, and playing rhythm on the soundboard. The musician frets the string rather than adjusting the tension on the bow.
Tumbandera or Kaolin — Cuba 3 — Another traditional Cuban earth bow. These musicians adjust the string tension by moving the bow, and get different notes. In the short demonstration of playing, it seems the instrument sometimes requires two musicians — one to play, and the other to adjust tension to keep the instrument on pitch.
Screen grab from the 3rd Cuba video. You can clearly see the bow which provides tension for the string.
Quijongo Caribeño — Costa Rica — The visuals show some adults showing kids of about middle school age how to build an earth bow-derived instrument out of a wood box, a string, and a neck. (The audio isn’t coordinated with the visuals.)
Screen grab from the Costa Rica video. The kids are learning how to play the instruments they just made.
Marengwen — Haiti — An earth bow-type instrument, but the string tension is fixed, and pitch is altered by fretting. In addition, rather than plucking the string, the musicians strike the string with a stick. A must-watch video.
Screen grab from the Haiti video. The stick used to hit the string is blurred in this image.
Tumbandero or Bajo De Palangana — Pureto Rico 4 — Tumbandero made with a plastic five gallon bucket. Once again, the tumbandero functions more like tuned percussion than a bass. You can hear the tumbandero from 0:00 to 2:45; and from 6:15 to the end.
Screen grab from the 4th Puerto Rico video. The tumbandero (at far left) is made out of a 5 gallon plastic bucket.
“Wherever the African diaspora is, you are going to find some sort of instrument similar to this one. In the case of [the musical genre] la plena, it’s an instrument that is complementary to the traditional panderetas [frame drums] and guiro [hollow gourd played with wire brush]. And it sounds close to a bass [in range]. But the pitch isn’t perfect, so it’s basically another percussive instrument.”
Screen grab from the 6th Puerto Rico video. This tumbandero, made from a metal washtub, looks like a classic American washtub bass.
Axel also sent some photos he found online — since I don’t know the source of them, and whether they’re copyrighted, I decided not to include them in this post. But if you do an image search for “tumbandero” you should turn up some interesting images.
A final note: I really want to make the Costa Rican instrument. I like the sound of the wood, I like the looks of it, and it would be fun to make. But we don’t have room for such a large musical instrument in our tiny apartment.
The whole disgusting Epstein saga is really a story about how rich old white guys think they can do whatever they want. Jeffrey Epstein, as you recall, was the billionaire pedophile who died by suicide rather than go on trial for sex trafficking girls. And he had lots of rich old white guys as friends. People like Donny Trump, who up until a couple of days ago resisted releasing the Epstein files with all his political might — even though he had promised to release those files during his campaign. People like Larry Summers, who had a nasty email exchange with Epstein in which Larry asserted that women have lower IQ than men. People like No-longer-prince Andrew, who was photographed with his arm around a 17 year old girl that Epstein was trafficking. People like Peter Thiel, who was glad to have Epstein’s investments — an amount that now totals $170 million, none of which will go to Epstein’s victims — and who apparently got tax advice from Epstein.
In their relationships with Epstein, none of these rich old white guys demonstrated what I’d call a strong sense of morality. And now, they are all doing whatever they can to avoid any consequences for making friends with a billionaire pedophile. Donny Trump claims he was mad at Epstein and ended the friendship before anything bad happened. Andy Winsor denies everything, even as his brother the King of England strips him of all his titles. Larry Summers offers a hollow apology that he’s sorry for what he did — while enjoying his $40 million net worth in a very comfortable retirement. Petey Thiel offers no apology whatsoever for accepting Epstein’s money, because (I guess) his business is a realm where morality need not intrude.
