Context? CCVII

Last Friday, it impressed me that a radio talk show host chose to take the high road.  He was about to refute a caller's point but thought better of it and said, "I'm not going down that road.  I'm in a good mood.  It's Halloween.  We're going to talk about pumpkins."

Unless a caller says something truly despicable, I hope other talk show hosts follow that example today.  There's something to be said for keeping the mood light on a holiday.

"...Great Pumpkin..." twists and turns

After all these years, it's fun to hear "It's The Great Pumpkin, Charlie Brown"'s soundtrack in a new light.  This year's expanded edition includes some enjoyable alternate versions of familiar favorites.  In my opinion, these are three of the more interesting ones:

• Charlie Brown Theme (Alternate Reprise Take 2) (This excerpt is an amusing glimpse into the trial and error aspects of playing a new tune.  I was surprised to hear composer Vince Guaraldi say, "That's not my key, John...")
• The Great Pumpkin Waltz (Alternate Take 2) (An unexpected use of celeste adds colorful chimes to the melody, making the flute-dominated tune sound even more innocent.)
• Linus And Lucy (Alternate Take 2) (This is the most frequently heard "Peanuts" theme music for many listeners.  It might take your ears a little time to adjust to hearing woodwinds and guitar repeat the theme in places you wouldn't expect.)
  

A petty fixation XVIII

Before my high school's opening night of a musical, a student crew member covered the lights above each music stand with blue cellophane.  Presumably, this was intended to prevent attracting undue attention to the pit orchestra instead of the stage.  Unfortunately, this made it difficult to see the music.  The choir instructor, Ms. F., who played piano in the show, untaped the cellophane so we could see our music.  When she left the room briefly, the crew member walked over and asked me what had happened.  I told her that Ms. F. took the tape off so we could all see what we were playing. The student muttered, "Sure is wrong," and taped the cellophane covers over the stand lights again.

Ms. F. returned shortly after this and asked what had happened.  When I told her that the student insisted on having every stand light covered, Ms. F. replied, "Bull," and removed the tape once again.

I sided--and would still side with--Ms. F on that.  Being able to see the music one is playing trumps the need to shroud the pit orchestra in unnecessary darkness.  As for that crew member, her reaction showed that you're never too young to be officious.

Stingray Music highlights CII

Noteworthy selections heard yesterday:

Alt Rock Classics 

• Seether-Veruca Salt (Blistering guitar and vocals about being filled with rage that hold up nearly three decades later.)
  

Chamber Music

• Franz Schubert: Impromptu in G-flat major, D.899, No. 3 (David Barela, piano) (Lyrical, as usual for Schubert, with forceful crescendos.)

Classic R&B And Soul

• Many Rivers To Cross-Jimmy Cliff (I've always liked how optimistically Cliff sings this.  When you approach a challenge this way, you're probably more likely to conquer it.)
  

Cocktail Lounge

• Riviera Bossa Nova-Burnell Leonard Whibley (Pleasant, peppy, decadent easy listening brass and strings for days when everything is going right.)

Folk Roots

• Long Lost Friend-Monica Rizzio (Thoughtful, sensitive lyrics with an instrumental backdrop that reminds me of Shawn Colvin.)
  

Holiday Hits

• Halloween Theme-John Carpenter, Cody Carpenter & Daniel Davies (This instrumental conveys an appropriate, Alan Parsons-like feeling of doom and urgency.) 
  

Jazz Masters

• I Can't Give You Anything But Love-Red Garland (A bouncy piano take on a standard.)

Motown

• Summer Soft-Stevie Wonder (Great vocals and piano through which to acknowledge and ease the pain of a breakup.) 

The Spa

• All That Could Be Said-Headlund (Compelling melancholy guitar.)

World Carnival

• Otro Muerde El Polvo (Another One Bites The Dust)-Los Miticos del Ritmo (I wouldn't have sought out an accordion-based cover of Queen's hit, but I can't deny that it's an imaginative way to carry the melody.)

A linguistic irritant XXXII

I know that the dialogue in radio dramas isn't supposed to mirror real life exactly.  Still, it irritates me when a character sounds excessively stilted.  Perhaps, for some people, it's common to say, "I shall wait in the kitchen."  However, whenever a character uses the word shall unnecessarily, I think, "You're not an aristocrat.  Say, 'I will wait in the kitchen,' or better yet, 'I'll wait in the kitchen."

Why be pretentious when conveying such mundane information?

