Time:
“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.
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
Tracklist:
(Intro) 00:00
Violin 00:29
(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
Egypt 31:41
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.
Uploaded on 15 Dec 2015
The Monkees perform “Riu Chiu” from Episode 47, “The Monkees’ Christmas Show”.
H/T to Kathy Shaidle for the link.
Hard to refute the latest xkcd take on Christmas music:
Earlier this year, I had occasion to run a Google search for “Mr Gameway’s Ark” (it’s still almost unknown: the Googles, they do nothing). However, I did find a very early post on the old site that I thought deserved to be pulled out of the dusty archives, because it explains why I can — to this day — barely stand to listen to “Little Drummer Boy”:
James Lileks has a concern about Christmas music:
This isn’t to say all the classics are great, no matter who sings them. I can do without “The Little Drummer Boy,” for example.
It’s the “Bolero” of Christmas songs. It just goes on, and on, and on. Bara-pa-pa-pum, already. Plus, I understand it’s a sweet little story — all the kid had was a drum to play for the newborn infant — but for anyone who remembers what it was like when they had a baby, some kid showing up unannounced to stand around and beat on the skins would not exactly complete your mood. Happily, the song has not spawned a sequel like “The Somewhat Larger Cymbal Adolescent.”
This reminds me about my aversion to this particular song. It was so bad that I could not hear even three notes before starting to wince and/or growl.
Back in the early 1980’s, I was working in Toronto’s largest toy and game store, Mr Gameway’s Ark. It was a very odd store, and the owners were (to be polite) highly idiosyncratic types. They had a razor-thin profit margin, so any expenses that could be avoided, reduced, or eliminated were so treated. One thing that they didn’t want to pay for was Muzak (or the local equivalent), so one of the owners brought in his home stereo and another one put together a tape of Christmas music.
Note that singular. “Tape”.
Christmas season started somewhat later in those distant days, so that it was really only in December that we had to decorate the store and cope with the sudden influx of Christmas merchandise. Well, also, they couldn’t pay for the Christmas merchandise until sales started to pick up, so that kinda accounted for the delay in stocking-up the shelves as well …
So, Christmas season was officially open, and we decorated the store with the left-over krep from the owners’ various homes. It was, at best, kinda sad. But — we had Christmas music! And the tape was pretty eclectic: some typical 50’s stuff (White Christmas and the like), some medieval stuff, some Victorian stuff and that damned Drummer Boy song.
We were working ten- to twelve-hour shifts over the holidays (extra staff? you want Extra Staff, Mr. Cratchitt???), and the music played on. And on. And freaking on. Eternally. There was no way to escape it.
To top it all off, we were the exclusive distributor for a brand new game that suddenly was in high demand: Trivial Pursuit. We could not even get the truck unloaded safely without a cordon of employees to keep the random passers-by from snatching boxes of the damned game. When we tried to unpack the boxes on the sales floor, we had customers snatching them out of our hands and running (running!) to the cashier. Stress? It was like combat, except we couldn’t shoot back at the buggers.
Oh, and those were also the days that Ontario had a Sunday closing law, so we were violating all sorts of labour laws on top of the Sunday closing laws, so the Police were regular visitors. Given that some of our staff spent their spare time hiding from the Police, it just added immeasurably to the tension levels on the shop floor.
And all of this to the background soundtrack of Christmas music. One tape of Christmas music. Over and over and over and over and over and over and over again.
It’s been over 20 years, and I still feel the hackles rise on the back of my neck with this song … but I’m over the worst of it now: I can actually listen to it without feeling that all-consuming desire to rip out the sound system and dance on the speakers. After two decades.
I think I first heard of Josephine Baker in the Al Stewart song from his Last Days of the Century album:
At Open Culture, Josh Jones has a brief biography of Josephine Baker that touches on most of the salient points of her career and life:
There has maybe never been a better time to critically examine the granting of special privileges to people for their talent, personality, or wealth. Yet, for all the harm wrought by fame, there have always been celebrities who use the power for good. The twentieth century is full of such figures, men and women of conscience like Muhammad Ali, Nina Simone, and Paul Robeson — extraordinary people who lived extraordinary lives. Yet no celebrity activist, past or present, has lived a life as extraordinary as Josephine Baker’s.
