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Rocket Words Gazette
Volume 1 Number 2

Welcome to the second edition of the Rocket Words Gazette

Greetings! This is Jerry Karp, the writer behind Rocket Words. The first edition of the Gazette, sent out in May, received lots of great feedback, so here I am again, as promised. I've got some great music and arts events to let you know about and a cool website to highlight. Plus, this edition's Rocket Words Writing Tip features some good news about prepositions. (Good news about grammar? Why, yes.) 

For more about Rocket Words, including writing samples, information on my services and clients, and free resources, please visit my website, www.rocketwords.com. If you've already seen the site, please drop in again. Further on in this newsletter you'll find a rundown of new links and features I've recently added.

This is an opt-in service only, of course. If you're receiving this newsletter in error, or decide to discontinue at any time, please let me know and you'll be removed from the distribution list immediately.

In this issue:

Sunday Grooves: Sunday jazz jams and showcases are springing up all over the Bay Area. Here's a highlight of one and a listing of the several more.
Coming Events of Note: A new literary series at Canvas Cafe, and Jazz at Intersection keeps on giving.
The Indoor Salon Rolls On: News of the seventh Indoor Salon, the literary/arts event I co-host with poet and fiction writer Kim Addonizio.
Cool Web Site: MUSTCreate.org is the website of Music in Schools Today, a terrific non-profit dedicated to keeping music programs alive in our public schools.
Food for Thought: This month's quote on the arts and the creative process.
Rocket Words Tip: Prepositions are OK at the end of your sentences. Honest.
Ask Jerry: This edition's question about grammar and syntax.
Rocket Words at Work: Clearly, you're dying to know what I've been up to.
 

Seventh Day Swing: Sundays at the Dogpatch and a host of Sunday (and Monday) Jam Sessions

On a late Sunday afternoon, down on Third Street, down by the storage buildings, the industrial supply outlets and the parking lot full of idle cement mixers, a hard swinging, bebop alto sax solo is pouring out of a small corner tavern. Inside, the rhythm section swings along brightly behind the saxman and the jazz fans and neighborhood regulars filling the room relax and enjoy. The alto player is Andrew Speight, and the scene is the Vince Lateano/Andrew Speight Sunday Jam at the Dogpatch Saloon (2496 Third Street @ 22nd, 4:00 to 8:00 pm).

When Pearls in North Beach closed its doors (temporarily, thank goodness), drummer Vince Lateano, a well-known San Francisco jazz veteran, approached old friend Mike Apicelli, co-owner of the Dogpatch, about moving his regular Sunday Pearl's jam out to the 'hood.

"I've always liked jazz venues on Sunday afternoons," Apicelli told me over lunch recently, "and I kind of like things that are more underground, that grow by word of mouth. So when Vince suggested the idea, I said, 'Yeah!' Vince has been a friend for a long time. He played at my son's baptism 17 years ago in the backyard with Joe Ellis, Madeline Eastman and all those guys he used to hang out with."

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Apicelli, a Connecticut native who moved to San Francisco back in 1968, has owned the Dogpatch for four years. The bar has had previous lives as Bouncer's and Tugboat Annie's.

"I'd had this piano in my house for 20 years," he explained. "I bought it once when I was a little flush just to have it. So it had maybe been played seven times in 20 years, you know? (He says this laughing.) I was happy to move it down to the bar. And that room was made for that piano."

The music at the Dogpatch gig is always good. Leading the group along with master drummer Lateano is saxophonist Andrew Speight. Speight, who also appeared regularly at Pearls, is a hard driving player, dedicated primarily to the bebop and post bop styles, and his crisp riffs charge the energy level at the Dogpatch all afternoon. The piano and bass chairs rotate fairly regularly, as befits a jam session. On the Sundays I've attended, pianists have included the likes of Adam Shulman, of the Eaton/Barics Quintet, and the excellent Matt Clark. The bass players have included such musicians as Michael Zisman and Eugene Warren.

Best of all, perhaps, because Lateano and Speight, between them, seem to know every jazz player in the city, the roster of musicians (of all generations) sitting in on any given Sunday is always interesting and often astounding. One Sunday, both Kim Nally and Denise Perrier were on hand to sing. Terrific trumpeter Al Molina is a regular visitor. Tenor saxmen like Dayna Stephens (who plays with Marcus Shelby) and Rob Sudduth (who plays with Huey Lewis!) have been in more than once. It's that kind of day.

In the meantime, Apicelli is endeavoring to keep it all relaxed and comfortable, working the room like a host, not just an owner. For your $5.00 cover, you're even invited to partake of the food spread, usually including some tasty gumbo or chili.

