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Mar 17 2010
Let’s get H. R. 4789 passed!
H. R. 4789 is so simple and makes so much sense that corporate Dems will stumble all over themselves trying to sweep this pesky bill under the rug and pretend it doesn’t exist. This bill is only four pages long and within two days has gained at least 50 co-sponsors as well as more than 25,000 signatures on a mass e-mail petition.
Would you like the option of buying into Medicare at any age, at cost? This bill, if passed, would not require one iota of support from taxpayers. War hawks should be reassured since this bill would not divert a single penny that is currently being used to blow up innocent people on the other side of the globe.
Rep. Grayson eloquently explains this bill on the video that follows…
The site to sign the related petition can be found here.
Since the corporate media will bury this story, we need to notify everyone we know, even those friends, relatives and acquaintances who reside on the other end of the political spectrum. A bill such as this should be politically neutral, at least in a rational world. How could anyone not support a bill allowing any U. S. citizen to buy into Medicare at cost, that is, unless their entire retirement savings is concentrated in a portfolio of health care companies?
This writer is attempting to contact his U. S. Representative, who says he’s a Democrat, but is actually a Demopublican or a Republocrat. My representive would probably be misleadingly referred to as a “Centrist”, which raises the question, if he (and Baucus, Nelson, Lincoln, Bayh, etc.) are Centrists, then who, exactly, are the other Dems who are more further from the left than these turncoats? If truth in advertising regulations were to apply, the term “Centrist” would refer to a so-called Democrat who would philosophically reside at the center of the opposing party.
Conveniently, this Representative’s line is busy, although callers are prompted to leave a voice mail message or send an e-mail. This writer will keep trying to reach someone live on the other end and request a written response to the question as to whether he is willing to become a co-sponsor of this bill and/or whether he would be willing to vote in its favor.
Sorry, this essay is not as well written as it should be, however, it seemed that getting this message out as soon as possible was more important that turning in something an English teacher would find acceptable.
Mar 13 2010
Original v. Cover — #16 of a Series
The featured song this week, written by Eddie Floyd and Steve Cropper, is certainly one of the more versatile selections included in this series to date. When first released in 1966, it rose to #1 on the Hot Soul Singles chart.
In April, 1979, a disco version enjoyed success on both sides of the pond, rising to #1 on the Billboard Hot 100 charts (and #6 on the U.K. Singles chart).
This durable song would appear on the charts again in 1984, in an unlikely location, rising to #29 on the Billboard Hot Country Singles charts.
In addition to the preceding, this high energy number has been covered by an impressive list of accomplished and well-known artists.
Mar 07 2010
If You Do Nothing Else Today…
Some or maybe most of you have long been familiar with Declan Galbraith and his important work. If so, please accept my apologies for recycling old news. In the event that you may have missed this as well, please take a few minutes to consider his thought-provoking and heart-wrenching message.
Somehow this young man’s considerable talents had escaped my attention until this morning, when a dear friend sent the video along via e-mail.
Declan composed and performed “Tell Me Why”, his first single, on December 9, 2002, ten days shy of his eleventh birthday. The video, first posted on youtube on January 31, 2008, has since been viewed more than a quarter million times.
The following paragraph, courtesy of wikipedia, provides the following information…
On December 9th 2002, the largest choir in history, drawn from all parts of the UK and Ireland, joined Declan to sing ‘Tell Me Why’ for a Guinness World Record. The event was organized by ‘Young Voices in Concert’. Funds from the record-breaking attempt were donated to the Sargent Cancer Care for Children.
After perusing this video, if you’d like to learn more about Mr. Galbraith, you can find it here.
When you watch this video, particularly for the first time, please carefully consider the meaning of his lyrics, which, helpfully, are superimposed on the screen. Please imagine yourself being asked this same question, and contemplate what your answer might be. Rather than launch into any further introduction, I will simply invite you listen to what this young man has to say…
Feb 26 2010
Original v. Cover — #14 of a Series
For many across the United States, this has already been a long, cold, lonely (for some) winter, as described by the Beatles in “Here Comes the Sun.” The unpredictable, but hopefully transitional month of March awaits us on Monday, the flip side of this weekend. This will be the last time the month of March begins on a Monday until the year 2021.
