Posts Tagged ‘ABC Wednesday’

Here’s another of those family pictures that, until late last year, I had never seen before in my life. There are a lot of them, actually, not always labeled, regrettably.

This photograph, I’m pretty sure who the folks in the picture are. The child in the front is Gertrude Williams, the younger. Her mother unimaginatively named her daughter after herself. Isn’t that what happened on the TV show Gilmore Girls?

In her youth, she was Gertie. But at some point, after she married Leslie H. Green in 1950, she became Trudy Green. That’s my mom, looking unhappy in the majority of the photos around that period. Of course, she was my daughter’s paternal grandmother. The last time The Daughter saw my mom was when The Daughter was five, so she doesn’t remember her well. Mom died in 2011.

What she does remember is a photo of herself surrounded by her two grandmas, taken at my mother-in-law’s former home. It IS a pretty nifty shot, which, I think, I took on one of those disposable cameras. And I try to keep Trudy alive to The Daughter through stories.

The woman to the left is Gertrude Williams, nee Yates. Mom’s mom, my grandmother, who I saw a lot growing up. As kids, my sisters and I would go to her house every school day for lunch since my mom worked outside the home. And we spent a LOT of time there in the summers. It was only six very short blocks from our house to hers. She died on Super Bowl Sunday 1983.

The woman on the right is Adenia Yates, my grandmother’s younger sister, my great aunt. I taught Deana how to play canasta, which I learned from my paternal grandmother, Agatha Green. Deana died around 1966.

I assume the woman in the middle is Lillian Yates Holland, mother of Gertrude and Adenia, and grandmother to my mother. (Lillian’s mother, my mother’s grandmother, Harriet Archer, died in 1928.) They all lived in a little house in Binghamton, NY, with other family members until Lillian died in 1938.

I could probably just post these pictures every week.

For ABC Wednesday

One of the kids’ shows the Daughter watched when she was five and for two or three years therafter was The Fresh Beat Band. Before the show ever aired on Nick, they were referred to as the Jumparounds because, in the previews, they jumped around a lot.

The group consisted of
Shout (Thomas Hobson) – keyboards, vocals
Marina (Shayna Rose, replaced by Tara Perry – pictured) – drums, vocals, piano
Kiki (Yvette Gonzalez-Nacer) – guitar, violin, vocals
Twist (Jon Beavers) – turntables, beatbox, vocals

So the guys were Twist and Shout, which made me laugh. Marina was easily replaced like a soap opera actress, played by one person for a while then another.

The “Fresh Beats” are “described as four best friends in a band who go to music school and graduate together as musicians who are determined to follow their dreams…

“In 2015, an animated television series Fresh Beat Band of Spies premiered on Nickelodeon. All four members of the band lend their voices to their respective characters in the spin-off.”

Listen to the Fresh Beat Band
Go Bananas
A Friend Like You

Most of them seem to be still working actors, though Shayna Rose has no IMDB credits since the original series.

Jon Beavers is appearing as a soldier in National Geographic’s 2017 miniseries The Long Road Home, based on ABC News’ Martha Raddatz’s book, which “chronicles the events of April 4th, 2004, when a platoon was ambushed in Sadr City, Baghdad, in an attack that came to be known as ‘Black Sunday.'”

Thomas Hobson was in four episodes of the 2016 version of The Chadwick Journals, a “chronicle of stories about men of color who lead double lives,” plus a couple upcoming films.

Tara Perry played Louisa May Alcott in the 2016 TV miniseries Edgar Allan Poe’s Murder Mystery Dinner Party, among other things.

Yvette Gonzalez-Nacer, who rang the opening bell at the New York Stock Exchange as Kiki in 2011, has had guest appearances on Madam Secretary and Criminal Minds, plus playing Cha Cha on the live Grease production. She’s also a recording and performing artist who performs under the name Ava Gold.

Listen to Ava Gold:
I Wish You Would

For ABC Wednesday

When you say etiquette, some people’s eyes glaze over, singularly uninterested in knowing which fork to use in a seven-course meal they’ll never be invited to.

I understand that. I’m going to suggest some more practical ones. Feel free to add to these in the comments.


Every movie theater, every concert hall announces, before the lights go out, to turn off your phone. This means YOU too. So, halfway through the movie is NOT the time to pull out your phone to check the time. Instead of looking at the movie, I’m looking at you. And when you bolt out of your chair as soon as the credits begin – often missing ancillary information about the film – I’m the one you can’t see glaring at you.

When you’re crossing the street, know that you are NOT as good a multitasker as you think you are. Stick your phone in your pocket until you get to the other side.

This is especially true of you who decide to come out from between parked cars in the middle of the block and, more often than not, walk diagonally across the road. If I accidentally hit someone while riding my bicycle, it’ll be one of those fools.


You may be surprised to know that the bus you’ve been waiting on to board might just be letting off people first. Give them room to do so, lest they inadvertently step on your foot or worse.

When you’re going to an ATM, give the person ahead of you some privacy so that one can type in the PIN without prying eyes. Someone recently had finished his transaction before me but stood off to the side without vacating the area.

Likewise, when you’re getting confidential information from your pharmacist, you do not want to be feeling the breath of someone behind you. Back off!

And it still needs to be said: cover your mouth when you cough, preferably into the elbow.


The reason the law requires drivers to yield to pedestrians is that the driver goes first, the pedestrians might easily find themselves stuck in the middle of the intersection when the lights change.