"Schmoozing with customers is my forte, and I thought the food would be nice, just to make things a little down-homey," Mike says. "I don't want the food to be a big deal, though. The music is the big deal."

One more thing (not that I'm trying to talk you into anything): 3rd Street at 22nd is not as remote as it sounds. It's practically right around the corner from the Protrero Hill 280 exit. Or, to look at it another way, just drive down to the end of 16th Street and turn right at 3rd. Believe me, on a Sunday afternoon, there's no traffic down there. It's a great place to drop in for that last relaxing shot of weekend after your Sunday adventure. For all that excellent local jazz (and gumbo, too!) for a slim five bills, it's not that far to go.

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While the grand jazz image is of the final set, three in the morning, with the band grinding away on some bebop or blues as the waitress cleans up around you, the Sunday afternoon or early evening session is a strong tradition, as well, that doesn't always get the ink or the glory it deserves. The cover, if there is one, is low and the atmosphere usually informal. You get a chance to check out clubs and cafes you might not normally visit and discover local musicians who might otherwise just be mysterious names in the entertainment listings. Here are some good spots to hit in San Francisco and Oakland, too.
 
Vince Wallace at the Bulldog Cafe (1739 Broadway near 19th St. BART--Oakland) Sundays, 2-5:00 pm. Alto saxophonist Vince Wallace has been playing inspired jazz since the heyday of the Fillmore jazz scene in the 60's, when as a teenager he'd sneak into the legendary Bop City to jam with the greats. Since then, Wallace has been through it all and at 64 is still going strong. Now, this underheralded (is that a word?) local master bares his musical soul on the sidewalk outside the Bulldog every Sunday. You simply sit yourself down at an outdoor table and enjoy. A steady rhythm section is augmented by a guest horn each week, including the likes of Mitch Marcus, Bishop Norman Williams and Steve Heckman. There's a history lesson in every note Wallace blows. No cover. 
 
Jim Grantham at the Coffee Mill (3363 Grand Avenue, near the Grand Lake Theater--Oakland) Sundays, 3-6:00 pm. Grantham is another Bay Area veteran, a highly entertaining and versatile sax player. His upbeat and relaxing Sunday Coffee Mill set provides a welcoming ambiance and consistently good music. The supporting cast changes, so the set is like a cool grab bag, and Jim often features guests such as Dave Haskell, Bud Spangler and Steve Erquiaga. No cover.
 
Khalil Shaheed at Mingles (370 Embarcadero, Jack London Square--Oakland) Sundays, 6-10:00 pm. Jam sessions have risen and fallen at this venue before, but Sunday jazz now gets a new lease on life at Jack London Square under trumpeter Khalil Shaheed's capable leadership. Mingles has a classic atmosphere for jazz and blues and Khalil, an extremely well-respected musician and educator, has the community connections to attract good players. Pianist Glen Pearson, drummer Paul Smith and bassist Ed Williams will make up the house band, with great guests coming regularly to sit in. This session is just getting off the ground, but in its second week was already well attended (and smoking). No cover.
 
Dylan's Pub (2301 Folsom St. at 19th--SF) Sunday nights beginning around 9:30. A chance to see some good young talent in this easygoing South of Market pub. This one's super informal, with the musicians basically standing around the piano. Regulars include Jay Sanders, trumpet, and Scott Larsen, trombone (both of the Marcus Shelby Orchestra), Patrick Morehead and Michael Parsons, piano, Mike Irwin and Jack Reardon, guitar, Smith Dobson, Jr., drums, and Seth Ford Young, bass. No cover.
 
The Eaton/Barics Quintet at Bruno's (2389 Mission at 20th--SF) Monday nights at 10:00 pm. This terrific quintet plays a first set of post-bop standards and originals and then opens the bandstand to all comers. (More fully described in the last edition of the Gazette, archived here.) $6.00 cover.
 
Hal Bigler and Friends at the San Francisco Brewing Company (155 Columbus Avenue--SF) Monday nights at 9:00 pm. Thank goodness there's something going on in North Beach, jazz-wise. This month, Bigler and crew marked their 8th year performing Mondays at the SF Brewing Company. This is perhaps the most low-key jam of them all. The musicians assemble in a circle at the back of the bar, sort of like a traditional Irish band in a Sligo pub. But the music is lively and enjoyable, and the group has a huge and varied repertoire. Bassist Bigler, active in the New York jazz scene in the 50's, has been playing with pianist Bob Johns for ten years. Guitarist Clifford Myers and drummer Keith Ibarra complete the group. Recent guests have included trumpeter Al Molina. No cover.
 
