Category: Arts & culture

Mapping sea level rise

Back in 1970s, while still in high school, I was really into topographic maps. I tried making topo maps of parts of Concord, Massachusetts, where I then lived. This was back in the days of drawing with pen and ink on paper, so making maps was challenging and fun.

I remember reading somewhere about what was then called the “greenhouse effect,” which would prompt the melting of the polar ice caps. I forget the amount of sea level rise predicted. But when I looked at a topo map of Concord, most of the town would be underwater, with just a few of the tallest hills was islands.

Yep, we knew back then about what is now called global climate change. Then, as Michael Mann has documented in his book The New Climate War, the oil companies conducted a massive disinformation campaign. The oil companies basically hijacked our elected officials while we weren’t paying attention. And here we are today, even more worried about sea level rise.

With all that in mind, I was glad to find the Conspiracy of Cartographers website. They make maps showing what things will look like if the sea level rises 66 meters — the current best estimate assuming all the polar ice melts. Here’s a link to their map of the Boston area. I love their place names: Concord Bay, Lexington Archipelago, Flint Island — this last represents what is now high ground to the east of Walden Pond. Here’s a screen grab of part of their Boston map:

Screen grab of part of a fictional map showing sea level rise west of Boston.
Screen grab of a small part of the Conspiracy of Cartographers map of Boston

Beautiful maps. And depressing. And a very good corrective to the decades of lies and misinformation emanating from the oil companies.

Noted without comment

Historian David Hackett Fisher’s latest book is titled African Founders: How Enslaved People Expanded American Ideas (New York: Simon and Schuster, 2022) In his discussion of the eighteenth century in French Louisiana, Fisher says:

“The French know it well and say it best: plus la diversité, plus l’unité. In the age of the Enlightenment, David Hume and James Madison were were both quick to understand the uses of that idea. They helped to invent a new science of politics, and inspired the design of the early American republic, which was grounded in the uses of diversity as keys to liberty and freedom. In a later era, some of us have forgotten what they had learned.” [p.486]

Random observation

One of my leisure-time projects for this year has been learning a bit of ukulele. So I’ve been watching a lot of videos of young ukulele players. And it suddenly occurred to me that many of the best young ukulele players are racially very diverse: Abe Lagrimas, Jr., Taimane Tauiliili Bobby Gardner, Rio Saito, Honoka Katayma. Yes, there are fabulous young white uke players, like Britni Paiva and Andrew Molina. But more seem to be non-white and/or mixed-race. Maybe this is just because the younger generation is majority non-white. Or maybe because the best uke players seem to come from Hawaii, which is racially very diverse. Of course, the most famous young ukulele player is white — that would be Billie Eilish (not that her ukulele playing is particularly good).

The fate of social media

I realized that I have pretty much abandoned Mastodon. That’s the non-commercial social media site that has been touted as a replacement for Twitter, after Elon Musk took over Twitter and turned it into a cesspool of hate speech. Not that I adopted Mastodon as a replacement for Twitter. I just wanted to find a social media site where I could meet some new people, and have some two-way (or n-way) online conversations.

I abandoned Mastodon because it wasn’t fun any more. It was flooded by self-proclaimed Twitter refugees, whose main goal in life seemed to be to have as many followers as possible — either that, or the goal was to follow those with thousands of followers. Mastodon was becoming dominated people who specialized in polemics, or in responses to polemics.

To put it another way: Mastodon was turning into Twitter — or turning into Facebook. Lots of rage porn and anger memes. Lots of chastising others for their inadequacies. Mind you, these sites can work fairly well if you want to communicate with people you already know, or if you want to plug into an already existing community, or if you want to be a simple consumer of what other people say.

Not that I made a conscious decision to abandon Mastodon. One day, I just didn’t use the site. It felt good to not use the site. So I didn’t use the site the next day. Or the next day, or any succeeding day. I feel a bit sad, because I think Mastodon has been designed well. But perhaps that is now the fate of all social media: to descend into a toxic mix of rage porn, anger memes, and chastising others for their inadequacies.

Jake or young kid

One of my favorite Youtube videos is titled “Guess: JAKE or Young KID? — Ukulele Challenge.”