As an old white guy myself, I feel it’s incumbent on people like me to call out other old white guys when they behave badly. Not that it will do any good with these guys; their actions show they don’t care about morality. Nevertheless, their lack of accountability makes me want to try (in my ineffectual way) to puncture their aura of smugness. So here goes nothing:
A comment by Axel D. Rodríguez, a musician and cultural researcher from Puerto Rico (his band on Spotify — Youtube), recently appeared on one of my old posts about the washtub bass. He gives some interesting information about the washtub bass that I wanted to highlight:
“For the past few years [he writes], I’ve been studying a Puerto Rican one-string bass known locally as the tumbandero. It appears historically in the northeast of the island — Loíza, Canóvanas, Río Grande, and Fajardo — and shares a clear lineage with African earth bows and the broader family of one-string, tension-controlled basses found across the Caribbean and the Americas.
“Through workshops, fieldwork, and conversations with older musicians, I’ve documented several Puerto Rican variants — the traditional washtub with stick and string, also a 5-gallon pail version used by plena musicians, and an older earth-bow-type form described in ethnographic literature. I’ve also traced connections with related instruments such as the Haitian mosquito drum (karolín/kalori-n), the Dominican gayumba, the Cuban tingo talango, the Makalapo y Seychells Islands, Gayumba Dominicana in the Dominican Republic….”
Since the washtub bass derives from the earthbow, an African instrument, it should be no surprise to find related instruments throughout the African diaspora. Nevertheless, I was fascinated to learn about the tumbandero.
Screen grab from the Facebook video. They’re attaching the neck to the bucket.
This deity is a yipwon figure, from the Yimam people who live along the Karawari River in East Sepik Province, Papua New Guinea. Since I know essentially nothing about the Yimam people and their deities, I’m going to quote from various authorities who claim to know something.
Yipwon figure in the Boston Museum of Fine Arts, acc. no. 2014.306
Maia Nuku, in the recent book Oceania: The Shape of Time (Metropolitan Museum of Art, 2023), says this about yipwon figures.:
“Depicting ancestral spirits, yipwon figures have long played a central role in hunting and warfare for Yimam people along the Korewori [sic] River in the Middle Sepik. The figures served as vessels into which spirits were summoned before a hunt or raid. The carvings were either large-scale or small enough to be portable, to be carried and deployed by their owners as powerful amulets or charms. Large figures were owned by the group and kept in the ceremonial house, close to the back wall, the most sacred area of the house. Each yipwon bore a name and was paired with one of the senior male members of the clan. Before its assistance was required, the yipwon spirit was summoned into the sculpture by activating it with a mixture of betel nut, ginger root, and a small amount of the blood of the man who was activating it…. On entering the yipwon figure, the spirit could also possess its human counterpart, speaking through him to the assembled men…. Yipwon were not intended to be representative portraits of individuals, but, rather, an activated vision of the exceptional nonhumans with whom the community was in relation….”
Christian Kaufmann, Korewori: Magic Art from the Rain Forest (University of Hawaii Press, 2003), pp. 70-71, gives a version of the myth they say underlies the yipwon figures:
“In 1963 Eike Haberland and Sigfried Seyfarth made a detailed study of the Yimam on the upper Korewori and its tributary the Wogopmeri as well as the hills to the north of them. These people name their hunting helpers yipwon, which Seyfarth and Haberland translate as ‘hunting demon.’ … The yipwon hunting helpers and the somewhat different older hook figures of the Yimam owe their existence to a mythical event which has been described in detail. They were created from the wood chips that were left when Sun, a male being, cared the first slit-gong. They have a human-like life, and enrage Sun by committing a murder. When this deed is discovered by the moon-woman, their shame is such that they transform themselves on the spot into stiff, thin wood figures and press themselves in the dark against the wall of the men’s house. Sun appoints them as hunting helpers at the moment when he takes leave of humans forever.”
