08/4/14

What’s in a (Popular) Name?


What's in a name?

“What’s in a name? That which we call a rose
By any other name would smell as sweet.”
Juliet, in Romeo and Juliet (II, ii, 1-2)

A recent article in The Atlantic about how our names impact our lives got me to thinking about how and why we name our children – and what they say about us, about our parents, what our names mean to others of their generation. And why are some names popular at certain times in history. Like now.

According to babycenter.com, these are the ten most popular baby names for 2013:

Girls:

  1. Sophia
  2. Emma
  3. Olivia
  4. Isabella
  5. Mia
  6. Ava
  7. Lily
  8. Zoe
  9. Emily
  10. Chloe

Boys:

  1. Jackson
  2. Aiden
  3. Liam
  4. Lucas
  5. Noah
  6. Mason
  7. Jayden
  8. Ethan
  9. Jacob
  10. Jack

That just makes me feel like I’ve missed a genealogical bus somewhere. Of those 20 names, I doubt I’d name a child most of them. But that may be a generational thing; I was raised with a different set of names. Some of these names are also – from my perspective – old-fashioned. I suppose that’s the around-again effect we see in so many other cultural items (like the endless recycling of pop music tropes from the 60s and 70s…).

Still, I wouldn’t name a child a lot of things, from Crystal to Britney to River (or Dweezil or Moon Unit). I might give a girl the middle name of Yseult and a boy Tristam, but only because I would want to be able to explain the wonderful, romantic story behind those names… I wouldn’t want to burden them with these as first names.

My wife’s name, Susan – a name that I love to hear and still sounds like wind chimes to me after more than 30 years – doesn’t appear in the top 100, while my own shows up at a mere number 80. That surprises me somewhat, because at least when I was growing up, my name was a rarity and Susan was popular, at least in my travelled circles.

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07/30/14

Ruthful, funct and doleless


Crazy EnglishWhy can’t someone be clueful, only clueless? Hapful, not simply hapless? Aweless instead of just awful? Ruthful not merely ruthless? Doleless, not just doleful? Gormful, not just gormless?

We can be thoughtful or thoughtless, careful or careless, mindful and mindless. Why not ruthful and gormful? Why not the qualities of ruthiness, gormliness and doleliness?

Can we be kempt or just unkempt? Couth or just uncouth? Gruntled or just disgruntled? Shevelled or just dishevelled?* Maculate or just immaculate? Domitable, or just indomitable? Ruly or just unruly? Can we come ravelled instead of just unravelled? Can we member a corpse instead of just dismember it? Can a Wikipedia entry be an ambiguation rather than a title=”Wikipedia” href=”http://en.wikipedia.org/wiki/Wikipedia:Disambiguation” target=”_blank”>disambiguation?

If we’re not disappointed are we appointed? If not distressed are we tressed? If not discombobulated are we combobulated? If not nonplussed, are we plussed? If we’re not impeccable, are we just peccable? Can we be chalant rather than nonchalant? If we don’t want to dismantle something, can we mantle it? If we don’t disfigure a painting, do we figure it? If it’s not inevitable, is it evitable? If an event doesn’t unnerve us, is it nerving? If it’s not defunct is it funct? If an online hoax isn’t debunked, can it be bunked instead?

Can we be placcable, effable, trepid, ert, ane and feckful? can I rupt the proceedings? Can any love be requited? Can any heroes be sung? If I don’t dismiss you, do I miss you? If you stop your incessant chatter, does it become cessant? If I’m not an imbecile in your eyes, am I a becile? Can a tool be wieldy?

Some of these odd-seeming words have been in our language, just fallen out of favour or replaced by other terms. Ruthful, the Word Detective tells us, was in common use in the 12th until the 14th century, although it hung around as an anachronism until the 19th century.** Ruly was coined around 1400 CE, according to World Wide Words. Tools could never be wieldy, but persons could be, in the sense of being nimble (same source).

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07/22/14

Me, Myself and I


T-shirtAt council meetings across the province, you will hear someone say “Moved by myself…” when presenting a motion at the table.

To me it’s like nails on a blackboard. The grammatically correct way to present a motion is, of course, to say, “Moved by me…” So why the mistake?

Common misunderstanding and discomfort, it appears, according to the grammar sites I read today.

People often (and incorrectly) think “me” is incorrect or even coarse (well, it is when you say something like “Me and my friends are going dancing” of “I got me a pickup truck…”).

That unnecessary caution is why some people will say things like “It is I” or “It’s for my wife and I” when they really should say “It is me” and “It’s for my wife and me.” And say “between you and I…” when they mean “between you and me…”

“I” is the subjective pronoun, not the objective one. That’s “me.”

So what about myself? That’s called a reflexive pronoun and to be used properly, it needs a reference back to the speaker (reflect = reflexive) – i.e. a use of the subjective pronoun.

For example, when someone says “I made it myself”  they are being grammatically correct. “Myself” reflects back to the subject, “I.” When they say “It was made by myself” they are incorrect and should say “It was made by me.” Same with “Please contact me” – correct. “Please contact myself” – incorrect. Why? because in these two sentences, “myself” has nothing to reflect.

Reflexive pronouns are always the object of a sentence, never the subject. So “Bill and I played ukulele last night” is correct. “Bill and myself played ukulele…” isn’t because “myself” cannot act as a subject. Just like you would never say “Bill and me played ukulele…” or use the pronoun by itself: “Myself played the ukulele…”

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07/12/14

How to Spot a Communist


America Under CommunismAs I just learned from a recent piece on Open Culture, I must be a Communist. Based on my preference for writing (and reading), that is.

