I Found a Notebook in a Drawer

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What was I looking for in the drawer in my office? An envelope? For some reason, I lost track of the task at hand, and noticed the black moleskin notebook with the SFMOMA logo.

I remember it.

And lost myself down a memory hole as this notebook contains shreds of events from perhaps one of the most tumultuous 6 months in my adult life.

But first, the book.

It was a gift, the best kind, unexpected, and given for no occasion. Peter Samis, a colleague and dear friend from my days at NMC, director of education at SFMOMA, was a voracious notetaker.

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In his travels, work, he always jotted sketches in his moleskin notebooks. At an NMC Board meeting, I saw him crack out a new one.

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In 2006, that was number 339 in a long series. Peter showed me his notes, and talked about the way he used it to process ideas, how he always had it with him.

It is his blog.

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There are so many things I like about Peter, his breadth and passion for art, his love of photography, his love of laughter, his classy hat but mostly… he is just a genuine, caring person.

Peter called me out of the blue a few months ago, just to catch up. Of all the colleagues I knew and worked with in five years at NMC, he is the only one who has reached out to stay in touch.

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It was so thoughtful of him when he handed me my own moleskin at an NMC Board meeting in 2007– notebook #1! On that first page I read:

This book a gift of colleague and prolific note taker Peter Samis @ NMC Board mtg, June 9, Indianapolis

Apparently I did not take many notes at the meeting, because right below that is a note from the vacation I went on right after the conference; my wife at the time flew out to meet me in Minneapolis, and my notebook has a rather detailed bit of notes of places we went, meals eaten, relatives visited.

Right below the note about getting the book, is the incomplete:

Alma, Wisc – quote from Emile Zola about artist, gift, work (FIND)

I never found that quote, or rather never put it in my notes. It must have been on a statue, or museum– but Google makes it easy to find

“The artist is nothing without the gift, but the gift is nothing without work.”

To be complete, right now, I wrote out the quote on that page. No rules against editing one’s notes.

I am rather surprised at the level of mundane detail I wrote for the rest of the trip, I must have motivated… for a short while. Subsequent entries, undated, look like some of my technical notes, ones about the flickr API, Second Life, Horizon Report, drupal (WTF?).

Then, I was inspired by something D’Arcy Norman had done in his notebook, sketching a “History of Blog”, so I DWDD (Did What D’Arcy Did), a few pages of notes, and then a chart attempt

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This is followed by more pages of technical notes related to NMC work; then on a September 3 2007 trip to LA, I had time to work on plans for my upcoming grand tour of Australia, all capital cities in 2 weeks. There are notes on the presentations and workshops I was working on, and percentage estimates of how complete they were

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Notice that 50 Web 2.0 Ways to Tell a Story was listed as “80%” finished (this was the place I first did it) with a note “Finish the MFer!” Geez, I only had 40.

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These are notes on what dates I was in what cities in Australia, with some efforts (gasp) at running; I was in the middle of training for a first marathon. There are no notes about how sick I was after catching a cold on my first weekend in Tasmania. There are no notes about the amazing flower story event in Hobart.

For all the interest in notes I find, I see more gaps.

Oh look, more notes of NMC related projects and tech. Then a few from my first SXSW conference in March 2008, a panel session named for a Zeldman quote

Don’t worry about people stealing your design work. Worry about the day they stop.

My own hand written note:

NOTE- more people here doing notes on paper than

Yeah, I never completed the sentence. Do I have too?

And then a telltale page, what looks like to anyone else just a list of phone numbers, addresses for utility companies and banks

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What is missing in the pages earlier are the darkest times I’ve had, after leaving my marriage and moving up to Strawberry, some very bad blank spots not worth note writing. Or even reliving.

But this page marks the beginning of the official end of my marriage, filing for divorce in March 2008- these notes were for me removing my name from the accounts for utilities at the house we shared in Scottsdale, and switching the ones for Strawberry (and the title) to my name.


I can barely touch that intense time.

Better left as gaps.

There is very little after that. A few phone numbers, a note for work, a place I wanted to buy a special bottle of wine.

I wrote last week about the life history I have in 10+ years of blogging and flickr photos, but now I also have these fragments in notebooks and journals, and there are more bits of me in there not anywhere else. And to me, it’s fine that its a patchwork, that is the beauty of our human minds to weave the connections. It’s not about being some kind of monk like detailed narration of everything, just enough to have the pieces to jog the memory to fill in the gaps (or to leave the ones empty worth leaving empty). It’s not having some perfect system to capture everything like a record player.