Born Freda Josephine McDonald in 1906 to parents who worked as entertainers in St. Louis, Baker’s early years were marked by extreme poverty. “By the time young Freda was a teenager,” writes Joanne Griffith at the BBC, “she was living on the streets and surviving on food scraps from bins.” Like every rags-to-riches story, Baker’s turns on a chance discovery. While performing on the streets at 15, she attracted the attention of a touring St. Louis vaudeville company, and soon found enormous success in New York, in the chorus lines of a string of Broadway hits.
Baker became professionally known, her adopted son Jean-Claude Baker writes in his biography, as “the highest-paid chorus girl in vaudeville.” A great achievement in and of itself, but then she was discovered again at age 19 by a Parisian recruiter who offered her a lucrative spot in a French all-black revue. “Baker headed to France and never looked back,” parlaying her nearly-nude danse sauvage into international fame and fortune. Topless, or nearly so, and wearing a skirt made from fake bananas, Baker used stereotypes to her advantage — by giving audiences what they wanted, she achieved what few other black women of the time ever could: personal autonomy and independent wealth, which she consistently used to aid and empower others.
Throughout the 20s, she remained an archetypal symbol of jazz-age art and entertainment for her Folies Bergère performances (see her dance the Charleston and make comic faces in 1926 in the looped video above). In 1934, Baker made her second film Zouzou (top), and became the first black woman to star in a major motion picture. But her sly performance of a very European idea of African-ness did not go over well in the U.S., and the country she had left to escape racial animus bared its teeth in hostile receptions and nasty reviews of her star Broadway performance in the 1936 Ziegfeld Follies (a critic at Time referred to her as a “Negro wench”). Baker turned away from America and became a French citizen in 1937.
Tom Scott
Published on 27 Nov 2017It’s not your imagination; hold music on phones really did sound better in the old days. Here’s why, as we talk about old telephone exchanges and audio compression.
Thanks to the Milton Keynes Museum, and their Connected Earth gallery: http://www.mkmuseum.org.uk/ – they’re also on Twitter as @mkmuseum, and on Facebook: https://www.facebook.com/mkmuseum/
The Great War
Published on 25 Nov 2017Indy’s back in his Chair of Wisdom, and ready to answer more of your questions. This week we discuss Allied bombings on Germany and the influence of WW1 on Metal, including on the power-metal band Sabaton.
I hate it when nonmodelers talk about model trains.
http://www.dailymail.co.uk/news/article-3264325/My-favourite-tracks-ones-trains-says-Rod-Stewart-Singer-reveals-books-second-hotel-room-models-play-tour.html
http://www.therichest.com/expensive-lifestyle/money/rod-stewart-model-train-collection/I’m not a lover of rock music so when Model Railroader did a writeup of Rod Stewart’s layout a few years back, I said who? Then I read the article and said wow, that’s great work. Especially when it was obvious that Mr. Stewart did the work himself. A great model railroad isn’t something you can just buy, no matter how rich you are. It’s a labor of love that involves developing real skills and tens of thousands of hours of painstaking work. Most model railroads are never finished and disappear when their builders pass on, making them more or less ephemeral works of art.
To call what Mr. Stewart does, “playing with trains” is a direct insult. Nobody says about even the crappiest painter or sculptor that they are just “playing with paint” or “playing with clay.” The same for all sorts of hobbies Yet the tone that you get when you admit to modeling trains is almost always the same. Somehow building model train is playing with toys and you are doing something childish. Somehow the idea that trains come in “sets” never seems to go beyond the train around the tree.
Which couldn’t be farther from the truth. Model railroading involves a great number of skills that most hobbies don’t have. For instance, you don’t get too far before you realize that your favorite prototype train is just not being made, or isn’t being made in your railroad’s paint scheme. So you get out the saw and cut up that train set locomotive and add other parts, ending by repainting the engine in your colors. Now you want a spur track on your railroad to service an industry. You might need to learn how to make your own track. That industry, well that might involve digging into historical archives to figure out what the building did before it became a shopping mall. As for how the railroad looks, those train set trees and vacuum formed tunnel get old fast, so you learn how to form hills and rocks, filling the hills with trees, that look like trees. You research that stuff too. In fact model railroading involves researching, photographing and studying far more than just the trains because the train need a reason to run and country to run through.
Almost no other hobby than model trains gets the kind of ridicule that model railroaders do. Some of that is, unfortunately, self-inflicted as model railroaders aren’t above poking a little at each other. Still, I’m not sure what causes the stigma that goes with small trains. Yet no other hobby requires the number of skills that model railroading, if done well does. You work with more kinds of tools, frequently through magnification than just about anything else. I’ve seen hobbyist machinists for instance talk about having to deal with “small parts” that were larger than a typical modeling project.
