Saturday Night Fish Fry

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Here, I think you will agree, is an undeniable kernel of Truth from Louis Jordan.



Of all the many matters in life on which myself, Beer-D, and Big Rock Head concur, I believe that we are most closely at unity on the particular point Jordan makes in this performance. How about you?

Something that always strikes me about Jordan---in addition to his considerable power as a composer-arranger, bandleader, entertainer, vocalist, and alto screecher---is what an authentically good-natured man he must have been. The guy just sounds fun, as if he could radiate pure joy into pretty much any situation. I've wondered if he intended that his lyrics for Fat Sam From Birmingham should serve as a slightly jollified autobiographical portrait of himself.

A Man's Best Friend Is A Bed, Louis Jordan and the Tympany Five (1947, 78 rpm single Decca 28543-B), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Peculiar marketing judgment

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While waiting in line for an Rx at my neighborhood drugstore I found myself studying the early pregnancy test shelf, vaguely musing how new and unreliable that technology was back when I was in fighting form, reproductionwise.

Since then, these devices have evolved beyond merely returning a certain color that correlates positively with pregnancy---I think it was blue in the early '80s---sort of like testing pH with litmus paper. Today the competing vendors use different indicators for pregnancy-positive and -negative results. One test kit uses + and - signs, another uses | and O symbols, and a third uses a pointless and almost illegible LED display that indicates "pregnant" or "not pregnant." Hmm, I thought to myself: consumer choice!

Then I noticed that the CVS house brand test kit illustrated the product on the box as showing a positive (+) result. So I compared it with the three other brands of test kits on the shelves, and discovered that all but one depicted the test wand as displaying a positive pregnancy result. One brand---it has the word "blue" in the trade name, but I can't remember it---showed the display indicators as insets to the main product illustration, but the test wand was simply showing a blank result, as it would when one removes it from its sterile wrapper.

It seems to me that most people who are anxious to get early pregnancy test results---"up to 5 days before period!" as the most serious brand proclaims---are probably looking for a negative result, not a positive one. So it made me wonder what kind of unholy alliance between corporations and the religious right might have cooked up this subtly anxiety-inducing packaging. And then I realized that it was a self-answering question.

Saturday Night Fish Fry

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After last night's post I suppose it's incumbent upon me to prove that I'm not just a random, bitterly nostalgic geezer who believes that no one has recorded anything worth listening to since some arbitrary holy moment in my youth. So put this in your pipe and smoke it.



I think it's safe to say that most people my age (high Baby Boom era) would probably consider this selection to be "noise" just as our parents condemned the Stones or the Rascals as "jungle music." Myself, I view of Seattle grunge in general as an antidote to the sterile, vacuous sound of Reagan-era rock and pop that I was lamenting here last evening. These grunge bands used instrumentation and even production values that could be replicated in any working-class garage or basement assuming a few thousand dollars of investment in recording gear and a mixing board. Pure, primitive rock and roll. I remember that there was a certain amount of hype about the Seattle sound in the early 1990s as if grunge were revolutionary and unprecedented. It wasn't; it was a throwback to the '60s and early '70s with which there was nothing wrong other than pretending that one invented it when one actually had not. Grunge lyrics were, of course, uncensored existential despair for jaded kids, but I don't think that was so much a Seattle innovation rather than a generational change in community standards for rock lyrics trafficking in despair.

This track reminds me of early '70s Alice Cooper in some respects. The chord progression, if you can call it that, seems to be variation of the classic I - IV rock chord change, but using a mutated and dissonant variant of the tonic chord. The band pretty much vamps on these chords throughout, using the mutant tonic chord almost like pedal tones. But the harmonic environment creates plenty of elbow room for the musicians to play pretty much any notes they wish at any time. They do it with discipline, though, using scales, modes, and passing tones for harmonic coherence. As far as my ears are concerned, the vocalist can hold his own with any idol of the "classic rock" era. Lyrics? My mind is too literal to understand much poetry, but I reckon they have something to do with addiction and one-upsmanship originating in some sort of personal rivalry or hostility. I don't care---my earbones have historically processed vocals as one instrument among the ensemble. Never could understand the damn things, either in terms of diction or meaning.

Retarded, Afghan Whigs (1990, from "Up In It," reissued 1991 on "The Grunge Years," Sub Pop SP112b), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Friday Evening Prayer Meeting [updated]

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This may be a nowhere song for many people my age, but I'm always surprised at my emotional response to it. And this reaction has no specific, schmaltzy boy/girl origin; I had to plumb the shallows of my wee brain to put my finger on it. It's about what happens when you don't notice that you've passed a fork in the road.



As pitiful as this sounds, even to me, the 1970s were the best time of my life. And that's even considering some particularly tough sledding in the '73 - '75 timeframe. I suppose memories may take on a lovely, saturated Kodachrome-type patina because our problems didn't turn out to be impossible after all, while the power and romance of wide-open possibilities turns out, for too many of us, to be a high point that can never be replicated once we start the march toward diminished options.

This pensive Earth Wind & Fire single charted in summer 1979, a time I now consider to have been an indescribable rare sunset diffusing into the crisp twilight of a formative era that was destined to end abruptly. I think I even knew that at the time, meaning I sensed the morning that would emerge east of midnight would for some reason, inexplicable to me, twist itself into a deformed and crippled facsimile of a new day. Morning In America dawned brightly to many, but to me colder than it looked through my window; languid, dank, and low in oxygen. For one thing among many, the general character of rock, soul, and pop music seemed to degenerate almost overnight. Suddenly, human vitality was aggressively being displaced through heavy application of digital production methods and all the romance that Big Business has to offer. To my ears, it all started sounding like music produced to sell instead of music to listen to and dance to. Previously, barely a majority of it had struck me that way; I'd always found plenty to like, ranging from Zappa to horn bands to wimp rock to New Wave and Power Pop. Now, in the stale new dawn of 1980, it seemed that almost nothing of that remained.

Some might complain that this track is little more than a clot of overproduced schlock romanticism. Myself, I think it finds a very sweet spot between intimacy and lushness. The layers of keyboards---there are sounds like a concert grand mic'ed for pop timbres, a classic '70s Fender Rhodes electric piano, an analog synthesizer---are washed in a classy orchestral mist. And in back of it all, those swinging, mellow EW&F horns fingerpainting together in the open spaces. If I make an allowance for poetic license, I can almost hear these poignant lyrics as an elegy for social comity, which was soon to fall ill through a plague that very few people (myself included) knew was starting to creep in from under the baseboards. But then, that's just me projecting my ruminations onto the rest of the world. Enjoy the song; I wonder what memories it might tweak in you.

After The Love Has Gone, Earth Wind & Fire (1979, from "I Am," Columbia 35730), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Update: I've done some editing and rewriting to flesh out the mental shorthand I was dealing out last night.

DSL smashup

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Looks like I had to take the advice of Big Hussein Otis and pitch the old DSL modem/router. The new one appears to be performing according to specs, meaning that when I turn it on it stays on.

After I got back online tonight and came here I decided to "check out Blogger's streamlined new interface." It certainly does look "cleaner" (I'm typing into it now), but it's got me all disoriented now, eyebonewise. I've had enough of computers this week and will come back tomorrow. Now I'm gonna go read some Will Eisner Spirit reprints from 1941.

Meanwhile, please stay tuned for more exciting new content... whenever.

Wise sayings

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I'm starting to think that even the people I totally agree with are idiots.

Friday Evening Prayer Meeting

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Although there are three more weeks of summer, as etched into the DNA of The Creator's very own Firmament, corporations have trained us to call off the season immediately after Labor Day. The drones have to get to work preparing the Xmas retail displays, which need to be set up by the Friday before Columbus Day. So here's something to transition all my fellow drones out of "official summer" on a sweet note.



The "official" Beach Boys song for this time of year is, of course, "All Summer Long." I sort of like that one because of---not in spite of---it's bouncy vapidity and Norman Rockwell-HBO depiction of California teenage glory in the mid-1960s. The truth of that place and era for most kids was probably more about bullying, under-age drunkenness, and finger-fucking in the front seat of a 1951 Plymouth than "miniature golf and hondas in the hills." (Wait... I'm starting to like the song less and less the more I write about it.)

Anyway, the title track of the Pet Sounds album is an instrumental gem that has a sort of valedictory quality that well suits the manufactured occasion of a summer's end. The percussion throughout reminds me of crickets and cicadas like I'm hearing right now through the open screen windows. The beat wafts by like a balmy, early-evening breeze. As progression unfolds toward an ultimate series of formal, brass-driven stock ending-type cadences that have more in common with Sousa than rock and roll, subtle temporary key changes are injected that keep the mood bright. And the closing fade sustains an optimism that your pet sounds will always be around. (Unless you're dumb enough to store them all in "The Cloud," from which some corporation will steal them from you in a coupla years and make you pay for them again.)