Stingray Music highlights CI

Wednesday standouts:

The Asian Flavour 

• Ma-Eum Heart-IU (Endearingly modest vocals and guitar.  Keren Ann's "Not Going Anywhere" could segue with this.)

Big Band

• I've Got You Under My Skin-Woody Herman (A stately, classy rendering of the Cole Porter standard on clarinet and saxophone.)

Chamber Music

• Frederic Chopin: Nocturne No. 1 in B major, Op. 62 (Pascal Amoyel, piano) (Amoyel conveys the piece's warmth and romanticism with appropriate delicacy.)
  

Cocktail Lounge

• Melodie en Sous-Sol-Michel Magne (Excellent instrumental fusion of blues, jazz, and easy listening, with the saxophone radiating confidence.)
  

Folk Roots

• By Way Of Sorrow-Cry Cry Cry (This is a beautifully sung and played cover of a Julie Miller tune.  Lyrics about finally being rewarded after being treated poorly require sensitivity, which Dar Williams, Lucy Kaplansky, and Richard Shindell deliver.  The Wailin' Jennys also sing this with similar sensitivity.)

Holiday Hits

• Theme From "Friday The 13th"-101 Strings (Never underestimate the ability of a violin section to sound convincingly psychotic in unison.)
• Theme From "Hellraiser"-Matt Fink (With its brassy undercurrent of bass, this sounds like underscoring for a nightmare set on a ship during a raging storm.)

Jukebox Oldies

• Everybody Loves To Cha Cha Cha-Sam Cooke (The more I hear this, the more I'm convinced that it would segue with Jimmy Cliff's "You Can Get It If You Really Want.")
  

New Age

• Elegy-Philip Aaberg (Appropriately solemn piano.)
  

Retro R&B

• Tell Me It's Just A Rumor, Baby-The Funk Brothers (A cool uptempo, piano-anchored instrumental; I kept expecting it to segue into Maxine Nightingale's "Right Back Where We Started From.")

Stingray Music highlights C

Standout songs heard Monday and Tuesday:

Adult Alternative

• Hollywood Forever Cemetery-Allison Ponthier (This is a worthy contender for a Halloween soundtrack.  These are dark--and good--lyrics about a celebrity's insatiable need for attention, even after passing away.)

Bluegrass

• Pikes Peak Breakdown-Andy Leftwich (I have to respect these players' breakneck fiddling and banjo pickin' mastery.)

The Chill Lounge

• We Meet At Last-Liquid Stranger (Here's another contender for a Halloween playlist.  The eerie keyboard and percussion are suitable underscoring for pursuing someone in a dark alley.)

Classic R&B And Soul

• Sweets For My Sweet-The Drifters (Catchy piano backing, great vocal harmonies, and one of the best vocal fade-outs I've ever heard; this would segue well with multiple versions of "It Takes Two To Tango.")
  

Cool Jazz

• Darlin' Darlin' Baby (Sweet Tender Love)-Steve Khan (Of its time, 1977, in the best way; strong, pleasant guitar with wah-wah effects when appropriate, wailing saxophone, and a breezy, upbeat vibe.)
  

Folk Roots

• Hejira-Joni Mitchell (Perceptive lyrics about the need to break away from a relationship and enjoy your own company.)

Jazz Masters

• Under A Blanket Of Blue-Ben Webster (Warm, resonant saxophone.)
  

Jazz Now

• As-Deep Blue Organ Trio (It's interesting hearing this Stevie Wonder hit reconfigured as an instrumental shuffle.)
• Autumn In Our Town-Dave Brubeck (Quiet, contemplative, seasonally appropriate piano.)

Smooth Jazz

• The Nearness Of You-Chris Botti (An excellent version of this standard, with ringing trumpet, lush strings, and tasteful piano shading.)
  

Context? CCVI

Heard in a radio station's newscast last week: "Cases of flesh-eating bacteria are on the rise..."

I didn't stay tuned to hear the rest.  That intro was disturbing enough to contemplate.

A function of age V

While listening to an episode of CBS Radio Mystery Theater recently, I seconded a police detective's irritation.  She pushed back against her police captain's repeated descriptions of a murder victim as "an old woman" and "a poor old woman."  Twice, the detective exclaimed, "She wasn't old!"

The victim in the episode was 52.  That's my age, so I thought, "That's right.  She's not old.  Stand your ground, detective!"

Even in a work of fiction, people ought to avoid using the word old pejoratively.

