Lana Del Rey on Saturday Night Live

I first stumbled across a link to Lana Del Rey’s Video Games video in… I guess June of last year. That’s only a little more than six months – an eon on the hyped up internet world of mass entertainment. I was immediately hooked by the quirky vocals and grungy video. I really couldn’t say it was good… but it was different – and I liked it. I liked it enough to waste a blog entry on it (and now I’m doing it again).

Back then, very few folks had heard of her. I posted a link to my blog on her facebook page, she commented a thank you. But there was an undercurrent building on the internet. My blog entry was getting a steady stream of search engine hits.

A bunch of Nick’s friends were at the house with a laptop hooked up to the 65 inch screen in Club Lee so I had them scoot to YouTube, watch and listen. They hated it. It was way too slow and lugubrious for their youthful taste.

Over the last month, several of them have told me that Lana Del Rey was going to be on Saturday Night Live. The funny thing is, they deny telling me they didn’t like the song.

So for the last few months I’ve watched while Lana Del Rey blew up. She became big in Europe, then signed a record deal with Interscope, and now she has passed the hurdles, was on SNL last night, and will be on the cover of every major music rag/mag as one of the hottest things for 2012.

What I have been enjoying the most has been the (inevitable?) backlash against her apparent inevitable success (I think she is the first artist to appear on SNL without even having a record out). I can understand someone not liking her music (it’s odd and she’s not a very good singer) but that is not even mentioned. It seems the reason that the blogs can’t stand her is:

A – her real name is not Lana Del Rey, and

B – her father is very wealthy, and

C – her looks – she looks good but her lips are too big (injections?)

I’m sorry, but none of these things means much to me. I don’t care about her “street cred” or anything like that. I don’t even care about her looks. Lana Del Rey is obviously a creation of somebody, maybe Elizabeth Grant, maybe a team of highly-paid publicists… probably both.

What in popular music is not something totally artificial? If she is a little more plastic, a little more out-front with the image, a bit more calculated… so what. I like the songs. They are different. That’s enough for me.

So?

The question is… how did she do on SNL? The answer is terrible. She doesn’t look like she is used to performing in front of a live audience and her two songs were strange and awkward. Actually I knew she would be bad.  Her act is not one that is suited to the SNL format – she is not active and out there enough. Even the Huffington Post thought she bombed.

Of course, if you look through the negative reviews… they keep referring to the same people. I like stuff that is different. I like stuff that isn’t so polished. I like someone that acts as if she just realized she is on live TV in front of millions of people singing songs that they are simply not prepared for. I like something that isn’t Autotuned to death. I like to see someone that is out there knowing that the long knives are all out.

Did you watch it and think she sucked? Good for you.

Video Games was her first song and I still really like it, but it doesn’t come across live like it does on the video. I thought the second song, Blue Jeans went a little better, I thought – it has more life than the monotone mood of Video Games and gave her a bit more to do.

So am I disappointed? Hell no. I thought it was enjoyable… if it wasn’t what everyone expected… so much the better. It was different, and that counts for a lot, in my book.

I remember the first time I saw Saturday Night Live. It was October 25, 1975, the third show, with host Rob Reiner. The new show wasn’t getting any promotion and really, nobody knew anything about it. This was my sophomore year at Kansas University. Back then, a large group of us would get together on Saturday nights, pile onto a friend’s waterbed and watch Monty Python on a tiny black and white television (none of us had any money to go out or do anything more interesting). There were two episodes back to back on two different PBS stations (from Topeka and Kansas City). After Python was done, someone started flipping channels to find something else to watch and I remember yelling, “Hey there’s Joe Cocker… lets watch this,” so we did.

It didn’t take long to realize that this wasn’t Joe Cocker… it was Belushi doing Joe Cocker, and before long he was thrashing around on the floor in an epileptic fit. It was fantastic. So, from then on, we would all pile onto the waterbed and watch Monty Python and Saturday Night Live.

Everyone is familiar with the ups and downs of the show over the decades. I have slowly lost interest… last night was the first time I’ve watched SNL in at least three years.

Even if Lana Del Rey’s performance wasn’t the most polished and dynamic I’ve ever seen, she was better than that weird British teenager that was the host.

