Sunday, June 7, 2020
Golden
The golden shiner is recognisable not only by the gold-coloured scales of larger specimens (smaller ones are silver) but by the distinctive downward curve of the lateral line.
The golden shiner is very similar in appearance to a European species, the rudd, and apparently closely related as well, as the two species can hybridise where they occur together. Golden shiners are native to eastern North America but have been widely introduced elsewhere because of their popularity as bait; they are also kept as ornamental fish in small ponds.
The Fish Book put out by the Nebraska Game & Parks Commission states that golden shiners, though bony, can be good eating. Ellie and I were doing C&R, so I'll take their word for it.
Since it's been a while, let's have some music. From the 1987 film Athens, GA: Inside/Out, "Golden" by Dreams So Real.
Friday, March 22, 2019
Elder's Mill Covered Bridge
Elder's Mill itself, a three-storey wooden frame building, was built circa 1900 and ceased operating in 1941.
Except for some steel guardrails strategically protecting the vertical supports and for the metal roof, the bridge appears to be built entirely of wood, with wooden pegs holding the interior latticework together. The result is strikingly beautiful.
The land through which this stretch of Rose Creek flows is about as pretty as any I've seen, and the creek itself was running clear and cold.
They don't build 'em like this anymore...
Thursday, March 21, 2019
It seemed like a good idea at the time
The cannon was the brainchild of John Gilleland, a builder serving in the Mitchell Thunderbolts, a home guard unit of professional men too aged, infirm, or locally indispensable to serve in the regular Confederate armed forces. Closely resembling a 17th-century design by a Florentine gunmaker named Petrini—it's not entirely clear whether Gilleland was aware of the precedent—the cannon was a "chain-shot" gun, designed to fire two cannonballs connected by a length of chain. The gun's barrels diverge by approximately three degrees so that the balls would likewise diverge and stretch the chain taut. (By contrast, the barrels of a double shotgun converge ever so slightly; although the two barrels are not fired simultaneously, the shot patterns of a well-regulated gun cross at approximately forty yards.) The balls with their connecting chain would then "mow down the enemy somewhat as a scythe cuts wheat". So went the theory, at any rate.
The problem for Gilleland's cannon, as it had been for Petrini's, was that of synchrony. The cannon had a touch-hole for each barrel, plus a third, central touch-hole intended to fire both barrels simultaneously. Unfortunately for Gilleland, the mechanism was insufficiently precise. The first time the gun was test-fired, a witness reported, the balls-and-chain rig emerged in "a kind of circular motion, plowed up about an acre of ground, tore up a cornfield, mowed down saplings, and the chain broke, the two balls going in different directions." Subsequent tests produced erratic results, most resulting from uncoordinated firing of the two barrels. "When both barrels did happen to explode exactly together," another witness observed, "no chain was found strong enough to hold the balls together in flight." Needless to say, a cannonball with chain attached is going to have an unpredictable trajectory. One shot knocked down a house's chimney with one ball and killed a cow with the other; both chimney and cow were well away from the intended target.
Undeterred by these results, Gilleland sent the cannon off to the arsenal at Augusta for further testing. The Confederate authorities wisely concluded the gun was impractical at best, dangerous to their own troops at worst, and sent it back to Athens, where it was placed in front of City Hall, to be used as a signal gun should the enemy approach.
When the Federals did in fact approach Athens, in August of 1864, Gilleland's gun was sent into action with the Lumpkin Artillery. The barrels were loaded with canister, like an oversized shotgun, and fired independently. The skirmish—the gun's sole combat engagement—ended quickly, with only a few volleys fired, and the cannon was again returned to City Hall.
After the war, the gun was sold, then lost for a number of years, and finally rediscovered and restored to condition. It was then presented to the city of Athens, "where...it has been preserved as an object of curiosity, and where it performed sturdy service for many years in celebrating political victories."
Wednesday, March 20, 2019
Oconee Forest Park
The intramural fields on the opposite side of Lake Herrick are where I first saw and later played toli, but Oconee Forest Park is where I became a falconer. This was my hawking grounds for the two years of my apprenticeship and the one year that followed, before moving out to Nebraska. And I will forever be grateful to the forest manager, who, in recognition of falconry's minimal impact, made this outstanding wood available to me.
The Georgia piedmont doesn't hold many rabbits, and they tend to be found in thick, often impenetrable briars ("cheek cutters" is the local vernacular for the taller stands), so grey squirrels were our quarry. The tiercel redtail I flew during my apprenticeship, Watauga, was a truly brilliant squirrel hawk; his successor (after a couple of false starts with female redtails), Pocomoke, was less gifted but still effective, and transitioned to fox squirrels upon our move west. The grey squirrels Jessa photographed foraging in the treetops in the waning light of evening are the 20x-great-grandchildren of the squirrels we chased back in the day.