March tantalizes us with diminishing darkness, artificially enhanced by the arrival of daylight savings time on March 14th, and gradually, but erratically warming temperatures. It has oftentimes been a blustery month, typically punctuated by sure signs of an early spring, budding trees and blooming flowers, all too often followed by an occasional unwelcome blizzard, temporarily burying these hopes beneath a heavy blanket of snow.
History reassures us that our weather will indeed change during the month of March. This can be illustrated by reviewing March weather at our current population center of the United States, which is located 2.8 miles east of Edgar Springs, Missouri, as determined by the 2000 census. One might ask if the recent ascendance of nearby Branson as a tourist destination was a coincidence? This location will likely change following the completion of the 2010 census, but during the 20th century, this point migrated 324 miles to the west and 101 miles to the south. Significantly, 79 of the 101 miles of southward movement occurred during the second half of the 1900s.
Feb 26 2010
Original v. Cover — #14 of a Series
For many across the United States, this has already been a long, cold, lonely (for some) winter for many in the United States, as described by the Beatles in “Here Comes the Sun.” The unpredictable, but hopefully transitional month of March awaits us on Monday, the flip side of this weekend. This will be the last time the month of March begins on a Monday until the year 2021.
March tantalizes us with diminishing darkness, artificially enhanced by the arrival of daylight savings time on March 14th, and gradually, but erratically warming temperatures. It has oftentimes been a blustery month, typically punctuated by sure signs of an early spring, budding trees and blooming flowers, all too often followed by an occasional unwelcome blizzard, temporarily burying these hopes beneath a heavy blanket of snow.
History reassures us that our weather will indeed change during the month of March. This can be illustrated by reviewing March weather at our current population center of the United States, which is located 2.8 miles east of Edgar Springs, Missouri, as determined by the 2000 census. One might ask if the recent ascendance of nearby Branson as a tourist destination was a coincidence? This location will likely change following the completion of the 2010 census, but during the 20th century, this point migrated 324 miles to the west and 101 miles to the south. Significantly, 79 of the 101 miles of southward movement occurred during the second half of the 1900s.
According to this website, the predicted high and low at Edgar Springs for March 1st, will be 39 and 28 degrees. Historical temperatures are first displayed for March 8th (54 and 31 degrees), and for March 31st, the average high/low temps have been 63 and 38 degrees, respectively. Particularly if typical weather patterns return, March does promise to be a month of significant change.
Two weeks after the beginning of the month, some will celebrate the Ides of March, the name given to March 15th in the Roman calendar. The term “ides” refers to the 15th day of the months of March, May, July and October. During ancient times, the Ides of March was a festive day dedicated to the god Mars and military parades were usually held. Of the four ides of the year, March is by far the best known, thanks to the Bard, in his play “Julius Caesar”, which graphically portrays a sudden, violent usurpation of political power through nefarious means.
As we are reminded by the Farmer’s Almanac, the weather in March is considered to be predictive. The best known saying seems to be:
“If March comes in like a lion, it will go out like a lamb.”
These less well-known sayings are also listed on their website:
“A dry March and a wet May? Fill barns and bays with corn and hay.”
“As it rains in March so it rains in June.”
“March winds and April showers? Bring forth May flowers.”
This is an admittedly extensive lead-in, however, the question arises as to whether the month of March will not just be one of great change with respect to the weather, but in our political landscape as well. Surely, given our current climate in Washington, D.C., and many of our state capitols, the beginning of the month will quite likely come in “like a lion.” But, will it “go out like a lamb”? Extending this metaphor, will we witness increasing illumination, heralding increased transparency and accountability, shedding new light upon the workings of our large corporations, government, and those particularly malignant areas where the two have merged?
Warming of tempers will surely occur, at least for some, and quite possibly, for many. If the Democrats, in desperation, actually attempt to enact meaningful reform that might benefit the rank and file, the hearts of those who have so patiently waited for the change they worked so hard to bring about in 2008, will be appreciably warmed, although not to the extent of the Fox News junkies, whose blood will then be boiling with rage.