WordPress Blogs on her performance:

Takedown of the Day

Lana Del Rey’s SNL Performance Painful To Watch

In defense of Lana Del Rey

Lana Del Rey on Jools Holland (where she did really well live)

Sunday Ramblings

Bu kızın adını çok duyacağız…

Lana Del Rey Comes To ‘Saturday Night Live’ And Leaves Controversies Behind

A Few Artists to Watch For

Let’s Talk About Last Night’s SNL

Musical Ladies of 2012

3 Female Buzzbands I Don’t “Get”

For the Love of the Genre

Fabulous Cover: Lana del Rey, Intervention Russia

Quote of the day, 1/15

Eight Female Singers Who Caught My Imagination In 2011

Balmorhea

I recently discovered this band, Balmorhea… Their music is fantastic, it reminds me of Lucovico Einaudi – and they are named after one of my favorite places in West Texas.

When we first visited Balmorhea, it was like the start of this video – we were crossing the blasted desert looking at the red tornados of dust devils. Suddenly, there was a dive shop, and then the incredible pool of San Solomon Springs.

I wrote in July of 2000:

We drove the Interstate to Pecos and then turned south towards the distant blue wiggly line of the Davis Mountains. Watching the mountains grow, we drove through the most isolated and blasted looking territory yet. Nick and Lee were delighted by the enormous dust devils that the sun spawned across the desiccated fields. Looking like brick-red tornadoes these wandered across the flatlands. We drove through one and it was powerful enough to worry me about the trailer pulling behind, but it only gave the van a good shove and didn’t cause any real problems.

It was an easy drive and by mid-afternoon we arrived at Balmorhea. The park there is an oasis in the desert edged up against the foothills of the Davis Mountains. The rain that falls in the highlands percolates down and emerges from an artesian spring, cold and clear. Back in the thirties, the government took the wild spring and built a gigantic Y-shaped concrete swimming pool. The parks boasts the swimming pool, a nice little hotel, a recently constructed desert wetlands – the San Solomon springs Cienega (labor supplied by the Texas Department of Corrections) that provides habitat for two endangered species of tiny fish( the Comanche Springs Pupfish and the Pecos Gambusa), and a loop of nice little campsites each with its own quaint little fake-adobe shelter.

A quick sketch I made of the Balmorhea campsite.

Nick at Balmorhea, in July of 2000

Nick jumps off at Balmorhea, eleven years ago.

I had one of the most frightening experiences of my life the next day at that pool in Balmorhea.

From my journal, July 3, 2000:

We came back down to Balmorhea in the late afternoon and decided to go swimming. We talked to Lee about his fear of the fish in the pool and, as I suspected, it was mostly that he was tired and hungry yesterday. Some rest and some food and he was ready to hit the water.

He didn’t really do any swimming. What he preferred to do was to put on his goggles and stretch across his inflatable inner tube and let me swim and pull the tube around the big pool. He’d take a deep breath and stick his head into the water and look at the bottom. The pool is very large and there was a lot to look at. He would have requests like, “Swim me over to that end,” or “let’s go out to the deep part,” and I’d oblige. He’d plunge his face and come up with a report of what he saw: a school of fish, or some rocks, or a turtle, or a place where some kids had inscribed their names into the algae growing on the bottom.

After the crowded holiday that day before, only a handful of swimmers and some scuba divers were there. As I pulled Lee around Nick dove off the high board and swam until it was his turn. Lee wrapped in a towel and walked back to the campsite. Nicholas put on his goggles and I started swimming him around on his tube. We went into the deep end to try and spot the place where the copious flow of water erupted in a bed of white bubbling sand.

We came up against the stairs on the far side. I was getting tired and cold, the spring water is very chilly, it was late, I’d been swimming a long time and it was taking its toll. I asked Nick if we should walk back, around the pool or swim across. We did have his inner tube – I felt confident we could make it across one more time. We decided to swim. It was a mistake.

Nick looped his goggles around one shoulder and took hold of one side of the tube while I grabbed the other and we started to swim. Not too far from the side, but at the deepest part, maybe thirty feet deep, Nick called out, “Oh, oh, there go my goggles.” In retrospect I should have let them sink; but I took a big gulp of air and took off underwater, diving as deep and as quickly as I could. Maybe twenty feet down I saw a sinking orange blur, frog-kicked over to the goggles and grabbed them. Then I swam back up to the surface.

