One of my earliest blog essays (Terror Becomes Bad Art) was about Luke Helder, the pipe-bombing “artist” who created a brief scare back in 2002. Arguably more disturbing than Helder’s “art” was the fact that he genuinely thought it was art, because none of the supposed artists or arts educators he was in contact with had ever taught him any better and his own talent was not sufficient to carry him beyond their limits.
I am not the first to observe that something deeply sick and dysfunctional happened to the relationship between art, popular culture, and technology during the crazy century we’ve just exited. Tom Wolfe made the point in The Painted Word and expanded on it in From Bauhaus To Our House. Frederick Turner expanded the indictment in a Wilson Quarterly essay on neoclassicism which, alas, seems not to be available on line.
If we judge by what the critical establishment promotes as “great art”, most of today’s artists are bad jokes. The road from Andy Warhol’s soup cans to Damien Hirst’s cows in formaldehyde has been neither pretty nor edifying. Most of “fine art” has become a moral, intellectual, and esthetic wasteland in which whatever was originally healthy in the early-modern impulse to break the boundaries of received forms has degraded into a kind of numbed-out nihilism.
To see these craft objects, unashamedly made for money (that’ll be $40 extra for molecular-surface etching, thank you), is to have your nose rubbed in the desperate poverty of most modern art, to be reminded of the vacuum at its core and the pathetic Luke Helders that the vacuum spawns. It’s a poverty of meaning, a parochialism that insists that the only interesting things in the universe are the artist’s own psychological and political quirks.
Bathsheba Grossman’s art reminds us that exploration of the narrow confines of an artist’s head is a poor substitute for artistic exploration of the universe. It reminds us that what the artist owes his audience is beauty and discovery and a sense of connection, not alienation and ugliness and neurosis and political ax-grinding.
Forgetting this value rotted the core out of the fine arts and literary fiction of the 20th century. We can hope, though, that artists like her and Arthur Ganson will show the way forward to remembering it. Only in that way will the unhealthy chasm between popular and fine art be healed, and fine art be restored to a healthy and organic relationship with culture as a whole.
Eric S. Raymond, “The Art of Science”, Armed and Dangerous, 2004-09-21.
May 2, 2015
April 7, 2015
In City Journal, Fred Siegel looks at some recent books about the late Democratic Senator Daniel Patrick Monihan:
Daniel Patrick Moynihan, the four-term senator from New York who died in 2003, was that rare soul who was both a political and intellectual giant. Stephen Hess, who worked in the early Nixon White House as an aide to Moynihan, was the rare individual friendly with both Moynihan and Richard Nixon. The Professor and the President is a short but revealing memoir-cum-narrative of Moynihan’s service in the executive branch.
What brought Nixon and Moynihan together was a tectonic shift of the political plates. Nixon won the presidency in 1968 thanks to the backlash against the riots that had ripped through America’s cities. What made Moynihan a Democrat of extraordinary insight, willing to serve a Republican president, were his reactions to those riots — and to the excesses and wrong turns of American liberalism.
Today, 50 years after its issuance, some liberals “bravely” acknowledge that 1965’s so-called Moynihan Report, in which the future senator warned about the dire future consequences of the collapse of the black family, was a fire bell in the night. But at the time, and for decades to come, Moynihan was branded as a racist by civil rights leaders, black activists, and run-of-the-mill liberals. “One began to sense,” Moynihan wrote, that “a price was to be paid even for such a mild dissent from conventional liberalism.”
His capacity for irony notwithstanding, Moynihan came close to a nervous breakdown and “emerged changed” from the experience. He came to feel “that American liberalism had created its own version of a politique du pire (i.e., the worse the better) … in which evidence had been displaced by ideology.” His fear that the empirically oriented liberalism of his youth was under assault from racial and cultural nihilists intensified after the 1967 riots that burned through Cleveland, Newark, and Detroit, where 43 died. “The summer of 1967,” Moynihan wrote at the time, “came in the aftermath of one of the most extraordinary periods of liberal legislation, liberal electoral victories and the liberal dominance of the media … that we have ever experienced. The period was, moreover, accompanied by the greatest economic expansion in human history. And to top it all, some of the worst violence occurred in Detroit, a city with one of the most liberal and successful administrations in the nation; a city in which the social and economic position of the Negro was generally agreed to be far and away the best in the nation.”
