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Ethel the Blog
Observations (and occasional brash opining) on science, computers, books, music and other shiny things that catch my mind's eye. There's a home page with ostensibly more permanent stuff. This is intended to be more functional than decorative. I neither intend nor want to surf on the bleeding edge, keep it real, redefine journalism or attract nyphomaniacal groupies (well, maybe a wee bit of the latter). The occasional cheap laugh, raised eyebrow or provocation of interest are all I'll plead guilty to in the matter of intent. Bene qui latuit bene vixit.

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Friday, May 26, 2000

GOT COKE?
Gov. Blow Monkey caught in an
unguarded moment.
posted by Steven Baum 5/26/2000 05:34:08 PM | link

BASEMENT TAPES
From spring through fall in 1967 Bob Dylan and the Band were in a recording studio in Saugerties, New York recording a very large numbers of songs. Nothing from these sessions was released until the official
The Basement Tapes double album set in 1975. Most of the songs on this official release were overdubbed or otherwise electronically processed from the original tapes, much to the consternation of Dylanophiles. This has led to the unofficial release of what are called the Genuine Basement Tapes, a five volume CD set of the original, unprocessed tapes from those sessions.

There are several theories as to why there was an 8 year delay between the recording session and the first official release, including:

  • Dylan and the Band were just having fun playing stuff they liked to play with no real plans to release anything;
  • Dylan just wanted some more exposure to his songs, a theory supposedly explained by his distribution of a 14-song acetate to recording artists around the world;
  • Dylan and the Band were rehearsing for an upcoming Woody Guthrie tribute at Carnegie Hall.
The author of the Genuine Basement Tapes Page - which includes a tune by tune description of the contents of all five CDs - offers another theory:
In 1967, Dylan and his manager Albert Grossman were in the midst of negotiations with MGM Records, who were very eager to sign Dylan to a long term contract, but (according to Robert Shelton's book) Dylan still owed Columbia fourteen songs. Now it could be an amazing coincidence that the original basement tapes acetate consisted of fourteen songs, but I doubt it. These fourteen songs make up the core of the basement tapes ...

I think Dylan and company were planning to release this material as Dylan's final album for Columbia before joining MGM. Partly because Dylan was still recuperating [from a motorcycle accident in which he had broken his neck] and deserved a rest, and partly because he just didn't care about delivering a professional studio quality recording, the songs were done at home in the most relaxed setting possible. As a result, Dylan recorded his greatest body of work.

So why wasn't this material released until 1975? The deal with MGM fell through (and they collapsed a few years later anyway) and Dylan had a new contract with Columbia, and so John Wesley Harding was released instead. The basement tapes songs couldn't go to waste, so they were sent out to various artists for demo purposes. But then why didn't Dylan just re-record the basement tapes songs with the Nashville musicians for John Wesley Harding? I don't know. Maybe by that time he was bored with the whole project, or maybe he still held out hopes of releasing a definitive Basement Tapes album.

I recently picked up Vol. I and, as a confessed Dylanophile and Bandophile, find it most interesting. The recording quality varies tremendously, and sometimes only partial tunes are recorded, but this is Dylan at probably the peak of his powers and with his finest backup band. As bootlegs go, this is one of the more famous and therefore also one of the easiest to find. If you want to snag a copy, then ask around in the obvious places while trying not to look like a cop.
posted by Steven Baum 5/26/2000 05:08:06 PM | link

EEP OP ORK AH-AH
One of the chief signs of my upcoming total mental breakdown is the frightening number of gutwrenchingly awful tunes that get stuck in my head on a regular basis (the most "memorable" instance being the Dick Van Dyke Show theme song bouncing around inside my cranium for a week). F'rinstance, the title of this entry assaulted my grey matter as I was peacefully and blissfully powdering my nose a few minutes ago. It - like so many painful things - originated in the late 60s to early 70s timeframe. Instead of the usual beer points, I'm awarding geritol points to whoever can pinpoint its origin without using a frigging search engine. If you've given up then check this list of
egregiously awful pop culture trivia Q&A for a clue.