Should the Democrats choose to continue pursuing their lemming-like corporatist path, many of the former faithful will be overcome with white-hot rage, accompanied by a crushing sense of disillusionment. Progressive activists will surely become an endangered species, as legions of those who slightly over a year ago became politically active for the first time in their lives, permanently close the door to any future political involvement, ensuring a lengthy return of Republican domination, as Democrats, freshly voted out of office, collect their reward from the large corporations, whose selfish interests they so slavishly protected. Under such a scenario, our future will be such that the Bush/Cheney years seem like a Sunday school picnic by comparison, as this country descends ever further into Third World status.
All of the preceding sets the stage for this week’s featured song, which is a much covered blues standard. The song was originally written by T-Bone Walker and first recorded in 1947, pioneering the use of the electric guitar as a blues instrument. His version rose to #5 on the R&B charts in 1948. The great B. B. King said that this song inspired him to begin playing the electric guitar.
A similarly named song, recorded five years earlier in 1942 has led to some confusion. Bobby Bland’s cover version was mistakenly given the same name as the earlier song, leading to a misappropriation of resulting royalties.
A critically acclaimed film by the same name as this week’s feature song, which marked the debut of writer/director Michael Figgi in 1988, starred Sean Bean, Tommy Lee Jones, Melanie Griffith and Sting. The film vividly portrays seedy underworld politics, which would quite likely resonate in the present day. If you click on this link now, you will learn the identity of this week’s feature song, so if you’d like to prolong the suspense for just a little longer, you may wish to return to this link a little later. B. B. King’s performance of this week’s song can be heard during the opening credits. Happily, and a little sadly, this writer’s queue on Netflix continues to morph out of control.
For those aspiring musicians who might wish to perform their own cover version of this week’s feature song, the relevant Wikipedia article includes some helpful information that will soon follow. Although the song was originally written in the key of A flat major, it is usually performed in the key of G major (for which most keyboard players will be thankful), and follows the structure of an altered 12-bar blues, using the following chord progression.
G9 | C9 | G9/A flat 9 | G9 |
C9 | C9 | G9 / A minor7 | B minor7 / B flat minor7 |
A minor7 | C minor7 | G9 / C9 | G9 / D augmented
Without further ado, this week’s feature song, which many of you have probably already guessed, is that wonderful blues standard, “Stormy Monday.” We may wish to keep the lyrics of this song in mind as we bear witness to the ongoing theatre that will surely play out in our national and state capitols across the country. May we all hope that these lyrics will not accurately describe the reality of that which lies ahead. This writer will venture out onto a limb and predict that three days from now, we will directly witness a “Stormy Monday.”
Unlike many previous feature songs in this series, even though the T-Bone Walker version did rise to #5 on the R&B charts in 1948, most reading this diary probably do not associate warm memories of that time in conjunction with hearing the song. Perhaps this week we will note a more even distribution in terms of voting for the best version (or versions). This writer will most assuredly have a difficult time making this choice (or choices), since he is currently very impressed with all but one version (which is one of the covers).
The first version, of course, is by the original writer/performer, the great T-Bone Walker. If anyone knows when this performance took place, please let us know. Again, Walker first recorded “Stormy Monday” in 1947.
Bobby Bland, mentioned earlier in this diary, first recorded this song in 1962. The date of the performance is unknown…
? and the Mysterians were best known for their 1966 hit “96 Tears”, which represented their sole appearance on the Billboard Top 40 charts. The song rose to #1 and is ranked at #210 on the Rolling Stone list of the 500 Greatest Songs of All Time. The song was originally entitled “69 Tears”, but the title and lyrics were considered too risqué for radio airplay. Accordingly, the numbers were reversed, assuring that this song would become, for better or worse, a part of our pop culture, as it existed in 1966. Here is ? and the Mysterians’ cover version of “Stormy Monday”, also from 1966, which bears much of their signature style…
Here is a version by the incredible Buddy Guy from 1968…
The Allman Brothers also performed a great cover version of this song, which represented a departure from their usual fare, featuring a slower tempo and softer feel. Their considerable talents can be even better appreciated in their live performance at the Fillmore East in 1971…
Isaac Hayes showcases his prodigious talents at this 1972 Save the Children concert. This clip is derived from a long out of circulation video called “The Brothers and Sisters Live in Concert.”
