Tuesday, May 15, 2007


Sounds like one of those code words you have to type to identify yourself in order to make a comment but it ain't.
The only way I can log into my own site from this 'puter is to leave a comment.
dropijspoigjs is just a random attack on the keyboard.
Usually I delete the "comment" but for some reason, I liked this one I'm tired.
I have been cutting laying and grouting tile all day, my arms are as tired as if I'd just flown in from the coast.
I've been reading Norman Lebrecht. After reading about him on Music and Man, I got what the library had. "Song of Names" "Covent Garden, the untold story" and "The companion to 20th century music".
"Song of" was cute, definately on the smily side of that bifaced drama masque"
I've always thought that there should be another mask in that kit, an expressionless one to stand for indifference. Or the mundane, neither comedy OR tragedy.
Or, some damn thing.
So, in "Covent Garden" I find that certain kinds of artist shenanigans are not endemic to the heartless SSO (I still cry myself to sleep at night [or might, if I weren't reading all these big books]).
Look at that ]) sideways doesn't it look like some kind of ASCII space monster. How 'bout like this? ]:( or this? }:( .....Nahhh!
Where was I?
It turns out that this Norman person is a foriegner! He is doing really well with our language. Way to go Norm! Wait a minute, Norman...Norman... Of course! the Norman Invasion, he's from Normandy, He's french, just like John LeCaree (pronounced Caraye, there's 'sposed to be an accent ague* on the last e, I think) the spy writer.
What else?
I've looked through the "companion" a bit and am dismayed to find in the "Jones" section no mention of either Sam or Spike. Although the "Sex Pistols" are there, there is no mention of Darby Crash.
Can you believe it?
I'm not mentioned, of course, because I am a 21st century phenomenon (you spell it, I'm tired)
I've also got Theodor Adorno's "Quasi una fantasia" (it means "like a little lemon flavored sugar-free soda pop).
Speaking of "pops" there was a fist fight at a Boston Pops concert recently, a kind of one sided bout, I hear.
What's the world coming to?
Although I do remember reading an article awhile ago in which the Beatles revealed that they wrote "Helter Skelter" expressly for the purpose of inciting mass bloody murder.
I doubt it, nothing like that has ever happened at one of my shows, and if ANYthing should invite crowd violence........
Reading Adorno, I find, as usual, that pretty much everything I thought I'd discovered on my own has been said before...and better.
My illustrious composition teacher suggested (in a desperate attempt to get some kind of musical competance stuffed into my head) that I listen to some Walter Piston, so I checked out all the Seattle Library (if you happen to visit here,
don't miss it (even though the handrails on the escaliers** go faster than the treads))had.
So now I've heard WP's 2nd, 4th, 5th, 6th, 7th, & 8th symphonies.
I'm going to go out on a limb here, and I don't care how much controversy it generates, but the symphonies of Walter Piston don't do to me what the symphonies of Beethoven do.
Just my opinion.
I'm still trying to find some of this Eddy Emerald guy's work.
I'm beginning to think the search in futile.
Considering my background, I should be able to come up with some cute joke about the word "piston" but I won't,proving that there is still a spark of decency in me.


* I can't spell it, maybe it's grave, who cares? I think I got fenomanun rite thogh.
** That's french for stairway, it's not an accurate translation, but I like the word better, and anyway, if you don't get the joke, you've failed the intelligence test.
*** I just like asterisks ****
**** and footnotes
Good bye!

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Blogger butch said...

Nice to hear that your great labors on the tile job are coming to some kind of fruition. I guess you have been very busy on it for days, considering your silence and absence from the blog.

Yes, I am a cutter and paster, and it certainly does save time, and transfers good stuff quickly to the blog. I, of course, as a musical illiterate, did not know who Norman Lebrecht was;

Norman Lebrecht (born 11 July 1948 in London) is a British commentator on music and cultural affairs and also a novelist. He has been Assistant Editor of the Evening Standard since 2002 and has presented lebrecht.live on BBC Radio 3 from 2000 to the present. Before working for the Standard, he wrote for the Daily Telegraph.

The Maestro Myth (1991) charts the history of conducting from its rise as an independent profession in the 1870s to its subsequent preoccupations with power, wealth and celebrity. When the Music Stops (US title: Who Killed Classical Music, 1997) is the first documented history of the classical music business, examining its backstage workings and foretelling the collapse of the record industry. Maestros, Masterpieces and Madness (US title: The Life and Death of Classical Music, 2007) is an inside account of the rise and fall of recording, combined with a critical selection and analysis of 100 cornerstone discs and 20 recording disasters.

Lebrecht has written extensively about the composer Gustav Mahler, in Mahler Remembered (1987) and elsewhere; and about contemporary music, in The Complete Companion to 20th Century Music (2000). He is the founder and editor of the Phaidon series of 20th century composer biographies.

His novel The Song of Names, a tale of two boys growing up in wartime London, appeared in 2001 and went on to win the prestigious 2002 Whitbread Award for First Novel.

Other books include The Book of Musical Anecdotes (1985), Music in London (1992), Covent Garden: The Untold Story (2000).

His weekly newspaper and web column is sporadically attacked as provocative and misinformed, but Lebrecht’s predictions on the decline of the classical music industry have been generally vindicated and several of his books are international bestsellers, translated into 16 languages.