When you start reaching well into your forties, like I am, there is a fundamental change in the relationship between you and your body. What has been a good friend over the years, a partner, something you are… well, attached to – suddenly turns traitor. Abilities you have taken for granted for decades disappear. No one tells you about this. As a youth I could swim underwater with the ease and comfort of walking across a field. I took this for granted, the ability to hold my breath, come up for air and refresh myself. I discovered tired, and cold, and old, and fat… this is no longer true.

When I came up and handed Nicholas his goggles and put one hand on the inner tube and started kicking and swimming I realized that I was not going to be able to catch my breath. It came on with awful speed. No matter how hard I tried, my breathing became more and more labored, shallower, moving my arms and legs in the cold spring water was becoming extremely difficult.

It was horrifying.

With amazing clarity of thought, I knew I was not going to drown. I did have that inner tube for a float, even though I was rapidly becoming so weak I could barely hold on to it. There were some scuba divers in the pool that had finished diving and were sitting on the steps talking over the day’s sights and I knew I could call to them and they would haul me out of the pool. I came within a hair’s breadth of doing that.

The main fear I had was I thought I might be having a heart attack. I had never felt like this before. There was no pain, but I simply could not breathe, I could not get enough oxygen into my body to keep my arms and legs moving.

I don’t know what Nicholas thought, holding on to the other side of the inner tube, my son’s face only a few inches from mine. I must have scared him a little because I know I was flopping more than I should, trying to hook my arm into the tube and was unable to get it done. I didn’t want to frighten him unnecessarily so I kept my rising fears to myself.

Slowly, we continued to move across the wide pool, and finally I was able to reach down with a toe and touch the bottom. That didn’t help as much as you’d think because I was too weak to stand in the water and the energy used to hop and get my face above water made my breathing more impossible. Finally, the floor became shallower and shallower and before I knew it I was on the steps.

I released the tube and the brisk wind blew it away. “Could somebody get that please,” I asked, and a scuba diver caught it with a couple strong sure strokes and brought it back to me.

I didn’t have to sit beside the pool for very long before I felt fine. The fear and panic quickly drained away and left me with a slight elation even though I was still a little tired. I told Nicholas to take his towel and walk back to the popup at the campsite, I’d catch up in a minute.

Looking back on it now, I realize what I was feeling, in addition to simple exhaustion, was hypothermia. The spring water was cold and I had been in it for hours. There had been no pain, but I had felt a thin sliver away from death.

Walking slowly back to the camp, enjoying the last purple glow of the set sun, following the channels that the water followed as it coursed out of the pool, roaring down the irrigation ditches on out of the park, I felt fine. But the memory of those minutes of fear, the feeling of helplessness and drowning, are still with me. I had never felt like that before and I don’t look forward to feeling like that again.

Scopitone

The last few weeks, whenever I would sit down at the computer – dipping my toes in the very shallow edge of the warm and wild sea of the internet – looking for youtube videos of old and tacky musical performances – I kept coming across the word “Scopitone.” A lot of musical chintz, commercial pop from the early sixties, especially stuff from Europe…

Some of the best (and worst) of it had the word Scopitone floating above the tawdry grin and shabby outfits, grainy film-transfer, inane and incongruous background singers, and abysmal dance routines. I assumed that Scopitone was a brand, or a record label, or something else rooted in the second-rate musical world of the time. I was right about that, I guess, but it wasn’t until a few days ago that I stumbled across what Scopitone actually is.

It is a machine. A musical video jukebox of the time. MTV for the sixties. An Ipod of the day, the size of a refrigerator.

A Scopitone Machine

A Scopitone is a way to pay to view sixteen millimeter films of the stars of the day. The short musical films were stored on reels inside the complex mechanism and delivered up for view on a dark, dim, blurry screen atop the contraption while the sounds, carried on an innovative magnetic track beside the filmstrip, bellowed out of tinny, static-filled speakers.

The Scopitone was developed in France after World War II. The story is that two French engineers built the prototype projector from a 16mm aerial spy camera and used other leftover war equipment for the mechanism. It was very complex and wasn’t perfected until the late 1950’s. I can’t imagine the difficulty of building a mechanism to automatically thread and rewind a pile of 16mm film reels, all in a portable machine the size of a refrigerator.