April 4, 2015
Published on 23 Dec 2013
Archive film, moving a new power station transformer by rail to Blaenau Ffestiniog Wales.
H/T to Roger Henry for the link.
April 3, 2015
The gap between Americans raised before World War II and after was huge in a way that’s difficult to recall for those of us who came of age after the ’60s. Greatest Generation parents who might have grown up without on-demand indoor plumbing and survived the Depression and fighting in Europe, the Pacific, North Africa, and Korea came from a different planet than the one on which they raised their kids. To their credit, they bequeathed to the baby boomers a world that was still full of major problems but one that was much richer and full of opportunities. And to their credit, the boomers (of which I’m a very late example, having been born in 1963) readily went about using new opportunities and freedoms (expressive, sexual, educational, economic) to build the world they wanted to live in.
In the late ’60s and a good chunk of the ’70s, youth-oriented pop music was central to that project. Whatever you might think of the Beatles’ music, their very existence — and their constant self-recreations — made everything seem possible. They were far from alone as pop music maguses, too.
Simply by talking with major pop figures, Rolling Stone could be a vital and compelling magazine because it served as something like a boomer conversation pit. Over time, however, music stopped playing the same sort of vital role in generational conversations — don’t get me wrong, it’s still a part of it all. But as the mainstream in every area of life splintered and recombined into a million different subspecies, no single form of cultural expression matters so much to so many people anymore.
That’s a good thing for the culture and the country (and the planet, really), but Rolling Stone has been looking for a replacement core identity for decades now. The magazine that once published New Journalism masterpieces about David Cassidy and stardom, Patty Hearst’s rescuers, and “Charlie Simpson’s Apocalypse” had trouble figuring out how to deal with a world in which pop and movie stars were less interesting than ever (and more disciplined in terms of talking with the press) and in which men and women of good faith might actually disagree over complicated aesthetic and ideological matters. There has been a lot of good writing and reporting over the years, but there’s no question, I think, that the magazine is chasing trends and insights rather than creating them.
In a world in which pop culture — especially youth-oriented pop culture — allows a thousand flowers to bloom in a way that was unimaginable even 40 years ago, Rolling Stone can no longer get by simply by talking with Patti Smith or John Lennon or Bob Dylan for 25,000 words at a time. It might have reinvented itself as a clubhouse where people who love music or movies or whatever could get together to argue over politics, economics, and policy. That could indeed be interesting, especially in a world where large chunks of young Americans are going right, left, and especially libertarian. Just as there is no longer one dominant mode of music, there is no longer one dominant mode of politics.
But the people at the helm of Rolling Stone cannot seemingly even acknowledge that anyone who might disagree with them on, say, the effects of minimum wage laws on the poor, is worth a second thought. All they can do, out of a sense of liberal guilt, is publish radical calls to arm that they must know are ridiculous. Sadly, a magazine that was once required reading for anyone who wanted to know what the younger generation cared about is now a pedantic, insecure, and ultimately ineffective tool of Democratic Party groupthink.
Nick Gillespie, “Rolling Stone‘s Sad ‘5 Economic Reforms Millennials Should Be Fighting For'”, Hit and Run, 2014-01-04
March 18, 2015
H/T to @VikeFans for the link.
March 5, 2015
The album that made me start paying attention to jazz…
Published on 9 Dec 2013
“A LOVE SUPREME”
Genre: Modal Jazz, Avant-garde Jazz
1. A Love Supreme, Part 1: Acknowledgement
2. A Love Supreme, Part 2: Resolution
3. A Love Supreme, Part 3: Pursuance/Part 4: Psalm
John Coltrane, tenor sax
McCoy Tyner, piano
Jimmy Garrison, bass
Elvin Jones, drums
H/T to Josh Jones at Open Culture for the link.
What can I add to the chorus of voices in praise of John Coltrane’s A Love Supreme? Recorded in December of 1964 and released fifty years ago this month, the album has gone on to achieve cult status — literally inspiring a church founded in Coltrane’s name — as one of the finest works of jazz or any other form of music. It cemented Coltrane’s name in the pantheon of great composers, and re-invented religious music for a secular age. Composed as a hymn of praise and gratitude, “the bizarre suite of four movements,” wrote NPR’s Arun Rath last year, “communicated a profound spiritual and philosophical message.” That message is articulated explicitly by Coltrane in the album’s liner notes as “a humble offering to Him,” the deity he experienced in a 1957 “spiritual awakening” that “lead me to a richer, fuller, more productive life.”