The Metropolitan Museu of Art has photographs of several yipwon figures on their web site. On the web page for one of those figures, they give a somewhat different summary of the same myth, probably from the same source (Seyfarth and Haberland):
“…Local oral tradition describes the origin of these distinctive images. When the spirit of the Sun, who formerly inhabited the earth, was carving the first slit gong (a large musical instrument), the pieces of wood chipped from the carving came to life as spirits who lived with the Sun in the men’s ceremonial house. One day these spirits killed one of the Sun’s male relatives and drank his blood, after which they stretched themselves out against the wall of the house and turned back into wood. Angered by their act, the Sun ascended into the sky while the yipwon remained on earth as patron spirits of warfare and hunting….”
I found very little information online about the Yimam people, who are also called the Alamblak people. The Joshua Project, a Christian group that aims to spread their religion to other peoples, claims that there are 3,100 Alamblak people today; they claim that currently 90% of the Alamblak are Christian, and they link to a translation of the Christian Bible into the Alamblak language. The only other references I could find to the Yimam or Alamblak people was in relation to their artworks. It seems that the only value the Alamblak / Yimam people have to the First World is either to provide artworks (which sell for quite high figures), or to provide converts to Christianity. And I wonder how much remains of their old religion and mythology: are the yipwon still active?
Religion News Service reporter Kathryn Post has an interview with William J. Kole about his new book, “In Guns We Trust,” to report on White evangelical gun culture. In the interview, titled “‘In Guns We Trust’ challenges white evangelicals to rethink their alliance with firearms,” Kole says that he was a part of White evangelical churches, but has been “deconstructing” his Christian faith over his perception that gun culture (and its ally, Christian nationalism) has nothing to do with Christianity:
“…I feel like the historical Jesus is objectively nonviolent. I understand that evangelicals will cherry-pick Scripture to find a few verses to help them feel more comfortable with gun culture, but I find it completely unbiblical. The churches that are embracing gun culture now were almost entirely pacifist up until the late ’60s and early ’70s, when a shift began. Even the Assemblies of God, where I served as a lay missionary for three years in Europe, was officially pacifist in its constitution and bylaws. So, they’ve had to pivot, and it’s a perplexing pivot for me. I just don’t see how weapons have anything to do with a faith tradition that is rooted in nonviolence.”
Kole also says that he’s now “reconstructing” his Christian faith, adding: “I just can’t, in good conscience, continue in the evangelical tradition.”
In the Walters Art Museum in Baltimore, there’s a lovely small sculpture of the god Shiva with his wife Uma. It was made in the 13th century CE out of “copper alloy” in Tamil Nadu, the southernmost state in India.
Shiva and Uma, Walker Art Museum, acc. no. 54.3023. Uma is on the right.
But wait a minute…isn’t Shiva married to Parvati? Who is Uma?
For a partial answer to the question of Uma’s identity, I looked at the Kena-Upanishad, which can be found of the Talavakara-Upanishad. I used Max Mueller’s translation in The Upanishads Part I, Sacred Books of the East series, volume I (Oxford, U.K.: Clarendon Press, 1897), pp. 46 ff. The third and fourth khandas of this upanishad tell how Brahman, the ultimate reality or highest deity, is more powerful than anything else in the universe, more powerful even than various other gods and goddesses. Mueller’s translation of the third khanda (verses 1-12), and the first verse of the fourth khanda, reads as follows:
“Brahman obtained the victory for the Devas. The Devas became elated by the victory of Brahman, and they thought, this victory is ours only, this greatness is ours only.
“Brahman perceived this and appeared to them. But they did not know it, and said: ‘What yaksha [sprite, demon] is this?’
“They said to Agni [fire]: ‘O Gatavedas, find out what yaksha this is.’ ‘Yes,’ he said.
“He ran toward it, and Brahman said to him: ‘Who are you?’ He replied: ‘I am Agni, I am Gatavedas.’
“Brahman said: ‘What power is in you?’ Agni replied: ‘I could burn all whatever there is on earth.’
“Brahman put a straw before him, saying: ‘Burn this.’ Agni went towards it with all his might, but he could not burn it. Then he returned thence and said: ‘I could not find out what yaksha this is.’
“Then they said to Vayu [air]: ‘O Vayu, find out what sprite this is.’ ‘Yes,’ he said.