The interior mechanism of a Scopitone

The machines were mostly placed in loud, noisy, crowded bars full of desperate drunken young men. That is why so many feature skimpy outfits on skinny starlets, shimmying whatever it is that they’ve got for the three minutes or so the song spends wearing itself out.

A classic Scopitone – Neil Sedaka with Showgirls. (Is Miss June Barbara Eden?)

I love the idea of these whirring, clanking, clumsy mechanical marvels competing for spare change with the stale pretzels on the bar. What pitiful echoes of sophomoric erotic thoughts would course through the alcohol-fueled young minds while viewing something like this:

The only thing stranger that the short success of the Scopitone is the fact that these films are still around today. You can buy DVDs. There are blogs dedicated to them. I can go online, type Scopitone into the youtube search field and my screen fills with a list of hundreds of these ancient artifacts. Is it stranger that they are available… or that I actually like to look at them, or even write about them.

Oh well. It is what it is.

This is actually a great song. But why are they singing to a bear?

This one is straight from a burlesque show… and I remember the Dean Martin James Bond spoof of the same name. Did the song come first?

Have to have one with dancers wearing fringed bikinis.

This is the most heartfelt song I’ve ever seen that involved women in bikinis playing skee-ball. “Hey Kids! Play with Peppy”

Always had a soft spot for instrumental “twist” music.

Most of the Scopitone music is obscure and second-rate – but this is one of the best songs of all time… and an interesting visual of the time

And of course, Bang Bang

Natural Born Essentialists

I have never bought anything from iTunes. It’s not that I have any sort of prejudice against iTunes… it’s simply that I have never gotten around to it.  Today though, exhausted, with my mind grinding through blank after blank, I stumbled across a song for sale on iTunes, 99 cents, that I think I would like to buy.

Have I ever heard this song before? Well, I’ve heard it very many times, though not by the same artist. I have made this same piece of music myself, as a matter of fact. My version of the song is so similar to the famous artist’s version that I can guarantee that nobody, no matter how trained and delicate their ear, could tell the two versions apart.

I am writing about the famous modernist composer John Cage. The work I’m looking at on iTunes is his most famous work, composed in 1952. Cage stated that it was, in his opinion, his most important work.

I am writing about 4’33” – which really is available on iTunes for  99 cents. The piece consists of three movements – the first is thirty seconds long, the second two minutes and twenty-three seconds, and the third one minute and forty seconds. The score instructs the performer to take out his instrument (it can be played on any single or combination of instruments… I suppose there even could be a version for voice) and to simply not play anything for four minutes and thirty three seconds.

It isn’t really four thirty three of silence. There is never really any silence. Believe me, I know. If I could buy four minutes plus of absolute silence whenever I wanted it… that would be something I would pay dearly for.

So why don’t I switch over to Windows and get out my credit card and burn out my ninety nine cents? It’s because I understand there is a remix out there somewhere. Like all proper remixes it’s the same music extended with more subtle exploration of the theme from a different point of view. And you see, I understand that the remix is four minutes thirty eight seconds long. That’s five more seconds for the same ninety nine cents.

You know I’m a cheapskate. That’s a better bargain and I’m going to hold out for it.

And I’m worried too. Peggy Isaacs writes about the awful tradition of cheesy remakes of classic entertainment. What if somebody remakes 4’33”? What if there is a rap version? What if they do it on Glee? It wouldn’t be right – it would ruin the whole thing for me and I would have wasted my hard earned 99 cents.

These difficult decisions. I think I’ll go to bed.

I learned about this piece and many other interesting things from this TED lecture. Spend the time to listen, it’s especially entertaining. It’s the kind of thing you will like if you like that kind of thing.

Paul Bloom talks about the amazing and confounding pleasures of everyday life.

Anvil!

Anvil!

Anvil!

I’m trying to get everything back into some sort of order (back? Like it ever was) but it seems hopeless. I did a twenty minute idea Pomodoro and easily filled four pages with stuff I need to get done. Even my Netflix is out of control. I have disks hidden under unread books and my queue is so overgrown and unwieldy that when a movie arrives, I stare at it in confused disbelief, wondering why I put it on there in the first place. Still, if it comes, I have to watch it… don’t I? I mean, you can’t just send them back, unseen.

Anvil

Album Cover - Metal to Metal by Anvil

So today, I sat down at my secretary and watched a Netflix disk, Anvil! The Story of Anvil. I have no idea why I requested it, no memory of where I heard of it, but it was good…. very good.

