Never gonna give you up

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My precious. (Photo by Joyce Millman, 2017)

Last week, Apple announced the death of the iPod Nano and iPod Shuffle, its last two stand-alone MP3 players. Most people might have been surprised to learn that those two lower-end iPod models had been, in fact, still alive in 2017. As music players, they were eclipsed years ago by the iPhone, and, to a lesser-degree, the iPod Touch (basically, the phone without the calling capability). For younger people, the iPod is as attractive as a gramophone.

The news didn’t surprise me. As the owner of a 2008 4th generation iPod Nano, which I still use every day, I’ve seen the writing on the wall for a long time now. Apple all but abandoned iPod fans like myself when it shifted its focus to the iPhone. I see the business logic to it: Unlike the iPhone, the iPod wasn’t a robust revenue stream. You bought an iPod, you loaded your music onto it, The End. But Apple’s announcement still makes me angry.

Look, I know that, as an old lady who doesn’t see the point of replacing a perfectly good working gadget every five seconds with a shinier iteration of the same, I am not Apple’s target consumer. I can live with that. Tech moves fast, and I made my choice to not move with it.

But it pisses me off that the most perfect portable music delivery system I’ve ever known is now — like a string of forerunners — over. Ever since I was a kid, I carried my music with me, consuming it in my head, on a succession of ’60s transistor radios and ’70s boomboxes, followed by an ’80s Walkman and a ’90s Discman. Just typing the names of those devices conjures flashes of memory. Transistor: On the front porch, in the summer, 10-years-old, AM Top 40 countdown. Boombox: Road trip to Asbury Park, Springsteen cassettes blasting out the windows. Walkman: On the bus, on my way to work, earphones in, listening to mix tapes. Discman: Man, I really disliked the Discman. Yes, CD’s sounded better and were more convenient to search than cassettes. But, unlike the Walkman, it was practically impossible to be mobile while using one. The discs skipped and I hated the stupid foam fanny pack-type belt holder accessory. I still have a Discman in the junk drawer. What a ridiculous invention.

But my first iPod … sweet liberation! Light, palm-sized, skip-proof, no physical media to carry, yet you could take your entire music collection with you — it was the best of all worlds. I had a 2004 1st generation iPod Mini, green, with the tiny screen and the big click wheel, and I used that baby everywhere. I hooked it onto my waistband, hit “shuffle” and listened to my own freeform radio station when I was cooking dinner (still my favorite use for the iPod). Holding the Mini now, it seems like it weighs a ton, but compared to the Walkman and Discman, it was light as a feather.

I stuck with that Mini until it stopped holding a charge, and moved onto the model that had replaced it, the Nano. Mine was a 2008 16 GB 4th generation, blue, with color display. It was so much lighter and smaller, yet it had a bigger screen and video playback capability, a pleasing, slightly curved, rectangular body, and, of course, a click wheel. I loved the feel of her in my hand, and I’ve had her for nine years, but she needs more charging all the time. I fear the end is near. Apple stopped making MP3 players with click wheels in 2014, switching everything to touchscreen technology. If mine can’t be fixed, I’ll have to hunt down a 4th or 5th generation Nano, or any MP3 with a click wheel, on eBay or someplace.

What is it about the click wheel? It’s simple. You can control it blind, without having to look at it and touch a screen. Use it once and you know instinctively where to place your thumb on the wheel to skip and pause play, how much pressure to apply in circular motion to control volume. With the click wheel, it just takes a second to put down the chopping knife, touch the “skip” or “volume” place on the wheel without taking your eyes off what you’ve got sautéing on the stove, and go back to work. Without the click wheel, it’s impossible to do that. And thanks to that click wheel, the iPod kept me calm through more dental and medical procedures than I care to remember;  I’d hold it in my hand, thumb on the click wheel and turn up the volume to drown out the medical machinery and take my mind off the pain.

When I travel, I carry both my iPod and my iPhone. I could just accept defeat and stream music on my phone, but … no click wheel. And the thing is, more than half of the music on my iPod is my music, that I own, that I loved enough to buy on physical media and then wanted to carry around with me in my pocket, so I transferred it into my iTunes library. Yes! I still do this! I sit there at my laptop feeding CD’s into the slot and picking and choosing tracks to add to my library. And, yes! I own an old MacBook Pro that I won’t replace because it was the last model with an onboard CD drive. Are you seeing a pattern here? (I also refuse to update to the latest version of iTunes, because it sucks, and has sucked for years, and I have the last non-sucky version. As long as it still works, it’s staying.)