So today, I started writing in the notebook again. now some 7 years after Peter game my notebook #1, and I have not even got one finished. He must be above 500 now ;-)

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Just looking at that notebook, and following it back to that special moment and small thoughtful gift from Peter– in a world seemingly wobbling off its pivot, in the tiniest way, makes things more than just ok.

I wonder what will be on the next page.

All You Need is Fix All

After seeing Martin’s tweet, I thought “lt should be easy”…

Whereby distraction led me down the road of making

Get your large bucket of FIX ALL!

Get your large bucket of FIX ALL!

It just seems so desirable for some stuff we could dab on anything and fix it. There’s all kinds of product.

What else is broken? I have the can open and my dabber tool is ready.

Remodeling the Future of Learning Site

creative commons licensed ( BY ) flickr photo shared by Jeremy Levine Design

Having done more than a handful of Feed WordPress powered syndication sites, I’ve had some interesting opportunities to handle difference scenarios when the course/event actually decides to run another year.

I posted an extensive write up for The Harvard School of Graduate Education’s Future of Learning Institute, a week long summer event. That site had the vent information plus the syndication of blog posts, photos, tweets, bookmarked resources, and a slick way for participants to submit posts by email.

In late April I was approached with a request to quickly archive the site and prep the same design for this year. This is a case where the thinking (first) was to make each year’s site a different thing. Sadly this was not hosting on Reclaim Hosting where cloning is an Installatron snap, so I did it the old school export database, copy files, make new subdomain, install wordpress, import database — to make an archive site at http://2013.futureoflearningpz.org/. Then it was a matter of wiping out posts and content specific to 2013 in the main site.

I thought I was done.

The organizers came back to me in June with a desire to have a more modern theme AND they rethought the organization, and felt like rather than having separate sites for each year (episodic), that they preferred to have a single site, where content could add on year after year, and they could use it all year long.

It made sense, but the timeline was crazy short; especially to try and toss in a new theme. Plus they wanted to be able to change styles on all elements, something that was easy to do with the Styles plugin added on top of the old Twenty Eleven Theme.

So did some CSS tweaking to make the content fill the page edge to edge, and incorporate a full width graphic header image.

This change also meant a reorganization of content, to identify parts that would remain the same year to year, and others that would be different, and thus introducing the idea of a page hierarchy (described a bit in The Te of Pages); so for all program information, it would beed a parent page like FOL2014 and under that pages for keynotes, sessions, etc specific to that year.

They also wanted to have more dynamic content on the front page, so I did some redesign, and added code to create new widget areas. This is the new site front, where the purple boxes show the widgeted and dynamic areas


The top one is just a place for them to put a welcome message, it’s just a widget that spans the page, and I made a simple text widget, so the site managers could modify the content (e.g. of they wanted to change the message daily, which they did not do).

The middle area was meant to feature Spotlighted content – as content came into the site, I made it so the site managers could edit any syndicated content, and if they added a Spotlight category, it pushed it to a special archive page, but also the three most recent items moved to the front page in the middle section. If the item was a tweet, it would natively embed there.

I did set it up, so if they modified the entry to have a featured image, it would use that instead of text from the post. And I added a footer section, so they could add a caption like “This is relevant to today’s workshop”; they did this simply by editing the post excerpt.

I don’t think they understood the featured image concept, because all the ones added after I set it up were text only.

So I went in to modify two of the entries to have a featured image, which changes the front page to:

fol spotlight icons

I am not sure why so many people do not use images in their blogging. I have an affliction of not being able to stand seeing stubby posts with no media. Or worse “click here” links.


One thing that did not work well. The organizers expressed concern about the performance of the site. I had to explain to them the concept of their rock bottom priced shared server bluehost plan, with an analogy of a staying in a cheap hotel where everyone shares the hot water. So we upgraded their plan.

I also tried the W3 Total Cache plugin, which in testing helped performance.

Then I found it broke the SimplePress plugin I use for their facilitator discussion forums. Then it was also causing some problems of caching the mobile themed version of the site on some browser views. Maybe I just did not configure it right, but I had to nuke it.

