H/T to American Digest for the link.
April 16, 2016
March 22, 2016
I was on the road in Texas last week, addressing Linux user groups in Dallas and Austin. I always enjoy visiting Texas. It’s a big, wide-open place full of generous people who cultivate a proper appreciation of some of my favorite things in life — firearms, blues guitar, and pepper sauces.
And, of course, one of the biggest things Texas has going for it is barbecue. And not the pallid imitation served up by us pasty-faced Yankees here where I live (near Philadelphia, PA) but the real thing. Barbecue, dammit. Red meat with enough fat on it to panic a health-foodist right out of his pantywaist, slow-cooked in a marinade sweeter than a mother’s kiss and eaten with sauces hot enough to peel paint. Garnish with a few extra jalapenos and coleslaw and wash it down with cheap soda, lemonade, or beer. Food of the gods.
I swear your testosterone level goes up just smelling this stuff. After a few mouthfuls of Rudy’s carnivoral bliss you’ll be hankerin’ to cultivate a drawl, wear a Stetson and drive a pickup truck with a gun rack. (I draw the line at country music, though. A man’s got to have some standards.)
Eric S. Raymond, “The Non-Portability of Barbecue”, Armed and Dangerous, 2002-07-18.
March 14, 2016
Published on 5 Oct 2015
Stary Olsa performing “Another Brick in the Wall” by Pink Floyd for Belarusian TV-show “Legends. Live” on ONT channel.
Produced by Mediacube Production. (Minsk, Belarus)
If you’ve liked this or the earlier covers, you might like to know that Stary Olsa has a Kickstarter campaign to fund their next album called “Old Time Rock n Roll”, which will include this song and at least the following:
- “One,” by Metallica
- “Another Brick in the Wall” part II, by Pink Floyd
- “Californication,” by the Red Hot Chili Peppers
- “Ob-la-di, Ob-la-da” and “A Hard Day’s Night,” by the Beatles
- “Child in Time” by Deep Purple
- “Smells Like Teen Spirit” by Nirvana
March 12, 2016
I was saddened to hear that Keith Emerson died yesterday:
Keith Emerson, one of the founding members of progressive rock group Emerson, Lake and Palmer, has died.
The keyboardist died at the age of 71 at his home in California on Thursday night, the band confirmed.
Bandmate Carl Palmer said he is “deeply saddened” and paid tribute to his “brother-in-music”.
“Keith was a gentle soul whose love for music and passion for his performance as a keyboard player will remain unmatched for many years to come,” he said in a statement online.
“He was a pioneer and an innovator whose musical genius touched all of us in the worlds of rock, classical and jazz. “I will always remember his warm smile, good sense of humor, compelling showmanship, and dedication to his musical craft.
February 17, 2016
Uploaded on 2 Oct 2009
Music video by “Weird” Al Yankovic performing Amish Paradise. YouTube view counts pre-VEVO: 14,859 (C) 1999 Volcano Entertainment lll, LLC
February 15, 2016
Published on 13 Feb 2016
Get R40 LIVE on 3CD/DVD/Blu-ray!
February 7, 2016
Kathy Shaidle recounts the painful moment of transition:
And it was during the 1990s — that is, my 30s — when That Thing I’d heard tell of and had dreaded ever since finally happened to me:
Every new! hit!! song!!! sounded like it was being played at the wrong speed. By an all-chimpanzee band. From inside a padlocked storage container. Kids these days…
January 30, 2016
People who oppose Soviet-style collective farms, government subsidies to agriculture, or public ownership of grocery stores because they want the provision of food to be a private matter in the marketplace are generally not dismissed as uncivilized or uncaring. Hardly anyone would claim that one who holds such views is opposed to breakfast, lunch, and dinner. But people who oppose government funding of the arts are frequently accused of being heartless or uncultured. What follows is an adaptation of a letter I once wrote to a noted arts administrator who accused me of those very things. It articulates the case that art, like food, should rely on private, voluntary provision.
Thanks for sending me your thoughts lamenting cuts in arts funding by state and federal governments. In my mind, however, the fact that the arts are wildly buffeted by political winds is actually a powerful case against government funding. I’ve always believed that art is too important to depend on politics, too critical to be undermined by politicization. Furthermore, expecting government to pay the bill for it is a cop-out, a serious erosion of personal responsibility and respect for private property.
Those “studies” that purport to show X return on Y amount of government investment in the arts are generally a laughingstock among economists. The numbers are often cooked and are almost never put alongside competing uses of public money for comparison. Moreover, a purely dollars-and-cents return — even if accurate — is a small part of the total picture.
The fact is, virtually every interest group with a claim on the treasury argues that spending for its projects produces some magical “multiplier” effect. Routing other people’s money through the government alchemy machine is supposed to somehow magnify national wealth and income, while leaving it in the pockets of those who earned it is somehow a drag. Assuming for a moment that such preposterous claims are correct, wouldn’t it make sense from a purely material perspective to calculate the “average” multiplier and then route all income through the government? Don’t they do something like that in Cuba and North Korea? What happened to the multiplier in those places? It looks to me that somewhere along the way it became a divisor.