Albert King & Stevie Ray Vaughn, as seen in this rendition from 1983…
Jethro Tull lends their signature styling to “Stormy Monday”, as performed in 1988…
Here is a great version by Lou Rawls, performing with the Les McCann trio, featuring Stanley Turrentine in 1989…
B. B. King and Albert Collins perform in this must see version from 1993…
The late, great Eva Cassidy performs Live at Blues Alley on January 3, 1996. Tragically, melanoma would claim her life later that year, on November 2, 1996, after only 33 years of earthly existence. Here is a version for the ages…
Eric Clapton, who needs no further introduction, from 2006…
Thank you to all for stopping by to visit. Your suggestions and comments are always welcome. Please have a safe and wonderful week!
Feb 19 2010
Original v. Cover — #13 of a Series
A brief, somber prelude published 171 years ago, often performed at funeral and memorial services, less familiar than another widely known funeral march by the same composer, is resurrected in 1975, reaching #6 on the Billboard Top 40 charts, and then later in the decade a new arrangement, this time a lively disco version, topped out at #3 on the U. S. Dance chart and #40 on the U.K. singles chart. The song has since been covered by many different artists.
So why introduce a remodeled funeral march during this time of year, only a week after Valentine’s Day weekend? February 22nd represents a landmark birthday anniversary for a fairly well known historical figure.
You may immediately be thinking of George Washington, however, next Monday would be the 278th anniversary of his birthday, not exactly a number that is evenly divisible by 10, 25, 50 or 100. For a well known classical composer, however, that day would mark the 200th anniversary of his birth, providing ample reason to recognize his tremendous contributions to the body of classical music and, inadvertently, to our popular culture as well.
You’ve heard his music on numerous occasions, most likely not even realizing it at the time. The movie website, Internet Movie Data Base (IMDB), catalogues films that include this composer’s work, and to date, the list stands at 344 and counting. If you’d like to see for yourself, you can go here.
The original composer of the thirteenth installment of this series is the esteemed Polish composer, Frederic Chopin, who is critically regarded as one of the greatest composers for the piano of all time. Although his music is among the most technically demanding for the instrument, Chopin’s style emphasizes nuance and expressive depth rather than mere technical virtuosity.
Feb 14 2010
1950-1980 — Was This Our Golden Era?
Is good news one of those quaint relics, exclusively relegated to our past, fovever doomed to never again be a part of our present or future?
Feb 13 2010
Original v. Cover — #12 of a Series
The featured song this week is drawn from an earlier time than any of the previous selections in this series to date and includes a not all that subtle nod to Valentine’s Day, which will soon descend upon us. This beautiful, yet haunting number is a show tune from the 1937 Richard Rodgers and Lorenz Hart musical Babes in Arms, which opened at the Shubert Theatre on Broadway in New York, New York on April 14, 1937 and ran for 289 performances. It is now considered to be a jazz standard, appearing on over 1300 albums performed by over 600 artists.
The Valentine’s Day weekend selection first appeared on the charts in 1945 and was performed by Hal McIntyre with vocals by Ruth Gaylor, remaining there for only one week, occupying a #16 ranking. It is also considered part of the Great American Songbook. To this writer’s knowledge, the song has not since appeared on the Billboard Top 100, however, it has been covered so frequently and consistently over the years that should be immediately familiar to most. Unfortunately, a video of the original version from 1945 does not appear to be available on the web.
Since many of you are no doubt busy with last minute preparations for the big day on Sunday, the narration in this week’s diary has been kept to a minimum, allowing those stopping by to spend less time reading, and more time listening to the many great renditions of this great song.
Without further ado, this week’s featured song is “My Funny Valentine.”
