Blurring the Lines

MediaPost sends me emails with various news items relating to media and advertising. Todays notice included a story from Ad Age that read in part:

A half dozen morning TV shows in large markets, including Atlanta, Denver, and Cleveland, are selling on-air segments to advertisers at $2,500 a pop. The shows, which carry slightly different titles in each city, are slotted into Gannett-owned stations. And the sponsored segments, while briefly identified as being such, are designed to fit seamlessly into the programming. The shows’ standard hosts appear in the segments, which helps erode the line between normal programming and advertising. Most of the advertisers to date have been local–dentists, auto dealers, and home builders–but some regional and national advertisers are also beginning to take advantage of the unique opportunity at these Gannett stations. One, Honey Baked Ham, has purchased segments on morning chat shows in Atlanta and Colorado. Al Tompkins, of the Poynter Institute, a journalism-research school in St. Petersburg, Florida, says he is troubled by the Gannett initiative. “I understand they’re not calling this journalism,” he said, “but it looks and smells a lot like journalism” and therefore has the potential to trick consumers.

You can read the whole article here , registration is required, but it’s free.

Regular readers of DevraDoWrite will correctly guess that I find these developments troublesome; it is yet another slide down the slippery slope. This feels like a bit like a cross between product placement in movies and print advertorials that look like articles, read like feature stories, and have a teeny tiny “advertisement” notice in a margin — but this is more dangerous and deliberately duplicitous. Not only in that “it looks and smells a lot like journalism,” but by virtue of association with a TV host or anchor it implies an endorsement from someone viewers ‘trust’ and it all unfolds right there in your home. Call it trickery, manipulation, or effective marketing, the bottom line is…well, the bottom line. It is all about convincing people to spend their hard-earned ca$h. It’s not that I think people are stupid, but I do think that we are vulnerable. We look increasingly to those who can help to filter, decipher, and/or evaluate the avalanche of information that threatens to bury us daily, and this need makes us susceptible to influence from people perceived to be in-the-know and on our side.

Ban Loud Music

At left is a picture of the tee-shirt that I will NOT be buying. On the right, my edited version of said tee-shirt.

The Music Stand catalog comes in the mail several times a year, and I keep looking at the “Bach later. Offenbach sooner” doormat and Jazz Band Wall Hanging, but I have no appropriate place to put either item. Every once in a while I do order a little something, usually a funny tee-shirt for a gift, or nightshirt for myself.

Other catalogs I get a kick out of and occassionally shop in include Femail Creations and Wacky Planet.

Location, Location, Location?

So what IS the difference between stuffing and dressing? Everyone who wrote in was emphatic, but two answers are running neck in neck with no clear winner.

Half concur with this reader who wrote:

my understanding has always been that if the mixture is stuffed into a bird or meat, it’s stuffing. if it’s cooked or baked outside the “vessel” (in a pan or dish), it’s dressing!!

Note the exclamation marks.

The other half believe that the word choice is dependent on one’s geographic location within the U.S., not the location of the foodstuff vis a vis the bird.

Two people referred to an AP Wire story that said, in part:

(AP) – Is there a difference between stuffing and dressing? This recipe for a tasty sourdough, pears and sausage accompaniment bakes in a baking dish rather than being stuffed inside the Thanksgiving turkey – but what you call it depends more on where you live than how the dish is prepared.

That’s the view of the editors of Cooking Light, noted in a holiday feature in the magazine’s November issue. “Stuffing” can be stuffed into the bird or baked alongside it in a separate dish, and the same holds true for the term “dressing,” they write. “In the southern and eastern United States, people generally call it ‘dressing,’ a term that came about during the 19th century. Elsewhere, it’s referred to as ‘stuffing.”‘

One of the people who cited the AP/Cooking Light stories, a writer friend of mine in Kentucky (she’s a reporter and columnist for the Kentucky New Era), wrote:

Think of it simply this way. Stuffing goes in the bird. Dressing is cooked in a dish outside of the bird.

I know you will try to analyze this, Devra. Just remember, I was once a food editor of a small rural daily, where food is serious business. I thought I knew the answer when I read your Thanksgiving entry, but just to be careful, I “googled” the question. I found the same conclusion in an AP story and in a Cooking Light magazine article.

Another thing. Dressing is typically more popular in the South. I had cornbread dressing for my family.

She knows me well; let’s analyze. On the one hand, she concurs with the stuffing inside/dressing outside definition, and on the other she supports the Cooking Light editors who clearly say that “it depends more on where you live than how the dish is prepared.” So, here’s my conclusion: lets all just agree that location is the key, regardless as to whether you’re talking about the location in which the bread-based morsels are prepared in relationship to the bird, or the geographic location of those about to eat it.