It was good to see the population is still thriving. At one point during our walk, I demonstrated a hawking technique Jessa hadn't seen before, "ringing the doorbell": I grasped a stout grapevine that climbed high up a tree to a squirrel drey, gave it a few abrupt pulls, and three squirrels obligingly popped out of the drey. Talley ho, had we a hawk with us. As it was, we saw only a Cooper's hawk nest. (The day before, I actually witnessed a pair of Cooper's mating from the backyard of our rental, but no birds were in evidence here.)
Of course the nest was in a pine—there are lone pines here and there, and even a few stands of pine, but the glory of Oconee Forest Park is in its hardwoods. I remember red oaks, tulip poplars, and sweetgum as the dominant species, but there is a fair bit of diversity here, and since this particular forest hasn't been logged for over a hundred years, some good-sized specimens as well. (Plus a few oddities and a nicely developed understory.)
I feel doubly fortunate to have begun my hawking career in this forest: not only was it beautiful and well-supplied with exciting quarry, but I know that I will always be able to come back and visit. Too many falconers' first fields have been paved over. Long live OFP.
Tuesday, March 19, 2019
The Tree That Owns Itself
The tree's fame, of course, stems from its legal status, summed up on this stone tablet:
In truth, the tree loved by Col. Jackson is long gone; what stands at Finley and Dearing now is its son and heir.
The tree's Wikipedia entry includes a debunking of the Jackson legend and a skeptical discussion of the tree's actual legal status, but in the English common-law tradition, the line between law and custom is blurry. The people of Athens accept that the tree has special status, the city/county government holds the same position, and so the tree does own itself. Vox populi, vox dei.
Finley Street itself has another small claim to fame: the single steep block that descends from Dearing Street to Broad Street is, to the best of my knowledge, the last cobblestone street in town. And lovely cobbles they are...
Monday, March 18, 2019
Too subtle?
I glanced at my surroundings, wondering what could possibly have given it away.
I can't remember if I managed a "Yessir" or merely an "Uh-huh", but Observant Barrow County Pickup Man thanked me and drove off. (Possibly to make inquiries about bear candles...)
Jessa and I are just returned from Georgia, and over the next few days, I'll be posting photos from a few other Athens-area landmarks. Not near as many as I had hoped; this was an ill-starred trip that saw the car break down in inconvenient and expensive fashion and then the two of us rendered equally useless from flu. (The "Bad Day" video was actually posted on our best day of the trip.) By the time Jess took this last picture, I wasn't sure if we were stalking Mr. Black or if he was stalking us.
Tuesday, March 12, 2019
Monday, January 18, 2016
"Cool" hits the big time, 37 years later
But I was not prepared for this: I'm sitting in front of the TV in the break room at work. The Weather Channel (I think) goes to commercial break. A new ad for Lexus; I'm a Subaru guy, and not remotely in the market for a car, so I start to tune out...holy hell, is that Pylon?!?!
Yes, yes it is. A major automobile company is using a song from 1979 by a semi-obscure band from Athens, Georgia to tout their latest luxury sedan. "Cool", a.k.a. track 2 on the perhaps ironically-titled Hits. (Well, maybe it's not ironic, but it does need to be kept in perspective...)
Pylon may be best known to "outsiders" for their influence on another band, neighbours and contemporaries: R.E.M. did a cover of "Crazy"; R.E.M. guitarist Peter Buck noted, "I remember hearing their version on the radio the day that Chronic Town came out and being suddenly depressed by how much better it was than our record." I missed out on a few aspects of the Athens music scene (I only arrived there in 1991), but I did get to see Pylon at the 40 Watt, and I can assure you that they were the real deal.
Thanks, Lexus, for the flashback. And for the benefit of those who were not there, here's the full song, complete with Vanessa Briscoe Hay's jarring vocals (and, incidentally, Pylon's trademark schematic/spec-sheet graphics):
Enjoy...
Wednesday, September 21, 2011
"So. Central Rain"
The band broke up today.
Here's a nice version of what may be my favourite R.E.M. song:
The correct pronunciation, if you happen to be wondering, is "Southern Central Rain".
Wednesday, January 13, 2010
Vic Chesnutt, 1964-2009
"Degenerate", from 1996 major-label release About to Choke. Great lyrics, but it was the layered guitar that first induced me to put this song on single-track repeat.
A live performance of "Rabbit Box", originally released on Vic's first (1990) album, Little. This is a field-sports song, sort of: as he explains in the liner notes...