Stingray Music highlights XCIX

Saturday morning recommendations:

Bluegrass

• Where The Streets Have No Name-The Goodfellers (I've written previously about how my reaction to most U2 songs isn't as enthusiastic as those of most listeners.  Bono's emoting works well, however, on "Where The Streets Have No Name."  It's interesting to hear it recast here in a faster tempo with banjo, fiddle, and vocals.)

Canadian Indie

• Lovesick Utopia-Charlotte Day Wilson (The airy alto vocals serve the lyrics effectively.  I'd be curious to hear Kerri Anderson cover this.)
  

Chamber Music

• J.S. Bach: Partita For Keyboard No. 4 in D major, BWV.828: I. Overture (Glenn Gould, piano) (This movement requires a dexterity comparable to that of string players who perform the first and last movements of Bach's third Brandenburg Concerto.)
• Reynaldo Hahn: Premieres Valses--I.  Avec elegance (Cristina Ariagno, piano) (An endearing waltz, played with excellent resonance.)
  

Cool Jazz

• Quiet Moments-Lonnie Liston Smith (Tasteful, pleasant, overtly 1978 piano and strings with a bossa nova feel.  This is ideal for a traditional jazz station's after sunset playlist.)

Everything '80s

• The Warrior-Scandal featuring Patty Smyth (The empowering vocals and sing-along chorus hold up 38 years later.)

Folk Roots

• Oh Very Young-Cat Stevens (Over time, this has become one of my favorite songs.  How could I not respect the thoughtfulness that Stevens conveys regarding the fleeting passage of time?  The forceful backing vocals late in the tune add appropriate gravity to the lyrics.  I'm always curious to hear how radio stations handle this when it comes up.  If you're locked into a rigid commercial format, "Oh Very Young" presents a challenge; even in its time, it didn't sound like a conventional pop hit.  Thus, it doesn't segue easily with other hits from or outside its era.  Wise program directors are best advised to program it at the end of a set.)
• Dandelion-Carolina Story (I hear influences of mid to late '70s Fleetwood Mac and "Angel Mine" by Cowboy Junkies in this tune.)
  

 Jazz Masters

• It Never Entered My Mind-Miles Davis (This is some of Davis's most lyrical trumpet playing with gentle piano underpinning from Red Garland.)

New Age

• Living In The Country-George Winston (Winston's "Autumn" album is the gold standard, to me, for new age piano.  This track from his "Summer" album, however, also deserves its due.  When the tempo accelerates, the ragtime-influenced hook carries the melody.)

Stingray Music highlights XCVIII

Friday morning highlights:

Alt Country-Americana 

• Lay My Burden Down-Aoife O'Donovan (As much as I like how Alison Krauss sings O'Donovan's song, O'Donovan's breathier vocals and faster tempo make this my favorite version.)
  

Brazilian Pop

• Retrato Em Branco & Preto-Silvana Malta featuring Toninho Horta (Tasteful, laid-back guitar and vocals fit for an evening playlist.)

Canadian Indie

• Changed My Ways-Murray A. Lightburn (This 2019 track pulls off a convincing late '60s/early '70s throwback lounge sound in the guitar, piano, flute, and vocals.)

Folk Roots

• Everyone But Me-Rosanne Cash (Forthright lyrics, sensitively played and sung.  This sounds somewhat like a Jackson Browne tune to me.)

Gospel

• Residue-Jason Nelson (Strong vocals with a pop/gospel/R&B crossover sensibility.)

Jazz Masters

•  I Cover The Waterfront-Dizzy Gillespie (This is an appropriate day to hear Gillespie's elegant trumpet playing, as today would have been his 105th birthday.)
  

Latin Lounge

• Esperanza-Clelia Felix (An interesting downcast, midtempo groove with compelling vocal punctuation and harmonica against an electronica backdrop.)
  

Retro R&B

• Soul Stomp-Earl Van Dyke (Fun organ wizardry and clapping make this an infectious party instrumental.  This could work as a playoff of "What'd I Say" by Ray Charles.)

Smooth Jazz

• Shake You Up-Chris Standring (The bounce of this instrumental reminds me of Basia's "Miles Away" and the Doobie Brothers hit, "Minute By Minute.")

World Carnival

• Nar-I-Ask-Mercan Dede (The flute and percussion could underscore a scene of someone trying to find the way out of a forest.  Initially, this brought to mind Snoopy as a World War I flying ace making his way through the French countryside in "It's The Great Pumpkin, Charlie Brown.")