Lawrence W. Reed, “#34 – ‘Government Must Subsidize the Arts'”, The Freeman, 2014-12-05.
January 27, 2016
That men and women may also have much in common — opposable thumbs come to mind — I take for granted. I like to contrast both male and female humans with other sexually-paired primates, though this is another distinction that is becoming controversial. God made them male and female, in my frankly religious understanding, but this does not mean He did not do the same for other species. It instead points to a deeper profundity: Yin and Yang created He them.
Let us not be distracted by pettifog in this matter. Those who oppose, or even propose to persecute “sexists,” themselves frequently maintain a distinction between the sexes, but it is glibly statistical, when not incomprehensible. Consider for instance an argument I heard recently, amounting to a complaint, that the ratio of male to female saxophone players is too high. Why would this be so? “Because we have a male-dominant culture, and saxes are traditionally associated with macho.”
Both statements are lies, the first in a boring, but the second in an interesting way. Adolphe Sax invented the instrument (around 1840) to fill a hole between the feminine woodwind and the masculine brass sections in an orchestra. It was only after the fact that this gender-neutral horn itself selected for male players. And even feminists — who are seldom quite as obtuse as they pretend — can see that a woman playing a sax is making a “statement” in which she is paradoxically accentuating her “female sexuality.” The suggestion that this should be cancelled by sex quotas is thus demonstrably batty.
We could extend this by considering different aspects of masculine identity embodied in the voices of soprano, alto, tenor, and baritone saxophones, and then broadening to draw comparisons across the wind range, through the historical development of the heteroglottal reed, but that would make our discussion too lascivious.
As “diversity” is much prized today, let me mention that I am a sexist myself. Or, if I’m not, nobody is. I share the unreconstructed view of my diverse parents, grandparents, great grandparents, and other ancestors, back to Eve and Adam, on the existence of, and distinction between, the two sexes. Only one of them can have babies. Only the other can impregnate. But let me add that this is not the only distinction, and moreover, a large field of distinctions would anyway follow if only from that elephantine biological fact.
David Warren, “Sexes & saxes”, Essays In Idleness, 2014-12-03.
January 16, 2016
Brendan O’Neill on the attempt to portray David Bowie’s career as something other than music, showbiz, and a set of unevenly brilliant self-marketing abilities:
Poor David Bowie. Barely 72 hours dead and he’s already being misremembered. Turn on the TV and you’ll see cultural talking heads telling the world he was the granddaddy of transgenderism. Open a newspaper and you’ll come across 800-word PhD theses masquerading as op-eds, informing us Bowie paved the way for the “gender fluidity” of the 21st century, the fashion for declaring oneself neither male nor female, but rather non-binary, or genderqueer, and whatever the other post-gender labels are. (It’s easy to lose track. Last year Facebook increased its gender options from 50 to 71, overnight. Presumably some professor suddenly discovered 21 hitherto unknown genders.)
It is a blot on Bowie’s good name to link him with the politics of transgenderism. Just because in the early Seventies he rocked the cultural world by coating himself in makeup and donning dayglo jumpsuits with vertigo-inducing platform shoes, that doesn’t mean he was transgender, far less that he facilitated modern transgenderism. On the contrary, there’s a stark difference between Bowie’s cross-dressing antics and today’s seemingly catching gender dysphoria: Where Bowie and other queens and freaks in the Sixties and Seventies were flipping a beautifully manicured finger at authority, modern transgenderism seeks to become its own form of authority, chastising and censoring those who dare dissent from its theology. The glam crowd broke boundaries; the trans elite enforces new ones.
Bowie’s death had barely been tweeted before people were hailing him the trans messiah. A British newspaper said that 40 years ago Bowie had flown “the flag for the non-binary movement.” Which is patent nonsense, since nobody — certainly not this contrarian lad from Brixton in South London — was using the turgid phrase “non-binary” in the early 1970s.
January 12, 2016
Colby Cosh on the career(s) of David Bowie:
When we look at the enduring core of what we still awkwardly refer to as “rock music,” what we find is bizarre: a group of people born between about 1940 and 1948, mostly on one island. This cluster of neighbours took black American folk music and electric instruments and used them to hammer out a musical language whose vocabulary and power eventually rivalled that of the old Western orchestral tradition.
Somehow the seeds of war fell on England and sowed giants. It can’t just have been the bombs, even if Bowie did use the V-2 as a metaphor on the Heroes LP. (Has any single person, in retrospect, done so much to make Germany cool? They need to give Bowie a monument the size of the Hermannsdenkmal.)
The awful news of Bowie’s demise on Sunday reveals that he was not quite the same kind of star as notional equals like Ray Davies, Pete Townshend or even Mick Jagger. He was a songwriter of the first rank, an omnivore and a multi-instrumentalist whose taste in collaborators is a legend unto itself — yet his involvement in music seems almost circumstantial. It was the thing one happened to do, born where and when he was.