Rabbit Box is an illegal (in Georgia) live trap
very unsportsman-like
I don't do the hunties anymore
Truly Pike County nostalgia
you don't hunt doves with a 20 gauge
single shotgun and you don't aim shotguns
and you don't shoot birds off powerlines
but I was a stupid little kid
Vic's paralysis, the result of a drunk-driving car crash, is often cited as an influence in his music. Certainly it affected his guitar playing; he has been quoted as saying that while he could play simple chords, the "jazzier stuff" eluded him after the accident. It may also have contributed to his lyrical style, as many of his songs ("Tarragon", for example, or "Soft Picasso") are written from the perspective of an observer of relationships—and confinement to a wheelchair might certainly afford opportunities for in-depth people-watching. His music may not have been everyone's cup of tea—my wife could never get past the mock-Spanish accent he adopted for his rendition of "White Christmas" (on Flagpole magazine's Christmas album)—but he always reminded me a bit of Neil Young: insightful "outsider's" lyrics, sung in a reedy voice, often with stripped-down arrangements, very different from most "commercial" music. Or maybe Vincent van Gogh would be a better comparison: troubled but brilliant, far ahead of his time and gone far too soon.
I never met Vic, but I have always enjoyed his music, and I extend my sympathies to all his family and friends in Athens.
Okay, maybe one more: the appropriately funereal "Threads", again from About to Choke.
Friday, June 19, 2009
Burning down the house: Fire at the Georgia Theatre
[Smoke pours from the Theatre]
The first concert I attended after moving to Athens in 1991 was a showcase of local bands at the Georgia Theatre. Over the next eight years, I saw many shows there, my favorite being the Cowboy Junkies (one of several Junkies concerts I've attended) in support of their album Pale Sun Crescent Moon. There was a lot to like about the Theatre, from its architecture (solid oak doors, Art Deco façade, pressed-tin ceiling, comfortable old movie-theater seating) to the variety of music that could be heard there (rock, blues, country, bluegrass, reggae, funk, hip-hop, etc.).
[Happier days]
One could easily spend all day watching YouTube videos shot at the Theatre, but this one by Sleepy Horses captures both the arpeggiated "Athens sound" and some of the sadness I'm feeling this morning. Best of luck to Mr. Greene, his staff, and the city of Athens—long live the Georgia Theatre!
Sunday, May 17, 2009
Toli videos
Here's what it looks like played "for keeps":
Friday, April 17, 2009
American national treasure
Bill Mallonee is the founder, frontman, and one constant element of the Vigilantes of Love. He's also worked as a solo artist and dabbled with a quasi-separate band called Victory Garden; released major-label records and independent offerings. I've got a number of his records, and the name and label on the recording doesn't seem to matter too much: even as VoL, there are two distinct sides to his sound (one is British Invasion, the other with its roots in American folk); and his writing and voice guide whichever assemblage of musicians he happens to be recording or performing with. He's been compared to Bob Dylan, Neil Young, and Bruce Springsteen, as well as other musicians out of Athens (notably R.E.M.).
[Bill Mallonee (solo) covering Neil Young's "Out on the Weekend" (Harvest, 1971).]
I've seen Bill/VoL at several venues, including the 40 Watt and Allen's in Athens as well as the now-defunct 7th Street Loft here in Lincoln. He/they never disappoint.
[Latest incarnation of VoL playing "Blister Soul" from the 1995 album of the same name.]
[Video, directed by Marc Pilvinsky, for "Resplendent" from the 2000 album Audible Sigh. Best song about the Dust Bowl since Woody Guthrie, with backing vocals by Emmylou Harris.]
Much has been made of Bill's status as a "Christian artist". Rest assured you're not likely to find him on the mass-market "Christian music" compilations sold on cable TV. His approach is more subtle than that, and his appeal broader. I don't subscribe to Roman Catholicism any more than I do Rastafarianism or any other branch of Christianity, but I can enjoy music informed by spirituality whether it's Bill Mallonee or Bob Marley.
[Bill, accompanied by bassist Jacob Bradley, performing "Life on Other Planets". Studio version appeared on Bill's solo records Fetal Position (2002) and Perfumed Letter (2003).]
Enjoy the videos here, and if you want to hear more, check out the websites below.
- http://www.billmallonee.net/
- http://www.volsounds.com/
- http://www.MySpace.com/billmallonee
- http://www.MySpace.com/worksprogressadministration
Once again, doing my bit for the arts and decreased productivity...
Monday, October 13, 2008
"If The Walls Could Talk"
[When the video is done playing, you can access a video for "Litany" as well.]
Wednesday, October 1, 2008
Pearls

Pearls creator Stephan Pastis has the predator mindset down pat in this strip—just ask any falconer about bagged game, live-lures, or hawk-trapping:

And finally, one for Christy and other fans of the Athens music scene:

If your newspaper doesn't carry this strip, write a letter and beg them.

