03/24/14

Getting solid numbers makes sense


Eddie Bush arenaI recently was directed to read a statement that I had “…put forward a notice of motion calling on the municipality to spend the money to put a concrete floor in the building, without any kind of business case …”

That is incorrect. The notice simply asked the town to put out a ‘request for proposal” (RFP).

If the writer had asked me about my notice of motion (or asked any of the other councillors or senior staff with whom I discussed it), I would have been able to explain that I was simply asking for the town to get a price for the work. The notice and the subsequent motion presented in the agenda did not mention spending any money for the project: just to get a price.

Deciding whether the work will go ahead is another discussion. But recent councils have danced around the issue of the Eddie Bush Memorial Arena for several years, mostly without any firm price quotes for the work on which to base any decision or do any future planning.

The Eddie Bush arena once had a concrete floor, and years ago it hosted warm weather events – even a circus – but that ended when the concrete was removed and replaced with sand. We, as council, have stated we want to make the arena more accommodating and flexible for such uses again. No, the town won’t be operating these events – we act merely as service-and-space providers (for a fee, of course).

Yes, we’ve had some estimates for work done in the arena, but these come from engineers over the past few years, not from contractors. We also received an unsolicited quote late in 2013 that contradicts higher estimates with a lower price. We need the contractors – those few who can actually do such work – to give us something reliable and competitive.

An RFP is the easiest way to get those costs; a simple solution.

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03/23/14

Thinking about a new ukulele


Kala resonator uke
I’ve been thinking seriously of adding another ukulele to the herd. A tenor resonator, or resophonic, like the Kala shown above. That’s the re-designed 2014 model.

I’ve played earlier models, including the 2013 version with the strings attached to a tailpiece (see photo below, left). The 2014 design (shown above) anchors the strings back into the cover plate, which I expect will be a better design; it looks cleaner, too. But I believe the biggest change is that the through-the-plate model has more tension on the biscuit (see below). And I like Kala products, too.

Earlier Kala resoI really like resonator instruments and currently own a Soares resonator tenor guitar. It’s lovely; all-metal body, but a heavy beast (20lb or so)

I owned a Republic all-metal reso uke, a few years back, but it was concert scale. Interesting uke, but I didn’t keep it. I loved the look, but I don’t like concert scale as much as tenor, and I think that concert scale strings don’t put enough tension on the biscuit to make the cone work effectively. However, it gave me some ideas about improving reso uke output.

In the physics of guitars and ukuleles, the more tension on the saddle, the greater the energy passed along through the bridge to the sounding surface (top). Thus the greater the tension, the louder the sound and the greater the sustain.

A tenor uke has more string tension than a concert, and because of this it is this is generally louder and richer in tone than a shorter scale uke.

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03/21/14

Marcus Aurelius


Marcus AureliusI continue to be profoundly moved by the wisdom of the classical authors. It’s often hard to accept that some of them were writing two or more millennia ago: many seem so contemporary they could have been written this century.

Of late – within the past year or so – I’ve been reading Lucretius, Aristotle, Horace, Cicero, Seneca, Pliny the Elder*… and more recently Marcus Aurelius.

I’ve had a couple of versions of his Meditations (written ca. 167 CE) kicking around on my bookshelf for decades. I’ve dipped into it many times before today, but never really read it for more than some pithy, salient, quotable lines. These translations have all been 19th century ones. This week I started reading a more recent Penguin edition (trans. Maxwell Staniforth, 1964) and was duly impressed and delighted at how much crisper and clearer it reads than the somewhat florid, older ones. So much so that I recently ordered an even more modern translation from Amazon (George Hays, Modern Library, 2003) and started on it, too.

In part my hesitation in the past to read more of the classics has been due to the rather dense prose that many of my translations offered – most of them being published originally in the late 19th and early 20th centuries. Great in their day, they see archaic and stilted today. The newer, modernized translations make these works much more approachable.

For example, here’s the George Long (1862, reprinted in the Harvard Classics series, 1909) translation of the opening of Book XII:

ALL those things at which thou wishest to arrive by a circuitous road, thou canst have now, if thou dost not refuse them to thyself. And this means, if thou wilt take no notice of all the past, and trust the future to providence, and direct the present only conformably to piety and justice.

And here is an 18th century translation by Hutcheson and Moor:

All you desire to obtain by so many windings, you may have at once, if you don’t envy yourself [so great an happiness.] That is to say, if you quit the thoughts of what is past, and commit what is future to providence; and set yourself to regulate well your present conduct, according to the rules of holiness and justice.

Compare these with the 1964 translation by Maxwell Staniforth (Penguin Books):

All the blessings which you pray to obtain hereafter could be yours today, if you did not deny them to yourself. You have only to be done with the past altogether, commit the future to providence, and simply seek to direct the present hour aright into paths of holiness and justice.