February 28, 2015
Uploaded on 6 Sep 2011
Sometimes, a body gets a hankering that only Leonard Nimoy singing about hobbits while surrounded by 60’s pixie chicks can sate. Fortunately, we live in a world where those hankerings need not go unfulfilled!
This was originally filmed in 1967, on a variety show called Malibu U. The colour portion of the video is from “Funk Me Up Scotty,” a 1996 documentary from BBC2 about the musical careers of the cast of the original Star Trek. The show cut the last verse and an instrumental/dance interlude, which I’ve restored using black & white footage from I know not where.
February 17, 2015
The Minnesota Vikings were a racially integrated team from their very first game … yet not quite fully integrated, as this post on the team’s official web site explains:
Six African Americans out of 42 total players appear in the first team photo in franchise history: Jim Marshall, Jamie Caleb, Mel Triplett, A.D. Williams, Raymond Hayes and John Turpin.
A color barrier that lasted 13 years in professional football had been broken in 1946 by Bill Willis and Marion Motley of the Cleveland Browns (as a member of the All-America Football Conference) and Kenny Washington and Woody Strode (both teammates at UCLA with Jackie Robinson) of the NFL’s L.A. Rams.
The expansion Vikings were able to acquire veterans from other teams. Marshall, Caleb and Williams came from the Browns (which joined the NFL in 1950), Triplett came from the New York Giants, and Hayes was the first African American player drafted out of Central Oklahoma by Minnesota in the 13th round with the 169th overall pick.
Players of that era were taking the field as one team, but weren’t allowed to have roommates of a different race. On road games, particularly to the “Jim Crow” South but also places like Miami and Los Angeles, reservations were booked at separate hotels, and black teammates often were refused service at restaurants.
“There was a definite separation there, and it was a separation that was enforced by the teams,” said Marshall before recalling a trip while with Cleveland to a posh Miami Beach hotel.
“We pulled up to the Fontainebleau and white players were let out at the Fontainebleau and black players were sent to an inner-city hotel owned by a black gentleman that of course was a very good host for us,” Marshall said. “We could play on the field together, but we couldn’t room together, and now we couldn’t stay in a hotel together.”
February 9, 2015
Last month, in his Times column, Matt Ridley explained why — until we discover a treatment for aging itself — rising cancer rates are a weird form of good news:
If we could prevent or cure all cancer, what would we die of? The new year has begun with a war of words over whether cancer is mostly bad luck, as suggested by a new study from Johns Hopkins School of Medicine, and over whether it’s a good way to die, compared with the alternatives, as suggested by Dr Richard Smith, a former editor of the BMJ.
It is certainly bad luck to be British and get cancer, relatively speaking. As The Sunday Times reported yesterday, survival rates after cancer diagnosis are lower here than in most developed and some developing countries, reflecting the National Health Service’s chronic problems with rationing treatment by delay. In Japan, survival rates for lung and liver cancer are three times higher than here.
Cancer is now the leading cause of death in Britain even though it is ever more survivable, with roughly half of people who contract it living long enough to die of something else. But what else? Often another cancer.
In the western world we’ve conquered most of the causes of premature death that used to kill our ancestors. War, smallpox, homicide, measles, scurvy, pneumonia, gangrene, tuberculosis, stroke, typhoid, heart disease and cholera are all much rarer, strike much later in life or are more survivable than they were fifty or a hundred years ago.
The mortality rate in men from coronary heart disease, for instance, has fallen by an amazing 80 per cent since 1968 — for all age groups. Mortality rates from stroke in both sexes have halved in 20 years. Cancer’s growing dominance of the mortality tables is not because it’s getting worse but because we are avoiding other causes of death and living longer.
It is worth remembering that some scientists and anti-pesticide campaigners in the 1960s were convinced that by now lifespans would be much shorter because of cancer caused by pesticides and other chemicals in the environment.
In the 1950s Wilhelm Hueper — a director of the US National Cancer Institute and mentor to Rachel Carson, the environmentalist author of Silent Spring — was so concerned that pesticides were causing cancer that he thought the theory that lung cancer was caused by smoking was a plot by the chemical industry to divert attention from its own culpability: “Cigarette smoking is not a major factor in the causation of lung cancer,” he insisted.