The event had 13 learning groups, with an info page for each one (again, needed to be organized for new content in future years), e.g Learning Group 7 as http://futureoflearningpz.org/fol14/groups-2014/group7-2014/

There was also a blog category for each group, and I set up the post by email feature of Jetpack (I called it a “Quick Post”) so group participants could submit reports, photos to their group – .e.g the category for group 7 in 2014 is http://futureoflearningpz.org/fol/learning-groups-2014/group7-2014/

This meant that for participants to have their emailed post be associated with that group, they would need to include somewhere in their email message the code:

[category group7-2014]

This was probably not made clear, as I do not think anyone among the 94 quickposts got the right category code, so I ended up manually categorizing these to make them land in the right groups.

I admit this was likely a bit complicated, but there’s not much I can do not being at the event site.

The site activity was comparable to 2013, a peak of 2700 visits in the middle of the event

fol2014 stats

And a good amount of activity in the various flows; Feed WordPress just chugged and chugged as it does.

The ideas for the organization/participant community is now to promote activity and publish news posts all year long. I’ve offered to work with them next spring to introduce a new responsive theme, and assist in the setup for next year’s institute (also, perhaps to import the 2013 content to have as an ongoing body of knowledge).

In this syndication structure, the new idea is to have all of the flow continually build and grow in one place, and structure the yearly event specific content to keep its integrity (rather than archiving to just overwriting it year to year). In maybe another post, I will discuss a setup where it made more sense to create a new site every year.

Stay tuned to http://futureoflearningpz.org/

A Random Door to Hyperlapse Space

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In 20+ years, the internet has never failed to provide me a continuous giddy stream of unexpected surprises. It makes Alice’s trip look like a cheesy 1980s VHS movie.

This morning I cleaned a lot of duds, dead critters, and dust bunnies from my RSS Reader. I do keep a category I call “Odds and Ends” which I glance at when needing something new. The sources include Neatorama, MentalFloss, and a few more.

For some reason, the title First Person Hyperlapse Videos caught my eye.

You had me at an interesting title.

And down the hole I went.

Apparently some Microsoft Researches have found a way to convert those long shaky videos from things like Go Pro camera, and compute them to smooth path time lapse videos. The best example is on their site (interesting to see MS researchers using YouTube, guess times have changed. Good)

The computation seems hairy, like a frame by frame recalculation of a virtual camera.

But then I found something really wild- Google Street View Hyperlapse does something very similar- it generates a quick timelapse video between two different map points via images from Google Street View. Not quite as smooth as the research ones, but fun to play with.

I did a quick trip up the road from Strawberry, AZ on a scenic route to Flagstaff, well as far as Mormon Lake (a longer trip would have been better). Here is a bit of it captured as a screen recording (QuickTime Player), and some music added in YouTube

While viewing on the Hyperlapse site, you can use the space bar to pause. The real neat thing is as its playing back, you can use the mouse in the frame to switch the point of camera view (I am doing that in maybe the 3rd or 4th pass), even at some points you can see the shadow of the Google camera rig:

google street view shadow

It looks like the site uses the Google Maps API and some Javascript, you can get details, and copy of the code at http://labs.teehanlax.com/project/hyperlapse — I am not even sure what outfit this place is, but they exude experimentation.

I cannot tell you that this will change the world or disrupt any industry, but the sheer uniqueness and originality is the kind of flame that draws this moth.

The web is an infinite number of doors. I’m still exploring.

creative commons licensed ( BY-NC-SA ) flickr photo shared by JanneM

Stalking the Mythical OER Reuse


They are out there…

At the crack of 6:30am Friday I was doing a remote presentation for the Ontario Universities’ Council on e-Learning (OUCEL), via request from Giulia Forsythe and colleagues there. Given that hour, I took some liberty with the seriousness and invoked the metaphor of the passion and conviction of those that pursue Sasquatch.

Continue reading →

Walking [in medium] With/Without Abbey

I’m still curious and intrigued by the writing environment of medium.com, though it will always be third fiddle to this blog. I was conversing with someone recently about the ease at which people misjudge the desert environment, what I have described as a dangerous gulf between over-estimating one’s abilities and under-estimating the desert environment.

It reminded me to something I wrote on the web, maybe in 1995 or 1996 judging from the basic HTML and repeated texture background. Like the last time around or maybe it’s lack of ideas, I decided to recast this (and revise some of the language, though not much) and add photos to publish it in medium

Walking With/Without Abbey

This was in the early days of my discovery of the writings of Edward Abbey, first and foremost with Desert Solitaire- for me the peak Abbey reading experience. Maybe it was because I read it first doing my early camping expeditions in the Owens Valley of California while doing the field work for my MS thesis in Geology. And there was a year or two, where almost every spare weekend in the winter was spent solo camping in the Superstition Wilderness area, a place that called to me in its unassuming nature yet dangerous terrain.