Feb 05 2010
Original v. Cover — #11 of a Series
This week’s featured song was co-composed by two great songwriters, at the historic Lorraine Motel in Memphis, where Martin Luther King, Jr. would later be murdered in April, 1968. This week’s featured song was first performed in 1965 and released on vinyl in 1966, rising to #1 on the R&B charts and #21 on the Billboard Top 40 charts. Despite this rather inauspicious beginning, it has survived and become even more popular over the years. Most of the available cover versions sound mostly like the original, except for a few played at a faster pace, which seems to lose something in the translation, in this writer’s opinion.
This week’s feature song is ranked at #134 on the Rolling Stone list of 500 Greatest Songs of All Time, one of two songs that the performer would place on the top 500 list. This number was also designated as one of The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll. Acclaimed Music ranks this week’s selection as the 89th greatest song of all time, as well as the seventh best song of 1965.
Several cover versions mentioned in the associated wikipedia article looked to be quite interesting, however, it doesn’t seem that some of these were to be found on the youtube site. These performers include Mitch Ryder and the Detroit Wheels, The Doors and Van Morrison’s Them band at the Whiskey A Go Go (1966), The Chambers Brothers and Buddy Guy. The Grateful Dead also regularly performed their cover version of this song, however, this writer was unable to locate one on youtube which represented much of a departure from other versions, or in some cases, the sound/video quality seemed to be lacking. A group called Cross Country apparently had some success with this song, their version reaching #30 on the Billboard Top 40 charts in 1973. Again, a youtube version of their performance appears to be nonexistent.
Jan 30 2010
Original v. Cover — #10 of a Series
The selection for this week has been one of curmudgeon’s personal favorites for more than four decades. This song represented the first ever hit for the group that performed it, debuted on the charts on June 24, 1967, reached and remained at #1 for three consecutive weeks, and survived on the the Billboard Top 40 for thirteen weeks. The song is ranked #35 on Rolling Stone’s list of the 500 Greatest Songs of All Time. It was also included in the Songs of the Century list and was ranked #7 in VH1’s 100 Greatest Songs of All Time list.
Jan 22 2010
Original v. Cover — #9 of a Series
Has this already seemed like a long winter, even though the calendar tells us that nearly two months remain until the first day of spring? Although some areas of the country have escaped the worst ravages of winter, many would welcome relief from heavy snow, icy roads, and freezing temperatures. The current succession of one stinging disappointment after another, as we learn the news of each new day, seems to have mirrored the weather.
Surrender to despair, especially when fatigued to the point of sheer exhaustion, can present a tempting option. Upon sober reflection, we quickly realize that quitting is not in our nature. Although the escape route out of the frightening labyrinth in which we find ourselves may seem hopelessly elusive, we must continue to choose survival — not just for our own benefit, but that of our loved ones, as well as those who share our quest.
We must maintain our vitality since once our ability to strive ends, in many respects, so does life. Like the mammalian sea creatures of the deep, we, too, must occasionally come up for air. Drugs are the choice of some (alcohol is technically a drug as well), although there are oftentimes matters of illegality, potential addiction and unpleasant sequelae to consider.
Music presents us with a less dramatic, but far more benign option. Yes, music can be mood altering. Depending upon the song we are hearing, and its context, we may become angry, sad, energized, relaxed, exalted, nostalgic or pleasantly uplifted.
Rather than presenting extensive social commentary as a background for a song loaded with political implications, this week’s choice offers a rather pleasant, innocent, and hopeful message. Hopefully, it may serve as a partial antidote to the seemingly constant barrage of unpleasant news that seems to await us each day.
The featured song this week never did appear on the Billboard Top 100 when first released in 1969, however, the album on which it was included ranks #14 on Rolling Stone magazine’s list of 500 Greatest Albums of All Time. This song was recorded from July 7-August 19, 1969, and the album was released on September 26, 1969.
The title of this week’s song, serving as perhaps the antithesis to Bill Withers’ 1971 song, “Ain’t No Sunshine”, is the Beatles’ “Here Comes the Sun”, written by George Harrison and featured on the Abbey Road album.