I’m fussy and I make no apologies for that. At the same time, I accept that the world will not conform to my fussiness. Which is a good thing, because Apple couldn’t care less about me and my quirks. But it’s not my fault that once upon a time, Apple designed a product that so impeccably fit my needs, I saw no need to replace it. I’ve loved its iPods long and well, and in return, Apple sees us both as obsolete.

©Joyce Millman, The Mix Tape, 2017

 

 

The perfect game

I know I’ve been a little sports-heavy on this blog, but indulge me a few words about Matt Cain. The stalwart grand old man (at the age of 27) of the San Francisco Giants pitching staff sums up everything that’s good and just and right about baseball and sports in general. After seven years of dependable, often dominating, pitching, Cainer pitched his first no-hitter as a major leaguer last night. Not just a no-hitter, but a perfect game, meaning that he allowed no opposing players (in this case, Houston Astros) to reach base. To put this in perspective for non-sports fans, only 22 pitchers in major league history have pitched a perfect game;  no Giant has ever done it. And the only other pitcher to strike out 14 batters in a perfect game, as Cain did, was Sandy Koufax. Look him up, if you’ve never heard the name.

What makes Cain’s perfect game so, well, perfect is that it really could not have happened to a better player and a better man. Cain’s calm, mature demeanor on the field has made him the rock of the Giants staff. He is a quiet but fearless leader, the team’s player union rep. He never whines, never showboats. He handled his recent contract renegotiation with class, never issuing threats or ultimatums. He has been a Giant his whole career, and, thanks to the front office’s commitment to pitching, will finish his career as one. He is the face of the Giants’ connection to Project Open Hand, the venerable San Francisco charity that provides food for people living with HIV and AIDS, sponsoring the annual fun run the Giants hold to raise funds for the group. In the Showtime documentary series about the Giants, “The Franchise,”  Cain came across as a devoted husband and new father, and he remains one of those players about whom you never hear a whiff of scandal. When asked what he did on the day of the perfect game, Cain said that it had been just another homestand day:  had breakfast with his wife and daughter, let “my crazy one and a half year old” run around in a park, you know, family stuff.

And that’s the thing about sports history, you never know when it’s going to happen. You turn on the TV or you head to the park for just another Wednesday night game, except, in baseball, you can never be sure you’ll be seeing just another Wednesday night game. There’s always the potential for ordinary to turn extraordinary. Sports is unscripted drama, but not in the manufactured way of reality TV. It’s a drama (or, often, comedy) that plays out spontaneously, yet no one could have written it better. When Cain, the archetype of the broad-shouldered, un-flashy hero — think Gregory Peck or Gary Cooper  —  took the perfect game into the fifth, and then the sixth, and seventh, the crowd came to life, standing and urging Cain on with every pitch. His teammates went into a hyper-focused state, making impossible catches to take away runs, digging as deep as Cain was to avoid committing errors in the field that would have permitted a man to reach base.

When the final out came, the usually stoic Cain pumped his arm and shouted,  the Giants mobbed him and the crowd wept and cheered.  Recently voted the most unsung pitcher in baseball by his peers in an ESPN Magazine poll,  Cain had finally gotten the recognition he deserved. Catcher Buster Posey, who’s cut from the same preternaturally mature cloth as Cain and who spent most of 2011 recovering from a horrific on field leg and ankle injury, entered the record books as Cain’s battery mate in perfection — the baseball gods taketh away, the baseball gods giveth back and say, “My bad, bro.”

And that’s another beautiful thing about baseball:  Cain was not laboring alone out there, he needed Posey and his teammates (by the way, the final score was 10-0, for a team that usually takes a week to score that many runs) to ensure his achievement. A perfect game may be etched in one man’s legacy, but it is not his legacy, or his accomplishment, alone.  Matt Cain knows it, which is why he sat at the podium answering press questions flanked by Posey on one side and outfielder Gregor Blanco, of the magnificent catch, on the other. And, which is why Matt Cain will have a statue outside AT&T Park someday and Barry Bonds won’t.

Bruce Springsteen wrote a couple of lines in “Long Walk Home” about America itself,  but they apply to baseball as well, and I’ve been thinking about them today as I replay the game in my head:  “Son, we’re lucky in this town, it’s a beautiful place to be born/ It just wraps its arms around you, nobody crowds you and nobody goes it alone.”  Perfect words for a perfect game.