Pet Sounds, The Beach Boys (1966, from "Pet Sounds," Capitol D 100513 [1990 CD reissue], via YouTube, embedded for noncommercial critical discussion and educational purposes.

Editor's note: the Wikipedia article on this album has some interesting information, but I must say that it's also chock full of thinly sliced horseshit. First, Pet Sounds is not "a heralding album in the emerging psychedelic rock style." It's just not. Period. Yes, Brian Wilson was using psychedelic drugs during 1965 and 1966, and an alternate version of "I Know There's An Answer," called "Hang On To Your Ego," has acid-driven lyrics. But just listen to it: what you hear is fairly standard surfer-type rock and pop arranged for a zillion different instruments---brilliantly, in my opinion---and mostly moody lyrics that are more characteristic of youthful depression than psychedelia.

Second, Pet Sounds is not an example of "Baroque pop" because, despite what Wikipedia has to say, there never was any such fucking thing! God help us! Yes, Wikipedia has an entire article on this nonexistent musical genre, and claim that the term has been in use since 1966. Well, maybe some early rock critic looking for attention coined the term, but no regular people ever did. Almost all of the references used to document the existence of this made-up genre were published in the 21st century (the rest are 1990s), possibly written by people who were raised more on rock music magazines than on rock music. You know: poseurs.

Now I'm so worked up I have to go burn some Delhi saffron incense and meditate....

Fifty50 housekeeping notes

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After treating my router to a milkshake made of Fleet's Phospho-Soda and epicac, directly before a nice waterboarding session, it seems to be performing its mission here at Fifty50 Headquarters once again. The previous situation was getting old very fast and cannibalizing the time that I prefer to dedicate to you, my valuable readers. (I'm afraid I may be forced to use the same prescription on a nice lady named Alice who, after six years of working for me as a contractor, still doesn't seem to fully grasp the concept of "washing silverware.")

Also, apropos of nothing, I've changed the setting for the comments page so you no longer have to deal with that irritating popup window. Now we're set up just like the big kids over on the next block.

Finally, I've enabled the blog's settings to load a mobile template, specially designed for "smart" phones, which customizes the display when Fifty50 is viewed on such devices.

Please form an orderly line for purposes of thanking me. I do so hate it when the masses "teem" with spontaneous delight.

Yesterday's doke

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Provided yesterday courtesy of John Cole's brother:

“Fox News. You know what that is? Nickelodeon for people with dementia.”

Please make a note of it.

Today's doke

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The Invisible Army has been ratfucking my DSL router for several weeks. Thank you for your attention in this matter.

Sunday after hours

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There is only one reason I'd ever post such a thing to this blog. See if you can guess what it is.



A Walk In The Black Forest, Horst Jankowski (1965, Mercury Records [catalog information unavailable]), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Editor's note: some wags might consider this tune 1965's answer to Kyu Sakamoto's 1963 hit, "Sukiyaki," and also to the eternal question "Who won World War II, you so smart?"

Friday Evening After Hours

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This balls-heavy power trio track from Frank Zappa's Apostrophe(') album has always been linked in my mind to the approach of a certain monstrous, torrential chain-lightning storm as heralded by gorgeously hideous thunderheads the color of lead and a curiously refreshing 20 mph wind out of the west.



I'm certain that this tune would make a terrific soundtrack for the approach of Hurricane Irene assuming that (1) you and yours are personally safe, (2) all irreplaceable valuables are secured in a watertight fortress, (3) you are fully insured, and (4) you don't live within reach of the storm surge. Lotta ifs, I know. But what else can a Simple Country Editor offer other than best wishes and exciting incidental music?

Seriously, this is one of the most interesting power trio jams I've ever heard, with Jack Bruce strangling a dramatic fuzz-bass fanfare-style solo from his instrument right out of the gate. Then, once Bruce's hyperactive "preliminaries" are concluded, Zappa slips in from rhythm to an aggressive, precision solo that reminds me of a serpent's tongue made out of piano wire. It slashes its way through or around all obstacles popping out of the rhythm bed, where Bruce is still strumming away like Oedipus plucking at his own optic nerves. This is one of those tracks (and albums) that you have to own on high-quality physical media and pump hard through a nice set of real headphones at 11. Even on a simple track like this one, Zappa had a lot of things going on deeper in the mix that are lost in MP3 files and computer headphones.

I hope anyone in the hurricane path who might be listening and reading along comes through it all with nothing worse than a wet bird, as Sinatra used to say.

Apostrophe', Frank Zappa (1974, from "Apostrophe(')," DiscReet DS 2175), via YouTube, embedded for noncommercial critical discussion and educational purposes.

The wealthy elites "smash and grab," too

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I know we're all supposed to dutifully wind down our attention to the Steve Jobs resignation and join around the national hearth to watch Hurricane Irene lash East Coast homosexuals and liberals with the beastly righteousness only nature can dispense. Also that our Federal Reserve chairman thinks our economy will continue to grow over time even though he sees some "clouds on the horizon" because unemployment is still over 9%.

But the fallout from global austerity economics has not abated just because the Brits have swept up the broken glass from their mid-month wave of rioting. In a comment from an August 13 post, Marginalia of London noted that the looting was a political act despite the fact that the rioters may not have realized it. I agree.

Everybody knows that rioting, looting, and arson are heinous acts that punish the innocent much more than any legitimate object of political opprobrium. Pundits on both sides of the Atlantic responded with scolding in high dudgeon: shame on the nihilistic children; shame on their useless parents; the problem is that nobody knows how good they really have it any more; et cetera.

But most of us are still waiting for celebrity pundits to tut-tut the misbehavior of the elite global financiers who have been "looting with the lights on" for a decade or more:

[England's] riots are not political, or so we keep hearing. They are just about lawless kids taking advantage of a situation to take what isn't theirs. And British society, Cameron tells us, abhors that kind of behaviour.

This is said in all seriousness. As if the massive bank bailouts never happened, followed by the defiant record bonuses. Followed by the emergency G8 and G20 meetings, when the leaders decided, collectively, not to do anything to punish the bankers for any of this, nor to do anything serious to prevent a similar crisis from happening again. Instead they would all go home to their respective countries and force sacrifices on the most vulnerable.

Click through to read the entire Guardian piece by Naomi Klein---it's a pippin. I copped the link from Anne Laurie on Balloon Juice, who also notes that PM David Cameron and London Mayor Boris Johnson were both members of the obscenely wealthy and destructive Bullingdon Club during college years.

Klein's most interesting point, in my opinion, is another one of those truths that are hidden right in front of our noses: that Western media are quick to laud the high political ideals of rioters, looters, and insurrectionists in Bad Countries like Iraq, for example, because

this is what happens when a regime has no legitimacy in the eyes of the people. After watching for so long as Saddam Hussein and his sons helped themselves to whatever and whomever they wanted, many regular Iraqis felt they had earned the right to take a few things for themselves.

As the article says, though, London isn't Baghdad. Maybe not (fewer minarets, for one thing), but maybe turning London into Baghdad is part of Premier Cameron's and Chairman Murdoch's 10-year Great-Leap-Ahead Plan. It's almost as if Western nations are deliberately avoiding the tested, straightforward solutions to depression economics (i.e., stimulus and employment programs) in order to do some social engineering through the magic of Disaster Capitalism. If corporatists love anything more than tax cuts for themselves, it's political crackdowns.

Saturday Night Fish Fry

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Nothin' new, sound of breaking glass



A peppy little number about real anarchy, not the Disney version that Libertarians pretend can save the world. Our British cousins had an ugly taste of it last week. The conscious agenda of the rioters was "smash and grab"; nothing overtly political motivating it, and nothing sympathetic to say about it. But both of those remarks are beside the point, I think: riotous anarchy is an emergent phenomenon that explodes forth when a certain set of social, political, and economic conditions is satisfied. It has root causes that can either be mitigated or aggravated. In Western democracies we have sparks that are being fanned into flames by an international nest of motherfuckers. I wouldn't be one bit surprised if I have more to say on the subject sometime. Thank you for your attention to this matter.

I Love The Sound Of Breaking Glass, Nick Lowe (1978, from "Pure Pop For Now People," Columbia 35329), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Editor's note:  The UK release of this album was called "Jesus of Cool," but Lowe's US label wouldn't stand for such heretical cheekery in the title, so my original purchase of this music was called Pure Pop. But Lowe reissued "Jesus" on CD a few years ago, which I also own and highly recommend for the bonus tracks.

Meanwhile, under the radar

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I saw this post by David Dayen linked to Heather Digby Parton's Hullaballo blog. It illustrates the other major crime of professional malpractice committed by the corporation-directed media that provide most of what most Americans accept in good faith as news.