Stingray Music highlights XCVII

Thursday afternoon U-verse standouts:

Adult Alternative

• Hypotheticals-Lake Street Dive (When the tempo picks up, the vocals and instrumentation have an appealing '70s pop/R&B feel.  This could segue with Lenny Kravitz's "It Ain't Over 'Til It's Over.")

The Chill Lounge

• Goodness-Emancipator (This jazzy instrumental uses flute punctuation effectively.)

Cool Jazz

• To Each His Dulcinea-Eliane Elias (This is some of Elias's most impressive uptempo piano playing.)

East Africa Gospel 

• Mwamba-Jessica Honore (Even if the listener doesn't understand this language, it's impossible to miss the uplifting, rejoicing feel of Honore's vocals.)

Easy Listening

• Send In The Clowns-Ferrante & Teicher (A tasteful two-piano rendition of the Judy Collins hit that wisely doesn't go overboard on embellishments.)
  

Folk Roots

• Big Mover-Sarah Eide (Sincere vocal harmonies and tasteful guitar.)
• Mother Song-T with The Maggies (This reminds me somewhat of how Loreena McKennitt might sound with piano and tin whistle accompaniment.)

Hungarian Pop & Rock

• Papirsarkany-Ruzsa Magdolna (Rock backing fit for an Alanis Morissette song.)

Jazz Masters 

• Cool And Easy-Toots Thielemans (This appropriately titled track features impeccable harmonica playing from Thielemans, as usual.  The walking bass line and piano accompaniment are also crucial to the tune's mood.)

New Age

• Un Bel Di-Aria (The ethereal-sounding vocals make this track a potential candidate for a Halloween soundtrack.  The instrumentation sounds to me like an unusual blend of Tangerine Dream and Dave Koz.)

Context? CCV

Last night, a DJ said on-air, "(Someone suggested,) Why don't you get a couple of extra pumpkins for the squirrels to eat?  Then, they won't mess with your jack o'lantern."

That listener showed considerate concern for the DJ's plight.  The logic that squirrels will fall for the decoy pumpkins and not bother with the carved one amuses me, though.

An overlooked cover tune CXVI

When it comes to "Grazing (or Grazin') In The Grass," you're most likely to hear Hugh Masekela's trumpet-centered rendition or The Friends Of Distinction's hit vocal version on American radio.  Thanks to KDHX for reminding me this afternoon that another version deserves its due--Stevie Wonder's 1968 cover.  Wonder shows that the melody sounds just as spirited on the harmonica.

Persistent earworm alert CCLXXXII

The jingle from a short, recurring nostalgic feature has stayed with me since the '80s.  Our former hit parade station, KCFM, used to run the segment, "Backspin."  When I'm recalling an event from decades ago, I often think of jingle singers warbling, "Backspin!"  The event doesn't even have to be music or radio-related.

It's no longer odd to me that my memories often include a superimposed jingle prelude.  Nearly 40 years after first hearing "Backspin," it's just how my mind processes nostalgia.

Not a huge dilemma, but...

While talking about playing in our respective school orchestras, a grocery store clerk asked me recently, "If you had to choose between being able to sing well or play an instrument well, which would you choose?"

I hesitated only slightly before answering, "I'd want to play an instrument well."  That's how life panned out for me anyway.  I had 10 years of reasonably satisfying, successful bass playing.  Still, just for a moment, I contemplated what it might have been like to sing well.  I've never thought about it seriously, as I've always had a limited singing range.  Being able to sing your favorite songs, especially ones you've composed, while playing the guitar or keyboard must be especially gratifying for those who welcome the limelight.

Overall, though, I think I'll stick with my answer of preferring to play an instrument well.  Generally, I think one's ability to play an instrument lasts longer than one's ability to sing.

Context? CCIV

By its nature, the radio business demands punctuality.  That explains a radio show host's closing remarks today.  He said he won't be hosting next week because he'll be on vacation, but "we'll do our best to find a suitable substitute host.  It probably won't be (another station staffer) because he couldn't show up on time."

Persistent earworm alert CCLXXXI

For a time in grade school, it was considered the height of hilarity to mock the "Milk likes you" commercial jingle.  One student would say to another, "I know someone who likes you."  The other student would ask, "Who?"  The first student would then respond, "Milk."

Thankfully, we didn't stay neanderthals forever.