(This would definitely surprise my left-wing friends who often think I’m right of Stephen Harper… himself being so far right of the iconic Genghis Khan that it defines a memetic categorization). Damn, I’ve been exposed…

According to the piece, a 1955 manual prepared during the Second Red Scare for the U.S. First Army Headquarters helped readers identify potential “Communists.” Among these traits, the piece notes, is a preference for multi-syllabic words and long sentences (apparently Real Americans prefer a much-reduced vocabulary a la Winston’s Smith’s Newspeak and eschew the semicolon and a connector of subordinate phrases…):

While a preference for long sentences is common to most Communist writing, a distinct vocabulary provides the more easily recognized feature of the “Communist Language.” Even a superficial reading of an article written by a Communist or a conversation with one will probably reveal the use of some of the following expressions: integrative thinking, vanguard, comrade, hootenanny, chauvinism, book-burning, syncretistic faith, bourgeois-nationalism, jingoism, colonialism, hooliganism, ruling class, progressive, demagogy, dialectical, witch-hunt, reactionary, exploitation, oppressive, materialist.

This list, selected at random, could be extended almost indefinitely. While all of the above expressions are part of the English language, their use by Communists is infinitely more frequent than by the general public…

Why, I recall using the word “parsimonious” at one meeting of council only to have another councillor stop my discussion and demand to know what the word meant, never having heard it before in his life. Exposed, I was, as the Communist among them by my use of Big Words. I slunk back into my seat, afraid he might call me out. I vowed to shave my Lenin-like goatee at that moment…

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06/26/14

The Death of Handwriting?


I almost cried in pleasure when I watched this video; the handwriting is so beautiful. Apparently some viewers have, as Jesus Diaz writes. On Gizmodo he says that it’s:

…a video that caused many to discover autonomous sensory meridian response, a perceptual phenomenon that gives a pleasing tingling sensation. Some said they got it watching people writing. Well, put your headphones on, because this is the mother of all calligraphy ASMR videos.

Okay, maybe it is for me because I was raised with handwriting and still delight in it. Penmanship was taught in school at least for a few years when I was there. In fact, I was in Grade 9 penmanship class when the news of President Kennedy’s assassination was broadcast over the school’s PA system. It’s one reason I can still recall taking penmanship, although I think it was the last year of it for me.

Penmanship taught more than just basic cursive: it skirted the boundaries of calligraphy, trying to teach resistant and recalcitrant students how to craft beauty out of our splotchy letters scratched from ink with clumsy fingers. Control, frugality, grace; things adolescents seldom have in quantity. But somehow, some of it stuck, and even though I lack the grace of the calligrapher in the video, I can still thrill in making those swoops, the lines, to hear the scrape of the nib on the paper.

True, I fail in great part because my gel-point and ballpoint pens haven’t the aesthetic pleasantry of a real ink-and-nib pen.

Diaz also informs us:

It’s a demonstration of a fountain pen—a Namiki Falcon customized by nibmeister John Mottishaw—with crystal clear video and sound, writing with various inks (if you’re curious: Iroshizuku Tsuki-yo, Iroshizuku Yama Budo, Noodler’s Black, Noodler’s Apache Sunset) on Bristol board and Leuchtturm1917 dot grid notebook paper.

I don’t know about you, but even the sight of a well-crafted fountain pen makes my heart beat a little faster. And paper? I’ve been known to loiter in art and stationary shops, fondling the sheets in notebooks, searching for that perfect feel, the ultimate sensation of paper on fingertips that through some osmotic process will encourage me to pick up a pen and dip it in the inkwell.*

Details aside, I find the act of writing itself fulfilling – and watching a master calligrapher at his art even more so, like watching a ballet or listening to a symphony being performed live. And it reminds me that in handwriting there is an enormous cultural heritage we should never lose – can never lose without losing something of ourselves.

But if some muddle-headed educators and some dizzy-wth-digital trustees have their way, our whole culture may suffer from enforced dysgraphia - which Wikipedia tell us is a

…deficiency in the ability to write, primarily in terms of handwriting, but also in terms of coherence.

Call me old-fashioned, but I think that the death of handwriting would be to culture what the death of bees will be to agriculture.
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05/8/14

How many chords?


Chord builder wheelHow many chords does a musician need to know? How many does an amateur musician who plays mostly popular, folk and blues music, need to know?

My first answer has always been, “all of them” because you never know when you need them. But that’s not realistic. After all, there are thousands of chords you can play on a guitar or piano and you simply can’t memorize every one. Well, at least I can’t.

I know a lot of the basic forms: majors, sevenths, minors and so on – but I sometimes have to take a moment and think out something like a B#m7 or a Gsus4. I rely partly on the memory of the basic shapes, and partly on my understanding of how the fretboard works (so I can move a known shape up or down the neck as necessary).

But what about on ukulele, with its four strings – as opposed to the guitar’s six strings (and the piano limited only by the number of keys two human hands can press simultaneously – ten). Surely that must be easier? Well, not much, it turns out. What happens when a chord has five notes and you only have four strings?

Sure, if you stick to a few basic songs and a handful of major keys, you can probably get by with memorizing a couple of dozen  shapes and be able to play a lot of contemporary music. But I am also playing some old songs from the 20s and 30s; songs that have jazz chords. Ninths, sixths. Suspended. Chords you don’t find a lot in modern pop music.

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