(thanks, Sarah)

She was skinny, quick-witted, disarmingly unprofessional, alternating between stand-up patter, bardic intonations, and the hypnotic emotional sway of a chanteuse, and she was sexy in an androgynous way I hadn’t encountered before. The elements cohered convincingly; she seemed both entirely new and somehow long-anticipated. For me at nineteen, the show was an epiphany.

Luc Sante on Patti Smith.

Springtime 1976, I was living in the cinderblock building on the glorified median strip there where they split Highway 13, and one day I went over to this one girl’s apartment, she lived right by the guy who dealt me speed, and she said, “Hey, you know who you remind me of? You remind me of Patti Smith!”

Gave her a possum grin I’m still grinning.

Related to stuff we’re talking about.

They looked so young, the four college students who sat down and ordered coffee at the Woolworth’s lunch counter in Greensboro, N.C., on Feb. 1, 1960.

Legal challenges and demonstrations were cracking the foundations of segregation, but a black person still couldn’t sit down and eat a hamburger or a piece of pie in a store that was all too willing to take his money for a tube of toothpaste.

Those four freshmen at North Carolina A&T College — Joseph McNeil, Franklin McCain, Ezell Blair Jr. and David Richmond — sat until the store closed, but they still didn’t get their coffee.

But that day helped spark other sit-in protests — led by young people like themselves — that spread throughout the South in 1960, energizing the civil rights movement. And the Greensboro Woolworth desegregated its lunch counter later that year.

It wasn’t the first time that food, or the lack thereof, figured large in the movement.

It could be anything — the guy who cuts you off when you’re clearly waiting for the men’s room, the guy who switches to the fucking right lane after he sees the “right lane ends 1000 feet” sign, the elderly couple who really ought to know better than narrate through the entire showing of The Artist (even after you finally yell “hey” after he says “he didn’t do it” – BANG!), the woman who starts doing her makeup next to you on the train, the omnipresent imbeciles yelling into thin air (oh, they’re on the phone).

I’m thinking of never going to another movie again (damn kids nearly ruined Red Riding Hood for me), or moving to a cabin in the woods. I’ve been checking Craigslist for jobs, but so far, nothing.

4. Walk with the devil

Old Delta blues players referred to guitar amplifiers as the “devil box.” And they were right. You have to be an equal opportunity employer in terms of who you’re bringing over from the other side. Electricity attracts devils and demons. Other instruments attract other spirits. An acoustic guitar attracts Casper. A mandolin attracts Wendy. But an electric guitar attracts Beelzebub.

(From WFMU’s Beware of the Blog. Via Brian Beatty.)

If cool is a species of bullshit obscurity, culture is now divaricate enough that we can all be cool. It’s not gold anymore. More like corn.

— name (@georgelazenby) December 28, 2011

Taco Bell be having they shit look good on commercials but that shit is sick!!

— Te-Aria (@PEANUTBIOTCH) December 29, 2011

At least one of those grown-up women in the movies. Or to have a hit record.

As cold weather descends on most of the country, we’re asking for winter songs — songs that evoke the season, and the memories that come with them. So far in our [NPR] series, we’ve heard some lighthearted or slightly wistful tunes, but this next song goes to a far icier place. It’s the choice of the celebrated dancer and choreographer Bill T. Jones.

His winter song comes from “Winterreise,” — or “Winter Journey” — by Franz Schubert. It’s a song cycle about a solitary traveler in a savage winter whose heart is frozen in grief. Jones chose the last song in that song cycle: “Der Leiermann,” or “The Hurdy-Gurdy Man.”

“For me, it’s the musical arrangement underneath,” Jones tells All Things Considered host Melissa Block. “It speaks about a bleak landscape. And this bleak landscape takes me back to a day when I was in fourth grade out on the edge of town, looking at a snow-covered highway many, many yards away from my window — I should’ve been paying attention, but I was dreaming.

“And then I saw a lone figure walking across on a very, very cold day,” he continues, “and you know how it is when the wind blows and you have to turn your back against the wind, and I felt so sorry for that person, and then I realized it was my father. That my father, who was completely out of work, had been the director of his own business as a contractor in the heyday of the migrant stream back in the late ’50s, but now that business had died. He was up in the chilly North with family, broke and sick, and he had to get to this very insignificant job in a factory, miles and miles away. A black man with no car, trying to hitchhike, and no one picking him up, and he has to walk that 10 miles to get to the factory. And I’m sitting in this warm classroom, getting educated, not paying attention to the teacher, and suddenly feeling torn between two worlds. And this music, when I hear it, I feel for my father. There’s something about art that can be, yes, depressing, but helps us bear the pain through sheer beauty and intensity.”