He gave so many excellent cinema and television performances that one suspects pop stardom’s gain might have been acting’s loss. What might Bowie have achieved if circumstances had steered him into the Royal Shakespeare Company instead of blues clubs? Is there an alternate reality in which people are reminiscing about Sir David Jones’s Richard III and regretting that he never got around to Lear?
One is tempted to add that Bowie could have been a great fashion designer or conceptual artist — but, then, he was both those things, when he wasn’t, ho-hum, dashing off “Life on Mars” or “Sound and Vision.” He was not of the fashion world as such, but slip out on any night, in any city of size from Tokyo to Toronto, and you’ll see homages to Bowie. Any ambitious, expensive pop concert still follows the Bowie idiom. His imprint on world culture is rivalled by few other pop stars, and perhaps none has its breadth. One is tempted to invoke Elvis or Dylan.
December 31, 2015
Many of the “battered women” we are encouraged to sympathize with have a remarkable tendency to suffer from abuse at the hands of every man with whom they become involved. Tammy Wynette, the Country singer who gained fame with the song “Stand By Your Man,” was married to five men and left four of them (managing to die with her fifth marriage still intact). Most of her husbands are said to have abused her in some way, and teary-eyed retellings of her “tragic” life have been offered to the public.
I remind the reader of the central principle of male-female relations: women choose. They represent the supply; men represent the demand. If Tammy Wynette never took up with a man who failed to abuse her, there can be only one explanation: Tammy had a thing for nasty boys.
If you put a woman like this in a room with a dozen men, within five minutes she would be exclusively focused on the meanest, most domineering and brutal fellow in the room. Some women who had alcoholic fathers have a similar uncanny ability to detect the alcoholic in a room full of men, even if he is sober at the moment. “Women’s intuition” is a reality: it is an ability to pick up on tiny signals, slight nuances of facial expression that would go unnoticed by a man.
We are attracted to qualities in the opposite sex which our own sex lacks. For many women, this means an attraction to male brutality. Such women may claim to want a sensitive fellow who is in touch with his feelings, but this bears no relation to their behavior. What women say about men comes from their cerebral cortex; how they choose men depends upon their evolutionary more primitive limbic system. Even campus feminists choose arrogant jocks to “hook up” with, not male feminists in touch with their emotions. I have heard it suggested that the best reason not to strike a woman today is that you will never be able to get rid of her afterwards.
F. Roger Devlin, “The Question of Female Masochism”, Counter-Currents Publishing, 2014-09-17.
December 25, 2015
“Fairytale of New York,” The Pogues featuring Kirsty MacColl
This song came into being after Elvis Costello bet The Pogues’ lead singer Shane MacGowan that he couldn’t write a decent Christmas duet. The outcome: a call-and-response between a bickering couple that’s just as sweet as it is salty.
December 23, 2015
Published on 14 Dec 2015
H/T to Victor for the link.
December 22, 2015
Published on 5 Oct 2013
I know there’s a good few copies of this out on YouTube, but here it is, again! The other copies were either split up into individual tracks, the best complete one (from BBC Four’s rebroadcast in 2009) had the wrong aspect ratio, which annoyed the hell out of me! So, here this is…
Video and audio have been tidied up very slightly, not much was needed!
Kate Bush – Christmas Special
(Gymnopédie No.1 – composed by Erik Satie) 03:44
Symphony In Blue 04:44
Them Heavy People 08:20
(Intro for Peter Gabriel) 12:52
Here Comes The Flood (Peter Gabriel) 13:22
Ran Tan Waltz 17:02
December Will Be Magic Again 19:43
The Wedding List 23:35
Another Day (with Peter Gabriel) 28:05
The Man With The Child In His Eyes 36:21
Don’t Push Your Foot On The Heartbreak 39:24
“I was recently asked about this BBC TV special and I thought I’d share my comments here. Kate: Kate Bush Christmas Special is a stage performance by Kate Bush with her special guest Peter Gabriel. Though most of the songs are not holiday ones, they come from Bush’s first three albums (Never for Ever her third album would be released in 1980 after this 1979 TV special was taped). The performances include costumes, choreographed dances and a wind machine, creating an eclectic music TV special to say the least.
This is one of the programs that makes my research quite difficult — because it calls itself a Christmas Special yet it contains only one performance of a Christmas song “December Will Be Magic Again” (a song that wouldn’t be released as a single by Bush until the following year, in 1980). TV programming that calls itself a Christmas Special and yet contains little to no Christmas entertainment is actually quite common — especially on the BBC.
Between the end of November and the end of December each year, there is quite a bit of special programming on television. Remember Elvis’ 1968 Comeback Special — it aired in December that year and includes only one holiday song, a performance of “Blue Christmas.” Is it considered a Christmas special? No, not really. And so, despite its title, the lack of holiday programming in Kate Bush’s 1979 TV special means it shouldn’t be considered a Christmas special either. But the Kate Bush Christmas Special is certainly worth watching!”
H/T to Ghost of a Flea for the link.