The gist of it is that Republican lawmakers are being confronted at their August "town hall meetings" by ordinary people who are firmly demanding to know why legislators (John McCain, for example) believe that reducing taxes on corporations or wealthy people will help the economy in the absence of evidence. But there's not a peep about it on CNN, Fox, or NPR. Dayen's point is that last summer the media were all eyes and ears as "tea partiers" disrupted these town hall meetings last August, even brandishing or carrying concealed weapons in some cases. And why not? I leave this question as an exercise for the reader.

Dayen highlights examples published in the hometown press of conservative strongholds such as North Dakota, Tucson, Wilkes-Barre, PA, and Lincoln, NE. Dayen also claims that someone has compiled more than 100 such stories from around the nation, but unfortunately he doesn't provide a link to document that. But that's what the New York Times and the CNN national news desks are for, I'd think. Not a peep, though.

To me, the interesting thing is that these appear to be examples of everyday people who, without any help from the national media or national political leaders of either party are piecing together the story for themselves... the story being that the conventional wisdom we're being force-fed about deficits, debt ceilings, and "job-creating" rich people may be starting to wear thin.

In front of their own noses, too

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Adding onto yesterday's observations on Krugman's blog post about media malpractice in reporting on the impact of the S&P downgrade, I'll point to another Krugman piece from today. This one addresses the same phenomenon---straightforward lying about the reality right in front of everybody's noses---but pertains to elite economists who lie about their data in very transparent ways.

So this one on the Federal Reserve Board of Governors, a guy named "Narayana Kocherlakota," argues that the Fed should tighten the money supply---raise interest rates, that is---because he wants us to believe that taking money out of the economy will reduce unemployment. But, always the good-natured wag, Krugman points out that:

The Fed dissenters are obviously looking for excuses to pursue tight policies; they’re looking at the facts only in search of support for their prejudices. As the old line goes, they’re using evidence the way a drunk uses a lamppost: for support, not illumination.

Economists do it as much as the media, whether famous neoliberal intellectuals or Federal Reserve policymakers (usually the same guys, anyway). I enjoy reading about Krugman peeing on their lamppost.

In front of our noses

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This Krugman blog post highlights a virtually unreported detail about the past week of financial-world turmoil on the heels of the S&P downgrade of US debt:

A week ago, before the S&P downgrade, the interest rate on US 10-year bonds was 2.56 percent. As I write this, it’s 2.24 percent, with the yield on inflation-protected bonds actually negative.

You would think this would amount to strong evidence that the downgrade totally failed to shake confidence in US debt.

Yet people who listen to radio and TV reporting tell me that most stories attribute the stock plunge to the downgrade, and are telling listeners that the case for immediate spending cuts has gotten even stronger.

Get it? This is how the corporate narrative works. The Situationists figured it out more than 40 years ago:

[They] argued in 1967 that spectacular features like mass media and advertising have a central role in an advanced capitalist society, which is to show a fake reality in order to mask the real capitalist degradation of human life.

Their term for the narrative and its associated creations and fabrications was The Spectacle. Sounds correct to me.

Be that as it may, I call it criminal malpractice by the news media. Ordinary people who consider themselves to be very well informed because they follow the "nice" media CNN, MSNBC, Newsweek, The New York Times, and NPR are being deliberately misled. I call it deliberate deception because I know what a fucking news editor is really supposed to do for a paycheck.

One might think that our very own President North Star would have been hammering this point home for the past day or two, or maybe that he'll get around to it next week. But in order to do that, he would have to be a leader of sorts, with a few guts inside his skin. Where have you gone, Huey Long? Our nation turns its longing eyes to you. Goo goo goo joob.

Lemme ask you this:

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What the fuck am I supposed to do with six cucumbers?!?

Friday Evening Prayer Meeting

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Hey, whattaya know---we have an actual, bona fide prayer meeting tonight! Hurry: step right up!



Somewhat prescient, eh? The only somewhat false note is Zappa's use of the word "friendly" to describe Jesus Freaks. In my experience at a nominally Presbyterian college during most of the 1970s, that term was rarely applicable (mostly only in the early years of the decade). And today? They long ago joined a club that coheres solely by expressing its collective disapproval of, and superiority to, America's undesirables (i.e., everyone who doesn't belong to the club). This makes them feel so good about themselves, at least until they get home, that they give the preacher bales of money to run lucrative, tax-exempt business enterprises so he can live the lifestyle of a Renaissance-era Cardinal.

And, seriously, we ain't Number 3, either. Thank you for your attention to this matter.

The Meek Shall Inherit Nothing, Frank Zappa (October 1978, Saturday Night Live, NBC), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Won't need to search in Pakistan this time

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So Vice President Biden made news today by telling House Democrats today that the teabaggers have "acted like terrorists" during the debt ceiling standoff. President North Star will probably give him a scolding for saying so, but what he really should be doing is setting up a secure conference call with SEAL Team 6. Maybe a nice black-helicopter tour of the Potomac for a few properly selected chiefs of think tanks and cable news operations would be just the thing to lower the temperature in the glistening swamp on a hill. JK LULZ!!!

Meanwhile,at the bottom of the TPM piece linked above, we learn that Republican National Committee (RNC) chair "Reince Priebus" has "tweeted" that VP Biden has "more than crossed a line today when he called fiscal conservatives 'terrorists'. I demand an apology." Haha! I hope Biden gives "Priebus" an apology by way of his posterior annular ring.

By the way, I never make fun of a person's name, but I'll make an exception here. What the fuck kind of name is "Reince Priebus" supposed to be? I mean, really? And I'll add to that rhetorical question the amusing discovery made awhile back by some unnamed wag: if you remove all the vowels from his name, you're left with RNC PR BS. If that's not evidence that witty time travelers from the future have modified our current timeline, then I'm a monkey's uncle and so are you.

Stockholm, DC

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Paul Krugman, paraphrasing Jonathan Chait in The New Republic (and himself on many other occasions), boils the so-called deficit crisis into its irreducible essence:

As Chait says, the first thing you need to understand is that modern Republicans don’t care about deficits. They only pretend to care when they believe that deficit hawkery can be used to dismantle social programs; as soon as the conversation turns to taxes, or anything else that would require them and their friends to make even the smallest sacrifice, deficits don’t matter at all.

In the Stockholm Syndrome world of Washington, DC, and the corporate media that sustain America's political withdrawal from consensual reality, this kind of talk from a liberal is condemned as "partisan bickering" or "uncivil."

Putting that childish, dishonest perspective aside for later discussion, preferably on someone else's blog, I simply suggest that a skeptical reader simply  at the evidence that has been right in front our our noses from the moment we learned about Grover Norquist's quest to drown the federal government in the bathtub. Use Occam's razor. Is there a simpler, more direct statement that explains the state of our political discourse today?

Saturday Night Fish Fry

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During the so-called Summer of Love, this peculiar composition was "in the tube," chartwise, for The Beach Boys. I never understood the song at the time, but it's grown on me after 40-odd years. I still don't understand it, though. And just to make matters a little more inscrutable, here's an alternate version that didn't make it out of the studio until a few decades later. But it's the one Brian Wilson originally intended for you and me to hear.



This track was supposed to be part of Wilson's "psychedelic" masterpiece album, Smile. But his well documented crackup overtook him before he could get the whole thing right to his ears and ego. The completed pieces---the releasable ones, at least---were issued on a disc called Smiley Smile. Yes, "Good Vibrations" and "Heroes and Villains" were basically salvage material from the Smile project. The version of Smiley Smile that I own, a 1990 reissue that also includes the Wild Honey album, includes the present track.

Wilson, morbidly depressed over the whole matter, claimed to have destroyed all the 1966 - 67 Smile masters. He "reconstructed" the project in 2004, unwisely in my opinion. I've unintentionally heard snips from it, and prefer not to hear any more.

So here's a summer song for you, simmered in vinegar by Brian Wilson 44 years ago, presented to commemorate both our current brain-denaturing heat wave and the slide of much of our populace into a state of desperate mental illness. Brian was far ahead of his time on that score, as well.

Heroes and Villains (Alternate Take), The Beach Boys (issued 1990, Capitol C2 93696), via YouTube, embedded for noncommercial critical discussion and educational purposes.

The Little Theater Screen

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OK, this is for Saturday morning. But pipe down when you watch it---Dad's still sleeping!



I think this is one of Fleischer Studios' best and most diabolical cartoons ever. I can't think of another with so much nonstop visual invention. The only breaks in the action are there to inject suspense or move the anti-plot in a new direction. And the surreal thread that these scenes are strung upon writhes like something that the coroner might have tweezed out of Edgar Allen Poe's brain through a nostril. Except for the appearance of our special canine guest star and the awesome, fetishistic Radio City Music Hall finale.