J.C. Carlton, “Rod Stewart And His Trains”, The Arts Mechanical, 2016-03-17.
The Great War
Published on 21 Oct 2017Learn more about Sabaton: http://www.sabaton.net/
Sabaton is a Heavy Metal band from Sweden. Battles and events during World War 1 inspired them to do multiple songs about them and Indy is talking with bass player Pär Sundström about the process.
Victor Davis Hanson on the era when the progressive left embraced the “Lost Cause” imagery of the South:
Leftists love Johnnie Reb in movies and songs. But statues? Not so much. How exactly did the Left romanticize the Lost Cause Confederacy, and by extension its secession and efforts to preserve slavery? To use a shopworn phrase, “It’s complicated.”
Good Ol’ Rebels
Well before the end of Jim Crow, post-war leftist Hollywood still largely continued its soft mythologies of the Confederate Lost Cause. Perhaps the cinematic romance arose because of the lucrative fumes of earlier Gone with the Wind fantasies, which themselves might’ve come from an understandable desire to play a part in “binding up the nation’s wounds.”
[…]
The supposedly left-wing 1960s and 1970s, in fact, were the heyday of Confederate Chic. True, there were plenty of In the Heat of the Night portraits of the now-familiar racist white Neanderthals, but with the passage of the Voting Rights Act and the end of Jim Crow segregation, the romance of the Old South reappeared, updated and tweaked for the era of counterculture protest.
The contemporary hippie style of long hair, beards and mustaches, resistance to government authority, twangy folk-song strains, and hard-edged metal all fed into the rural, down-home Confederate romance. Notions of slavery, segregation, and secession mysteriously disappeared. Southern attitude was no longer Bull Connor but airbrushed Sixties-era resistance, at least at the superficial level of pop culture.
In Walter Hill’s post-Vietnam The Long Riders (1980), the murderous Jesse James gang morphs into a sort of mix of Lynyrd Skynyrd with Bonnie and Clyde — noble outlaws fighting the grasping northern banks and the railroad companies’ “Pinkerton Men.” David Carradine and his siblings, playing members of the gang, appear like Woodstock rockers, with exaggerated southern accents, long unkempt hair, hippie buckskin, and a don’t-give-a-damn Bay Area resistance attitude.
[…]
The unlikely common denominator that brought together left-wing Sixties popular culture with Confederate cool was a mutual hatred of a supposedly big, square, soulless, and powerful Washington, hated for its insolence in Vietnam and for stifling the individual — as if the poor lost South had been once as defenseless as the Vietnamese in the face of such a godless steamroller, or as if the Carradine clan were like the Allman Brothers with six-shooters.
Southern pop-music angst, hard metal, and crossover country and western channeled southern and Confederate themes, supposedly adding authenticity to mostly mainstream northern suburban American pop. Were rockers from the South popular versions of the 1920s and ’30s Southern Agrarians (“I’ll take my stand”) critics?
Few pop icons (but see Neil Young’s “Southern Man”) dared in the 1980s to suggest that southern chic was somehow blind to the racism of the Confederacy rather than just defiant and anti-government. The Allman Brothers, Lynyrd Skynyrd (“Sweet Home Alabama”), the Marshall Tucker Band, Charlie Daniels (“The South’s Gonna Do It”), Confederate Railroad (“Summer in Dixie”), and even REM squared the circle of grafting old-style Confederate attitudes with hip counterculture, even if superficially and often nonsensically.
In other words, Confederate Chic escaped the modern odium that often had been accorded the Lost Cause revisionism sweeping the country from 1890 to 1920, in part fueled by rising nativism and renewed commitment to Jim Crow.
I’ve heard Garnet play in concert many times, but over the years I’d lost a couple of his early CD recordings … now I can do the up-to-date thing and download them:
Of course, if you have any experience of the utility of “government help”, you shouldn’t get your hopes up too high, as Chris Selley explains:
The results of an online public consultation were clear, said Naqvi. “One: the current system clearly is not working for fans; and two: Ontarians expect the government to take action.” We should have expected nothing less: ticket rage is a real thing among concertgoers in particular — a mind-boggling 35,000 people completed the online consultation — and besides, the survey didn’t include an option to suggest the government do nothing.