The “Gary” in the story was a fellow Geology student, and we did a real bush whack in Fish Creek Canyon. And he really did kick cairns over.

There you go. Or there I go. I do like the re-writing process in medium- placing the photos, re-considering the paragraphs and the wording. The core of the original is there, all medium-sized and all.

Hello [The Wire] Baltimore

As usual in my house yesterday I had NPR Radio on in the background. The show Wait Wait Don’t Tell Me had a segment with Baltimore filmmaker John Waters as guest.

PETER SAGAL: In April 2011, we talked to a man who’s made some of our favorite movies – John Waters, who went to the city he made famous, Baltimore, Maryland, and we’re surprised to discover he didn’t actually grow up in Baltimore, Maryland.

JOHN WATERS: No, I grew up in suburbia, which I ran from as quickly as I could.


SAGAL: Yeah.

WATERS: I wanted to come downtown and be a beatnik.


SAGAL: What drew you to downtown Baltimore, to the city?

WATERS: Well, I first came downtown, and I saw beatniks, and I saw people that didn’t fit in. I saw outsiders that didn’t even fit in with their own minority. And that’s always been my people, really.


SAGAL: Right. People who are so outside, even the outsiders don’t know what to make of them.

WATERS: Yes. But as you know – if you spend even another 24 hours in Baltimore – everyone thinks they’re normal here, but they’re insane.

There you go. I got busy with something else, but the closing song caught my attention- it was the musical upbeat everything about life is wonderful theme song to Water’s movie Hairspray– “Hello Baltimore”

And there it was.

In the spirit of the pre-ds106 ds106 with a theme of The Wire, I thought that some sort of mashup between the trailer for Hairspray and scenes from The Wire were in order. I quite enjoyed the side by side juxtaposition I did earlier in the week, so approached this one the same way using iMovie.

Clips were downloaded form YouTube using the SaveFrom.net browser extension #BestDownloaderEver

The Hairspray trailer went to the main track. To match the opening credits, I downloaded the intro from the first episode of season 1 of The Wire, and dropped that into the overlay track (the default setting is cutaway, but you just switch the toggle to Side By Side). For clips from The Wire, I highlight the clip and use Mute Clip from the Modify menu to suppress its sound (I want to use just the sound from the Hairspray clip).

hello bmore timeline

With a little bit of jogging of the opening mark (which is so much easier to do in the Mavericks version of iMovie). I got a nice line up of the wiretap order from the Wire hitting at the same point as the shot of the Baltimore Sun headline in Hairspray

wire papers

It also took some experimenting with the Clipping dimension to make it so the credits from The Wire fit well on the left side of the side by side screen


The fun part is seeing where things line up where you did not expect to, like when Tracy’s alarm clock goes off in the Hairspray sound track, and The Wire’s opening screen fixes on a sheet of wiretap notes labeled “TIME”


The rest of The Wire’s track came from a brutal clip from season 3 : The Stanfield vs Barksdale War. Like this part where Tracy is leaving the front of her house side by side with a street war character sitting on a similar Baltimore stoop

baltimore stoops

I only jiggled this second clip enough for the closing part of Tracy singing lines up with some expressions of perhaps one of the most intense characters in The Wire, Snoop:

snoop tracy


I’m having a ton of fun playing with the side by side juxtapositions and these two very different depictions of the city of Baltimore n much different eras and cultures.

Bunk y Omar Conversan con Miradas

I happily resume my role in ds106 as an open participant. With the new season starting in September at UMW being based on The Wire, I finally have the right reason to watch the whole series again (one of only two I’ve ever watched start to end; not only am I a MOOC dropout, I bail on TV too).

Paul Bond is off an running with perhaps one of the most perfect GIF loops of Stringer Bell counting money, I felt driven to dust off the GIF from movie clip chops. The Wire of course is so many strong clashing characters; a scene I remember the most was the conversation between Bunk and Omar on some train platform- here just trying to capture some of the intensity


It’s a bit “fat” at 1.2 Mb, and I dropped the GIF to 64-colors, which gives it kind of a posterized look. But that was after a lot of frame chopping already, and there is so much in the contortions of Bunk’s rant, and the eye dropping stone listening of Omar. Like much of The Wire, more is communicated w/o words than with, as that last exclamation by Omar as Bunk walks away.