This is certainly not offered as an exhaustive list, and if you have a session to add, please let me know. The plan is to transfer this list soon onto my website, and keep it updated as best I can. Look for it soon on my Free Resources page. One last point: to my fellow San Franciscans who simply never get to Oakland (and I, alas, was in that number for far too long), let me just say that you're missing a lot. On Sunday afternoons, the bridge is no big deal, and driving to downtown Oakland, Grand Lake or Jack London Square is easy.

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A New Literary Event at Canvas Gallery: San Francisco writer, blogger knight errant and publishing consultant Kevin Smokler is hosting a new hosting a monthly series of themed literary events at Canvas Cafe (9th and Lincoln). The series launches Monday, July 21st, at 8:30 with "San Francisco Across Disciplines." This inaugural reading will feature Derek Powazek (author of Design for Community and creator of the Fray storytelling series), Jack Boulware (author of San Francisco Bizarro and co-director of the Litquake literary festival), poet/novelist Paul Flores (Along the Border Lies), poet Daphne Gottlieb (Why Things Burn) and novelist Elizabeth Rosner (The Speed of Light). That's a diverse and impressive lineup, to put it mildly. Smokler and series producer Melinda Adams say they want the events to regularly include twists, turns and surprises, so this will be an event worth keeping tabs on. There'll be a $7.00 cover.


Kevin Chen, Program Director of the great "First Tuesdays" jazz series at Intersection for the Arts has checked in with some great news. Beginning in January 2004, Intersection will be presenting jazz twice a month instead of just once. This is a true bonus, because the Intersection performance space is one of the best places in town to experience jazz (and theater, too). The live sound, terrific sightlines and proximity of audience to performers make you to feel that you're in and of the music, not just listening from afar. In the meantime, we enjoy our monthly pleasures. "First Tuesdays" is dark in August, but returns Tuesday, September 2 at 8 pm with Larry Ochs and Drumming Core. Saxophonist Ochs is a founding member of the ROVA Saxophone Quartet. The group's website describes their music thusly: "The Core's music is a meditation on and a 21st-century distillation of the songs of American and eastern European blues-shouters, and of traditional chant-singers from Asia and Africa. This is the space that this band goes after." They go after this space with a trio consisting of Ochs and two drummers (Scott Amendola and Donald Robinson). Different, challenging, enjoyable. Intersection for the Arts is located at 446 Valencia (between 15th and 16th Streets) in San Francisco. Admission is $12-$15 (sliding scale). Call (415) 626-3311 for tickets or info. 

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Indoor Salon #7

Indoor Salon #7, the latest in the series of literary/arts events I host with writer Kim Addonizio at Rocket Words World Headquarters in Cole Valley, SF, roared into action on June 14. The salons are a mix of poetry/prose readings, artist and photographer slide shows, live music, food, wine and just plain get together that take place every other month or so. 

The June salon featured readings by noir writer Eddie Muller, poet Mark Turpin and fiction writer Ed Hodson. There were incredible slide shows by painter Kevin Piyatilake and Barbara Butler, who creates incredible children's play structures. Cool jazz was provided by pianist Michael Parsons and bassist Eugene Warren. The place was packed and, as always, we had a blast. A cool bonus: I recently heard from Kevin Piyatilake that after seeing his slides, Barbara Butler has asked him to create artistic designs for her forts, tree houses and furniture. Another Indoor Salon artists connection!

Want to know about upcoming Salons? Don't worry. If you remain on this email list, you'll get announcements about all future events. Stay tuned.

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Cool Web Site

Music in Schools Today is a San Francisco-based organization dedicated to keeping music programs alive in our schools. The organization develops music curriculum that can be individualized for specific schools and even particular classrooms, including programs specifically designed to reach at-risk youth, and runs an instrument donation program. And that's just for starters. Their site is great, too. Along with a full description of the organization's courses and programs, MUSTCreate.org features a host of online roll models and mentors (Carlos Santana, Dave Bryson of the Counting Crows, Herbie Hancock and Frederica von Stade are just a few). There's a lot more great information, designed to support and encourage young musicians and to inform the rest of us how we can help MUSTCreate do their work.

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Food for Thought
 
This month's short quote about art and the creative process:

Another tremendous coach of mine was Mimi Speer. . . . She'd tell me, "Do not imitate another singer, because you'll end up sounding just like they do, and you won't develop an original sound. Instead, find a musician you really like and study their phrasing. That way, you'll create a sound all your own." It was a great tip. I paid particular attention to sax players Stan Getz and Lester Young. Art Tatum was the greatest piano player of all time and was particularly instructive to listen to because he did unexpected stuff, all those jumps in and out of the melody.

