Just Another Touchdown for U.Va.

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UVa football at Lambeth Field, Holsinger studio

It’s Saturday, so it’s time for another post about UVa’s football song heritage. This week’s contest isn’t one of those like the South’s Oldest Rivalry that has inspired its own set of songs—Virginia has only played Southern Mississippi a handful of times in the history of the program. The contest against Southern Miss in 2009 did not have the best outcome for UVa, so this week’s song is to inspire those members of the Cavaliers community to redouble their energies in supporting the team.

Stephen M. O’Brien, who graduated from the University in 1902 and went on to the Kentucky House of Representatives in 1914, would have appreciated having “Just Another Touchdown for U.Va.” used in this context. His song, written to the tune of “Just A Little Bit Off The Top” (the same tune as “When Johnny Comes Marching Home”), has been used to marshal the spectators against Carolina, Norfolk, and Georgetown at various times. The third verse in the oldest printing of the lyrics extant (Songs of the University of Virginia, 1906) is as follows:

We’ve just come from Norfolk for the day–the day,
To-morrow we’ll go back to U.Va., V-a,
We’ll gather in Carolina’s tin, Virginia’s sure to win,
Ray! ray!! ray!!! then, and make a mighty din.

But in the 1911 University of Virginia football songbook, it’s transformed to:

We’ve just come to Georgetown for the day–the day,
Tomorrow we’ll go back to U.Va.,
We’ll gather in old Georgetown’s tin, Virginia’s sure to win,
Yell like hell then and make a mighty din.

And in the version performed by the Virginia Glee Club (arranged by Club’s conductor Arthur Fickenscher sometime between 1920 and 1933), the third verse is omitted entirely, but in the second verse the song has “Carolina’s mighty lame” (sometimes “Maryland’s mighty lame”) instead.

So I’d propose this set of words for this week:

Just another touchdown for U.V-a, V-a,
Just another touchdown for U.V-a, V-a,
Carry the ball a yard or two, we’ll tell you when to stop,
Yell, boys, yell, boys, Virginia’s on the top.

Just watch the men whose jerseys bear the V, the V
If up-to-date football you want to see, to see,
They stop the bucks, they block the kicks, the Golden Eagles are lame,
And the ball goes over, Virginia’s got the game.

The South’s Oldest Rivalry

Unidentified North Carolina crowd at the UVa Thomas Jefferson statue; photo by studio of Rufus Holsinger

 

Last Saturday wasn’t the best day in the Jarrett household. Having taught my four year old daughter to sing The Good Old Song, it was a disappointment to lose to Carolina, 28-17. But you have to have a long view in these things. The fight with Carolina is The South’s Oldest Rivalry, after all, and in the long view we’re only back four games (58 Carolina victories, 54 Virginia victories, and 4 ties).

Being a member of the Virginia Glee Club gives some unique perspective on the longevity of the rivalry. One of the songs on the most recent Glee Club CD, Songs of Virginia (available for purchase on Amazon! and on the Glee Club’s site!), reflects the rivalry. “Oh, Carolina” is one of the few numbers on the disc that manages to be both edgy and funny at once:

See the Tar Heels, how they’re running
Turpentine from every pore.
They can manufacture rosin,
But they’ll never, never score.

While there’s no good record to indicate how long the song has been around, it may date almost to the beginning of the rivalry. The author of the lyrics, William Roane Aylett, Jr., graduated from the University in 1895 with his medical degree and was in his first autumn on Grounds in 1892 when the first match was played (Virginia won the first match that year in Charlottesville, Carolina the second in Atlanta). Eleven years later, the song was still in circulation, as evidenced by its presence in A. Frederick Wilson’s collected Songs of the University of Virginia (published 1906). It also appears in a 1911 football program book along with other song texts. And after that, nothing until the Songs of Virginia recording.

There’s no evidence that the song was ever performed in a Glee Club concert, for instance–though there would have been lots of opportunities. UNC was the Virginia Glee Club’s oldest partner in its annual fall openings concerts (later “kickoff concerts”), with joint performances with the UNC Glee Club in 1953, 1954, 1955, 1956, and 1977 and with the UNC Women’s Chorus in 1988 (from the records we have handy); none of the programs mention anything about the smell of turpentine.

But the song is handy as a reminder: not only did (do) UVa students take this hundred-plus-year rivalry with the Tar Heels seriously, they also sang about it. In the bleachers. At football games.