It’s all about the looks between them.

I have much of seasons 2-6 on a hard drive; I was into it the year I moved to Strawberry, and lacking TV signal, I was hooked enough to buy the episodes on iTunes. But before cracking those open, I did some YouTube searching, and with some irony found the scene, but dubbed in Spanish as Bunk se enfrenta a Omar

I actually found it more informing to just watch the scene w/o knowing the dialogue; this is like a video activity I did when I teach where I have students study a scene w/o sound to focus on the camera work, and then without the visual to focus on the audio. There are at least 6 different camera shots here switching, and some with unusual framing..

There is a slow dolly to have Omar emerge in the opening

omar pan

The front view with Omar and Bunk obscured behind a wall and the foreground grass:


The profile of both men on the bench, again with a pole prominent in the left:

on bench

And not to mention the back and forth of an upward angle on Bunk as he stands up to lecture Omar, and Omar’s minimal responses.

To make this I downloaded from youtube using the Best Tool For the Now, SaveFrom.net — as a browser extension it puts download links right into the YouTube page, or an embed, or a link. I tried to use MPEG StreamClip to get my smaller segments, but the controls are pretty much useless in Mac OSX 10.9. Instead, I loaded the clip into QuickTime Player, and used the Edit --> Trim feature to save a clip (this is pretty much doing with MPEG Stream Clip does, as it saves a copy).

From there I imported into PhotoShop using File -> Import -> Video Frames to Layers. I did it at limit to every 10 frames, and started deleting frames to reduce it down. The “spit” at the end was quick, so I ended up importing again, just that segment, at limit every 2 frames, and still ended up with about 6 frames to work with.

From there, it’s a matter of playing with the interframe timing, some are 0.2s and some 0.5s to change the pace.

There are few things finer than ds106 GIFfing.

Do you feel what I’m sayin’? (I was always sure Omar said that line, but can never seem to find it, oh well, I love it)

PS If I have mangled any Spanish it’s because of my reliance on Google Translate


Not Quite Elves at the North Pole

I could not help myself but remix when I saw the tweet by Tim Maughan (actually retweeted by @savasavasava)

Mostly through sava’s tweets, I’ve gathered Tim is on some expedition, by freighter ship, to China, to get to the source of those shiny things on our store shelves. According to his original video, filmed today, How the magic of Christmas is made, he got an inside view of Yiwu Hangtian Arts and Crafts Co, Ltd – “to see how Christmas decorations to be exported to the US and Europe are made.”

It took about 32 seconds of searching in You Tube to find a copy of the 1932 cartoon Santa’s Workshop, which makes for, I think, a fascinating side by side video.

I’ll leave the conclusions up to the viewer.

This was pretty easy to assemble in iMovie, just dropped in the longer video by Tim into the second track (the new iMovie makes this so much easier), and selecting the side by side option. I did not even fiddle to align any parts of the movies, I think they tend to do it well.

Maybe the trickiest part was fiddling with the closing titles to get them on one side.

Thanks for the great video, Tim. I was easily haunted by repeated hand assembling of these knick knacks. Yeah, it’s that kind of world we live in.

Digitizing Spinning Shellac

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Among the memorabilia I brought back from my Mom’s house was my on set of teen age purchased vinyl LPs, but also about eighteen 78s that I had always remembered sitting on the shelves in our basement.

Any flat disc record, made between about 1898 and the late 1950s and playing at a speed around 78 revolutions per minute is called a “78″ by collectors. The materials of which discs were made and with which they were coated were also various; shellac eventually became the commonest material. Generally 78s are made of a brittle material which uses a shellac resin (thus their other name is shellac records). During and after World War II when shellac supplies were extremely limited, some 78 rpm records were pressed in vinyl instead of shellac (wax), particularly the six-minute 12″ 78 rpm records produced by V-Disc for distribution to US troops in World War II.

That bit is from the Yale Library History of 78rpm Recordings.

Now with my old MacBookPro set up for digitizing from the turntable, I have been curious to try one of the old discs. There’s a bit of a trick, since my turntable does 33 and 45 rpm speeds. I found the answer in a MacWorld article Ripping 78 RPM records to Mac. I record them into Audacity at 45rpm, and then use the Change Speed Effect to adjust to the proper rate. The article also recommended doing noise removal since there is quite a bit of scratch in there.