“He ran toward it, and Brahman said to him: ‘Who are you?’ Vayu replied: ‘I am Vayu, I am Matarisvan.’
“Brahman said: ‘What power is in you?’ Vayu replied: ‘I could take up all whatever there is on earth.’
“Brahman put a straw before him, saying: ‘Take it up.’ Vayu went towards it with all his might, but he could not take it up. Then he returned thence and said: ‘I could not find out what yaksha this is.’
“Then they said to Indra: ‘O Maghavan, find out what yaksha this is.’ He went towards it, but it disappeared from before him.
“Then in the same space [ether] he came towards a woman, highly adorned: it was Uma, the daughter of Himavat [the Himalayas, or snowy mountains]. He said to her: ‘Who is that yaksha?’
“She replied: ‘It is Brahman. It is through the victory of Brahman that you have thus become great.’…”
In a footnote, Mueller provides some information about Uma:
“Uma may here be taken as the wife of Siva, daughter of Himavat, better known by her earlier name, Parvati, the daughter of the mountains. Originally she was, not the daughter of the mountains or of the Himalaya, but the daughter of the cloud, just as Rudra was originally, not the lord of the mountains, girisa, but the lord of the clouds. We are, however, moving here in a secondary period of Indian thought, in which we see … the manifested powers, and particularly the knowledge and wisdom of the gods, represented by their wives. Uma means originally flax, from va, to weave, and the same word may have been an old name of wife, she who weaves (cf. duhitri, spinster, and possibly wife itself, if O. H. G. wib is connected with O. H. G. weban). It is used almost synonymously with ambika, Taitt. Ar. p. 839. If we wished to take liberties, we might translate uma haimavati by an old woman coming from the Himavat mountains; but I decline all responsibility for such an interpretation.”
David R Kinsley, in his book Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Traditions (Berkeley: Univ. of Calif. Press, 1986), p. 36, has a somewhat different take on who Uma in this upanishad might be:
“The Kena-upanisad contains a goddess named Uma Haimavati (3:12). This is one of the most common names of the late Sati-Parvati, but this reference does not associate the goddess with Siva, nor does it associate her with mountains, except by name (haimavati meaning ‘she who belongs to Himavat,’ who is the Himalaya Mountains personified as a god). Her primary role in this text is that of a mediator who reveals the knowledge of the brahman to the gods. She appears in the text suddenly, and as suddenly disappears. It is little more than conjecture to identify her with the later goddess Sati-Parvati, although quite naturally later writers do make the identification when describing the exploits of Sati or Parvati. To devotees of the goddess, this early Upanishadic reference provides proof of her venerable history….”
How can we make sense of all this? On Hindu Blog, which gives contemporary popular accounts of Hinduism, writer Abhilash Rajendran cites the Encyclopedia of Hinduism, vol XI (India Heritage Research Foundation and Rupa Publications, 2012) p. 22, and says Uma “has thousands of names depending on which way a devotee want to perceive her.” Rajendran goes on to say that some of the key aspects of Uma’s symbolism include feminine energy, “motherly love and nurturing,” balance, harmony, and “asceticism and devotion.” She can also appear as a “fierce warrior goddess”; and in fact, Kali is one of her manifestations.
Other sources may depict Uma slightly differently, but the gist of her is always the same: the great power of the feminine. Don’t mess with Uma.
From a story by Fiona Murphy titled “How ‘RaptureTok’ amplified an extreme corner of faith” (Religion New Service, 26 Sept. 2025). The story documents how minority religious views are often mocked and belittled on TikTok….
“Heidi Campbell, director of the Network for New Media, Religion and Digital Culture Studies at Texas A&M University in College Station, said that since 2016, online discourse has shifted toward what she calls a ‘performance of meanness.’
“‘The screen has allowed us to broadcast so much more diversity, which can be a positive thing,’ Campbell said. ‘But instead of bringing us closer together, which a lot of internet prophets and cyber philosophers kind of said in the 1990s, it’s actually brought more division.’”