Say, maybe it’s time to make up a song about the Hokies…

From Rugby Road to Vinegar Hill

Gearing up for today’s UVa football game against Indiana is a lot more fun now that my daughter is old enough to enjoy the game. Since last week she’s been imploring me to “sing ‘The Good Old Song,’ daddy! –and the second verse!” I’ve also started to teach her “Virginia, Hail, All Hail.”

One Virginia song that I won’t be teaching her is “From Rugby Road to Vinegar Hill.” This most problematic, often hand-wrung-about of the Virginia songs is unlike any of the other ones I’ve written about because there is no clear author–as well as little among the lyrics that can be sung in public. But I think that if you put on a different hat, that of the folk song collector, it’s easy to find something to admire in the song, even sober.

One of the Glee Club’s past officers was Arthur Kyle Davis, Jr., about whom I’ve written before. His Traditional Ballads of Virginia shows how folk songs change as they are passed from person to person, and even how some lyrics move from song to song; for instance, verses of “Lady Isabel and the Elf-Knight” (known in Virginia as “Pretty Polly”) fetch up in “Young Hunting” (known as “Lord Henry” or, in Bob Dylan’s rendition, “Love Henry”). Also, melodies tend to get reused from song to song, with lyrics appropriate for the occasion being fit to much older tunes.

So it is with “From Rugby Road to Vinegar Hill.” Let’s start with the tune. Like many Virginia songs–“The Good Old Song” from “Auld Lang Syne,” “Oh Carolina” from “Clementine,” “Hike Virginia” from “Hot Feet,” “Just Another Touchdown for U.Va” from “Just a Little Bit Off the Top”–“Rugby Road” recycles another tune. In this case, the roots of the tune reach back to Charles Ives’ “Son of a Gambolier,” penned in 1895, and maybe even to “The Bonnie Blue Flag,” a Confederate marching tune, but the immediate antecedent is “Ramblin’ Wreck from Georgia Tech.” The history of college songs generally is full of this sort of campus-to-campus transmission of melody, arguing for college songs as a special form of folk song.

Then there are the lyrics, and here the similarity to transmitted ballad songs is even more apparent. While the first verse is highly topical to Virginia, with echoes of the shot that killed John A. G. Davis on the Lawn in 1841 ringing through “The faculty are afraid of us, they know we’re in the right,” and the traditional poles of Grounds (“Rugby Road”) and downtown Charlottesville (“Vinegar Hill”) serving as the site of the revels, the second traditional verse is more timeless. The second verse of “Rugby Road” begins:

All you girls from Mary Washington and R.M.W.C.,
Don’t ever let a Virginia man an inch above your knee

Far from being a waggish invention of some Wahoo or other, this line is practically a lock-stock-and-barrel lift from “The Dundee Weaver” (2022 note: the original site is now dead, so here’s an archive link), a bawdy Glaswegian street song:

Come aa ye Dundee weavers an tak this advise fae me
Never let a fellae an inch abune yer knee

Does knowing the history of the song make it any less offensive to a modern, coeducational University? Maybe not, especially considering how very offensive are some of the other verses that have been dreamed up over the years. But I think trying to throw the song out in its entirety misses an important clue to how the college songs that Wahoos sing as they watch football–and drink–came about and why some persist.

Virginia, Hail, All Hail

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Excerpt from the manuscript of the Fickénscher arrangement of “Virginia, Hail, All Hail”

Here it is, the best part of most UVa seasons–that time when the first game hasn’t started yet and the air is still full of anticipation. I’ve been playing UVa songs, mostly Virginia Glee Club repertoire, since earlier this week, and can’t wait to see what the new year’s football team will bring.

In honor of the week, here are a few past articles I’ve written about UVa football songs:

UVa’s second Jewish professor and the Virginia Yell Song. “Lehman’s humor is present in the “Virginia Yell Song,” written when he was an undergraduate. The only UVa football song with a parenthetical interjection, it sounds in places like a conversation between slightly jaded onlookers who will only cheer a winning team…”

Glee Club football songs: “Hike, Virginia”. “As I noted earlier this year, spectators used to sing at Virginia football games. And not just “The Good Old Song”–there were songs for every occasion and for every foe. A 1911 football song book that has come into my possession indicates part of how they were able to pull this off, by having lyrics in front of every fan, but there was much more required to make it happen, from the presence of a band (or the Glee Club) at games to Virginia fans who would write songs to be sung by the crowd. One of these fans was L. D. Crenshaw, and the song was “Hike, Virginia,” cowritten by Crenshaw and C.S. McVeigh.”