Don’t block the sidewalk with your parked car. Don’t block a crosswalk with your car, even though you’re only going to be away for a “few minutes.”

Use the blind person/wheelchair rule. If YOU were blind or in a wheelchair, would YOUR behavior hamper your access?

Clear your sidewalk of snow and ice by more than a shovel-width.

Don’t smoke in the bus kiosk, especially when it is CLEARLY MARKED; it’s not nice to poison others.

By following these few simple suggestions, you’ll make me, and countless others, VERY happy.

I received a notice about a workshop in Washington, DC on March 8, from The Association of Public Data Users (APDU), Building the Case for Public Statistics: Workshop for Stakeholders.

The opening sentences of the description I firmly believe:

“In uncertain times, we need evidence. Federal statistics are vital sources. Researchers, businesses, governments, and nonprofits rely on this data, and we need to do a better job of telling policymakers that investment in data is important.”

This resonated with me because recent events from the current regime have suggested a blatant disregard for data. Most notably, officials of the Centers for Disease Control have been banned from using certain words, those being Vulnerable, Entitlement, Diversity, Transgender, Fetus, Evidence-based and Science-based. Later, the Department overseeing the CDC, Health and Human Services denied actually banning the words, saying that they are “recommendations.”

Nevertheless, this newspeak has been widely, and understandably, mocked, with folks on social media finding ways to include all the words as often as possible. Jim Reisner wrote, “The science-based study on diversity showed that a vulnerable, transgender fetus was not eligible for any entitlements generated by an evidence-based analysis of Republican compassion.” I thought it was brilliant.

The Environmental Protection Agency’s head, Scott Pruitt, has called for the elimination of the term “global warming.” He has cited the Bible to justify removing scientists from advisory boards. When EPA employees spoke out against the anti-science policies, then came scrutiny of their email.

Also, the regime has reversed the inclusion of climate as a threat to national security.

Meanwhile, as the Federal Communications Commission ended net neutrality – bad enough – it has refused to take action to remove fraudulent comments or to prevent them from being filed.

As a librarian, I count on access to data that are undistorted by political agendas. I need, to quote Joe Friday, “Just the facts.”

For ABC Wednesday

Carol Kaye was the bass player on a lot of songs you’ve heard, even if you don’t know her name. She was part of a group of about 25 or 30 studio musicians from the Los Angeles area who played on records by artists ranging from Andy Williams to Frank Zappa. They were mostly men whose services were constantly in demand in the 1960s and early 1970s.

Only after the fact were they dubbed The Wrecking Crew. Most of them you’ve never heard of, though a few became successful recording artists in their own right.

For Christmas 2017, I received a massive book, which I’ve already finished, called The Sound Explosion by Ken Sharp (2015), from which I’ll introduce you to Carol Kaye. She’d been a professional jazz guitarist from the age of 14, in 1949. She, like several others, could see that the rock and roll revolution was eating into her live gigs, but offered opportunities for studio work.

She first worked with Sam Cooke, who she had never heard of at the time. Initially, she played guitar on a number of sessions from 1957 to 1965, but by 1963, she had “tired of playing fills and rock stuff. When the bass player didn’t show up for a date, someone elected me to lay Fender bass. I liked the bass role better and everybody liked my sounds and creativity and started hiring me. By 1964, I was the number one call on electric bass.

“Most early ’60s dates had no music… Your brought your own pencil to write your own chord charts with the licks and phrases you made up on the spot so you’d remember them for the take. we were fast because we were experienced musicians with great ears we developed from years of experience…”

The most famous story I know is that she took the boring bass line for The Beat Goes On by Sonny and Cher and created the iconic hook that defines the song.

Was it tiring? “Yes, you drank a lot of coffee.” But it was good money for gigs that might be Henry Mancini in the morning, the Beach Boys in the afternoon, and Ray Charles at night. “We were not interested in becoming stars. We were part of the process… to make people into stars.

“If I had time between my 2-5 PM date and my 8-11 PM date, I’d always make it home to North Hollywood. I’d check up on my three kids,help them with their homework, and eat dinner with them and our live-in nanny/housekeeper, and maybe take a quick 15-minute nap. Then I was back to Hollywood for date number three.”

She said there was no racial prejudice among the musicians, although she and others would push reluctant record producers to hire more blacks when they knew they were right for the part.

Here’s the massive list of her credits. She played bass on 3/4s of the classic Beach Boys album Pet Sounds. Just a handful of Some of her guitar credits:
La Bamba – Ritchie Valens
Summertime – Sam Cooke
Johnny Angel – Shelley Fabares
Unchained Melody AND You’ve Lost That Lovin’ Feeling – Righteous Brothers
The In Crowd – Dobie Gray
Surfin’ USA – the Beach Boys (electric rhythm guitar, Billy Strange on solo lead)

Here’s a 70-minute Carol Kaye: Session Legend Interview

For ABC Wednesday

Contact me
  • E-mail Contact E-mail
  • RSS Feed Blog content c 2005-2018, Roger Green, unless otherwise stated. Quotes used per fair use. Some content, including many graphics, in the public domain.
I Actually Know These Folks
I contribute to these blogs
Other people's blogs
Popular culture
Useful stuff
April 2018
« Mar    
Get your own free Blogoversary button!
Networked Blogs
wordpress analytics