If you know anything about the current ukulele scene, you’ll immediately figure out that “Jake” refers to Jake Shimabukuro, a ukulele virtuoso who is probably best known for his ukulele versions of “While My Guitar Gently Weeps” and “Bohemian Rhapsody.” But his range as a musician goes far beyond rock and pop music. He has arranged jazz, classical, funk, and bluegrass music for the ukulele, and written his own compositions. He is known for playing complex music requiring amazing feats with both left and right hands.

The point of “JAKE or Young KID?” is simple: a panel of professional ukulele players listen to only the audio portion of a Youtube video of one of Jake’s arrangements or compositions. Sometimes it will be Jake playing, but sometimes it will be a child or young teen playing. The panelists have to figure out which it is. Given what a virtuoso player Jake is, this should be no problem, right?

Actually, the panelists regularly mistake Jake for the Young Kid, and the Young Kid for Jake. This says a lot for the high level of playing in the rising generation of ukulele players (it also says a lot about the popularity of the ukulele these days, that kids are willing to spend so much time learning the instrument). But it also makes us confront one of the nagging questions of our time: how do we know what is true and what is false? If a ten year old kid can play like Jake Shimabukuro, then what?

But the video doesn’t get into existential questions like that. It’s just hilarious. Although panelist Kalei Gamaio easily beats panelists Abe Lagrimas, Jr., and Aldrine Guerrero, each of the panelists makes hilarious mistakes.

Screen grab from the video
L-R: Abe Lagrimas, Kalei Gamaio, and Aldrine Guerrero — Kalei was the only one who figured out this player was NOT Jake, but a little kid

Not ready for prime time

A Star Trek musical is in the works. Called “Khan!!! The Musical!: A Parody Trek-tacular,” it will premiere Off-Broadway in early May.

The premise? Data the android, while learning about human culture, finds out about Broadway musicals, and programs his own holographic musical. Which features things like Vulcan tap dancing… and “mutant space-chickens.”

They lost me at mutant space-chickens. It makes it sound like they’re trying too hard to be funny. Singing tribbles might be funny. Mutant space-chickens… meh.

Another who’s leaving social media

Science fiction author (and former librarian) Karl Drinkwater is leaving social media:

“…I’m going to close my social media accounts. They tie you in by becoming a habit. They tie you in by making you think you need continuous reinforcement. They tie you in with follower counts, and the implicit threat that if you walk away you’ll lose thousands of followers gathered over a decade. The last one isn’t true. As in, you don’t lose anything….” Plus, he adds, commercial social media sites like Twitter and Facebook spy on you, make money from your content, own your content, don’t actually show your followers your content, and do many other evil things.

Drinkwater is no Luddite. He details how he’s been an early adopter many times in the past. And maybe he’s being an early adopter now — we’re seeing the beginnings of a trend of tech-savvy people realizing the full horrors of commercial social media, and getting rid of it. Realizing the full horrors of Amazon, and withdrawing all support from it. Realizing the full horrors of Microsoft and Apple, of any smartphone made, and finding alternatives.

He’s fortunate that he can withdraw from all those things. I pretty much have to have a smartphone for my job. Given the press of demands from my job, I don’t have the time to make the switch to LibreOffice. Similarly, I don’t have time to switch to Linux — a switch that would entail too many hours of learning Linux, finding replacement software, learning how to use it.

On the other hand, Drinkwater says he’s done this as a gradual changeover. You don’t have to do it overnight. I’ve already pretty much stopped using social media. My laptop has about two more years of life left in it; maybe I should think about buying a new laptop now, one that I can install Linux on. Maybe it’s time to start researching dumb phones, ones without GPS or other spying capabilities built into them.

But I will definitely remain here at this blog. This blog is what social media used to look like. I use open source software to power this blog, and host it with an ISP that uses renewable energy. No one steals your data. No one owns my content (except me). This is what the web could be….

Aaron Bash Windom

Following up on yesterday’s post, I decided to draft a brief biography of gospel composer A. B. Windom — just in time for the last few days of Black History Month.

Aaron Bash Windom, better known as A. B. Windom, was born on September 11, 1910, in Missouri. Nothing is known about his early years. By 1941, he was publishing his own compositions in St. Louis, often under the imprint “Studio of A. B. Windom.” In addition to being a gospel composer, he taught music, and his students called him Professor A. B. Windom. He was also a performer, and both sang and played piano. At one time, he was accompanist for Willie Mae Ford “Mother” Smith (Horace Clarence Boyer, The Golden Age of Gospel [Univ. Ill Press, 2000], p. 138).