Online radio sampler highlights CLXXXIII

Seven noteworthy tunes heard today:

KOJH (Kansas City, MO)

• Good Bait-John Coltrane (Coltrane carries the melody on tenor sax with customary aplomb while allowing the rhythm players ample space to show their chops.  The first few notes of the melody keep making me think the tune is about to go into the Loesser/Carmichael standard, "Heart And Soul.")

KOPN (Columbia, MO)

• Uncle Dave's Beloved Solo-Uncle Dave Macon (A fun, welcoming waltz for banjo.  I thought it was appropriate to hear the surface noise of the record as this played.)

WCBN (Ann Arbor, MI)

• Autumn Almanac-The Kinks (Rhythmically, The Lovin' Spoonful's "Daydream" could segue into this.)
  

WFDU HD-1 (Teaneck, NJ)

• Head Over Heels-JD McPherson (This track takes a melody similar to "Wooly Bully" by Sam The Sham & The Pharaohs and improves it with infectious vocals, guitar, bass, keyboard, and handclaps.  This sounds like an updated version of a mid '60s hit.)

WRUV (Burlington, VT)

• Valley Eyes-Hellcat Bloom (Sultry vocals in an indie tune fit for a Quiet Storm format.) 

WTUL (New Orleans, LA)

• Look B4u Leap-Charles Stepney (One of the cooler, catchier synthesizer jams I've heard.)

WUMB (Boston, MA)

• Change Of Heart-Margo Price (These direct lyrics remind me of Aimee Mann.)

FM dial scan highlights CC

Five of the better songs I've heard today:

KDHX 88.1 FM

• Oh To See Two Eyes-Two Pin Din (This tribute to a music venue with respectable ideals sports a concise, well-sustained guitar riff.)
• Fortune Teller-Say She She (This new midtempo release offers an appealing blend of indie rock and R&B vocal stylings.)

WSIE 88.7 FM

• Broken Record-Alexa Givens (A well-sung-from-the-heart ballad.  It was released in May but could pass for a '70s R&B throwback.)
• La Fiesta-Stanley Turrentine (Brassy, infectious, and fit for a carnival.)

KCLC 89.1 FM

• Lonely Nights-Cecilia Castleman (This June release has honest, endearingly sung lyrics about common mistakes that lead people to be without partners, at least temporarily.)
  

Persistent earworm alert CCLXXX

I'm not sure what to infer from a recent dream.  I imagined my cat, Collette, staring at me without blinking as soon as I woke up.  For good measure, she meowed the first verse of The Who's "I Can See For Miles."

It's unnerving to imagine Collette having more powers of mind control and behavior modification than the considerable amount I already know she has.  I know this was just a dream, but...

Keeping the talk in talk shows

Inspired by some recent listening: Bumper music is a fine way to set the mood of a radio talk show.  However, unless the bumper music is your opening theme, closing theme, or a prelude to an interview with a musician, the length of the music shouldn't make listeners wonder, "Is the host ever getting back to the show, or is this song going to play in its entirety?"

At the risk of sounding obvious, a talk show is called a talk show for a reason.

Nagging guilt

All these years later, I still haven't gotten a bid from Busenbark.

I don't actually need a bid from Busenbark, but the company's radio commercial slogan has stayed with me for at least a decade.

A former co-worker once emailed me that slogan, asking me, "Did you get a bid from Busenbark?  You ought to."

I replied that I had other responsibilities to take care of before getting such a bid.  He replied, "I understand that you have other priorities, but you really should get a bid from Busenbark."

I don't remember anything about what Busenbark does.  Somehow, I doubt it has any relevance to my life.  Still, that slogan makes me wonder if I missed out by not getting a bid from Busenbark.

In the blink of an eye...

While listening to tonight's National League wild card playoff game between the Cardinals and Phillies, I thought back to the game in which Lou Brock got his 3,000th career hit.  I remember exclaiming, "Lou Brock hit 3,000!" when that happened.  That was just a mere...

...43 years ago and change.  I'm thankful for my life and the importance that radio has played in it.  I'm also aware that it's passing quickly.  It seems like the broadcast of Brock's 3,000th hit happened at least slightly more recently.

Soundcheck: Prelude to a concert

Yesterday, a DJ mused on-air about how she enjoys soundchecks at concerts.  I second that.  It's fun to hear artists give the audience a hint of what they'll hear during the concert while sounding off-the-cuff about it.

During one soundcheck, I saw Erin Bode sing an excerpt from Bob Dylan's "Ring Them Bells" and then say, "I'll take a little more in the monitor."  At another soundcheck, I saw Ralph Butler gently chide a band member by saying good-naturedly, "You call that a drum solo?"