In fact it turns out that pollution causes very little cancer and cigarettes cause a lot. But aside from smoking, most cancers are indeed bad luck. The Johns Hopkins researchers found that tissues that replicate their stem cells most run the highest risk of cancer: basal skin cells do ten trillion cell divisions in a lifetime and have a million times more cancer risk than pelvic bone cells which do about a million cell divisions. Random DNA copying mistakes during cell division are “the major contributors to cancer overall, often more important than either hereditary or external environmental factors”, say the US researchers.
To sum it up, until or unless medical research finds a way to stop the bodily effects of aging, cancer becomes the most likely way for all of us to die. Cancer is a generic rather than a specific term — it’s what we use to describe the inevitable breakdown of the cellular division process that happens millions or even trillions of times over our lifetime. As Ridley puts it, “even if everybody lived in the healthiest possible way, we would still get a lot of cancer.” I’m not a scientist and I don’t even play one on TV, but I suspect that the solution to cancers of all kinds are to boost our immune systems to more quickly identify aberrant cells in our bodies before they start reproducing beyond the capability of the immune system to handle. The short- to medium-term solution to cancer may be to make us all a little bit cyborg…
February 5, 2015
By way of Ghost of a Flea, an interesting look at one of the pivotal men in music from the late 60s onward:
Uploaded on 28 Feb 2011
In the ‘Interview with a Legend’ series RØDE Microphones’ founder and director Peter Freedman hosts an intimate discussion with icons from all areas of the audio industry including Engineers, Producers, Musicians, Artists and Entrepreneurs.
A musical pioneer in the truest sense, Alan Parsons is one of the most revered engineers and producers in history.
Alan talks candidly to Peter about how hearing Sgt Peppers was a defining moment in his life and career, setting him on the path to Abbey Road Studios where he would play an integral role in such timeless recordings as The Beatles’ infamous Let It Be rooftop performance and Pink Floyd’s masterpiece Dark Side of the Moon.
He goes on to discuss the incredibly influential Alan Parsons Project, and the future of recording.
At Looserounds, a bit of an exercise in stripping away the myths and legends about the M-14:
Go on to any gun forum, and it won’t take you long to find people willing to tell you how great the M14 is. How accurate,like a laser, tough as tool steel with no need to baby it or clean it. Powerful as a bolt of lightening, and how well loved it was by those early users who refused the M16 because they wanted a “real” weapon made of wood and steel … But, is all that really true? Maybe it is a triumph of nostalgia over common sense and reality. One truth is, it was never really liked as much as people think they remember.
To quote Lt Colonel Chandler owner of Iron Brigade Armory and former Officer in Charge of many USMC marksmanship and sniping programs.
“Remember that the US Army struggled for more than twenty years to transform the M14 into a sniper type weapon. The Army finally abandoned all attempts to salvage the M14 rifle. Continued use of the M14 as anything other than a drill rifle is better described as DISASTER. ( emphasis Chandler’s). The M14 is old, and has never been more than a modified M1 Garand.”
“Unfortunately the M14 rifle is costly to modify and modification requires many man hours of skilled labor. In the field the m14 cannot maintain accuracy. The Army refused to admit that they could not solve the M14’s accuracy problems and wasted two decades attempting to make a silk purse from an old infantry rifle. Milspec spare parts are no longer made and those that can be found are often inferior, and ill fitting.”
“The M14 requires constant ( continual ) maintenance. Maintenance on an M14 progress geometrically. That means if you double an M14 rifle’s use, you quadruple its maintenance.”
“The world has moved beyond the M14. The weapon remains a standard piece only because it is used ( though less and less) in service rifle competition marksmanship, which is very different from field use. If anyone recommends it, run them through.”
“It is ironic that some of the USMC rifle competitors whose accurized M14s have been consistently waxed by the Army’s M16 s are supporting the use of the M14 as accurate rifles.”