Yes, they really did show these cartoons on TV in the 1950s, when there was a scarcity of made-for-TV animation. As I've mentioned before, though, Fleischer cartoons were not produced for Depression-era tots... at least not until Hollywood set up the Hayes censorship office and they put a dumpy housefrock on Betty Boop.

As a point of semi-interest, this short was released to theaters 80 years ago last Sunday (24 July).

Bimbo's Initiation, Dave Fleischer, Director (1931, A Fleischer Studios Talkartoon; Grim Natwick, Animator), via YouTube, embedded for noncommercial critical discussion and educational purposes.

"The Little Theater Screen" was invented by Frazier Thomas.

Ennui in the 22nd century

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At home in the early 1990s, Star Trek: The Next Generation was a favorite of two of the three men of my house. Big Rock Head sort of pretended to like the show, but he confessed in much later days that it bored shit out of him and made him fall asleep. But Beer-D was fascinated by the bald-headed Shakespearean captain, the animalistic-looking Klingon security chief, the bozoistic first officer, and all the Industrial Light & Magic infrastructure. Over several recent years we revisited all seven seasons over biweekly dinners, episodes in order, as we affectionately decomposed all the instances of internally inconsistent logic, bullshit motivations, bogus technology as judged by 15 years of hindsight, and so on... not diminishing our enjoyment one iota. And since that time, we have also revisited every episode of that show's successor, Deep Space 9.

Despite the undeniable lack of "gravitas" reeking from the entire Star Trek enterprise (LULZORS!!!), as TV adventure fare goes, these shows generally achieved a reasonably high level of production value, attention to detail, and philosophical speculation. Owing to these attractions, I think, Beer-D had to be coaxed a bit to plunge into the original Shatner series, and I myself had not followed it closely as as a youth, and wasn't sure about the ultimate entertainment value.

I hunted down the original DVD release from an Amazon affiliate in order to get the undoctored Star Trek experience, without new special effects or any embellishments other than a clean transfer from the masters to a high-res medium. I did not want any of the "fakiness" sanitized away, both for aesthetic and historical reasons. I hereby declare that my purchase has amounted to a major entertainment score. The show is a true laff riot from bottom to top.

Tonight I won't offer any reviews or critiques of Gene Roddenberry's universe, but will help you dip a toe into the water of Trek context. The catalyst for all this exposition is a Tumblr photo site I saw mentioned on BoingBoing, which you can view directly here. The "Space Trek" site presents the enterprise in the full glory of its 22nd century banality. Behold: the Sick Bay!

Note the clean, modern architectural lines, painted in county-jail green. The rippled medicine cabinet glass elegantly secures the contents of the meds locker. We are viewing a workstation where the curvy space nurse can pose in a vinyl office chair while sterilizing the formica surfaces. Note the highly advanced, Space-Walmart-type sanitation devices. At least there's no danger of running out of Space Lysol on this tub, because our leggy nurse has two backup bottles at the ready... just in case. No need for labels, though. If she forgets what's inside, she can just summon Mr. Spock to logically infer the contents.

The S&P coup

*

I want to add a little to my previous post on S&P's implicit threat to blackmail the federal government into adopting a specific piece of legislation (i.e., $4 trillion spending reduction over the next 10 years).

Paul Krugman seems a little skeptical that an S&P downgrade of US debt would be huge deal because, basically, bond traders already know that ratings agencies don't know what they're doing:

The point is that when S&P or Moody’s speaks, that’s not the voice of “the market”. It’s just some guys with an agenda, and a very poor track record. And we have no idea how much effect their actions will have.

I don't doubt that. But to me the important point is not so much what financial traders do with an S&P intervention of this nature, but what the media and politicians will do with it. A ratings agency downgrade of US debt will be presented as something like scientific evidence that we need to finish drowning the federal government in the bathtub now! now! now! It's hard for me to see how our disinformation economy could get any worse---how it could further accelerate America's decline. But my intuition tells me we haven't reached terminal velocity yet. We'll be even closer when the press, the Congress, and the President anoint Wall Street as the new fourth branch of government.

Fourth branch, Third World

*

I think that Ezra Klein of the Washington Post, like the few other reports I've seen about the Standard and Poors threat to downgrade US debt to Third World status, just misses the point.

Yes, insane Republican ideology and The Conceder In Chief have done a swell job creating an existential economic threat by tying approval of the debt ceiling to the politics of government spending and taxation. This is the "Worst. Congress. Ever." Blah blah blah.

In journalism lingo, there's a "buried lede" in Klein's piece:

And having upset S&P, appeasing them might not be so simple. Beers repeatedly emphasized that he wasn’t just looking for a number. He was looking for something “credible.” And credible, in his view, was something that both parties had embraced. After all, he argued, deficit-reduction plans have to be continuously implemented over a decade or more, and if there’s not “buy-in from both parties,” there’s no reason to believe that the plan will survive the inevitable changes in political control.

On the one hand, the S&P view is a reasonable analysis. But on the other, sinister hand:

You might ask whether all this matters. S&P got the financial crisis almost entirely wrong — in fact, their analytical errors, alongside those of other agencies, substantially contributed to it — so why should we listen to them now?

But the question isn’t whether S&P should be listened to. It’s whether the market will listen to them.

Yes, that's right. The once-respectable financial rating agency, which is as tarnished by the 2008 economic implosion as any Wall Street investment bank, has made federal legislative politics an evaluative criterion for assessing the full faith and credit of the US government and the debt it issues.

And as a small digression, it's probably worth inserting here that there really is no deficit crisis. The deficit is high-ish in relation to conventional yardsticks, but interest rates are so low (near zero as applicable to government borrowing, in fact), that there is no problem servicing this debt... unless the ceiling isn't raised promptly. The "deficit crisis" is an invention of right-wing politicians, corporate media, and as a johnny-come-lately, President North Star.

But back to the libretto: There is nothing benign whatsoever about what S&P is up to here. They aren't trying to serve as a voice of reason: they're emphatically inserting itself into the political fray with the power of a fourth branch of government, but one outside of federal checks and balances. "You motherfuckers attend to the 'deficit crisis' ," S&P seems to be saying, "or else we'll sic The Market on you." With "you," of course, meaning both politicians and voters. It is an aggressive, unconscionable lobbying assault on behalf of The Corporation---a protection racket that the federal government must now subscribe to with an initial payment of $4 trillion extracted from middle-class taxpayers, the poor, and the elderly. If they pull this off, there will be no end to the racket until we're all living in sheet metal shacks on dirt lots.

The S&P threat gives every politician in Washington enough cover, or terror, to cave in to the demands of the Republican legislative caucus and The Conceder in Chief for "the good of the nation." Once this smelly, syphilitic Wall Street camel has its nose all the way into the tent, S&P might conceivably become as powerful as the Federal Reserve in dictating the grim economic future of America. No accountability; just the perpetual threat to shit everybody else's nest if some warty bankers and corporate chieftains don't like the drift of public policy.

Cavalcade of marsupials

*

It turns out I was correct about the massing of the terror prowling the night kitchen here in my private domain, The United State Of Moronica. Not a mouse. And happily, not a rat. Fifty50 reader Carlos Magnus was kind enough to lend me a small steel live trap, which I deployed Monday night somewhat arbitrarily in front of the basement door against the breakfast nook wall. I loaded the bait tray with a nice Japanese rice cracker thinly coated with peanut butter on each side (for good adhesion to the tray).

At about 0330, around the corner from the head of my bed, I heard something fairly large but sluggish rattling around in the cage. Since I hadn't set the catches on the trap correctly, my prey almost worked himself out before I got him out the front door. Not a raccoon, either: a possum that was almost too large for the cage! Since this drill interrupted a sleep cycle I could barely navigate or perceive what was happening, but felt satisfied with my high-level trapping achievement and quickly drifted off as soon as I hit the mattress.

On a whim, "just in case," I reset the trap again the next night. And I'll be a suck-egg mule if I didn't hear the goddam cage rattling around at the crack of 0230! Luckily, this coincided with the conclusion of a sleep cycle, apparently, and I had the presence of mind to grab the Nikon D80 and take a mugshot of this guy.

Not the same prisoner I took the previous night. Significantly smaller. For reference, the baseboard behind him is about 3 inches high. I was pleased that the creature remained calm and also well behaved, elimination-wise. Having set the trap latches correctly this night, I carried the trap onto the porch and gave him early parole. Of course, on the third night, when I caught another motherfucking possum (same trap, same place, at about 0130 this time), it occurred to me that the specimen pictured above might have found his way back into the crib from the staging area of my porch. He seemed a bit smaller than Two of 4, though (that's right---four!), so it may have been another sibling. Anyway, with great cunning I released the latest addition to my collection all of 15 feet away from the porch, and he made a beeline across the street to hopefully break into a neighbor's house.