Here’s the 2003 Hays’ translation:

Everything you’re trying tor each – by taking the long way around – you could have right now, this moment. If only you’d stop thwarting your own attempts. if only you’d let go of the past, entrust the future to Providence, and guide the present towards reverence and justice.

I’ve also tended to shy away from reading too much of Meditations in part because he also deals with divinity and soul – and I tend more towards the moral and ethical, the philosophic rather than spiritual, writers. But reading through his book now, the Hays’ translation in particular, I find his spirituality less cloying than I had initially.

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03/18/14

CPLUG songs and more


CPLUG
CPLUG – the Collingwood Public Library Ukulele Group – has so far proven a very popular group. We started with 17 people at our first monthly meeting and more have attended each time: 34 people came out last month! I’m hoping to continue this trend and see as many this week at our next meeting (March 19).

You can read about our group in this newspaper story, here. We are dedicated to enjoying making and learning music in a friendly, supportive community group setting.

We need help! We need songs, song leaders, helpers, tuners and ukuleles. And of course ukulele enthusiasts.

Songs and song leaders: I’ve been choosing and arranging the songs so far, laid out in PowerPoint for projection on the big screen so everyone can see the lyrics and chords. We would benefit by getting other arrangements of different songs, however, and not always be bound by my particular choices. Have some favourite tunes? Get them ready to share – or bring in the song book or sheet so we can discuss how to get it ready.

Song leaders are those folk who feel confident in standing up in front of the group and leading the rest in the song – explaining the chords the rhythm, the changes and any techniques. And, of course, singing.

Song leaders will also be able to take over the group if I am called away to meetings or conferences. I can offer advice and help getting the songs set up for projection, if you need it.

Helpers are people who can aid the newcomers and beginners getting tuned, fitting their fingers to a chord shape, helping them hold the instrument or figure out strumming. We already have a couple of great helpers, but a few more would be ideal. Share your knowledge and experience.

Tuners: not everyone has (but should own) a digital tuner. Please bring yours so we can get through the initial tuning a little faster.

Ukuleles: every meeting, some people have shown up without one. Some hope to be able to borrow the library’s few ukes, but they are, so far, booked ahead of time. I’ve been bringing a few extras, but last meeting we simply didn’t have enough for everyone. If you have an extra ukulele or two, and feel comfortable letting someone else play it, please bring it along.

I’ve been asked by CPLUG members where people can buy ukuleles. That’s not always easy in a small town. I’ve purchased most of mine online.

Locally, you can order one from Blue Mountain Music, but they are a small operation with limited in-store stock, so you’re usually buying one sight unseen.

Broadway Music, in Orangeville, has a fair selection and isn’t too far away. I’ve also seen a fair selection of mid-to-low end brands in music stores in Barrie and Owen Sound. And, of course, there’s always the Twelfth Fret in Toronto. Or the Ottawa Folklore Centre and Folkways stores in then Kitchener-Guelph area). If anyone knows of other sources, please let me know.

Larger urban centres tend to have a better selection, of course., but nowhere near the range of brands and models available online. Canada seems about a decade behind the USA in commercial trends, so music stores up here are not always aware of the uke’s popularity.

You can also buy them online, even get a good used on from the marketplace on Fleamarketmusic.com or ukuleleunderground.com/forum although that’s a caveat emptor option when buying from individuals.

If you want advice on brands, models, sizes, strings and so on, please ask at any meetings. You might also ask another member to try his or her uke to see it you like it. The best way to choose one is to try playing several.

Anyway, here is the song sheet* from February’s CPLUG session, and March’s upcoming CPLUG session. Both are in PDF format. If you want to get these in email before every meeting, contact me to join the CPLUG email list. Here is the chord book, for letter-sized printing.