It is a documentary of a heavy metal band, Anvil, formed by two nice Jewish boys from Toronto. They had a tiny taste of some hair band success in the eighties, are cited as an influence on some much more successful bands such as: Megadeth, Slayer, Anthrax, and Metallica, but otherwise have been toiling in obscurity (not relative obscurity… but real obscurity) for thirty years since.

Lips, the lead singer, delivers catering packages to small schools, the drummer, Robb Reiner (not Meathead… not the director) appears to work odd construction jobs – the other, less senior band members seem to be homeless people.

Forever the victim of bad breaks and worse management – they take vacation and go on a disastrous five week tour of Europe culminating in a grand concert in Transylvania where 174 people show up at a venue that holds ten thousand. They never get paid for anything. Their dysfunctional tour manager completely wrecks everything up – but back home after the tour they still play at her wedding reception (of course, she married the guitar player).

The movie plays a lot like a real-life Spinal Tap – even to the “Big in Japan” finale. There are some obvious nods to the famous mockumentary – if you look close, there is even an amp that “Goes up to eleven.”

They struggle in futility. Lips says, “One of the main reasons that Anvil hasn’t really gone anywhere is that our albums have sounded like crap.” Robb Reiner shows some talent as a painter. I like his landscapes… but am not a big fan of his study of a German ledge toilet. Lips tries to make an extra buck as a telemarketer at a shady sunglass company run by a fan of the band, but he realizes he is too nice a person to sell crap over the phone.

What makes Anvil! worth watching is the human side. These two guys have stuck it out for thirty years of abject failure in their careers and still are hammering it out. I think the point where you realize the humanity contained in the story is the scene where Lips’ older sister loans them the money to go to England and record their thirteenth album. It’s really their last chance, she knows it’s going to fail (and I’m sure she can’t really spare the cash) but she also knows she has no choice. He may be a loser heavy metal wannabe in his fifties… but he’s still her little brother.

Anvil Album Cover

Anvil Album Cover

Casting the Runes

The other night, I couldn’t sleep, walked out to the living room couch, and switched on the television. Hoping to find something relaxing I cruised the digital cable channels (a bad habit of mine) until I stumbled across a movie about to begin, way up in the five hundreds, that looked interesting.

It was called Curse of the Demon (British title Night of the Demon [better, huh]) and was supposed to be a minor classic of British horror filmmaking. Though it is very British in style, it starred Dana Andrews. Whenever I hear that actor’s name I think of the line from The Rocky Horror Picture Show, “Dana Andrews said prunes gave him the runes, but passing them used lots of skill“. I didn’t make the connection at first.

The Monster from Curse of the Demon

The Monster from Curse of the Demon

Thankfully, the movie didn’t take long to get going; in the first few scenes a man walking down a road at night is pursued by a demon that knocks down some handy power lines and then tears the poor victim to pieces. The final few seconds of the rubber mask looking thing was silly in a late-night television sort of way, but the first appearance of the demon was really excellent and chilling, brilliant.

The movie continued and it was good. Very well done, very British, dated a little, but not too much… just right actually. Exactly what I wanted to see. I was relaxed, watching when something really caught my ears. It was during the mandatory seance/hypnosis scene (Mandatory in all quality black and white horror films) when the man under the trance suddenly shouted out, “It’s in the trees… It’s coming!” It’s always fun when you unknowingly stumble across the source of a sound sample from a familiar and beloved piece of music. That clip, “It’s in the trees… It’s coming!” is, of course, the opening sample from Kate Bush’s Hounds of Love. Greatness.

After the film ended (complete with Hitchcockian maneuvering over a slip of paper in a train compartment and a final appearance of the demon as comeuppance) I was interested enough to do some snooping of my own. I found that the film was loosely based on a short story, Casting the Runes by M. R. James. That, of course, helped me realize that Dr. Frankenfurter’s lyric, “Dana Andrews said prunes gave him the runes, but passing them used lots of skill” was taken from the film/story.

I checked the Richardson Library and found they had a book of James’ short stories with Casting the Runes, so I checked it out. The short story is creepier than the movie, by necessity more trim and compact, with a couple of efficient horrifying scenes (the kid’s party, the mouth with teeth under the pillow). I later found an online version of the story here.

It's in the trees! It's coming!

It’s in the trees! It’s coming!