Last night, I deployed two live traps (one in the basement) and came up with No. 4 at about 0230; possibly even a bit smaller than No 3. This time I let my captive chill in the cage on the porch for the duration and took him into work with me. While tempted to release him in the foyer of Rudy's apartment building or inside of Walmart on Prospect, I found an unkempt field for the release. Understandably, Four of 4 was showing some teeth to reflect his poor attitude after a noisy, bumpy ride in in the back compartment of the station wagon, but still behaved well enough.

So tonight, in a few minutes I'll swallow a handful of pills and wash 'em down with 8 oz of gin in preparation for bedtime. But again with double-barrel traps baited with a succulent midnight snack for the herd of marsupials in the basement.

Saturday After Hours

*

About 40 minutes ago I sent the manuscript of the book I'm editing to the author. It's a monster job, and there will be plenty more editorial work to do after author revisions, but it should be much less intensive than what I've just completed. The immediate significance of this milestone should be a big drop in subliminal stress, a possible moderation of blood pressure, and a general boost to my quality of life. Also, slightly less-lazy blogging behavior.

Speaking of monsters, last night while trying to sleep I heard something very ungainly-sounding that was ratfucking the dirty dishes on my kitchen countertop. It sounded more massive than a mouse, and got into things that mice haven't gotten into before. Coming downstairs just now to call it an evening, I heard some more sounds, this time apparently coming from the basement. As I started to descend the stairwell to investigate, I heard some very peculiar sounds that may have been vocalizations---low and suppressed, short impulses mostly, that could have come from a bird (crow, grackle, or starling), a squirrel that is unhappy, or even a raccoon. I shut the basement door and won't think about it any more until the motherfucker has starved to death.

Enough. Nighty night.

Happy Independence Day, Soldier!

*

Beer-D is watching Independence Day fireworks tonight in a small town called Mahomet (yes, I agree---it's a much more peculiar name for these parts even than "Podunk" is). It is a Champaign County bedroom community to which affluent people flee from our twin cities for the "good schools" and other mythical quality-of-life perks. Any-hoo, I received a text message from him shortly before the fireworks began, commenting on how well received some patriotic Toby Keith song was by the Proud Americans in attendance. Then, this exchange between him and me:

Beer-D: There's some bugler actually playing Taps right now. The fuck?

RubberCrutch: He must think it's Memorial Day.

Beer-D: Oh my god, they played it for a guy who's ABOUT to be deployed to Afghanistan!

Well, yes, I understand that Taps is played at lights-out on Army installations every night. Likewise, I am familiar with the fact that the sounding of Taps by a bugler is universally recognized by Americans as a musical salute to a deceased soldier at his or her funeral. I am not a military veteran, but I'm pretty sure that Taps is not a song that a soldier wishes to hear immediately before being deployed to a theater of operations. I wonder if this untimely gaffe even registered with anyone other than the soldier and his family.

A Word From Our Alternate Universe Sponsor

*

From the land of pines
Lofty balsams



I actually picked up a 6 of Hamm's at the package store this afternoon because they only had a "five pack" of Schlitz (which Leo Durocher used to call "Slits Beer"). I had no idea they still "brewed" this stuff any more. Will report back as to it's purportedly "crisp, clean cut to the taste." Thank you for your attention to this matter.

Saturday Night Fish Fry

*

Here's Jackie Wilson, singing lead for Billy Ward and His Dominoes.



I really like this performance and arrangement, but it certainly is a noodle-scratcher.

First, consider the most prominent facet of this track: Wilson belting out the lyrics with depression and mania, bundled under tension tighter than a gnat's ass. But he sounds like nothing so much as a freshly minted graduate of the Dudley Do-Right School of Voice.

Then there is the chart, which definitely has the upbeat "fish-fry" feel as a frame for some pretty "prayer-meeting" lyrics. I'd started to post this several times in past months but couldn't figure out which rubric it belonged under. But since it's in a tempo suitable for shagging at a Carolina beach music club with sand on the floor (it's a dance, perv!), here it is on a dog-day Saturday night.

And, as a production artifact---but not one engineered into the original---there's this cheesy post-production reverb hovering conspicuously over the recording like a cloud of corn aphids wanting to get into your ear canals.

Frankie Sinatra recorded this tune the same year as the Dominoes---1955. The lyrics sound like a natural for Sinatra, and with a Nelson Riddle arrangement one might expect his version to be the definitive one. I'm sure most people familiar with it agree with that sentiment, but not me. The way I hear it, Riddle's chart doesn't surpass "OK" and neither does the orchestra performance. And Frank's fiddling with the melody at the margins, which is a key to his interpretive genius, falls flat on this one and actually weakens the line considerably. If you want to compare it with Wilson's interpretation, go look for it on YouTube---Sinatra's version doesn't rise to the level of interest that I need in order to be bothered to embed it and track down the catalog data for you.

But Wilson's peculiar version of this composition totally kicks ass. Not sure why it didn't hit in 1955, but they didn't even try because it was the B side of another Dominoes tune few people have heard of---"May I Never Love Again." I'd guess the studio chumped it as a throwaway track because the lyrics were too mature of a take on getting the bum's rush from a lady to have broken through on the emerging rock charts of the day. That is, it did not reflect the standard teenager-style sentiments about such matters.

Learnin' The Blues, Jackie Wilson with Billy Ward and His Dominoes (1955, King Records 1492), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Rich asshole framed for rape?

*

Based on what New York prosecutors have discovered about their client regarding the DSK rape allegation, we may actually have a case here in which a bona fide member of the global elite community may have been falsely accused of something. Sez the New York Times:

Investigators with the Manhattan district attorney’s office learned the call had been recorded and had it translated from a “unique dialect of Fulani,” a language from the woman’s native country, Guinea, according to a well-placed law enforcement official.

When the conversation was translated — a job completed only this Wednesday — investigators were alarmed: “She says words to the effect of, ‘Don’t worry, this guy has a lot of money. I know what I’m doing,’ ” the official said.

But then again, maybe not. Press leaks about an allegedly lying rape victim do not constitute an acquittal of the accused. Outside of the Gucci law office that is a privilege of a gentleman of DSK's standing and the Manhattan District Attorney's office, we  know only a few things for certain. One is that a person is innocent of an accusation until proven guilty. Another is that raping a woman who lies, or may even be a "gold-digger," is a crime nevertheless.

Beyond those things, there is a certain conjecture (for a hypothetical case, naturally) that may not be automatically false; namely, a case in which two nasty, cynical people might simultaneously try to do something horrible to each other at different coordinates of human experience, so to speak. For example, a hardened woman without conscience might be willing to entrap a rich asshole into raping her in return for a huge payday, and a misogynist asshole may follow his dick and the woman's "script" into committing an act of sexual violence. Interesting legal and existential questions follow for the ages, not to mention a zillion insipid talk show interviews, a tell-all book by those "who have knowledge" of the situation, and a Hollywood blockbuster based on a true story.

Many other conjectures are possible, too, so the one put forth above means approximately nothing.

Meanwhile, based on what I heard on NPR this morning, irrespective of what may have happened in that Schrodinger's cathouse of a hotel suite, I think that a majority of French citizens will jump at the chance to greet DSK as if he were a returning war hero and rid themselves of the ridiculous President Nicolas Sarkozy in next year's national election. After all, at least one conspiracy narrative emerged very quickly on the heels of DSK's May arrest. It's feasible that Sarkozy could find himself as an unwilling partner in a metaphorical menage a trois.

Editor's note: I saw this story first at Balloon Juice.

Friday Evening After Hours

*

You ain't so well-to-do
Unless you got a little koo-chee-koo



Sad but true. However, most of us weren't endowed at birth with the considerable talent, charm, and other assets of Mr. Bull Moose Jackson. There's a nice, concise Wikipedia bio of him at the other end of this link. He blows melodic lines with a big, smooth classic tenor R&B sound during intermissions from his vocals. His lyrics are always full of good humor, especially when he steps a bit over the line into lewd territory (not here so much as in fan favorites like "Bow Legged Woman" and "Big 10 Inch [Record]"). And he sings in a voice of the people---unremarkable in terms of sonority, maybe, but delivered with punch and excellent phrasing.

Editor's note: to enhance your enjoyment of this song, it is recommended that you close your eyes for the duration. The video is an excruciatingly embarrassing thing to behold and will distract you like the stare of a cobra. Also, the catalog information below may not be correct since the discography typesetting on my Charly (record label) compilation is garbled and misaligned. Thank you for your attention to these matters.

