It’s been a while since my last post, but here are a few updates.1 I met with the California Closets consultant yesterday and decided how to use my winnings. I have three small closets in my room (one is a small linen closet), and I currently have a roommate (rendering my
walk-in closet spare bedroom off limits for storage, not to mention I still have all of these boxes of books from my office). Consequently, I have a bunch of stuff in my bedroom that normally wouldn’t be there, so I opted to get a wardrobe type thing in lieu of changing out my current clothes closets. This gives me six large drawers, a few shelves, and a several feet of additional hanging space, and hopefully will help my room look less like a storage warehouse. I also decided to go ahead (and splurge) and get the linen closet re-done while I’m at it. Of course, this pushes me over the dollar amount that Off Broadway will cover, but I figure this is the only time I’ll ever have this opportunity and motivation anyway.
Dave Rawlings Machine at the Georgia Theatre in Athens, GA, November 26, 2013; Dave Rawlings, Gillian Welch, John Paul Jones, Willie Watson, Paul Kowert
I saw one of the best live shows of my life the week of Thanksgiving – The Dave Rawlings Machine at the Georgia Theatre. There are lots of reasons this show was amazing (that it was basically a supergroup, the venue is pretty spectacular, the setlist was incredibly diverse, etc.), but my favorite part was the joy that seemed to emanate from the folks on stage. In light of my recent research revelation regarding performance theory, I couldn’t help but view the evening’s events through the lens of identity construction.2 Many issues were thought-provoking (and probably merit another blog post, or wait, a dissertation chapter), including the aesthetic values of various “americana” genres, including country and rock broadly, but also subgenres like bluegrass and folk, not to mention the importance of “authenticity” in relation to these genres.3 But really, I was impressed, entertained, and inspired – the music sounded good and felt good.
Also, Thanksgiving happened. My family spent a few days in the mountains, doing something different from our regular routine. I had been dreading Thanksgiving a bit, imagining it would all just be overwhelmingly sad. But I was wrong. Yes, there were moments of sadness, but it was great to spend time with my family, and being in a different place actually seemed to help (me, at least). We survived it, and that’s something.
Finally, in the category of college football, months ago, I had decided that I would attend the SEC championship game today (mistakenly assuming that Georgia would be playing Alabama again) as my very last college football game as a student, since I didn’t go last year. As it turns out, the Georgia – Kentucky game a couple of weeks ago gets that honor. It seems fitting, I suppose. And no, I have no intention of traveling somewhere not that exciting to go to a not that exciting bowl game.
1. And no, I haven’t finished my dissertation yet.
2. Philip Auslander, “Musical Personae,” TDR: The Journal of Performance Studies, Vol. 50, No. 1, Spring 2006.
3. The presence of John Paul Jones of Led Zeppelin certainly amplified these thoughts, cf. Susan Fast’s work and view of Jones as “the band’s solid, learned musical technician.”