[Note: I wrote up my notes from this meeting, pasted them into WordPress, then forgot to hit “Publish.” Sigh. So this post is dated September 5th, even though it actually went live a couple of weeks later.]
While watching the NAACP webinar on “Labor action Week”, I transcribed a few of the speakers’ comments that especially caught my attention. Here are my rough notes, lightly edited:
“It is by design to make us feel powerless,” said Julie Collier of the AFL-CIO. “They are trying to make us feel powerless, so that we act powerless…. That is not where we are, we are going to be fighting back.” “We’re going to organize, because that is what we do best.”
Donna Mitchell, who is with Laborers’ International Union of North America (LiUNA, a building trades union), said that their union is asking each local to build alliances in their communities, including of course alliances with local NAACP chapters. LiUNA leadership knows that many of their members voted for Trump, so they are now reaching out to their membership to become “reacquainted.” They are also asking their members to “vote with their paychecks.” As an example of what she means by that, Mitchell pointed out that the Trump administration shut down the Revolution Wind project off Rhode Island, which has thrown hundreds of LiUNA workers out of work. “Overnight, those jobs are gone,” Mitchell said. She added that the demise of Revolution Wind will “drive up energy prices,” thus hitting LiUNA members once again in the pocketbook.
While Mitchell was speaking, I noticed this comment in the chat:
“Have we ever had another president in the White House that raised unemployment and inflation at the same time?”
Rev. Dr. Regena Thomas, who is a ministerial associate at Grant Chapel AME church and also Co-Director of Human, Civil, and Women’s Rights for the American Federation of Teachers, said, “If I’m completely honest, I’m mad as hell. But I’m also fearful.” She is especially fearful because of the attacks on Black women by the Trump administration. She sees the labor movement as taking the lead right now, adding:
“I’m mad, and scared, but also energized and fired up.”
“If it’s good enough for them to want to take it, it’s good enough for us to fight to keep it,” Thomas went on. “Everyone has a lane [i.e., everyone has a role to play] … and we need boots on the ground [i.e., each of us has to get to work].”
In response to Thomas, this comment appeared in chat:
“No silos! We can do this together!!”
Actually, some of the most inspiring material came from the chat. Here is a small sampling of comments from NAACP members from across the U.S.:
“We must remember Galatians 6:9, ‘And let us not be weary in well doing: for in due season we shall reap, if we faint not.’ Keep standing in solidarity.”
“The working class needs to fight back, we outnumber the oppressors.”
“[Work] collectively. Stop the divide and conquer. What they do to one, they will do to another.”
“Partnerships and collaborations are necessary.”
“Racism and bigotry are integral to capitalist exploitation.” [Mostly I forgot to note who made the comments, but this last one came from Rev. Chester Banks, president of the Bayonne Branch of the NAACP.]
A final note of apology: I was typing as fast as I could, and my transcriptions are probably not entirely accurate; if you spot errors, please leave a comment with a corrected version.
As we work towards getting out the current political situation, most of the so-called progressive left seems to be in disarray, with little more to offer than “We don’t like Trump.” Which, to be honest, is not very helpful.
Fortunately, the NAACP has been promoting a positive vision for what needs to be done. This week, the week after labor Day, is “Labor Action Week,” a week to promote the interests and needs of working people — with the slogan, “Fierce Advocates for Working People.” Tonight, the NAACP offers a webinar on all this. Here’s the description:
“This Labor Action Week, we unite under the banner The Urgency of Now to confront the challenges facing working people — and to act. Join us as we shine a light on the fights, the victories, and the voices that keep our movement strong. Together, we will honor the dignity of work, demand policies that protect and empower workers, and inspire a new generation to carry the torch forward.”
It’s not too late to register for the webinar — I just did. Go to this page, then click through to the registration form. And if you can’t make it, I’ll report on the webinar tomorrow