My Kentucky reporter goes on to mention:

In Kentucky, turkey and dressing with gravy is actually served yearround at many mom-and-pop restaurants and at grocery stories that offer the classic “meat and three” lunches.

Meat and three? I assumed that the three might represent stuffing, a vegetable dish, and one extra, maybe cranberry sauce or a biscuit. Wrong! These people eat three vegetable side dishes! According to my Kentucky reporter, stuffing is considered part of the meat serving (along with the gravy), and oftentimes the meat serving contains more stuffing than meat. With that, you choose three vegetables. Sounds good to me, but I can’t eat another bite — I’m stuffed.

It’s About The Music

In today’s The New York Times Bernard Holland reviews a concert by 90-year-old pianist Earl Wild (A Veteran Pianist Sticks With the Things He Knows Best). Holland informs us that Wild has a reputation for “big pieces played in the grand manner” and has exhibited “longstanding delight in astonishing audiences with feats of virtuosity and stamina,” so what interested me most was Holland’s last paragraph:

I think I hear in Mr. Wild’s later years a more sober and thoughtful, and thus a more interesting, musician than the one I remember from his slam-bang, shoot-’em-up prime. Both the simple Marcello piece and Beethoven’s deeply rhetorical Largo movement were touchingly done. Maybe this kind of musicianship was always there but, with all the razzle-dazzle in the way, never got to our ears. Maybe it never got to Mr. Wild’s ears either. I suspect that being a little less of a pianist these days has made him a better musician.

I think that youth versus the wisdom of age has something to do with it, but I fear that the shift in our societal values plays an even bigger role. For whatever the reason (perhaps lack of arts education?), audiences react favorably to the flash and splash of virtuosic technique that they evaluate primarily on the basis of speed and volume. For some young artists the over-the-top displays are motivated by ego (“Look how great I am”), while others are propelled by the belief that if they can’t “wow the audience” then they have failed. In both cases, audience reactions fuel the fire.

I believe that the greatest performers are those who understand that it is about the music, not the musician. Somehow, with that understanding and attendant devotion to the music itself, they actually become better artists. The catch, of course, is that as human beings we crave recognition and applause — knowing within yourself that you did the right thing or created something wonderful is just not the same as hearing the accolades. Somewhere there must be a happy balance, and searching for that ‘somewhere,’ trying to find that balance, is part of the artist’s journey.

[Longtime readers of DevraDoWrite know that “technique in lieu of true artistry” is one of my recurring laments. During my first week as a blogess I posted It Takes More Than Chops.]

Victor Borge In And On The Air

Around the time that Terry Teachout was watching Victor Borge on an old What’s My Line? episode (read TT’s reminiscence here ), I was perusing Luther Henderson’s papers and came across…Victor Borge.

One Wednesday evening, February 19, 1958 at 9 PM to be exact, CBS-TV broadcast “Victor Borge’s Comedy and Music.” This one-hour show was “Presented by the Big Bold Pontiac and your authorized Pontiac Dealer.” I know this because among Luther’s papers was a program, and I am guessing that there was a live TV audience. (Why else would there be a program for a television show?)

The opening number was described as follows:

Liechtensteiner Polka . . . . . . . VICTOR BORGE and the Orchestra
Mr. Popp’s arrangement of Mr. Borge’s conception of SHAMPOO MUSIC for the 16-piece orchestra under the baton of LUTHER HENDERSON, JR., Conductor and Arranger for the Polly Bergen TV show, Lena Horne, Duke Ellington, Andre Kostelanetz, and other top names in American music.

Pontiac got their monies worth as the program included several “commercial” numbers including:

STILL ANOTHER COMMERCIAL . . . . . starring MILTON CROSS narrator, and VICTOR BORGE
Mr. Borge performs variations on the themes of Pontiac greatness: style, performance and handling…and reaches an impressive conclusion. Narrated by Milton Cross.

There are a number of old television programs I’d like to view as part of my research for “Seeking Harmony: The Life and Music of Luther Henderson.” Thanks to the Museum of Television & Radio , I should be able to see this show, the Polly Bergen show, and a number of other programs for which Luther composed, arranged, and/or conducted music. Bea Arthur tells me that Luther even made an on-camera appearance in an episode of Maude, and I’m really looking forward to seeing that!