If You Ain't Lovin', Bull Moose Jackson (1955, 78 rpm single King 4775), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Friday Evening Prayer Meeting

*

If you have about 8 minutes to spare, go grab your earbuds, jam them in your earholes, and give this a listen.



The personnel and sound of this ensemble are so different from the original lineup that it always seemed odd to me they would retain the name King Crimson. (Compare it with this sound, which I posted last year.) It's an assemblage that might still be considered experimental today for its combination of Mellotrons, other deftly deployed electronics, violin and viola, and more percussion devices than you can shake a stick at. And that's not to mention Robert Fripp's guitar, John Wetton's vocals, or drums by Bill Bruford, who flew the coop from Yes as that group was stagnating into a mess. King Crimson can and does sound sweet, dense as a rainforest canopy, art-rocky, fraught with portent, and even lummoxy in turn, as they please.

"Exiles" and the tune that precedes it ("Book of Saturday") comprise the "pretty" passage of the album, with moody but heartfelt lyrics about loss and healing. This one begins with a swelling, impressionistic collage of electronica that evokes the narrator's "banana boat ride" from the prior track. The "actual song" begins about 2 minutes in. Every musician stays in his own register, integrated well enough to sound whole while clearly conveying the sense of isolation that the lyrics paint.

There's much, much more to this album, though, and I wish I could play the whole thing for you, loud as hell, in hi fi, with a nice pair of Sennheiser cans clamped to your skullbone.

Exiles, King Crimson (1973, from Lark's Tongues in Aspic, Atlantic SD 7263), via YouTube, embedded for noncommercial critical discussion and educational purposes.

And now, Mr. Crutch

*

But first, a word from our alternate universe sponsor:



I say "alternate" because Camel studs were only my second choice of smoke back when I was immortal. At heart (and lung) I was a Philip Morris Commanders man. Pall Malls were inferior to both, but acceptable when Commanders weren't available. Luckies, however, were the only cigarette that burned your mouth even before you lit the goddam thing.

What Americans think about "big government"

*

Steve Benen, who writes the Political Animal blog for the Washington Monthly, pointed the other day to an opinion polling question that probably doesn't get asked enough in an impartial way---and certainly the results of this question rarely emerge from the black hole of corporate newsrooms. The NBC/Wall Street Journal poll asks this of its respondents:

“I’m going to read you two statements about the role of government, and I’d like to know which one comes closer to your point of view: ‘Government should do more to solve problems and help meet the needs of people’ or ‘government is doing too many things better left to businesses and individuals.’”

If you click through to Benen's post you'll see the responses provided in this poll as graphed over time (1994 to the present). From the early Clinton years through 2007, the trend lines for both responses are clear, and track in opposite directions as you'd expect. I have no idea what might have happened starting in 2007 to ratfuck the trends, or why the stats today haven't reverted to their 2007 peaks (considering what the crash has done to employment and the safety net), but the basic reality is clear: a majority of Americans want government to do more to solve problems experienced by ordinary people.

I suppose the tangle of trend lines at the end of the record might make fodder for some informed speculation, but I'm just not feeling that well informed this pee em.

In my opinion, though, the significant datum here would seem to be the fact that we never hear a whisper by US corporate media (including NPR) about this curious fact that most Americans want the government to do more to solve the nation's problems.

All of us can have a good laugh about what Jon Stewart confronted Chris Wallace with on Fox News Sunday last weekend (i.e., that the Fox News Network is Lies, Inc.). But the "polite" corporate media are the most important perpetrators of misinformation about public affairs in the US. They do it by ignoring whole swathes of reality. I'll have some more examples in a few days because it's somewhat off-topic here.

(Incidentally, if you look at the Stewart clip at the second link in the previous graf, the apology he offers at the beginning was unnecessary: Politicfact "factfuct" him.)

RIP Clarence Clemons

*

Yikes---the E Street Band's imposing saxman, Clarence Clemons, died of a stroke yesterday in Florida. He was 69. I did not know he was that old---an age that is not that far in the future of any Baby Boomer, but pretty old for a touring rocker in a rowdy band. Live performances by Bruce Springsteen can never be the same, in my opinion.

I was privileged to see Clemons twice in during fall and early winter of 1975 at the Auditorium in Chicago, when for a brief period a sort of SpringsteenMania swept the nation (for young adults, at least). Apart from Springsteen, Clemons was the salient presence on the stage and in the music. This 1978 clip gives a few glimpses of the Big Man and what he contributed to the lineup.



10th Avenue Freeze-Out, Clarence Clemons with Bruce Springsteen and the E Street Band (19 September 1978, videotape transfer of live performance at the Capitol Theater, Passaic, NJ), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Saturday Night Fish Fry

*

Has this ever happened to you?



It didn't happen to me, exactly. However, my 7th grade teacher, Miss Kilmartin, left the employ of Woodland School, Illinois School District 152 and a half (no joke!) around Thanksgiving 1966. Coincidentally, it was about that same time I'd laid my hands on a copy of Playboy (stole it from Timmy Rogers big brother, if I remember correctly) and what to my wondering eyes appeared but a Playmate falling out of her sweater who was a dead ringer for Miss K. I was preoccupied with this mystery for a few weeks late in 1966. My dad, who was a member of the school board during that era, might have shed some light on the subject for me, but I couldn't think of any way to approach the subject with him.

Ahem. Anyway, "Chicago's own" Cryan Shames never hit the charts very hard in other parts of the country, but "the Shames" were one of the Windy City's big three rock bands in terms of local pride during the mid-1960s. In my personal mythology, the golden age of Chicago pop bands (including the Buckinghams and the New Colony Six) was 1965 through about mid-1967, with the Shames coming on fast in 1966 and then pretty much finished along with The Summer Of Love.

That's too bad; I wonder why. It's easy to hear that this band had a lot going for it in this 2-minute gem. Listening to it tonight I was surprised how "California" it sounds, with impressive four-part harmonies like the Beach Boys, jangly Byrdslike guitars, and the peppy good-clean-fun pop sound of The Turtles. Very catchy; very slick. A flawless piece of pop that totally flashes me on getting too much sun during the summer of '66---heard it coming out of transistor radios everywhere.

Unfortunately, I don't remember the story of which band member was infatuated with which model from which magazine, or if he ever got his gal. Probably not. But feel free to chime in if you know the tale.

I Wanna Meet You, Cryan Shames (1966, 45 rpm single Columbia 43836), via YouTube, embedded for noncommercial critical discussion and educational purposes.

You've been having more fun than me lately

*

About half a year ago I made the ace move of overcommitting myself editorial work that competes with the important things in life such as booze, pills, and frails.

In particular, an oversize chicken came home to roost earlier this month in the form of an upbraiding from an author with whom I'm working---completely understandable and justifiable on his part, incidentally---with respect to my epic procrastination on a book manuscript I'm editing. In terms of my professional craft, it's an interesting project, but my procrastination hasn't been along my usual lazy lines: I've been about two-thirds baffled by this job, which involves converting a web site about construction management into a dummies-style text for general contractor types. But since I'm a fucking genius, as all my dear friends know, I've made great strides over the past 2 weeks to tame this monster. But it has left me depleted in terms of fulfilling my duties to the Fifty50 community.

I've found this state of affairs to be intolerable, so I'm trying to wade back into it now. But the water feels a bit cold. (Deep, too.) Posting may be light through the end of the month, but not if I can help it. Please stand by, and thank you for your attention to this matter.

Saturday Matinee!

*

This nut may prove dangerous.



Here's a nice cartoon to let all my babies know I didn't abandon them! This is the very first Superman animated cartoon, dated late 1941, produced by the Fleischer Brothers. Dumb plots told in a setting of gorgeous eye cocaine. Unfortunately, this transfer is "ass," but there are a few affordable DVD collections that are very faithfully restored, and the visual style and animation "physics" are still astounding.

Let's say this cartoon is a parable. What do you think it's about? (Audience participation time!)

Posted quickly; will follow with information on provenance later. RubberCrutch is a busy man these days.

Friday Evening Prayer Meeting

*

Here's something out of the ordinary for this place. I first heard this track playing in the defunct and missed Record Service in Campustown almost 20 years ago. I bought the album without hesitation. Being out of touch with emerging pop music styles back then, I wasn't really sure what the hell I was listening to. The kid in the store told me.



The Digable Planets made liberal use of samples from jazz classics, which was what immediately caught my ear in juxtaposition to the rap setting. But throughout the album the Planets repeatedly profess their adoration of Jimi Hendrix... and yet, no Hendrix samples are used anywhere. Their lyrics were readily intelligible to me, which has been a relative rarity throughout my entire life when listening to rock, blues, or soul (ear dyslexia?).

On every track, the lyrics present vivid impressions of black urban life; not always pretty (but, then, often they are), and there's not one word dedicated to misogyny or glorified violence. The difficulties of urban life come through loud and clear, though, without sweetening.