--Tony Bennett, from his autobiography, The Good Life (written with Will Friedwald)

Have a reaction to or comment on this quote? Please share it with me. I'll include my favorite two or three (or excerpts thereof) in the next Rocket Words Gazette, and give you credit, of course. Have a quote to offer? Same drill.

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Writing Tip: Prepositions? Relax. Put 'em where you want.
 
It's a common enough experience for most adults, I think, to suddenly think of something we learned back in school, something we've always just assumed was true, and suddenly say, "Well, wait. Is that really right?"
 
When it comes to grammar, I find that a lot of folks have half-remembered rules rattling around upstairs that they'd be better off without. "Never begin a sentence with a conjunction" is one. People tell me all the time that their grade school teachers taught them that, but I don't know where it comes from. Really, it's OK to begin a sentence with a conjunction (and, or, but, so, yet, for, nor). And I can prove it.
 
Here's another: Never use a preposition to end a sentence. I remember the great relief I felt when Bill Robinson, the professor of my graduate level grammar class at SF State (I was learning to teach English comp) informed us that this rule was no longer considered anything worth worrying about. So now I pass this information on to you. It is not necessary to write, "That is the proposal about which we were talking," even in the most formal business writing. It is fine to write, "That is the proposal we were talking about."
 
You'll still get arguments about this, though, and sometimes quite vigorous ones. So instead of just urging you to take my word for it, let me hand you some ammunition.
 
Bryan A. Garner, in his A Dictionary of Modern American Usage (Oxford University Press, 1998), says, "The spurious rule about not ending sentences with propositions is a remnant of Latin grammar, in which a preposition was the one word that a writer could not end a sentence with [ha!]. But Latin grammar should never straitjacket English grammar. If the superstition is a rule at all, it is a rule of rhetoric and not of grammar, the idea being to end sentences with strong words that drive a point home. that principle is sound, of course, but not to the extent of meriting lockstep adherence."

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The famous [trust me] grammarian H.W. Fowler (as quoted by Eric Partridge in Usage and Abusage: A Guide to English [W.W. Norton & Co., 1973, revised 1997]) also called the ban against final prepositions a "superstition." Fowler adding that the final preposition was ". . . a valuable idiomatic resource which has been freely used by all our greatest writers, except those whose instinct for English idiom has been overpowered by notions of correctness derived from Latin standards." He concluded, "The legitimacy of the prepositional ending in literary English must be uncompromisingly maintained."
 
So where did this "spurious rule," this "superstition," come from? Patricia T. O'Conner, the author of Woe is I, a wonderful book on grammar, provided a clear explanation in a 1998 New York Times essay entitled "It's Just Fine to Boldly Go" (November 1, 1998). She was talking about split infinitives (they're OK, too, by the way), another rule from Latin superimposed onto English. O'Conner lays the mischief at the feet of the Dean of Canterbury, Henry Alford, who, in 1864, "published a widely popular grammar book called A Plea for the Queen's English. Alford, a classics scholar . . . sought to civilize the English of Shakespeare and Milton by imposing on it the rules of Latin grammar. . . . As early as 1868, grammarians were challenging Alford's edict, arguing that one can't graft Latin sentence structure onto English, a language that's essentially Germanic. But the damage had been done. The ban on splitting infinitives was firmly planted in the popular imagination. So were other leftover Latinisms, including the ban against ending sentences with prepositions."
 
So there you have it. The rule forbidding prepositions at the end of sentences isn't a rule of English at all. It is some serious misinformation, propagated by a know-it-all pendant, that, once spread, has somehow refused to die, like some tough grammatical weed.
 
Winston Churchill (as quoted by Garner), stated the matter best, and most famously, when, criticized for ending a sentence with a preposition, he replied, "That is the type of arrant pedantry up with which I shall not put."

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Ask Jerry—This edition's grammar question

Have a question about grammar, punctuation, syntax, sentence structure or anything related to writing in general? Send it along. I'll include my answer to one question each month.

Here's our question for this month:

Question: Are both the sentences below correct?  What's difference between them and how can I remember it?

I went to the race track, although my brother decided to stay home.

I went to the race track, however, my brother decided to stay home.

Jerry: The first sentence is correct, but the second sentence is incorrect. The issue is the connecting comma. It's correct to connect the two clauses in the first example with a comma. It's incorrect to do so in the second. Here's why, and what to do about it:

In the first example, we have the two independent clauses (clauses that stand on their own as sentences), "I went to the race track" and "My brother decided to stay home," connected by "although."  In the second example, the connector is "however."