© Joyce Millman, The Mix Tape, 2012

 

Tales from the bargain bin

Ever since I was a kid, I haven’t been able to pass a remainder table, used record store, cut-out bin, yard sale or Goodwill without  stopping to dig through the books and music for buried treasure. Don’t get me wrong, I’m not an extreme coupon cutter or Dollar Tree fan, and Costco was so depressing I let the membership lapse years ago. I’m particular, too. Five bucks is my absolute limit, under $2 is the sweet spot. And we have to be talking about the good stuff,  like out-of-print gems, releases that fill gaps in my collection, or unfamiliar stuff that I’m willing to take a flyer on if the price is right. Five-for-a-dollar romance paperbacks:  Junk. Autographed first edition of Neil Gaiman’s exquisite fairytale The Graveyard Book for $2.49 in the local Goodwill:  Jackpot!  (One of my best finds ever.)

I learned the art of treasure hunting from my friend Mark Moses, who couldn’t pass a bargain bin without inventorying the goods. He would buy records that he already owned, just to spare them the ignominy of the scrapheap. Of course, Mark had a music critic’s discerning eye and a wide scope of musical interest and curiosity. He knew the worth of each of his finds, and I’m not talking about money, although finding a pristine vinyl copy of Dusty in Memphis for $1 would be an awesome day’s work in itself. In turn, I passed on the record-scavenging jones to my son, who keeps the tradition alive with a fever , and cheapness, that surpasses even my own.

So, I’m going to try something here. This is what (I hope) will be the first installment of an occasional series, depending on what my scavenging turns up. For the first “Tales from the Bargain Bin,” we have two stellar scores.

Amazing Grace by Aretha Franklin. $1.99, San Mateo (CA) Goodwill.  Granted this is the original CD reissue of Aretha’s landmark Grammy-winning 1972 gospel album, not the more recent expanded version. But, when I saw this in the Goodwill CD rack alongside the usual piles of Chumbawumba and Boyz II Men castoffs,  I shouted, “Hallelujah!,” fell to my knees and started speaking in tongues.

Well, not really, but I wanted to. Who gives away Amazing Grace by Aretha Franklin?  Who prices it for $1.99?  But, I’m not complaining. Franklin recorded this live set in L.A. at the New Temple Missionary Baptist Church with a full choir directed by her mentor, Rev. James Cleveland. I have it on vinyl, but I wasn’t passing up this chance to own a version I could put on an iPod. This is Aretha in her prime, pouring her soul into the gospel music of her youth as well as into contemporary songs like Carole King’s “You’ve Got a Friend” and Marvin Gaye’s “Wholly Holy.”  This is the greatest singing you will ever hear. Period. Aretha’s rich, glimmering melisma on “Precious Memories”, her spine-tingling screams of ecstasy on “Amazing Grace”, her roof-rattling testifying on “Mary, Don’t You Weep,” will  take your breath away. Amazing Grace is the holiest record I own. And I say this as a secular Jew and an atheist. I don’t believe, but I am moved beyond words by the joy, the spiritual transcendence, of Sister Aretha’s voice lifted in praise. And that’s religion enough for me.

Love Is a Strange Hotel by Clive Gregson and Christine Collister. $1.99, Burlingame (CA) Goodwill. I would say that this 1990 rarity by two former Richard Thompson associates was my most bizarre, random and unlikely Goodwill find ever, if I hadn’t already stumbled upon a CD of  Thompson’s obscure 1972 solo debut album, Henry the Human Fly, in the San Mateo outpost. And here I thought I was the only British folk nerd on the San Francisco Peninsula.

Clive Gregson and Christine Collister were a folk-rock duo who orbited Planet Thompson in the ’80s;  if you caught his full-band shows during this period, you saw the burly Clive strumming and the pixie-like Christine taking Linda Thompson’s place on duet and backing vocals. Gregson and Collister recorded a handful of albums before going their separate ways, and Love Is a Strange Hotel, which I’d never heard before, is one of their last efforts. It’s a mixed bag (more a demo, really) of covers, including 10 cc’s “The Things We Do for Love,”  Merle Haggard’s “Today I Started Loving You Again” and Bruce Springsteen’s “One Step Up.”  The spare acoustic guitar and keyboard production is crystalline and their harmonies are as lovely as ever. But it’s Christine’s rich, husky, intimate wonder of a voice that should send you on a quest for Gregson and Collister (or Collister solo) finds of your own. Like Linda Thompson and Sandy Denny before her,  Collister draws you in quietly and then devastates you with emotional directness. On the CD’s best track, she shrinks Aztec Camera’s “How Men Are”  from the universal to the personal, with demure vulnerability and plaintive soulfulness. And I always thought Jackson Browne’s “For a Dancer” was pure sap, but Collister’s soaring version over a simple piano accompaniment is, in its plain, Church of England way, as prayerful as Aretha’s revival meeting.

Here are Christine and Clive singing a track from an earlier album, “I Specialise.”

What were your best bargain bin scores?

© Joyce Millman, The Mix Tape. 2012