Bread: on Monday, Greenstein's 100% Wholewheat Loaf, made up of ordinary strong wholemeal/wholemeal spelt/einkorn flours. Tasty but a bit crumbly for some reason.
Saturday breakfast rolls: the adaptable soft roll recipe, 4:1 strong white/buckwheat flour, dried blueberries, maple sugar.
Today's lunch: quails, which I cooked yesterday as they were well pushing their use-by date, according to a recipe from Clarissa Dickson Wright. The Game Cookbook, only that used fruit chutney, which I did not have, so used damson jelly instead, roasted in foil at Mark 3 for 30 minutes: not bad. Served with sticky rice in coconut milk with lime leaves, buttered spinach, and asparagus healthy-grilled in olive oil and splashed with aged organic balsamic vinegar.
Have started the overnight rising version of the bread recipe in Laurie Colwin's Home Cooking, which I haven't made for ages.
DISCLAIMER: I am not a professional composer! I did not go to conservatory. I am an interested amateur. My background is seven years of more or less classical piano, including a few years at the Houston Music Institute (relevant because they taught some theory and basic composition), a few years of viola, and years of screwing around on basically every instrument I could get my hands on, including three summers of classical guitar, mandolin, soprano recorder, pennywhistle, ocarina, and diatonic and chromatic harmonica. (Harmonicas actually get pretty complicated, more complicated than I personally can deal with--different tunings, cross-harp, slant-harp, etc. I only know the basics. ) This kind of jack-of-all-trades-ism is not great if you want to be a performer, where you really ought to become expert in your chosen instrument(s), but it's not awful if you want to compose.
 To anyone who doubts that the harmonica is a "real" classical instrument, I present to you Villa-Lobos' Concerto for Harmonica and Orchestra with soloist Robert Bonfiglio [Youtube], which is the recording I used to have before the stupid fucking flood. That's a chromatic harmonica, BTW; you can tell because of the use of the chromatic slide in some of the ornaments. More information. I will FIGHT anyone who tells me the harmonica is not a REAL INSTRUMENT.
Further caveat, I am only discussing Western music. I don't know enough about non-Western traditions to tell you anything useful about them. I compose more or less neoclassically because that's what pleases my ear and I feel no need to be innovative in a technical/theoretical sense. (Schoenberg's twelve-tone system is brilliant from a technical/theoretical sense but I cannot usually stand listening to it except in the limited context of certain kinds of film/TV scoring. I wouldn't listen to it for fun.)
And for yucks, I have perfect pitch, which in almost all contexts is either useless or an active hindrance (I am a suck liar and let's just say that I avoid a cappella performances and first-year string players like the plague--there's such a thing as good a cappella, but unless you are Carnegie Hall good I don't want to risk it), but has limited applications in the realm of music, ahahaha. For most applications relative pitch is hell and away more useful. (I actually get interference between relative and perfect pitch, which sucks.)
Anyway, let's talk a little about the fundamentals of music from the standpoint of composing.
I keep telling people that composing for orchestra is not hard. Composing for orchestra well is hard. Because it's true! It's a lot of things, true, but you can break it down into components. I'll talk a little more about this below.
Music is about patterns--creating tension with different dimensions of pattern, then resolving it. In terms of pitch, you only have twelve of them repeating across various octaves to work with! But because you can combine the pitches in different ways, you can come up with different melodies. Speaking in terms of standard music notation, that's the "horizontal" dimension. And pitch is combined with patterns of rhythm--units of time. ( cut for length and tl;dr )
Okay, I am out of brain and I'm not sure any of this even makes sense to anyone who is not me. :] I am happy to answer questions (or, if you compose music yourself, talk shop!).
The general idea, as transmitted in one of the orientation sessions I went to, was to show up, stand tall, and nnnnnot let ourselves get drawn into confrontations by the white supremacists, who would be trying their darndest to make this happen.
So I got decked out in my "I stand by my Muslim neighbors" t-shirt and wandered down to Roxbury Crossing, found fairly organized Socialists a-plenty, and got the best poster off them ever. Picture with a new friend from much later in the march, slight content warning for concentration camp imagery:
( One cuts pictures. )
They also had lynching ones, but basically I'm squicked by blood and gore, whereas the concentration camp one might well be triggering to some, but it also had people pausing to look at it, nodding to me soberly, and moving on. (I also got several high-fives for the shirt.)
Anyway, I eventually found the actual Black Lives Matter march leaders, plus Tito Jackson (candidate for mayor) doing his best preachin', and then we got started late. (Because, it is a march and it is required.) Soon enough, I stumbled onto my brother and his wife, or more accurately he stumbled across me while admiring my poster, and had marching partners. (I was going to hook up with Dedham Unitarians, but I couldn't find them.)
