Did Floyd Protests Lead to a Virus Surge? Here’s What We Know – The New York Times

Last night Paul McGuire and I taught morris jigs on zoom to the New Haven Morris and Sword Team, for the last time till we resume in September. However, in September, I will argue that we can meet and practice outside. I am now playing tennis regularly outdoors, and as the article below suggests, outdoors is much safer than indoors, may 18.7 times safer.

“. . . .   Outdoor transmission is more rare.

Conditions at the demonstrations may not have been conducive for transmission, mainly because the protests occurred outdoors, epidemiologists said.

The virus spreads far more easily indoors than outdoors, and close contact indoors is believed to be the main driver of transmission, epidemiologists say. One study based on a review of 110 cases in Japan found that the odds of transmission were 18.7 times higher in closed environments — everything from fitness studios to tents — than in open-air environments. Another study involving a review of thousands of cases in China found only a single instance of outdoor transmission.

In Minnesota, where Mr. Floyd was killed, cases among young adults climbed substantially over June. But officials said that gatherings in re-opened bars were partly to blame.”

Opinion | Jason Isbell: John Prine Taught Me to Stay Vulnerable – The New York Times

“. . .  John was in his early 20s when he wrote “Hello in There” from the perspective of an old man sharing an empty nest with his lonely wife. Hearing him sing the song after decades of hard living and surviving numerous illnesses brought new meaning to the lyrics, now delivered by a man who had caught up with the character he created. John always said when he grew up, he wanted to be an old person.

Related

Opinion | Margaret Renkl

John Prine: American Oracle

Oct. 22, 2018

John Prine, Who Chronicled the Human Condition in Song, Dies at 73

April 7, 2020

John was known for his ability to tell stories that related universal emotions through the lens of his gigantic imagination. He constructed what Bob Dylan called “Midwestern mind trips” from the tedium of the everyday, and he was a master at concealing the work involved.

His songs sounded like they’d been easy to write, like they’d just fallen out of his mind like magic. He was praised for his dry humor and loved for his kindness and generosity. John had the courage to write plainly about the darkest aspects of the American experience in songs like “Sam Stone,” about a drug-addicted Vietnam veteran; “Paradise,” about the devastating effects of strip mining on a Kentucky town; and “The Great Compromise,” about his disillusionment with his country. Among his peers in the legendary Nashville songwriting community of the 1980s, his songs were the gold standard.

Of all the things I love about John’s songwriting, my favorite is the way he could step so completely into someone else’s life. John had the gift and the curse of great empathy. In songs like “Hello in There” and “Angel From Montgomery,” he wrote from a perspective clearly very different from his own — an old man and a middle-aged woman — but he kept the first-person point of view. He wrote those songs and the rest of his incredible debut album while a young man working as a letter carrier in Chicago. “Angel From Montgomery” opens with the line “I am an old woman/named after my mother.”

I remember hearing his 1971 recording of this song for the first time and thinking, “No, you’re not.” Then a light bulb went on, and I realized that songwriting allows you to be anybody you want to be, so long as you get the details right. John always got the details right. If the artist’s job is to hold a mirror up to society, John had the cleanest mirror of anyone I have ever known. Sometimes it seemed like he had a window, and he would climb right through.”

David Lindsay:  John Prine performing Sam Stone from his debut album John Prine in the 1970’s. #johnprine #samstone #veterans
This is another song, I just met for the first time. I confess, I didn’t pay enough attention to this guy when I was collecting and performing. I heard him at the Mariposa Folk Festival, when I was college age, and fell for him. But when I got home, I decided his work that I knew didn’t work for me. I was truly in love at the time with traditional songs and ballads. I vaguely recall that I worried, his material might not be around in a few hundred years.

John Prine performing Sam Stone from his debut album John Prine in the 1970’s. #johnprine #samstone #veterans Get this single on the album Souvenirs here: ht…

YOUTUBE.COM

John Prine – Sam Stone

John Prine performing Sam Stone from his debut album John Prine in the 1970’s. #johnprine #samstone #veterans Get this single on the album Souvenirs here: ht…

(47) Countercurrent: Tunes in Seattle – YouTube

I’ve been listening to my first cousin once removed Brian Lindsay’s new cd, CounterCurrent Exchange, and wondering who was playing the feet to so well on that cd. Here is the answer.
I want Dan Hedden to listen to this guitar player, Alex Sturbaum. I was trying to learn his right hand strum in the car last night driving to band practice for the New Haven Contra Jammers.

 

(47) Song for McConnell – YouTube

Last Thursday, I drove up to Greenfield MA to the house of Rachel Wyatt Lindsay, for dinner and a house concert by Brian Lindsay and Arthur Davis.
They were surprisingly good, phenomenal, and they sang the song recorded below, though in this rendition here, Brian is with his Seattle partner, Alex Sturbaum.

Tapeworm | Al Duvall

Copyright 2013 Al Duvall BMI

lyrics

The system is just a dirty trick
You work and you work until you’re sick
To hand over all you earn for room and board
You barely survive and what’s it for
To keep you alive to work some more
And struggle and strive for things you can’t afford
I find myself wishing in despair
To live in the kind of system where
The powers above are tending those beneath
No more starving or complaining
Manna from heaven ever raining
Down on my picnic while I pick my teeth
Oh, wouldn’t it take the cake to be a tapeworm
I never would let another meal escape
Taking a share of what comes through
Just like Internal Revenue
Just like the brokers with their ticker tape
And if I had a position on the inside
At the end of the tunnel I would see some light
Taking my cut from soup to nuts
You better believe it takes some guts
Being a tapeworm sure would be alrightOh, wouldn’t it take the cake to be a tapeworm
Having somebody else prepare your food
Go to the market, pay the bill
Cook up the steak and clean the grill
They’ll even send it down already chewed
Taken out to the finest French restaurants
Dining like a Parisian parasite
I’d pick up my glass and raise a toast
Here’s to your health my gracious host
Being a tapeworm sure would be alright

 

David Lindsay: from the fb post of David Coller

David Brooks: Jews in Exodus depended on song and dance, as well as God.

David Brooks reports in his NYT column, that Jews in Exodus depended on song and dance, as well as God.

Apparently, they sang: But if somehow you could pack up your sorrows, And give them all to me…..

On Conquering Fear

The story from the Book of Exodus that Jews read as part of the Passover Seder offers subtler strategies and techniques for finding strength and happiness.

nytimes.com|By David Brooks