Women in Jazz History

A self-described periodic reader has written in with a question:

As a jazz fan I was asked an innocent question recently by a younger female colleague. She observed that, “Other than singers, jazz seems to be a mostly male endeavor. Why is that?” Although I was immediately able to come up with a dozen names of contemporary female performers who I think make significant contributions, and also to point to the historical influence of one or two others (Lil Hardin’s influence on Louis Armstrong comes to mind) I really couldn’t give her a comprehensive answer about the historical role of women in jazz. I went to my bookshelves and the internet but couldn’t find any good sources to share with her. I wonder if you can give me any guidance?

I am not a great jazz historian, nor a feminist, but the names of several older female jazz instrumentalists do come to mind. To start, I would mention trumpeters Clora Bryant and Norma Carson, saxophonist Vi Redd and trombonists Melba Liston, Janice Robinson, and Lillian Briggs. Also drummers Elaine Leighton and Dottie Dodgion, harpist Dorothy Ashby, and vibraphonist Margie Hyams.

Of course there are many female pianists – Toshiko Akiyoshi (also a composer and bandleader), Beryl Booker, Patti Bown, Barbara Carroll, Dorothy Donegan, Jutta Hipp, Marian McPartland, Shirley Scott (organ, too), and Mary Lou Williams, to name a few. And the piano-playing singers (some with greater pianistic prowess than others) including Shirley Horn, Nellie Lutcher, Hazel Scott…perhaps even Nina Simone and Carmen McRae should be included.

These are just a few of the women who have made significant contributions. As for the historical role of women in jazz, here are a few books that might shed some light:

Swing Shift: “All-Girl” Bands of the 1940s (Paperback) by Sherrie Tucker
Stormy Weather : The Music and Lives of a Century of Jazz Women (Paperback) by Linda Dahl
Blues Legacies and Black Feminism : Gertrude “Ma” Rainey, Bessie Smith, and Billie Holiday (Vintage) (Paperback) by Angela Y. Davis

Also check out these chapters:
“Telling Performances: Jazz History Remembered and Remade by the Women in the Band” – Sherri Tucker in Unequal Sisters: A Mulicultural Reader in U.S. Women’s History (Paperback) by Vicki L. Ruiz (Editor), Ellen Carol Dubois (Editor)
“Melba Liston” and “Clora Bryant” in Central Avenue Sounds: Jazz in Los Angeles by multiple editors/contributors including Clora Bryant.

It should be noted that many of the female instrumentalists today (Maria Schneider, Laurie Frink, Ingrid Jensen, Lesa Terry, Regina Carter, Carolina Strassmayer, Stacy Rowles, Terri Lynne Carrington…) generally eschew the “women in jazz” approach — it smacks to much of the “she’s good…for a woman” attitude. They are more likely to suggest that you judge the music, not the musician. They may have drawn some measure of strength from knowing of women who came before them, but their creative inspirations are genderless.

I hope that some of my more academic friends and colleagues will have recommendations and/or comments to add. (For your convenience, there is an Email Me link on the left side of your screen, second box from the top. I hope to hear from you.)

Stuffing or Dressing?

What do a handful of writers discuss over the Cranberry Curry Dip while waiting for turkey dinner with their spouses and assorted family members? The BIG question: do you call it stuffing or dressing? And what’s the difference between the two, anyway? The youngest member of the group, age eleven, may be a budding wordsmith as she informed us that one of the words was likely a retronym for the other — though she did not know which came first. She did, however, provide us with an example of a word that became a retronym as its meaning evolved: watch –> pocket watch –> wrist watch. We were duly impressed, but no closer to an answer. One friend opined that the word choice might have changed in the Victorian era, the image of stuffing being too base, too vulgar, and dressing sounding more proper, more circumspect. The New Shorter Oxford English Dictionary, however, seems to refute that premise as it suggests that dressing was used earlier than stuffing, if only by a few decades:

    dressing “(A) sauce or other mixture added to food, esp. a salad; a seasoning; stuffing. E16.”
    stuffing “A savoury or sweet mixture used to stuff poultry, rolled meat, vegetables, etc., esp. prior to cooking. M16.”

I perused a few other references — including Random House Webster’s Unabridged Dictionary and the Plumb Design Visual Thesaurus — and quickly realized that I’d best stick to the nouns, for digression into verbs would bring us into the realm of fecundation and fertilization (“the act of making fertile by application of fertilizer or manure”), donning attire, and applying bandages.

Within culinary boundaries, the Visual Thesaurus defined stuffing as “a mixture of seasoned ingredients used to stuff meats and vegetables,” under which fall types including farce and forcemeat, the latter defined as “a mixture of ground raw chicken and mushrooms with pistacheos and truffles and onions and parseley and lots butter and bound with eggs.” Oxford defines forcemeat a bit more generically: “A mixture of finely chopped meat or vegetables etc., seasoned and spiced, and chiefly used for stuffing or garnish.”