The trio delivers psychedelic hiphop poetry in mellow rap cadences, with some kind of backstory involving extraplanetary aliens, bugs (or alien bugs), and Hendrix. (Yes, the album has many amusing facets, too.) The horn sample used on this featured song was lifted with permission from Art Blakey and the Jazz Messengers; other tracks borrow from Sonny Rollins, Curtis Mayfield, and the Crusaders among others.

There is one problem with this otherwise-tight video, though. Someone in postproduction seems to have overdubbed highly "stereoized" synth fills in places, and they sound kind of ridiculous and out of place. I can listen through that, though, because before tonight I'd never seen a video of this group. I think they're cool. I hope you like it.

Rebirth Of Slick (Cool Like Dat), Digable Planets (1993, from "reachin' [a new refutation of time and space], Pendulum Records 61414-2), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Soon it can be told

*

What happens when a 3/32 in. titanium hex-shank drill bit goes through the heavy-duty washer cycle with a large load of cotton knits, that is.

Happy Beer-D to you!

*

Yes, it's that time of the year again---the 140th day of the year, to be precise. On this day in history, a green morsel of life emerged into the world, both bilious and blue. The folded ears made me think I'd spawned a Vulcan Emissary (details not clear). The little fellow took to the soil quickly, though, and honors us with his presence for the 27th year in a row, excluding gestation.

As befits a gentleman whose breakthrough appearance into the world was fraught with thrills and peril, like being the 10 cm peg wrenched from a 9 centimeter... well, you understand... May 20 throughout history has exuded a certain black-metal miasma.

Who among you wouldn't want to have been born on the same day as the Cambodian National Day of Hatred, I ask you? Not brutal enough? Then how about the 1940 Grand Opening of a certain unspeakable enterprise in Poland? (Too metal?) Something more slapstick, maybe, like that time in 1896 when a six-ton chandelier at the Paris Opera fell on a crowd below, the bad news being that one person died and the good news being that only one person died. (Had it been an Acme safe, no lives would have been lost.)

But would a bunch of lightweight entertainers really be preferable to the commemoration of evil and mayhem, if it were you who was born on this day in history? Well, pick your poison: David Hedison, 1927 (Captain Crane on the Seaview); Ron Reagan, 1958 (son of That Guy); or Bronson Pinchot, 1959 (nuff said).

No, that can't be nuff said: there are Jimmy Stewart, 1908; and Honore de Balzac, 1799 (badass French realist author).

Now, the boy has only himself to blame for these birth date historical associations. He insisted on prying his way out 3 weeks early. Had he waited until June 10, as expected he'd have less ignoble birthday mates, such as Gustave Courbet, The Howlin' Wolf, Saul Bellow, Maurice Sendak, E.O. Wilson, and Judy Garland (as opposed to Cher). But Beer-D has a highly developed sense of the unjust and the absurd, so I think it's likely that he planned it this way and he likes it just fine. Happy Birthday, Little Man.

Predator on the premises

*

I've been watching this impressive little raptor this spring as he has scouted my bird feeders for victuals. Two weeks ago he, or someone very much like him, slammed into my house---the siding, I believe, not a window---presumably while trying to pick a morsel off the two-prong pole near the back of my house. When I got to the back window to investigate, I saw some feathers swirling around and a hawk standing on the ground between the house and the feeder. He hopped to the top of the pole, then flew away, probably embarrassed with himself. Didn't get a good look at him then, though.

Then, a week ago, I came upon this guy with a freshly caught juvenile starling in its talons. He hopped over the fence for more privacy, but I went around and was able to observe him for several minutes at a distance as he picked at his still-living captive.

Today, interrupting myself from a writing task upstairs, I saw him perched atop the two-prong feeder near the ground-floor back windows. I observed him for probably 5 minutes total. Only after about 3 minutes, when he hopped first to the ground then farther away to the patio, did it occur to me to grab a camera. The best I could do was the Sony F717, a fairly high-end older point-and-shoot setup with a fixed Carl Zeiss (i.e., high-quality) zoom lens. I fumbled with it just to find a suitable auto configuration and managed to snap five or six frames while he perched on the arm of the heavy-duty captain's chair normally reserved for Rudy. I wasn't optimistic by the results, but was pleasantly surprised to see the large-scale snapshots. This is the best one, cropped at full resolution but compressed somewhat as a jpeg file. If you click the picture, you should see a decent enlargement with a critical detail for identification purposes.

I am officially identifying this creature as a juvenile or near-adult Sharp-Shinned Hawk. I'd been thinking he was probably a Cooper's hawk, but he is smaller than one I saw last year, and based on previous glimpses he appears to be more aggressive than Cooper's are reputed to be in chasing prey into foliage. The telltale clue is the yellow eye, which aren't found on Cooper's hawks. When comparing this picture with photos on Cornell's bird website, All About Birds, I was satisfied that his head configuration and feather patterns match those of the Sharp-Shinned Hawk.

Beer-D and I call this guy "Omar," in tribute to the oddly ethical "stick-up boy" from HBO's series The Wire. I can't actually verify his gender, but we choose to consider Omar to be a male unless the contrary is proved by an ornithologist.

My lesson learned for the day was to move my Nikon D80 from the closet to a hook by the back windows, set to fully automatic mode with a freshly charged battery and a zoom lens attached. Duh. (Slow learner.)

Telling on himself

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FireDogLake has a small post about an unwisely candid remark by Senate Minority Leader Mitch McConnell:

When you do something together, the result is that it’s not usable in the election. I think there’s an understanding that if there’s a grand bargain, none of it will be usable in next year’s election.

That's what all these Gang-of-whatevers in the Senate are really about. A small group of members from both parties collude in closed meetings to strike a "grand bargain" on a major issue. These bargains reflect implement the goals of powerful elite interests at the expense of ordinary Americans. On their behalf, elite political commentators lecture us all about how we must swallow our medicine, like big girls and boys. Even when a grand bargain is highly unpopular, voters who want to punish the responsible party have no practical recourse. Politicians know this, and that's why these "gangs" emerge from the mud as predictably as locusts. And most politicians know not to actually admit to this. But not poor Mitch McConnell.

Saturday After Hours (Prayer Meeting)

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That's death
That's what all the people say

On this day in history, 14 May 1998, Mr. Francis Albert Sinatra flew the coop (i.e., this mortal realm) with the parting words to his wife, "I'm losing it...." (I believe the Wikipedia account of this is incorrect or incomplete based on my memory of news coverage at that time.) But tonight I will bypass the obvious choice for commemorating the occasion---"That's Life"---and defer to my ultimate Sinatra cut.



For my money, his phrasing on this is perfect---immaculately understated, which often it was not when he felt the urge to play the aging ring-a-ding hipster or just goof around in live performances. As much as I esteem the vocal, I feel that the real star of this cut is the Nelson Riddle arrangement and the way he conducts his orchestra through it. It sparkles, reflecting the interplay of reedy cross-breezes both near and distant, with clear water surfaces lapping easily at beachfront sand. I've never been able to describe to myself in words what I find so artful and organic about this chart, where string tremolos emerge at the end of a jaunty, muted-horn line and muscular but laconic reed figures leave holes for the similarly reedy organ in the higher registers. Speaking of the organ, the way it is "stopped" fascinates me. In any other setting I think it would sound cheesy and trivial, but here it supplies an essential vibe to the entire mix; the sound would be impoverished without it.  (Editor's note: Mr. Crutch does not consider this to be an adequate verbal account of the "feel," but he tried nevertheless. Please make a note of it.)

As an aside, I don't think it's too geezerly to argue that in 1966, in Chicago and all over America, both radio (AM!) and pop music were much richer and more urbane than they ever were again. It was the closing of a sort of innocent era in broadcast mass media, where the music sales charts weren't fragmented ad infinitum by age group, region, race, and purchasing power for the benefit of advertisers. "Top 40" really did mean "Top 40," and it didn't matter whether the performers on "the survey" were the Stones, or The Four Tops, or Simon and Garfunkle, or Sinatra, Roger Miller, The Sandpipers, Dusty Springfield, Ramsey Lewis, or Mitch Ryder, the Hollies, Martha and the Vandellas, or... Nancy Sinatra. If you listened to WLS or WCFL during this brief era, you heard it all on an equal footing, presented by trusted curators such as Dex Card and Ron Riley. Sure, a kid wouldn't necessarily admit to his friends that he liked "A Walk in the Black Forest," by Horst Jankowski; or "Sweet Talkin' Guy," by The Chiffons, but many of these sounds wormed their way through his tender little auditory cortex to next in the memory stacks, there to vibrate deep within for decades or more.