Obviously, soundchecks are a necessary way to make sure the sound levels are set properly before a concert starts.  However, they're also a fun glimpse into the performers' personalities.

Context? CCIII

Before playing Mozart's 28th symphony this morning, a Classical station announcer said, "Yes, (Mozart composed) 28 symphonies by age 17, in case you need some extra motivation this morning."

I felt like calling in and telling the announcer, "Way to make me feel like a slacker on my 52nd birthday!"

I didn't call, though.  By 52, it's wise to make peace with the fact that you haven't been as prolific and your life accomplishments aren't as showy as Mozart's.  It's comforting to know that's true for the vast majority of us, actually.

Context? CCII

A radio media critic admitted on-air yesterday that he's not sure he could name 10 current network TV shows.

A few late-night show titles, a couple of reality shows, and a news program come to my mind.  Prime time shows, though?  Hmmm...Without looking them up, I don't think I can name 10 network shows, either.

That's probably true of most viewers today.

Online radio sampler highlights CLXXXII

Six standout selections heard today:

KCPR (San Luis Obispo, CA)

• Unfold-Melody's Echo Chamber (Pleasant, laid-back guitar underscores intriguingly high-pitched vocals and honest lyrics about grappling with a breakup.  My only quibble: The song ends sooner than I wish it would.)

KTSW (San Marcos, TX)

• State Lines-Kristiane (This August release sports some of 2022's catchiest driving guitar and vocals.  It's one of the year's strongest indie rock tracks.)

WCLK (Atlanta, GA)

• Choices-Julie Dexter (Sound lyrics about letting your past differences with someone go, set to a soft jazz backdrop.)
• Back Home-Soul Cafe (A good midtempo jazz/funk instrumental with prominent saxophone and plenty of support from the rhythm section.)

WCRB (Boston, MA)

• Frederic Chopin: Prelude No. 15 in D-flat major, Op. 28 (Paul Badura-Skoda, piano) (Badura-Skoda displays the necessary grace and delicacy during tender passages and appropriate force during turbulent ones.)

WFFR (Muskegon, MI)

• High Time We Went-Joe Cocker (I don't ordinarily hear this 1971 hit on the radio.  Its propulsive, train-like rhythm reminds me somewhat of Spencer Davis Group's "I'm A Man" and Eddie Floyd's "Knock On Wood.")
  

Missing the lower stakes of yore

When I finished making my demo tape for KCOU on October 3, 1991, I was ecstatic.  I'd just chosen and announced an hour's worth of music on a real radio station.  Although I would become even better at announcing and choosing music as time went on, I'd proven to myself that I could be a credible DJ.

Looking back, however, I'm glad that not many people likely heard me that morning.  Although I thought I'd done reasonably well, the fact that hardly anyone was listening took a lot of the pressure off.

Aspiring DJs making their debuts today wouldn't have that luxury at most stations.  In most cases, anyone in the world could listen to them online.  Although radio is a public medium, there's something to be said for being able to make a few mistakes at first without the whole world potentially hearing them.  Here's hoping that today's aspiring broadcasters make smooth debuts--and that their critics are kind.

Scattered lines and spaces

Looking back, it wasn't odd that my seventh and eighth grade chorus teacher wanted all students to know the lines and spaces of the treble and bass clefs.

It was odd, however, that the tests we took didn't just say, "Name the lines (or spaces) of the treble (or bass) clef in ascending (or descending) order." Instead, there would be long sections of tests that would read, for instance:

____2nd line bass clef

____4th space treble clef

____5th line treble clef

____1st space bass clef

This continued until Mr. B. had asked for every line and space of each clef.

Despite getting perfect scores on those sections of the tests, I never understood why it was necessary to make 18 questions out of what could have been just four questions.

A petty fixation XVII

When I was 10 or 11, I wanted to hear "Dust In The Wind" by Kansas.  I called a radio station request line and asked to hear it.  The DJ responded with a noncommittal "I'll see what I can do."  

I listened for about an hour, called again, and repeated my request.  The DJ replied, "We'll see if we can get that on for you.

Another hour or so elapsed.  I called and asked to hear "Dust In The Wind."  The DJ responded evasively, "We'll see if we can do that."

Yet another hour went by.  I called again and let the phone ring over 100 times.  The DJ picked up but hung up without saying anything.

I never did hear "Dust In The Wind" that day.  In retrospect, the fact that I'd never heard the station play it before should have tipped me off.