Glee Club history: from “The Cavalier Song” to McCarthy. “the University’s two official songs were chosen through a contest sponsored by College Topics (now The Cavalier Daily) in 1923. Seeking official University songs, the contest netted “Virginia, Hail, All Hail!“, byGlee Club alum John Albert Morrow, and “The Cavalier Song,” by English instructor Lawrence Lee and Glee Club alum Fulton Lewis, Jr. While most alums are familiar with “Virginia, Hail, All Hail!” only, if at all, through Glee Club performances, “The Cavalier Song” has been played at Virginia sports events by the various bands (University Band, Pep Band, Cavalier Marching Band) during the school’s history since its introduction. Because it’s typically performed as an instrumental, its lyrics have faded into obscurity, meaning that it is Fulton Lewis Jr.’s tune that we know best about the song.”

“Vir-ir-gin-i-a”: from the UVa iPhone app to Bob Dylan. “Featuring an arrangement by long-time Club conductor Donald Loach based on a tune by Handel, the text is by UVa professor Arthur Kyle Davis, Jr. (1897-1972). Davis himself sang in the Glee Club shortly after the group’s reformation by Alfred Lawrence Hall-Quest, serving as secretary during the group’s 1916-1917 season (during which Club performed the blackface musical Oh, Julius!,” a minstrel-show story of life in ancient Rome)….”

The Good Old Song of … The Virginia Glee Club. “Here’s the guy credited with writing the lyrics to “The Good Old Song” between 1893 and 1895—in an 1893 Glee Club photo! The guy who wrote the freakin’ “Good Old Song” was in Club!!!!”

The market failure of application security

Part 1 of an as yet indeterminate number of posts about why application security has historically been broken, and what to do about it.

Software runs everything that is valuable for companies or governments. Software is written by companies and purchased by companies to solve business problems. Companies depend on customer data and intellectual property that software manages, stores, and safeguards.

Companies and governments are under attack. Competitors and foreign powers seek access to sensitive data. Criminals seek to access customer records for phishing purposes or for simple theft. Online vigilante groups express displeasure with companies’ actions by seeking to expose or embarrass the company via weaknesses in public facing applications.

Software is vulnerable. All software has bugs, and some bugs introduce weaknesses in the software that an attacker can use to impact the confidentiality, integrity, or availability of software and the data it safeguards.

Market failure

The resources required to fix software vulnerabilities are in contention with other development priorities, including user features, functional bugs, and industry compliance requirements. Because software vulnerabilities are less directly visible to customers than the other items, fixing them gets a lower priority from the application’s business owner so fixing them comes last. As a result, most software suppliers produce insecure software.

Historically, software buyers have not considered security as a purchase criterion for software. Analyst firms including Gartner do not discuss application security when covering software firms and their products. Software vendors do not have a market incentive to create secure software or advertise the security quality of their applications. And software buyers have no leverage to get security fixes from a vendor once they have purchased the software. The marketplace is not currently acting to correct this information asymmetry; this is a classic market failure, specifically a moral hazard failure, in which the buyer does not have any information about the level of risk in the product they are purchasing.

So the challenge for those who would make software more secure is how to create a new dynamic, one in which software becomes more secure over time rather than less. We’ll talk about some ideas that have been tried, without much success, tomorrow.

New mix: Hurricane Irene

Well, here we are again, in the middle of a storm. So far, knock wood, it’s been a lot of rain and very little wind, but this will be the day that Massachusetts really gets it. So I threw together some music to weather the hurricane by.

  1. A Hard Rain’s A-Gonna FallBob Dylan (The Freewheelin’ Bob Dylan)
  2. Rain In the SummertimeThe Alarm (Eye of the Hurricane (Remastered))
  3. Goodnight IreneTom Waits (Orphans: Brawlers, Bawlers & Bastards)
  4. Florida HurricaneSt. Louis Jimmy (Chess Blues 1947-1952)
  5. Goodnight IreneJohnny Cash (Sun Recordings)
  6. I Can’t Stand The RainAnn Peebles (The John Peel Singles Box)
  7. The Rain SongLed Zeppelin (Led Zeppelin Remasters)
  8. RainThe Beatles (Past Masters, Vol. 2)
  9. Have You Ever Seen The Rain?Creedence Clearwater Revival (Pendulum)
  10. Devil Sent The RainCharlie Patton (Founder of the Delta Blues)
  11. In The RainThe Dramatics (The Stax Story: Finger-Snappin’ Good [Disc 3])
  12. When It Rains, It Really PoursElvis Presley (The King of Rock ‘n’ Roll: The Complete 50s Masters)
  13. Rain (Falling From The Skies)Frank Sinatra (The Complete Capitol Singles Collection)
  14. Comes a HurricaneShannon Worrell (The Honey Guide)
  15. IreneLead Belly (Where Did You Sleep Last Night?)
  16. Ballet For A Rainy Day (2001 Digital Remaster)XTC (Skylarking)
  17. Blowin’ In The WindBob Dylan (The Freewheelin’ Bob Dylan)
  18. Wild Is The WindCat Power (The Covers Record)
  19. The WindPJ Harvey (Is This Desire?)
  20. Sauget WindUncle Tupelo (Still Feel Gone)
  21. Rain Please Go AwayAlison Krauss (Lonely Runs Both Ways)
  22. Dry the RainThe Beta Band (The Three EP’s)
  23. It Can’t Rain All the TimeJane Siberry (City (collaborations))
  24. Goodnight IreneRobert Cage (Can See What You’re Doing)