“As we discuss the costs of bringing scoped M14s onto line in large quantities, allow me another digression. The M14 is a bitch to keep in tune, and a untuned M14, no matter who did the accurizing is about as accurate as a thrown rock . Unless the M14 is continually babied it will not retain accuracy. ( this is an important note from LT Col Chandler for those who fire 100 rounds a year and tell you the M14/M1A is wonderful). Imagine the hardships and brutalities a scoped M14 will experience as a DM weapon in combat. ( one recalls the story of Carlos Hathcock walking back the shoot house and starting to pass out, another Marine grabbed the accurized M14 and let The Ultimate Sniper fall face first into the asphalt. Letting a weakened man fall to keep the pathetic NM M14 accurate). No M14 ever built will stay accurately zeroed and tight group shooting , (meaning close to MOA) under field conditions.”
Chandler goes on to point out the requirements in specially qualified armorers who know how and can keep a M14 accurate and how even in the early 2000s those men are almost extinct in the USMC accuracy and Sniping world.
I can honestly say that I don’t have a dog in this fight. As the Canadian Army standardized on the FN C1A1 well before my militia days began, it was the only assault rifle I had extensive experience with … and I loved it. If the government hadn’t pre-emptively added the FN to the restricted weapons list, I’d certainly have bought one when they were being retired from active service. I’ve fired an M-14 once, and I’ve fired an M-16 once, but that’s nowhere near enough exposure to make any kind of judgement about either weapon (and they’d really have to impress the hell out of me to displace the FN in my estimation anyway).
January 18, 2015
David Warren had a short essay get out of hand on him the other day:
Everything is coming out of Egypt these days, just like in the Bible. The Paris demonstrations were a throwback not only to the grand gatherings of a century ago, when the masses in each European capital were demanding war, but also to the recent “Arab spring,” when the masses in Egypt and every Middle Eastern capital were demanding “democracy.” Mobs often get what they want. The best that can be said for the Jesuischarlies, is they haven’t a clew what they want, beyond making an emotional display of their own vaunted goodness.
And yet, large demonstrations are expressions of despair. They bring momentary relief in a false exhilaration: the idea that something can be done, by men; something that will not cost them vastly more than they are now paying. Verily, it is the counsel of despair. I don’t think I can provide any example from history in which mass political demonstrations did any good; only examples when they did not end as badly as they could have.
I hardly expect agreement on this point, especially on non-violent demonstrations that affirm some simple moral point, such as the wrongness of racial prejudice, or of the slaughter of unborn children. But these must necessarily politicize something which should be above politics, and cannot help bringing an element of intimidation into what must finally be communicated cor ad cor. Pressure politics change everything, such that even when the cause is indisputably elevated — the American civil rights marches of the 1960s are a good example — the effect is dubious. What came out in that case was not simply the destruction of an evil, but its replacement with new evils: welfare provisions which undermined the black family, the poison of race quotas and “reverse discrimination,” the canting and excuse-making and radical posturing that has wreaked more aggregate damage to black people — both spiritual and material — than the wicked humiliations they suffered before. (Read Thomas Sowell.)
“Be careful what you wish for.” Be mindful of what comes with that wish. Be careful whom you ask to deliver it.
December 30, 2014
At Samizdata, Patrick Crozier explains how the cost of a new technology and the union work rules of the 1960s led to so many great (and not-so-great) British TV shows being lost to posterity:
Something like two fifths of the Doctor Who episodes produced before 1970 are “missing” from the BBC archive. Although it is now 20 years since I found out about it, I still find it difficult to believe that such an act of cultural vandalism was allowed to take place. But it was.
So why are so many missing? In Wiped! Richard Molesworth describes the whole sorry tale in exhaustive (and some times exhausting) detail. It begins with Doctor Whos being recorded on videotape. In the 1960s videotape was a new technology and as such, expensive. Broadcasters were understandably keen to re-use the tapes whenever they could.
Another factor in this was the deal that the BBC had made with the actors’ union Equity. Younger readers may be unfamiliar with this but in the 1960s and 1970s unions were extraordinarily powerful. The deal between Equity and the BBC meant that an episode could only be repeated for two years and after that only with Equity’s specific permission. So, you’d have a situation where after 2 years you would have videotapes that effectively could not be broadcast and an engineering department banging on the door demanding they be allowed to wipe them. As a consequence every single inch of 1960s Doctor Who was wiped. It was far from alone. Episodes of Top of the Pops, the Likely Lads, Not only but also…, Z-Cars, Til death us do part and many others met a similar fate.