Since we started late, and because 20,000 marchers move slowly, we missed the so-called "Free Speech Rally" entirely, since they got shuffled off at 1:30 or so, and I wasn't even to the Common by that point, I think.
I did encounter some AntiFa-plus-BLM activists around 3:30 or so down by Park Street T stop, who had found some of the white supremacists who (for agitation reasons) had stuck around. One of them got pizza thrown at him (which almost hit me as I ducked into the convenience store), and then another one was rather literally surrounded by people *entirely* willing to argue with him until the cows came home, so I figured that was pretty much covered and bailed. As it turns out, there was a little bit of violence after that, but not much at all.
About 25 arrests for minor things, and a white supremacist arrested for carrying a gun without a permit or something similar. There were also some people throwing rocks (and bottles filled with piss, wtf?) at the police, sigh. Overall, the police were incredibly helpful during the march, and then got somewhat violent as the day progressed, but they were only slightly more pissy than I expected. Overall, worth thanking.
Link smatterings: Scale of the so-called "Free Speech Rally", as compared to counter-protestors. Roxbury Crossing area, around when things started, some Globe photos.
- Star Trek tie-in novel Ishmael by Barbara Hambly--I read this a long time ago and like Hambly :)
- Star Trek tie-in novel Uhura's Song by Janet Kagan \o/ I read this a few years back and also thought it was lovely! I'm really thrilled to own my own copy, in decent shape for a library discard even, although it means the library didn't want it anymore. -_-
What are some of your favorite recent libraryspoils/loanspoils/bookspoils?
ETA: Oh, and while I'm at it, I'm sad I woke up from a dream involving an animated TV series of P.C. Hodgell's Chronicles of the Kencyrath. I'm several books behind in that series (at this point I might as well wait until it's all out before rereading the whole thing from the start) but would that not be awesomesauce?!
- just on reading the the cover of the Guardian Saturday Review, which promised its readers a letter from Karl Ove Knausgaard to his unborn baby.
And when Tonstant Weader had finished fwowing up, she wondered how much nappy-changing KOK (fnarr, fnaar: am 13 at the back of the class) signs up for, rather than providing Deep Existential Insights?
Will concede that I am somewhat cynical about the entire genre of 'Bloke becomes father and has EPIPHANY' - in particular we may note that KOK already has two children. Also KOK has admitted that 'he has achieved huge success by sacrificing his relationships with friends and members of his family'.
And in other bloke news, maybe it's just me, but why is Rosa Bonheur 'less well-known' than other French C19th horse painters whose names ring no bell with me, Vernet and Fromentin? If someone has a massive great canvas in the NY Metropolitan Museum... I think this is a deplorable case of the reviewer not having heard of her.
And also in Dept of Unexamined Assumptions, What Internet Searches Reveal: as I am sure I have heretofore remarked, what interests people in porn, what their sexual fantasies are, doesn't necessarily map to what they like to do. So not entirely sure that Big Data on the topic is quite as revelatory as claimed here.
Having taken several tries to actually get into Bujold, I'm now very much enjoying working my way through the Vorkosigan saga; so far, they've all been enjoyable and entertaining and comforting without being fluffy. They may have many of the trappings of standard military SF, but they're really character-driven novels whose military setting is almost incidental. Bujold's characters are delightful and well-rounded, likeable but realistically flawed and sometimes exasperating; in this novel, Miles is continuing to grow and learn from his experience and his fairly frequent mistakes and misjudgements (despite an amazing talent for turning every situation to his advantage he is clearly very young, very inexperienced, and far from perfect), and I particularly loved Gregor, the young Emperor of Barrayar, resenting the weight of the crown he has worn since early childhood and trying to work out who he is and how to be his own person within the limitations of his role. The exploration of what makes a leader, and what it means to be Vor - a member of Barrayar's hereditary military/aristocratic class - is a big part of what makes these books not-fluff for me; they may be fun, but they're also interesting and thought-provoking.
I note that The Vor Game won the Best Novel Hugo*, which surprised me a little, as although I enjoyed it a lot the plotting isn't terribly tight and it doesn't have the "doing something new and interesting" feel I tend to expect from Hugo winners (even if "new and interesting" in 1990 was rather different from "new and interesting" now, it isn't doing anything very different from The Warrior's Apprentice). It's still great fun, though, and probably more enjoyable than many "new and interesting" but more serious books.
*"at the time when good writing and plot were more important than political leaning", says one Goodreaders reviewer, who has clearly failed to spot that the novel has a disabled protagonist, at least two prominent LGBT characters (to be fair, Aral's bisexuality is pretty much blink-and-you'll-miss-it, but Bel Thorne isn't) and more than one woman in typically male command roles.