New mix: a piece of hope holding us together

End of summer is happy mix time. Now that I’m putting out only two mixes a year, it seems like one is downbeat and the other is happy. Lots of fun tunes in here, including a rare Shannon Worrell track that I had to pull off a 17 year old cassette tape.

  1. Moonlight In GloryMoving Star Hall Singers (Sea Island Folk Festival)
  2. SunflowerLow (Things We Lost In The Fire)
  3. Postcards from ItalyBeirut (Gulag Orkestar)
  4. The Ballad of Ronald Jeremy HyattJustin Rosolino (The Leaves Are Right to Tremble – EP)
  5. Boy With a CoinIron & Wine (The Shepherd’s Dog)
  6. LighthouseShannon Worrell (Shannon Worrell (EP))
  7. LowdownMy Morning Jacket (At Dawn)
  8. You Can Have It AllYo La Tengo (And Then Nothing Turned Itself Inside-Out)
  9. HexNeko Case (The Tigers Have Spoken)
  10. HomeEdward Sharpe & The Magnetic Zeros (Up From Below (Deluxe Edition))
  11. Love And AngerKate Bush (The Sensual World )
  12. In LiverpoolSuzanne Vega (99.9 F°)
  13. Neither Heaven nor SpaceNada Surf (Let Go)
  14. My Back PagesBob Dylan (Another Side Of Bob Dylan)
  15. Begat BegatJane Siberry (Maria)
  16. Inside of LoveNada Surf (Let Go)
  17. Give Up the GhostRadiohead (The King of Limbs)
  18. Polegnala e TodoraBulgarian State Television Female Choir (Le Mystere Des Voix Bulgares)

Late August

Tomatosauce

Ah, late August. The temperatures are still high (well, high by Boston standards, anyway–growing up, 83° was more like a warm fall afternoon) but you can tell summer is getting to be a little long in the tooth.

For starters, the tomatoes are starting to come in. We only have a handful of tomatoes on the plants this time around; I have no idea why, except that we didn’t spend as much time with the plants this year. So we’re supplementing with the big boxes of seconds that are starting to show up at Wilson Farm and using those for our annual tomato sauce exercise. The process looks something like this photo set from last year, except this year we didn’t have a big crop of cherry tomatoes so I diced the big ones by hand instead of using the food processor. We make about a dozen to 20 quarts every year, and they last all through the winter and into the high summer if managed right, even given our relatively high pasta and pizza consumption. Case in point–we opened the last 2010 jar just last week.

So I’m making sauce. Instead of mowing the lawn (it can wait a day) and instead of napping while my son naps, which I might regret later. But right now it’s feeling like the right thing to do. Because sometimes you have to take a look at the future and say, I want to be ready.

Earliest Virginia Glee Club concert program

I got a digital download the other day from the Small Special Collections Library at the University of Virginia. It contained what I’ve jokingly been calling my Historian’s Christmas present–high resolution scans of ten artifacts from the Glee Club’s archives, which have been donated to Special Collections over the years and have therefore been less accessible to Club. One of the items was of particular interest: the earliest known Glee Club concert program, dated December 1891.

Let’s put that in context for a second. This concert happened a mere 20 years after the Glee Club’s founding, and a few years before its first significant tours in 1893. It was before the authoring of the Good Old Song. It was before Thomas Jefferson’s original Rotunda burned to the ground. In fact, the concert was held in the Public Hall, which was the large auditorium in the Annex that was totally consumed by the fire and never rebuilt.

I had known that the concert program existed, because a scan from it was used to illustrate a library exhibit on American song. But that scan was only of the cover. The library digitized both sides for us, including the program and list of members. In doing so, it gave us one of our earliest full Glee Club rosters, and a rare glimpse at the repertoire performed back in the banjo & mandolin days.