I did the first side as an experiment, and then did the rest of them (there are usually 8 sides in a collection) by pausing the Audacity recording between discs. This way I could do the adjustments to all the tracks.

creative commons licensed ( BY-SA ) flickr photo shared by cogdogblog

The one I chose, without much rhyme or reason, is Larry Adler and His Harmonica, Decca Records (1946). I’ve “ripped” all 8 sides, keeping a master in Audacity format, and exporting each track as a Variable Bit Rate MP3 (in the neighborhood of 200 Kbps).

While I write like I know what I am talking about, I don’t. The noise removal effect can leave some artifacts. And I always seem to mess up the editing when trying to find the separations between songs.

But here goes, all of Larry Adler’s tunes.

creative commons licensed ( BY-SA ) flickr photo shared by cogdogblog

Star Dust (side 1)

Perhaps I chose this since I have aspirations to play the harmonica….

Larry Adler, playing an instrument which has heretofore been thought of principally as the musical toy of boyhood, has raised the harmonica to the level of a virtuoso’s concert instrument. He is the one person in the world who has appeared as a soloist playing the mouth organ in concert with symphony orchestra.

That Old Black Magic (side 2)

The other connection is that like me, Adler hails from Baltimore, but traveled far from there.

It is a far cry form the ragged urchin routine to the white tie and tails performance before President Roosevelt, the two most recent English Georges and their Queens, Kings Haakon, Gustav, Alfonso, the Windsors and Kents. And it is a long way from Baltimore to Cairo, but Adler has bridged the gap with a universally accepted talent.

St. Louis Blues (side 3)

Then again, I never lived the “ragged urchin routine”, but like Adler, my music entrance was via the blues.

Lawrence Cecil Adler was born in Baltimore Maryland. When he was two, he wandered away from home one day and was found by his father, standing on a table in a downtown poolroom, singing a song called “I’ve Got Those Profiteering Blues,” while the enchanted patrons stuffed his rompers’ pockets with money.

Blues in the Night (side 4)

Such the young entrepreneur, age two getting his “rompers” stuffed.

At thirteen, after an unsuccessful interim in the Peabody Conservatory of Music, Adler entered a Baltimore Sun harmonica contest and won first prize. All other contestants confined themselves to “Turkey In The Straw” and other songs of that ilk, but Adler amazed and gratified the judges by playing a Beethoven Minuet. Until 1941, Adler learned all his music by ear from phonograph records, and he can still play a long musical selection correctly after only two hearings.

Begin the Beguine (side 5)

Poor kid, he lacked a MOOC to learn music from….

Adler appeared in torn knickers and ragged clothes in various New York musicals until 1934 when, at a Palace Theatre engagement, he appeared in a well-cut dinner jacket. C. B. Cochran, a British producer, was impressed and engaged Adler to appear in a London revue.

Hand to Mouth Boogie (side 6)

A well-cut dinner jacket is the difference.

Adler’s London success was a turning point in his life. He played for royalty; he had an entire revue written about him. Fan clubs totaling a million Adler devotees sprouted up all over England; harmonica sales increased two thousand percent after his arrival. He appeared at important recitals; music was written especially for him, and William Walton, the delightful composer, was moved to say Adler was one of the two ‘young musical geniuses in the world’”.

Claire de Lune (side 7)

Now those are some growth metrics, harmonica sales up 2000%!

It was a strange letdown to return to America at practically his previous status. However, one night club engagement led to lucrative offers and Adler fully “arrive” when he begain to play classical music.

Hora Stacatto (side 8)

And here is it is, all sides of this 78rpm set. You can learn more about Alder in Wikipedia. He passed away in 2001 at an age of 87, and more details of his life surface at the article on him on the New York Times.

Adler was labeled a Communist sympathizer in 1948, losing his ability to make a living in America (where he had made $200k before) and that was the reason for his return to the UK.

Although a self-described ”left-minded kid,” Mr. Adler steadfastly denied he had ever supported the Communist cause but refused to take a loyalty oath or mute his criticism of the House Un-American Activities Committee.

”I can’t understand Marx,” he said in 1971. ”Communist literature, brochures and stuff didn’t mean anything to me.” But he continued to insist that imagined or even real Communists should not be deprived of their ability to earn a living, since being a Communist was not against the law.

Quite the dude.

I have quite a few more to digitize, but I also have a greater length by 2 of my own rock and roll records to get into the digital realm.