It seems the driving out of that monstrosity has led only to it being replaced by a frequent visitor to my mental environs:

The pellet with the poison's in the vestle with the pestle,
The chalice from the palace has the brew that is true.
Non-computer aided recognition of this will get you geezer points. Cheaters and giver-uppers can find the appropriate information over at Quote Geek, a veritable cornucopia (or is that plethora?) of popcult quotes (although some sections like Airplane, Blazing Saddles and Life of Brian are mighty thin gruel and others such as MASH, The Critic and Duckman aren't there at all).
posted by Steven Baum 5/26/2000 03:44:24 PM | link

ZORN HIRED BY MUZAK!?!?
Most of
John Zorn's recorded output is - to be blunt - not for the uneclectic or uninitiated. To be blunter, I've got many oft-enjoyed albums in my over 2500 pieces of vinyl, cassetes and CDs that most would consider godawful noise, and I still have trouble getting into some of the Zorn disks I own. Yesterday (on another marvelous trip to Austin) I found a John Zorn album for those who hate John Zorn (indeed, one of the reviews of it on Amazon refers to it as "John Zorn you can play with your mom around").

Bar Kokhba - which gets its name from a Jewish freedom fighter who launched a revolt against the Romans in 132 A.D. - is a remarkable combination of jazz, classical and klezmer music that almost completely avoids the kind of avant garde experimentation that has driven many away from most of Zorn's previous output. This double CD set is part of Zorn's Masada project - begun in 1994 - in which he attempts to forge a new form of Jewish music, combining older Jewish forms such as klezmer and Middle Eastern music with other influences like jazz and classical. Under the Masada name Zorn has composed and recorded music in two distinct modes: as a quartet and as a chamber ensemble, with Bar Kokhba falling in the latter category (and with all Masada albums released on Zorn's Tzadik label).

The players - in addition to Zorn - are a who's who of the uptown New York avant garde jazz scene, i.e. they've all got chops to spare albeit a nearly common overfascination with the atonal. They include Mark Feldman on violin, Erik Friedlander on cello, Greg Cohen on bass, Marc Ribot on guitar, Anthony Coleman on piano, David Krakauer on clarinets, John Medeski on organ and piano, Mark Dresser on bass, Kenny Wolleson on drums, Chris Speed on clarinet, and Dave Douglas on trumpet. Hell, there are enough chops here to denude the Amazon basin in a two-hour jam session, but they're all on the same page as the composer.

Think of this incarnation of Masada as the result of a jazz big band and a classical chamber music ensemble mistakenly running onto the same stage 30 seconds before the curtain rises, grabbing whatever seats are available, confusedly glancing around at each other for a few seconds, shrugging, and getting on with it in a marvelously coherent manner as only supremely talented and confident musicians can. (Come to think of it, it wouldn't surprise me if Zorn had actually staged such a thing and recorded the noises of the musicians crashing together. That would certainly explain some of the film music.)

And after you get used to and start enjoying Bar Kokhba, you can move on to other and slightly less accessible Zorn, for instance the masterful The Big Gundown, a tribute to Spaghetti western composer Ennio Morricone. It's only fitting that one of the baddest mofo albums ever recorded should also have one of the baddest mofo titles (as well as cover photo). And if that still ain't enough, glom onto Spy vs. Spy wherein Zorn et al. deconstruct Ornette Coleman. If you're already familiar with Ornette, then you should feel a bit uneasy; and if you're not, then you should just be very afraid. As John Wayne once said after taking a huge gulp from a jug of white lightning: "This ain't for the young!"
posted by Steven Baum 5/26/2000 02:02:01 PM | link