Update: By request, April will be a Bob Dylan month.

~~~~~
* All images and lyrics are from online sources and for entertainment purposes only, not for commercial reproduction. Photo courtesy the Collingwood Public Library.

03/16/14

Machiavelli and the Elizabethans


Stephen GardinerIn 1555, Bishop Stephen Gardiner wrote a treatise to King Phillip II of Spain, in which he borrowed (aka plagiarized) extensively from Machiavelli’s The Prince and The Discourses. Gardiner did not credit Machiavelli or attribute any of his quotes, but rather copied some of Machiavelli’s content verbatim or very closely.

This was less than two decades after Machiavelli’s works had been first printed, and before Pope Paul placed it on the Index librorum prohibitorum, effectively banning it in Catholic countries (but also making it more interesting, as any banned book inevitably becomes, thus guaranteeing its publication and translation).

Some two decades earlier, in 1536, Cardinal Reginald Pole wrote his Apologia ad Carolum Quintum. Pole claimed that The Prince was a satire, albeit an evil one (one that exposed the aracana imperii, or secrets of rule). He denounced Machiavelli as being “in league with the devil” and that Il principe was “written by the finger of Satan”:

In the Apologia ad Carolum Quintum (1539) Reginald Pole claimed to know, on the basis of a conversation with Thomas Cromwell some ten years earlier and subsequent inquiry into Cromwell’s views, that Machiavelli’s Il Principe had been the inspiration behind Henry VIII’s decision to break with Rome, declare himself head of the church, and seize the property of the English monasteries.*

That suggests The Prince was well known by Cromwell, and possibly even by Henry himself. Who supplied Cromwell with a copy of the work is unknown, but Pole had been in Italy in 1529. However, 1529 is too early for a printed copy: the first printed edition of The Prince was 1532. Perhaps he obtained a hand-copied edition.

Pole’s Apologia, however, was not published until 1744. It might have been shared among his peers and fellow theologians, but it did not have a wider reach for another two centuries (when it provided leverage for the popular notion of a Machiavellian Henry VIII).*

Nonetheless, this and other contemporary denunciations helped bring Machiavelli’s The Prince to the attention of the English court very soon after its first publication (q.v. The Cambridge Companion to Machiavelli, ed. John Najemy, 2010). Ideas spread rapidly during the Renaissance.

By the time of Gardiner’s writing, Machiavelli had been denounced many times, by many more critics (especially by church allies and defenders). He was even declared a “literate atheist” in 1557. That same year, the Inquisition demanded the “utter destruction” of all of Machiavelli’s works. Ironically, this helped spread them faster in an era of intellectual curiosity and questioning or authority (it was the Reformation, after all, so anything the church opposed was consumed with relish by advocates of reform).

Gardiner – Bishop of Winchester under Henry VIII, and later Lord Chancellor to Queen Mary – was a staunch Catholic, but obviously both curious and intellectually intrigued, even by a writer which his fellow theologians like Pole denounced. He died shortly after writing this final work, so his motives were never questioned. However, in Gardiner’s defence, he was writing before Machiavelli was placed on the Index, so there was no official proscription yet.

He wrote this piece in English – surprisingly not in Latin which was the lingua franca of governance and church then, and a language in which Gardiner was fluent. The treatise was translated into Italian posthumously, in 1556, for presentation Phillip II (Queen Mary‘s Spanish husband; Mary was herself to die shortly afterwards, in 1558), then in Brussels. Phillip II, however, could not speak either English or Italian, but was fluent in Spanish, Latin and French.

The translator was George Rainsford, a courtier in the late Henry VIII’s circle. The English version of Gardiner’s work hasn’t survived, but there are two copies of the Italian translation intact (q.v. A Machiavellian Treatise by Stephen Gardiner, by Peter Donaldson, Cambridge University Press, 1975). The treatise is titled “A Discourse on the Coming of the English and Normans to Britain,” and when sent to Phillip II, it was paired with a piece Rainsford himself wrote, called “Ritratto d’Inghilterra” or “Portrait of England.”

Gardiner’s part is structured as a dialogue between two men, in which “Stephano” teaches “Alphonso” about the English historical experience in Machiavellian terms. It is essentially a guide for Phillip II in how to rule England using the techniques Machiavelli described in his books as used by people such as Caesare Borgia.

Had it been exposed before his death, there is good reason to believe other members of the English court would have felt it treasonable. Many in the court feared that Phillip would become king of England when Mary died. Had Gardiner lived, he could have faced serious consequences – even execution – under Elizabeth.

Gardiner read Machiavelli. Who else in his circle also read him? How widespread was knowledge of Machiavelli in Tudor England?

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03/11/14

What’s in a missing word?


HoraceThere’s a line in one of Horace’s epistles that really caught my eye. In Latin it reads:

Utque sacerdotis fugitiuus liba recuso,
pane egeo iam mellitis potiore placentis
Horace: Epistles, Book I, X

No, I can’t translate it.* However, I was reading David Ferry’s 2001 translation and he renders it like this:

I’m like that slave who ran away because
They fed him honey cakes and he longed for bread.

That appealled to me both for my recent passion for making bread, but also for its philosophic – almost Buddhist – intent.

Ferry gives us both the Latin and English, and I struggle to match the original with the English version. And in doing so, something about his translation bothered me. Something missing.

Wikipedia tells us that Horace’s (Quintus Horatius Flaccus) epistle X is about:

The Advantages of Country Life – (Addressed to Aristius Fuscus, to whom Ode I.22 is also addressed). This epistle begins with Horace contrasting his own love of the country with his friend’s fondness for the town; then follows the praise of Nature; and finally the poet dwells on the superior happiness that moderate means and contentment afford, compared with riches and ambition.

Fine. I understand: Horace is saying he prefers the plain life of the country, not the honey-cake life of the city. He doesn’t need the luxuries and the excesses to be content.

Ferry isn’t a literal translator: more of a poetic one. He’s been acclaimed for that, and criticized for it, too, but I like his work. Many English renditions of Latin poetry come across as stilted and forced, while I find Ferry’s work much smoother and reads more naturally (some call it “approachable”). (Read here how other English-speaking poets have variously tackled Horace)

Still, one Latin word in the original stuck out as missing in translation: sacerdotis.

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