Anyway, back to the libretto: here's hoping that Frank didn't really lose it on that 14th day of May. And as for the sarcastic-seeming epigraph at the beginning of this post; no disrespect is intended. I intended it as a tribute of sorts to Sinatra's legendary crudeness on and off stage, well documented in Kitty Kelly's biography of him. These things about Sinatra you have to take alongside the pensive stylings of this gifted, juvenile, complex, and often-tortured guy.

Summer Wind, Frank Sinatra with the Nelson Riddle Orchestra (1966, from "Strangers In The Night," Reprise Records, catalog information not available), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Pauper wages

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I saw the video embedded below linked on Eschaton by one Avedon Carol (an Atrios confederate who lives in Merrie Olde England). I'm certain it's worth 13 minutes of time to anyone who tiptoes around an inner dread about America's future---especially the health of the economy for ordinary people and the outsized influence of excessive wealth on public policy.

The "hook" for this interview is that the marginal income tax rate on top earners during the Eisenhower administration was 90%. I'm certain that fact would shock the vast majority of Americans today, especially with a general knowledge of how prosperous America was during that era. As you watch the video, consider whether Michael Hudson's words, as alien as they are to the conventional wisdom today, are relevant to your everyday status as a wage-earner, provider, and citizen.

Take note of the term "pauper wages" to roll around inside your noodle next time you hear news about the extermination of the nation's few remaining viable labor unions. To whatever extent Hudson is correct on this topic, it should be difficult for any American worker to understand how he or she will benefit from government-driven downward pressure on union pay and benefits; or from creating trillion-dollar federal deficits by cutting taxes on the wealthiest (and most powerful) Americans.



The gist of Hudson's viewpoint expressed here is that two dominant beliefs central to free-marketeer conventional wisdom are demonstrably wrong. Those two beliefs are that (1) higher wages reduce worker productivity and (2) higher taxation of top earners hurts the economy.

For supporting evidence, Hudson refers to readily accessible data and asserts his credentialed perspective on classical economics as founded by philosophers like Adam Smith and John Stuart Mill). And further, he makes an unexpected statement (to me at least) that doesn't sound completely outlandish: that modern free-market "neoliberal" economists have falsely co-opted Smith and his successors while ignoring major aspects of classical economics that don't fit neoliberal ideology. That's an argument I've never heard or read in either corporate-sponsored news media or public broadcasting. In fact, the first hint of that idea only came to me this morning when reading this blog post by Paul Krugman.

As a wildly alternate viewpoint on the timely topic of US wages and taxation---at least compared with Beltway conventional wisdom---Hudson's words express a general and consistent logic to my ears. Nothing he says strikes me utterly at odds with either reason or observable reality, and the sources he refers to can readily be checked by anyone with the time to look at public economic data and read a book or two by the founders of modern economics. You and I don't have that kind of time or intensity, though, so we have to rely on the interpretations of others, and fair argument between alternate viewpoints.

Before this afternoon I'd never heard of Hudson. More importantly, I'd never heard this particular point of view expressed with this level of clarity on the radio or any corporate-sponsored news outlet. On the rare occasions when a genuine liberal or progressive point of view is even examined on air, a competent spokesman for that point of view may not be present in the studio. And meanwhile, the mouthpiece for the standard neoliberal viewpoint---who happens always to be present---is allowed by the moderator to rebut the alternate perspective simply by branding it as "liberal" or "socialist."

It really doesn't matter whether you and I are persuaded by what Hudson has to say here. What does matter is that content providers are deliberately shielding news consumers from important, credible ideas that seriously challenge or even explain away the conventional wisdom that happens to be failing most ordinary working people today.

And I quote:

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"She has her head up her ass so much she might as well hang a makeup mirror in there."

---RubberCrutch, Champaign, Illinois (13 May 2011), discussing a sociopathic former program manager with the current one, who is now responsible for undoing 3 years' worth of damage done by the former one. Thanks for asking!

Friday after hours

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If memory serves me correctly, there is a birthday boy out there on the World Wide Web tonight (May 6) who isn't me, yet shares a birthday with those two international icons of love: the Eiffel Tower (1889) and Rudolph Valentino (1895). He has a number in his pseudonym, and this song is dedicated to him. "Blue Turk" is the touching story of a young man who gets all wound up on booze with a babe, and then discovers both delusional wicked delights and the true meaning of post-coital depression.



From one of my favorite albums, and not performed in a musical style that most people would associate with Alice Cooper.

Blue Turk, Alice Cooper (1972, from "School's Out," original LP release Warner Bros. Records BS 2623), via YouTube, embedded for noncommercial critical discussion and educational purposes.

Further wise sayings

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Direct from Cowboy Monkey, Champaign, Illinois, by RubberCrutch to his entourage:

"There are probably a dozen 58-year-old motherfuckers in here that look stupider than me!"

Wise sayings

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Direct from the Cowboy Monkey, Champaign, Illinois, by Rudy:

"Long face, deep throat." [Wise nod.]

Guantanamo grapevine

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As it turns out, nuclear blowback evidently has been discussed by US authorities as one possible retaliation mode in the event of the hypothetical---now real---capture or killing of OBL.

I don't claim any particular knowledge of international security issues, but it does seem farfetched to me that AQ, even with sympathizers in high places, could have a nuclear weapon deployed in Europe, let alone America. I can imagine no coherent "conspiracy theory" that would have US national security personnel turning a blind eye to this sort of infiltration even given the bale of unanswered questions and unresolved contradictions that linger a decade after September 11 itself. Many, many of those questions seem to plausibly address some kind of heinous untold story about that day. (You'd have to read the book to know what I refer to.) The idea of a foreign nuclear weapon being deployed on US soil doesn't remotely have the same ring of plausibility, conspiracywise. The same goes for Europe, I think, because their secret security agencies have been working the terrorism beat for decades.

Nevertheless, that leaves a lot of real estate in the world to cover. Anyone who thinks about it could come up with scenarios that involve, say, a corrupt Pakistan (with either an internal target or with India in the crosshairs); Iran (located in quite a target-rich region with a lot of US interests); and The Desert Kingdom itself (where it's apparently an open secret that radical members of the royal family have been financing AQ for a decade or more).

Sensational and speculative? Yes. But a nihilistic force with a sense of moral infallibility and no fear of death (i.e., insane by a reasonable person's standards) could concoct dozens of justifications for a paramilitary nuclear attack that would shred the global status quo.

All things considered, I think these idle speculations at least provide one more good reason why we should avoid celebrating the assassination of OBL with a Super Bowl party.

Now, this

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Today I read about a lot of celebrity Republican politicians---both of today and yesteryear---praising President Obama for "wisely" following the lead of George W. Bush's antiterrorism strategy in order to bag OBL.

Steve Benen of Washington Monthly has, in response, provided a nice collection of linked articles documenting the lack of concern Bush and ultraconservative personalities publicly displayed about OBL's whereabouts and significance dating back to March 2002. (!)

For a "bonus level," Benen throws in a link to a 17 April 2002 Washington Post story about bin Laden slipping through Tora Bora to Pakistan in December 2001 thanks (reportedly) to strategic cockups by Bush's Afghanistan operations chief, General "Tommy" Franks. I leave it to the reader to assess any potential relation between the 2001 Tora Bora failure and Bush's cavalier attitude toward OBL in 2002.

So, no: if you are among those who think the world is better off without Osama bin Laden, you owe precisely zero thanks to George Walker Bush for the terrorist's demise.

Yes, but what now...?

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Rudy, knowing that I don't have an antenna connected to my TV, called about 20:05 to tell me that Osama bin Laden was killed tonight. The news says bin Laden was killed by "US personnel," without mention of a drone, and his body is in US "custody." This happened at an Islamabad-area mansion---interesting place for OBL to be hanging out, by the way, but not that surprising. I wonder who gets to collect the reward.

A sampling of blog comments at HuffingtonPost shows how eager wingnuts and yoginis alike are to gloat in this event. They need to stop and think: bin Laden was a symbolic figure, not a strategic one. And now he's a martyr. A martyrdom is red meat to organizations and the Taliban, especially if there are bellicose infidel crowds assembling outside the White House gates chanting  U  S  A !   U  S  A !  and wagging giant sponge-rubber "#1" fingers at the sky.

Assuming that bin Laden was guilty for the planning and logistics of the September 11 attacks---and I guess it's totally unpatriotic and unwise for an American to not assume that, anyway---no normal US citizen will be sorry to see him go. But jingoistic glee is just plain stupid. This event does not cripple al Qaeda, and there will be blowback. Maybe on US soil. But certainly in Afghanistan and Iraq.. to US military and civilian personnel. So with that in mind, I hope our stupid media and politicians will show some circumspection and restraint.

Won't happen, because it's already not happening tonight as I listen to the BBC chat with US "experts." Good night.