On February 17, 1949, he married Selma B. Hurd. Born c. 1903, Selma was from East St. Louis, Ill., across the river from St. Louis, and was the daughter of Baptist minister Rev. B. M. Hurd.

Although all his published compositions were gospel music, Windom taught classical piano. As one of his students remembers, “He was very well versed in music theory as well. Gospel music is not all he knew. He was a light-skinned Black man, [and] eccentric. I still miss him.” At least one of his students went on to become a professional musician, the gospel composer Rev. Robert Mayes (1942-1992).

Windom served for forty years as the minister of music at Christ Pilgrim Rest Baptist Church in St. Louis, circa 1940 until his death. In 1966, he served on the Devotional Literature Commission of the Progressive National Baptist Convention.

His gospel compositions were recorded most notably by Mahalia Jackson, and also by less well-known performers such as Martha Bass, the Golden Harmoneers, the Clara Ward Singers, etc. His 1948 composition “Let Us Sing Till the Power of the Lord Come Down” (a.k.a. “Now Let Us Sing”) has been recorded a number of times and is widely sung by church choirs. This song has even entered the folk tradition to the point where “Now Let Us Sing” has entered the oral tradition, passed on from singer to singer; unfortunately in the process Windom’s authorship has sometimes been forgotten.

Windom died on February 28, 1981. He had previously turned over his school at 3905 Evans Ave., St. Louis, to Professor Lee Cochran, Jr., who continued to teach music there. Selma, A. B.’s wife, died on February 26, 1994. They are buried together in St. Peter’s Cemetery, Normandy, St. Louis County, Missouri.

(If you want references, they’re at the original post. Updated 12 March 2024 with info about Mother Smith.)

More on A.B. Windom

In 2016, I wrote a post about gospel composer A. B. Windom, giving what little information I then had, and asking if anyone knew more. One or two people commented who actually knew Windom, and one or two others have added little tidbits of information.

Windom is the person who composed “Now Let Us Sing,” one of the great gospel hymns. It’s hard to believe that there’s so little information out there about him. I realized today that if you search Google for “A. B. Windom,” my post now appears as the top result. That’s how little information there is about Windom online.

So I thought I should do a little more research and try to add to that 2016 post. I did what I should have done from the start — researched Windom on one of the genealogy sites. And in fact I did find a little more information, including the name of his wife. What I found in three hours of online research today had been added to the original post. If you’re looking for a research project, maybe you could go to that original post, see what little information is there, then go see if you can find more!

Post script: Singing the Living Tradition, the 1993 UU hymnal, attributes “Now Let Us Sing” to “anonymous.” Nope, it was written and copyrighted by A. B. Windom. And predominantly white churches that sing this song by an African American composer without crediting him, while changing the words to remove the God from this gospel song? … Mmm, the phrase that comes to my mind is “cultural misappropriation.”

Legal personhood

Natalia Harrell shot and killed someone in Florida. She was six weeks pregnant. She was apprehended and put in prison. Now she has filed a petition with the Florida courts saying lack of prenatal care in prison is endangering the life of her fetus — or, to use Florida’s term for a fetus, her “unborn child.” In an interview, Harrell’s lawyer stated: “An unborn child has rights independent of its mother, even though it’s still in the womb. The unborn child has been deprived of due process of law in this incarceration.”

This is a logical outcome of the conservative Christian insistence that a fetus has rights. Of course we know what’s going to happen. The courts are going to twist things around so Florida does not have to provide prenatal care, nor in any way honor any putative rights the fetus has. In this conservative Christian ideology, a fetus is only considered a person when that serves to stop a woman’s right to abortion; but a fetus is not a person for any other purpose.

This makes me wonder if there are carpool lanes on some Florida highways. Because if there are, some pregnant woman should drive solo in a carpool lane, and if apprehended claim that there are actually two legal persons in the car: the woman herself, and the fetus. Of course, once again we know the Florida courts would rule that a fetus is not a person when it comes to carpool lanes. But I’m sure a lot of us would happily chip in to pay that woman’s traffic ticket and court costs, just to show up the hypocrisy of lawmakers who claim a fetus is an “unborn child” with full legal rights.