Late night black and white British horror movie, sampled by Kate Bush for her classic album, referenced in Rocky Horror, inspired by slick little short story sitting on my library shelf – one of the thousands upon thousands of unknown books… in the SF section no less. Now it’s time to go to bed.

A really well done YouTube Video Combining scenes from Night of the Demon with Kate Bush’s Hounds of Love.

The Judy’s are on YouTube

1982 – I was excited. A bunch of cow-orkers and myself had tickets to see the B-52s. The venue for the post-punk, new wave show was a strange place called the Wintergarden Ballroom on John West Road in East Dallas. The cross street was Dilido – the worst name for a street, ever. The building is still there, it’s a factory that makes raised flooring for datacenters now.  I had seen Devo at the Wintergarden a few months before.  If memory serves, there were only a few rows of seats, almost everybody stood – which added an intensity to the shows.
A ticket to Devo at the Wintergarden

A ticket to Devo at the Wintergarden

We were all there, I was very excited. The B-52s had really meant something very special to me after I had had an epiphany while hearing Private Idaho on a car radio at three in the morning driving hell bent for leather somewhere in the vast expanse of the Kansas Flint Hills.

The warm up band came out. It was a Houston based trio named The Judy’s. I had never heard of them. They started to play.

I can’t remember anything about the B-52s that night. But after almost thirty years I think I know and remember every song in The Judy’s’ set.

They simply blew everybody away. It was incredible.

They might have seemed like a novelty act. Dressed in some sort of obscure uniforms (Milkmen?) they played strange instruments. The keyboard player used a child’s toy piano, often holding it on his shoulder. The drummer mostly beat on a string of pots and pans hanging from a stand. They made use of a static filled television to provide an odd harmony.

But they were not a novelty act. The music was unlike anything anybody had heard before (or since), but it was unquestionably great. The audience didn’t leap about or dance (much) – they stood there stunned, swaying, enthralled by what we saw on the stage.

It was special. The funny thing is, talk to anybody who saw The Judy’s back then, they will tell you the same thing.

I guess the Judy’s were the prime example of a local hit. They were worshipped in Texas. The Talking Heads opened for them in Houston.

They got a lot of airplay on George Gimarc‘s seminal radio show back in the day. I remember waiting on line at the Granada Theater for a midnight showing of Shock Treatment (the awful sequel to Rocky Horror) when The Judy’s’ Guyana Punch came on somebody’s cassette boom box. The line went nuts and made him rewind and play it over and over.
Washarama

Washarama

I bought vinyl copies of Washarama and Moo.
Moo

Moo

Everyone assumed they would be a big hit – but they slowly drifted into obscurity. They pretty much disappeared, except in the minds of their fans from back in the day. I guarantee that none of us ever forgot them.

And now they are on YouTube. And their music has been pressed into CDs. Now, where’s my wallet, where’s my credit card.
The Judy’s live in 1981 singing their quintessential number – Guyana Punch
My favorite Judy’s song has always been Her Wave. Here is that song from the same 1981 show.
I don’t know how I missed this: they played at SXSW in 2008. Man, I wish I could have been there.

This is truly the best of all possible worlds.

Radio Paradise

Radio

Radio

Internet radio is a gift from the gods. I mean it, isn’t it amazing that this music can come out of the ether? And it follows  you around, were ever you go.

I have tried out a thousand Internet radio stations but I keep coming back to one, Radio Paradise. Right now, I’m at the library after work, listening to it on my laptop (yes, very good sound-isolating headphones, of course) trying to get some pages hammered off in one window, radio paradise in another, and this procrastinating tripe in a third.

Day after day, I’ve fallen into the bad habit of coming home from work and collapsing. To try and put that vice to rest, I’m going to stop off at the library on the way home. I guess I can fall asleep at this little cubicle, but at least it will be uncomfortable and I’ll drool and such – can’t snooze too long.

Back to Radio Paradise… over the last few years I have found so much great new music from their programming. It’s a great mix of old and new, popular and obscure (leaning toward the new and obscure) – mostly not too upbeat, but not too downcast either.

I love it when I can play it while I sleep and wake up to some mysterious music pouring and bouncing through the dark room.

At home, I’ve been playing around with the Roku Box and found something really cool. Radio Paradise has a channel on the box and while it plays the music it displays a series of HD still images. You can watch it here on your computer screen – but it is really something nice on a big screen HD television and sound system.