NOT A MEASLY QUIFF-SPLITTER, THAT
In a
recent entry, I noted a collection of Mark Twain obscurities entitled 1601 and Is Shakespeare Dead? in which (in the first of the two pieces in the book) "Shakespeare, Sir Francis Bacon, and other luminaries sit around the Elizabethan fireside talking dirty." Twain not only wrote this in the dialect of the period, but also used the typography typical of the age. I've translated (well, half-way) the first part of the fireside chat. All this needs in the way of setting up is to note that someone has just released a whale of a chair-splitter upon the luminaries in the room.
The Queen: Verily in mine eight and fifty years have I not heard the fellow to this fart. Meseemeth, by the great sound and clamor of it, it was male; yet the belly it did lurk behind should now fall lean and flat against the spine of him that has been delivered of so stately and so vast a bulk, whereas the guts of them that do quiff-splitters bear, stand comely still and round. Prithee, let the author confess the offspring. Will my Lady Alice testify?

Lady Alice: Your grace, had I room for such a thundergust within mine ancient bowels, 'tis not in reason I could discharge the same and live to thank God for that he did choose a handmaid so humble whereby to show his power. Nay, 'tis not I that have brought forth such a rich and overmastering fog, this fragrant gloom, so pray you seek thee further.

The Queen: Mayhap the Lady Margery hath done the company this favor?

Lady Margery: So please you madam, my limbs are feeble with the weight and drouth of five and fifty winters, and it behooveth that I be tender unto them. In the good providence of God, had I contained this wonder, forsooth would I have given the whole evening of my sinking life to the dribbling of it forth, with trembling and uneasy soul, not launched it sudden in its matchless might, taking mine own life with violence, rending my weak frame like rotten rags. It was not I your majesty.

The Queen: On God's name, who hath favored us? Hath it come to pass that a fart shall fart itself? Not such a one as this, I trust. Young Master Beaumont; but no, 'twould have wafted him to Heaven like down of a goose's body. 'Twas not the litte Lady Helen - nay, never blush, my child; thou wilt tickle they tender maidenhead with many a mousie-squeak before thou learnest to blow a hurricane like this. Was it you, my learned and ingenious Jonson?

Ben Jonson: So fell a blast hath never mine ears saluted, not yet a stench so all-pervading and immortal. 'Twas not a novice did it, your good majesty, but one of veteran experience - else had he failed of confidence. I sooth it was not I.

Queen: Lord Bacon?

Lord Bacon: Not from my lean entrails hath this prodigy burst forth, so please your grace. Nothing do so befit the great as great performance; and happily shall ye find that 'tis not from mediocrity this miracle has issued.

Queen: What saith the worshipful Master Shaxpur?

Shaxpur: In the great hand of God I stand, and so proclaim my innocence. Though the sinless hosts of heaven had foretold the coming of the most desolating breath. proclaiming it a work of uninspired man, its quaking thunders, its firmament-clogging rottenness his own achievement in due course of nature, yet had not I believed it; but had said the pit itself hath furnished forth the stink, and Heaven's artillery hath shook the globe in admiration of it.

Sir Walter Raleigh: Most gracious majesty, 'twas I that did it, but indeed it was so poor and frail a note, compared to such as I am wont to furnish, that in sooth I was ashamed to call the weakling mine in so august a presence. It was nothing - less than nothing, madam, I did it but to clear my nether throat; but had I come prepared then had I delivered something worthy. Bear with me, please your grace, till I can make amends.

Who would have thought that so crude a topic could be handled with such taste and delicacy?
posted by Steven Baum 5/26/2000 10:31:44 AM | link

Thursday, May 25, 2000

FUTURE "BEHIND THE SCIENCE" CANDIDATES
We managed to snag the cover of this week's (May 25, 2000)
Nature with an article entitled "Neoproterozoic `snowball Earth' simulations with a coupled climate/ice-sheet model.' The cover, without the verbiage, looks something like this:
Snowball Earth
One of their staff writers has written a summary of it called Escaping the Big Freeze which, if you don't subscribe to either the hardcopy or online version, is all you're going to get to read about it. Seeing how newstand copies are $8, if you really want to read the thing you might want to hit your local library. And if anyone's genuinely curious, I'll even try not to be superciliously glib about answering questions.
posted by Steven Baum 5/25/2000 11:25:13 PM | link


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