"Although" is a subordinating conjunction. (Don't worry about the grammar jargon.)  An independent clause ("My brother decided to stay home.") with a subordinating conjunction in front becomes a subordinate clause ("Because my brother decided to stay home . . . ") that must be connected to an independent clause (with or without a comma).

"However," on the other hand, is a relative adverb (a.k.a. "conjunctive adverb," depending on the book you're reading). An independent clause with one of these fellows in front of it is still an independent clause. So we may not connect it to another independent clause with a comma. Watch:

Although my brother decided to stay home.  [This is not a sentence. It's a subordinate clause looking for an independent clause to call home.]

However, my brother decided to stay home. [This is a sentence, just fine on its own, that cannot be grafted onto another sentence with a comma.]

What to do? The easiest "fix" for the second example above is to create to separate sentences. It is also OK to connect two independent clauses with a semicolon. So:

I went to the race track, however, my brother decided to stay home. (incorrect)

I went to the race track. However, my brother decided to stay home. (correct)

I went to the race track; however, my brother decided to stay home. (also correct)

How to tell which is which? Knowing that "subordinate conjunctions" and "relative adverbs" have different punctuation rules doesn't help all that much if you can't easily determine which is which. Below, I've included a list of the most common examples of each, but who's going to memorize them? Nobody. Here, however, is a handy rule of thumb: If you can move the word around in the clause, it's a relative adverb and needs a semicolon or a new sentence. Observe:

You could write

I went to buy the family's groceries. However, the store was out of milk.

Or you could write

I went to buy the family's groceries. The store, however, was out of milk.

The word can be moved about in the sentence somewhat. That's a relative adverb. In the examples above, it would need a period or semicolon

But you can't change

I had to go to the store, because my brother had forgotten to buy milk. 

to

I had to go to the store, my brother, because, had forgotten to buy milk.
That's a subordinate conjunction. It can only come at the beginning of the clause. Use a comma to hook that clause to a sentence.
 
(Note: "Because my brother had forgotten the milk, I had to go to the store" similarly cannot become "My brother, because, had forgotten the milk, I had to go to the store." So it's not about moving the clauses around. It's about whether you can move the words around within the clause.)
 
Common subordinating conjunctions (OK to use a common): after, although, as, as if, because, before, if, lest, since, so that, than, that, though, till, unless, until, and whether

Common relative adverbs (start a new sentence or use a semicolon): however, also, furthermore, otherwise, then, besides, similarly, therefore, consequently, moreover, still, thus, finally, nevertheless, supposedly, on the other hand.

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Rocket Words at Work

There's been lots going on at Rocket Words World Headquarters lately, including:

  • producing a direct mailer and a set of marketing brochures for the San Francisco-based real estate/mortgage broker team of Irene Ogus and Eileen Lynette.
  • writing a series of articles for JazzWest.com, a great website offering comprehensive coverage of the Bay Area jazz scene. 
  • beginning planning with Janelle McCuen of The Girl Project for creation of curriculum materials to accompany her short film, Shoes.
  • creating product introduction material to help designer Lori Elder market her fabulous inflatable floating baseball glove (officially licensed by Major League Baseball) to all 30 major league teams.
  • doing good works! in the form of volunteer editing for Music in Schools Today, a great nonprofit (see this edition's Cool Website).
  • updating my website: all the JazzWest.com stories are linked from the Writing Samples/Publications page; the Free Resources page includes several new resource links for arts and music lovers, artists, musicians, writers and business owners; also on the Free Resources page you'll find the first issue of the Gazette archived and a new feature called Rocket Words Interviews. These will be full-length transcriptions of the artist and musician interviews I conduct as background for my published arts articles. The first installment is my interview with Mike Zilber an insightful and expression jazz saxophonist and bandleader who has made a name for himself in the Bay Area and in New York.
I hope you'll check out some of these new features (and everything else, of course) at www.rocketwords.com. Thanks to all my wonderful clients and editors for being such a joy to work with, and for allowing me to take part in their exciting businesses, projects and publications. 

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See You Next Time

That's it for this edition of the Rocket Words Gazette. As always, I welcome any and all feedback. If you have a comment or question, or a suggestion for an arts event to be noted in a future edition, please send it on to me.

Thanks, and see you next time.

Jerry Karp
Rocket Words

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Rocket Words is the writing service I've developed to help artists, musicians and arts-related businesses increase sales, enhance audience and media awareness of their work, and gain funding for their projects. Rocket Words services include lively and effective web site content, press releases/press kits, grant proposals and marketing materials, as well as well-researched, entertaining articles for music, arts and design-related publications. Please visit my website at www.rocketwords.com for more information. Should you be interested in my services, just mention the Rocket Words Gazette for a five percent discount off our first project together.

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