Of course the best part of noodling around in reference books is the serendipitous discovery of related entries you had not thought about. In this case, Oxford served up two of interest, one a word I had never heard, and the other interesting in its meaning. The first is salpicon:

    /”salpIkQn/ n.E18. [Fr. f. Sp., f. salpicar sprinkle (with salt).] Cookery. A stuffing for veal, beef, or mutton, also used as a garnish.

The other is pudding, certainly a familiar word, but the substance that comes to my mind is sweet and either butterscotch or chocolate. Here are portions of the Oxford entry (I’m skipping over the coarse slang and colloquial meanings):

    /”pUdI/ n. Also (colloq. & dial.) pudden /”pUd()n/.ME. [(O)Fr. boudin black pudding f. Proto-Gallo-Romance f. L botellus pudding, sausage, small intestine: see BOWEL. Cf. BOUDIN.]
    I 1 The stomach or intestine of a pig, sheep, etc., stuffed with minced meat, suet, oatmeal, seasoning, etc., and boiled. Now chiefly Sc. & dial. or w. specifying wd. ME.
    > black pudding, white pudding, etc.
    b A stuffing mixture of similar ingredients, roasted within the body of an animal. L16–L18.
    2 In pl. The bowels, the entrails, the guts. Now chiefly Sc. & dial. LME.

    II 7 A cooked dish consisting of various sweet or savoury ingredients, esp. as enclosed within a flour-based crust or mixed with flour, eggs, etc., and boiled or steamed; a baked batter mixture. Now also, the sweet course of a meal. M16.
    > bread pudding, Christmas pudding, milk pudding, roly-poly pudding, steak and kidney pudding, Yorkshire pudding etc.

Lots of interesting info, but still no answer to the pressing question: stuffing or dressing? I looked in Roget’s Superthesaurus, which says little about stuffing (“fill, wadding, padding, innards”) and nothing about dressing, forcemeat, salpicon, or pudding. I even looked in The New York Public Library Desk Reference, to no avail, although I did learn from that tome that “a jiffy is an actual unit of time. It is 1/100 of a second.” And all this time I thought jiffy was cornbread mix.

If you know the answer, please email me. Inquiring minds want to know.

Amusements

If you’re of a certain age, have a nostalgic fondness for the disco era, remember Gloria Gaynor, and are in the mood for some silly yet clever musical humor, click here. I’ve been playing this clip several times a day for the last two weeks ’cause it makes me smile. For some reason I thought I’d be in the minority, but the link has been making the email rounds in increasing numbers so it must be tickling more feathers than I had thought.

Some of you have taken the Punctuation Test and one friend — an ellipsis — sent me the text, which I think is also pretty funny:

Your life can be difficult because of your insecurities, but you should know that it isn’t your fault. YOU didn’t ask to be thrown in around thirty times per page in every bodice-ripper on the shelf! Those who overuse you can kiss your . . . you know. You need to learn to hold your head high and glory in your solitude. You really do have excellent, scholarly tastes. You must never forget that your friend, the period, will be there to support you at the end of every sentence where you truly belong, and, if what is left out is as important as what is said, why, then you are as vital as the alphabet!

Bassist Bill Crow stopped by to tell me that he’s a quotation mark and to share the following about brevity:

A university creative writing class was asked to write a concise essay containing the following elements:
1. Religion
2. Royalty
3. Sex
4. Mystery

The prize-winning essay read:
“My God,” cried the Queen, “I’m pregnant. I wonder who did it!”

Household renovation continues, and the crew will be working Friday and Saturday. I, however, will not be working, or blogging, until Monday. So I hope you all have a wonderful turkey day, and I’ll be back with you next week.

Semicolon

I was visiting A Sweet, Familiar Dissonace and came across a link to The Which Punctuation Mark Are You Test. Although I have oftewn been accused of being comma happy, it seems that that, like the blogess who led me here, I, too, am a semicolon, though I appear to be more sociable and a little less sophisticated than she. Here’s what it said about me:

You scored 30-percent Sociability and 64-percent Sophistication!
Congratulations! You are the semicolon! You are the highest expression of punctuation; no one has more of a right to be proud. In the hands of a master, you will purr, sneering at commas, dismissing periods as beneath your contempt. You separate and connect at the same time, and no one does it better. The novice will find you difficult to come to terms with, but you need no one. You are secure in your elegance, knowing that you, and only you, have the power to mark the skill or incompetence of the craftsman. You have no natural enemies; all fear you. And never, NEVER let anyone tell you that you cannot appear in dialogue!

Which mark are you?