Oh–I’ve also been able to do some mini-bios of the Club members listed as officers. See the articles on W. H. Sweeney, W. P. Shelton, W. S. Stuart, Charles L. DeMott, and O. W. Catchings. I particularly like the history on DeMott’s involvement with the founding of the Natural Bridge Appalachian Trail Club.

The Diamond Sea

I am often awakened these days at 4 am by our dogs. As I stumble over the pile of clothes I leave beside the bed for the early morning wakeups, our girl dog whines urgently. I take them outside in the early morning pearl-light and return to bed.

This day, like many, the next step is my son awakening at 5:15. My wife takes pity on me this morning and gets him, leaving me to unsettled dreams. I am just starting to get past the unsettled sleep schedule that has kept REM sleep at bay for almost a year, and my dreams crowd in resentfully when they are allowed.

This morning, after I rolled back over, I helped house guests down to our basement, where we walked through the tunnels that connected the house to Boston’s Red Line. Arriving a few stops later, we were in DC, where we walked past the Space Needle and along the booths of an outdoor festival. I spotted a pair of students from the University of Virginia, who helped me find graduation programs and band posters from the early 1990s. It struck me that it was like eBay but with sellers you could actually talk to. And then I woke up.

It seems as though the last 17 years, since I started as a young, know-nothing business analyst at American Management Systems, have flown by. It was only a few years after that that I picked up Sonic Youth’s Washing Machine and had the top of my head removed. I’m listening this morning to the uncut version of “The Diamond Sea,” and as always I’m floating in infinity, carried along by the interplay between Thurston and Lee. Then hits the point about 11 minutes in where the ripples have calmed and all that is left is the drone, until a new voice clusters around the second and diminished second in the chord. A storm has blown up. All I can do is hold on and ride.

QTN™: Gnomegang

When I read that American brewer-in-the-Belgian-style Ommegang was collaborating with actual Belgian brewery L’achouffe on a beer, I was a little nonplussed. But then I saw the name of the collaboration: Gnomegang. And it all made sense.

This is a remarkably, even dangerously, easy drinking beer at 9.5%. A shade lighter than the classic Chimay gold but darker than Achouffe stablemate Duvel, only the slight sour on the tongue flavor tips off the uniquely enjoyable threat lurking within. There aren’t too many Belgian styles that are just right for sitting by the grill, but this is one.

I had to hunt to find a bottle of this collaboration, but it’s totally worth seeking out.

Tanglewood, 2011

I’ve been indulging myself at Tanglewood this week for the TFC’s opening weekend performance. I used to do several residencies a summer; with two young kids at home and a lot of other family vacation planned I’m limiting myself to one this year. It’s been a worthwhile residency, despite the compression, because I’ve actually had time to sit and think and read and digest.

Our repertoire for the run has consisted of one old friend, the Berlioz Requiem (which I last sang over ten years ago with the Cathedral Choral Society–man, how time flies), and a new one, Bellini’s Norma, from which we sang excerpts. The Bellini performance was last night as part of the opening night show. Musically the opera is not particularly complex, particularly compared to the Berlioz, but it has some beautiful moments, including of course the “Casta Diva” aria which we sang. (Opera newbie that I am, I didn’t realize until this run what that aria was, though I heard it often, including in sampled excerpt at the beginning of Shannon Worrell’s song “Witness.”)

The Berlioz is a whole different matter, in ambition, scope, and energy required from the singer. For this run the most taxing thing about it has been forcing the Latin text into my brain. I have the music fairly well internalized but the texts are, as always for me, a different story. When I sang it at age 25 it was taxing for a completely different reason: I simply didn’t know how to sing.

I’m envious of my friends in the chorus who have formal voice training. It took me about ten years of singing in amateur choruses to find the person who would set me on the road to vocal health–Christina Siemens. She finally taught me that sound is produced with the whole body and amplified through the facial mask, and that truly resonant vocal sound isn’t forced. It’s a lesson every singer should learn, that I hope Frank Albinder is teaching the current Virginia Glee Club, and that I learn over and over again under John Oliver’s tutelage. I need that lesson for just about every minute of the Berlioz. While as a second tenor I don’t have some of the most thrilling vocal lines of the work, there are plenty of cases where we’re called upon to provide power and volume in a high range. As long as I remember the words it works, as I can keep the vocal production forward and resonant. If I have a brain cramp and forget part of the text, oddly, the instrument has trouble working too; the vocal production falls back in the mouth and suddenly everything’s forced. It’s literally easier to sing correctly. I hope I can remember that tonight for the actual performance.