In the interests of fairness I should point out that when it came to wiping TV programmes the BBC was far from the only offender. There is almost nothing left of the first season of the Avengers for instance. Or Sexton Blake. About half of the highly-rated Callan (played by Edward Woodward) is also missing. However, all the Saints and Danger Mans are still with us. Meanwhile, my understanding is that most American TV, even from the 1950s still exists.
And compounding the problem … even when the BBC wanted to get rid of old episodes of TV shows, they still held the copyrights:
One thing that particularly sticks in my craw is the fact that even after the BBC did everything in its power to destroy these episodes it still has copyright to them. This has some very peculiar effects as I shall explain.
As I said, many episodes no longer exist as films or tapes. But all the audios exist (recorded off-air by fans), as do the scripts and a large number of photographs, otherwise known as “tele-snaps”. Over the years a cottage industry has grown up assembling these disparate elements into what are known as “reconstructions”. Now, they’re not very good and they are really only for the dedicated fan – people like me in other words – but right now they are the best we’ve got. Sadly, these too are affected by BBC copyright. For many years they were only available on videotape and on a non-profit basis. The producers were wary of annoying the BBC. And then one day someone (quite reasonably you’d think) decided to start putting them up on YouTube. Oh dear, the BBC really didn’t like that. Not only did they force YouTube to take a whole load of them down but seem to have closed down the reconstruction business temporarily if not permanently. Bastards.
December 23, 2014
Oh, he’s nostalgic enough:
This year marks the 50th anniversary of the Rudolph the Red-Nosed Reindeer special. For those remembering how they stared with wonder and awe at the jerky stop-motion animation and shivered with delicious fear at the perils faced by the plucky buck with the incandescent schnoz, the notion that this program occurred a half century ago would be a marvelous testament to the enduring power of the show’s appeal … if it didn’t make you feel so damned old.
If it does, that is. For young kids today it’s a cultural artifact from a time so remote it might as well be the Renaissance. The snowman’s resemblance to Burl Ives doesn’t make them think of a hefty folkie howling with alcoholic rage in Cat on a Hot Tin Roof; the concept of a “misfit” doesn’t echo a decade of neurotic intellectual culture celebrating the outsider who couldn’t find his place in the grey-flannel machinery.
It’s charming and tuneful and justly revered. So let’s spoil it by overthinking the details and applying the corrosive idiocy of modern standards, shall we? Herewith a few points to consider.
– Kids today are appalled by the brusque coach who regards Rudolph as a freak and clearly sides with the normal reindeer youth. Nowadays the character would recognize Rudolph’s specialness right away, and the entire show would have been about his fight to get Rudolph on the team, culminating in an impassioned speech before a congressional committee and the passage of Rudolph’s Law.
By the way, when I was a kid we understood the coach character’s nasty reaction — not because we sympathized with him, but because phys-ed teachers were jerks.
– The Abominable Snowman. Let us be frank: The moment when Rudolph sets out on a floe to draw the Snowman away from his friends is one of the more noble moments of childhood television, married with dismay: You know he had no chance. To a small child who has finally grasped the narrative, it was really scary, because Rudolph was going to die.
Parents watching along may have wanted to say “See what happens when you run off with your weird friends? This is what happens. You break your mother’s heart and your intestines are slurped up by a murderous albino.”
December 15, 2014
At Techdirt, Mike Masnick explains why Sony released only a tiny number of pressed CDs of 1964 musical tracks:
Two years ago we wrote about the very odd release, by Sony, of just 100 copies of a set of previously unreleased Bob Dylan tracks. Why so few? Well, Sony sort of revealed the secret in the name of the title. See if you can spot it:
Yup. The release had absolutely nothing to do with actually getting the works out to fans, and absolutely everything to do with copyright. You see, back in 2011, despite having absolutely no economic rationale for doing so, the EU retroactively extended copyright on music from 50 years to 70 years. However, there was a tiny catch: there was a “use it or lose it” provision in the law, saying that the music had to have been “released” to qualify for that 20 year extension. Thus, Sony realized with Dylan that it had to “release” (and I use the term loosely) some of its old recordings that had never been officially released, or it would lose the copyright on them.
The other major labels have been doing the same. Last year, there was a series of releases of 1963 music, including more from Dylan, along with some previously unreleased Beatles tunes (at least those were somewhat more widely available). This year, we’re getting a new crop of barely released 1964 songs including (yet again) more from Dylan, along with some from the Beach Boys as well (and some expect more Beatles tunes as well).