Among other things, Naqvi said, it will be illegal to resell tickets for more than 150 per cent of face value, and it will be illegal to use bots. Soon, he promised, “everyone (will have) a fair shot at getting the tickets they want.” Ontario, he said, will become “a world leader in ticket sales regulation.”
You’re supposed to think that’s both plausible and desirable. You should instead be very, very skeptical. So long as U2, the Tragically Hip and other artists insist on pricing their tickets vastly below what people are willing to pay for them, there will be an enormous incentive to circumvent whatever laws are in place to prevent third parties from reaping those foregone profits. A 150-per-cent cap would reduce the incentive, as Naqvi says — but only if the entire scalping community decided to respect it.
It won’t. It doesn’t. Scalping is illegal in Arkansas. Tickets for the University of Arkansas Razorbacks’ Nov. 24 game against Missouri are going on Stubhub for well over twice face value. Scalping is illegal in Quebec. Stubhub will put you in the third row for Bob Dylan’s show at the Montreal Jazz Festival next month for US$275; face value is $137.50 Canadian. The experiment works in every scalping-restrictive North American jurisdiction I tried. Heck, scalping used to be illegal in Ontario. That sure didn’t deter the gentlemen who prowled around outside Maple Leaf Gardens and SkyDome.
Many Stubhub users aren’t even in Ontario — that’s even more true for the people with the bots. Is the Attorney General really going to prosecute people for the crime of selling tickets at prices people are perfectly willing to pay? People in other countries? That would get awfully old in an awful hurry.
As he points out in the article, this is yet another instance of the Ontario government pandering to the demands of economic illiterates (recent examples include slapping on new rent controls in the middle of a housing crunch and significant increases in the minimum wage as new workforce entrants are already finding it tough to get hired). It’s as though the government is reading the economic textbook upside down … bringing in exactly the wrong “solutions” to every problem they see.
Uploaded on 1 Mar 2011
Official music video for the single “Hounds of Love” — which is the title track of the Hounds of Love album by Kate Bush. It was also the third of the album’s four singles. The single was released on 24 February 1986, and reached number 18 in the UK Singles Chart.
The music video was directed by Kate Bush herself.
The versions worldwide differ slightly: the US single mix included an additional chorus just after the second chorus.
A group of Manhattan Project physicists created a tongue-in-cheek mythology where superintelligent Martian scouts landed in Budapest in the late 19th century and stayed for about a generation, after which they decided the planet was unsuitable for their needs and disappeared. The only clue to their existence were the children they had with local women.
The joke was that this explained why the Manhattan Project was led by a group of Hungarian supergeniuses, all born in Budapest between 1890 and 1920. These included Manhattan Project founder Leo Szilard, H-bomb creator Edward Teller, Nobel-Prize-winning quantum physicist Eugene Wigner, and legendary polymath John von Neumann, namesake of the List Of Things Named After John Von Neumann.
The coincidences actually pile up beyond this. Von Neumann, Wigner, and possibly Teller all went to the same central Budapest high school at about the same time, leading a friend to joke about the atomic bomb being basically a Hungarian high school science fair project.
But maybe we shouldn’t be joking about this so much. Suppose we learned that Beethoven, Mozart, and Bach all had the same childhood piano tutor. It sounds less like “ha ha, what a funny coincidence” and more like “wait, who was this guy, and how quickly can we make everyone else start doing what he did?”
In this case, the guy was Laszlo Ratz, legendary Budapest high school math teacher. I didn’t even know people told legends about high school math teachers, but apparently they do, and this guy features in a lot of them. There is apparently a Laszlo Ratz Memorial Congress for high school math teachers each year, and a Laszlo Ratz medal for services to the profession. There are plaques and statues to this guy. It’s pretty impressive.
A while ago I looked into the literature on teachers and concluded that they didn’t have much effect overall. Similarly, Freddie deBoer writes that most claims that certain schools or programs have transformative effects on their students are the result of selection bias.
On the other hand, we have a Hungarian academy producing like half the brainpower behind 20th century physics, and Nobel laureates who literally keep a picture of their high school math teacher on the wall of their office to inspire them. Perhaps even if teachers don’t explain much of the existing variability, there are heights of teacherdom so rare that they don’t show up in the statistics, but still exist to be aspired to?
Scott Alexander, “The Atomic Bomb Considered as Hungarian High School Science Fair Project”, Slate Star Codex, 2016-05-26.
Powered by WordPress