This truly is the best of all possible worlds.

Make it or Break it

45

45

What you got back home, little sister, to play your fuzzy warbles on? I bet you got little save pitiful, portable picnic players. Come with uncle and hear all proper! Hear angel trumpets and devil trombones. You are invited.

—– A Clockwork Orange

When I first started to listen to music, a 45 RPM record cost ninety-eight cents. I had a dollar a week coming in and would eagerly await a trip to the record store to buy my music single. They had little booths that would let you listen to your prospective purchase, but I never would. I had been listening to the top-40 all week and would already have my mind made up. . Actually, the new national top-40 came out on Friday. Every night would be a local top-ten. I was fascinated by how much more volatile and responsive the nightly list would be – dominated by call-ins. That nightly snip would whet my appetite for the Friday countdown. Friday night, I’d think about it and make my choice.

On Saturday I would march right up to the big display – four columns horizontal, ten rows vertical, forty numbered slots – and snatch out my selection – march right to the counter and pay.

These were the days of battery-powered record players. The days of taping pennies to the tone arm to keep a scratched, overplayed, worn-out, favorite record from skipping.

Somehow, from somewhere, maybe a garage sale, we bought for a couple of dollars a huge stack of used, abandoned forty-fives – old stuff, no sleeves, just a stack-o-wax. We spent a day down in an unfinished basement with those platters and a pitiful, portable picnic player. One by one, we would cue up a record and within a few seconds after the tinny music began to eke out of the cheap speakers we would shout, “Make it or Break it?!” Inevitably, the choice would be “Break it!” and we would sling the sub-par disk against the concrete wall, shattering it into sharp shards of useless grooved vinyl. By the end of the day we had an impressive pile of ex-music.

The only platter that survived was 96 Tears, by ? and the Mysterians. It was addicting right from the start, so it survived. That heroin Farfisa organ.

Over time, later,  I played the hell out of that record.

I would see that band live decades later (1984) in a reunion double-bill concert with Joe King Carrasco at the Arcadia in Dallas. It was an evening of absolute off-the-hook greatness. I think that may have been the high-water mark of Western Civilization.

I feel guilt, to this day, over our lunatic day of Make it or Break it. I took so much from the single survivor. Looking back, I wonder what wonders were in those records we smashed. How much early rock or rockabilly or other classic stuff. Oh well, easy come, easy go.

Lana Del Rey

I have a new favorite song, Video Games by Lana Del Rey.

Good Stuff. Really good stuff. The song has a lilting laconic hook to it which, coupled with the heartfelt, provocative lyrics make it irresistable. The lush orchestral arrangement adds a bit of nostalgic contrast that is very welcome.

Love the video too. I wonder what game the exploding Eiffel Tower at the begining is from?

Another one of her songs, Kinda Outta Luck, is different, more of a pop gangster bit of fluff with fun edgy lyrics – Is it wrong wrong that I think it’s kinda fun when I hit you in the back of the head with a gun?

Love the Film Noir stuff in the video.

The only problem is I can’t figure out how to buy any of her music (either under Lana Del Rey or Lizzy Grant). She had an album out at one time, but I can’t find it. All I have so far are the youtube videos.

For now, that’ll do. I’ve been working on a time management thing called the Pomodoro Technique. I’ll write more about it some time later, but the basic premise is you use a kitchen timer to work for twenty five minutes, then take a five minute break. I keep a list of favorite youtube music videos to watch in my little mini breaks – and Video Games has moved to the top of the list.

That’s a nice break offsite when I’m writing (that’s where the Pomodoro thing is working best for me) but it doesn’t cut it at work work. The whole break thing is not something that’s easy to pull off. There’s an old Dilbert Cartoon where he is told, “Job satisfaction is the same as stealing time from the company.” You have to at least appear to be slaving away at all times or else you are not earning your wage, and in this best of all possible worlds, that is not acceptable. There are starving kids in Africa that would love to have your job.

In one of her interviews, Lizzy Grant refers to herself as a “Gangster Nancy Sinatra.” In honor of that, here’s a real Nancy Sinatra video – another one I watch sometimes during my Pomodoro breaks.

This is her first television appearance, on Jools Holland.

And another new version of Video Games

From the same venue, Blue Jeans