Nice suggestion as to the Drama Masque, but since it is two sided mostly, you would have to design a middle part, something three demensional, to have room for the neutral face. Arne Zaslove in his mask work with actors uses the neutral mask a lot. While wearing it, you let your body express whatever emotion you want, or sometimes are unaware of.

What,pray tell, is the "Companion"? Perhaps an index or text that defines or lists musicians, composers, bands? As to Darby Crash:

Darby Crash (born Jan Paul Beahm) (A.K.A. Bobby Pyn) (September 26, 1958 – December 7, 1980) [1] [2] was a punk musician who cofounded (with long time friend, Pat Smear) The Germs.

Crash had a troubled childhood: His biological father left the family and his older brother died of a drug overdose.[citation needed]He attended IPS, a school within University High School in Los Angeles, California. The IPS program was a notoriously free form academic program which combined elements of EST and Scientology.[citation needed]

Before the Germs, he and Pat Smear called themselves Sophistifuck and the Revlon Spam Queens, but had to shorten their name as they didn't have enough money to put Sophistifuck and the Revlon Spam Queens on a t-shirt. After a short stint under the name Bobby Pyn, he changed his name to Darby Crash. The Germs became an important Los Angeles-area punk band, known for their chaotic live shows. Along with a band of misfit followers the Germs dominated the L.A. punk scene. They can be seen in the 1981 film The Decline of Western Civilization, directed by Penelope Spheeris.

After Darby broke up the Germs he moved to England briefly and upon his return formed the short-lived Darby Crash Band. Shortly after a celebrated live reunion with his Germs, Crash allegedly committed suicide with an intentional heroin overdose on December 7, 1980, the day before John Lennon was killed. His legacy has carried on past the release of The Germs (MIA): The Complete Anthology in 1993, thought to be a prototype for hardcore punk. Darby Crash is interred in the Holy Cross Cemetery in Culver City, California.

A biography of Darby Crash, called "Lexicon Devil" after one of the Germs' songs, was published by Feral House and was written by Brendan Mullen, a club booker/ promoter during the early years of punk rock in Los Angeles (ISBN 0-922915-70-9). The book plays a cameo of sorts in the Red Hot Chili Peppers' videos "By the Way" and "Universally Speaking." Anthony Kiedis is seen holding, and later losing, a copy of the book in "By the Way," and an attempt is made to return the book to him in "Universally Speaking." Kiedis has stated he and the Peppers are fans of The Germs and Crash.

A movie based on his life is set to be released in 2007. Named after one of the Germs' songs, What We Do Is Secret stars Shane West.

In 2006, Matmos dedicated a song to Darby on their album The Rose Has Teeth in the Mouth of a Beast which features samples of screams from Drew Daniel as Don Bolles is extinguishing a cigarette on the inner side of Drew's left wrist. This mark is said to be a "Germs burn" if done by a member of the Germs band, such as Don Bolles, or from someone that has been previously burned by the same, such as Drew Daniel.[3]

Would your listing be under Douglas Palmer or Lane Savant?

You have me reeling again with Theordor Adorno:

Theodor Ludwig Wiesengrund Adorno (September 11, 1903 – August 6, 1969) was a German sociologist, philosopher, pianist, musicologist, and composer. He was a member of the Frankfurt School along with Max Horkheimer, Walter Benjamin, Herbert Marcuse, Jürgen Habermas, and others. He was also the Music Director of the Radio Project.

Already as a young music critic and amateur sociologist, Theodor W. Adorno was primarily a philosophical thinker. The label social philosopher emphasizes the socially critical aspect of his philosophical thinking, which from 1945 onwards took an intellectually prominent position in the critical theory of the Frankfurt School.

By the way, for the younger readers and the European ones, Spike Jones was a novelty band leader who was very popular in America during the late 40's and early 50's. I believe he had his own TV variety show for a time.

Lindley Armstrong "Spike" Jones (December 14, 1911, Long Beach, California – May 1, 1965, Beverly Hills, California) was a popular musician and bandleader specializing in performing satirical arrangements of popular songs. Ballads and classical works receiving the Jones treatment would be punctuated with gunshots, whistles, cowbells, and ridiculous vocals. Through the 1940s and early 1950s, the band toured the USA and Canada under the title

It would be a sad fact indeed if the Beatles actually wrote HELTER SKELTER with actual mayhem in mind. Although in their drugged out moments, they did think of themselves as revolutionaries. They had to have been shocked by the Manson murders, and the use of their music to incite slaughter.

Now as to Walter Piston...what a great name!

Piston was born in Rockland, Maine. His father's father, a sailor named Antonio Pistone, changed his name to Anthony Piston when he came to America from Genoa, Italy. In 1905, Walter Piston Sr. and his family moved to Boston. Walter Jr. trained as an engineer at the Mechanical Arts High School in Boston, but he was artistically inclined and upon graduating from there in 1912, proceeded to the Massachusetts Normal Arts School, majoring in painting, also studying architectural drawing and American history. There he met Annabel Nason, and married her at a Unitarian church.[1]

With his brother Edward, Walter Piston Jr. took piano lessons from Harris Shaw (who was Virgil Thomson's organ teacher). During the 1910's Walter Piston made a living playing piano and violin in dance bands, and later on in the decade played violin in orchestras led by Georges Longy. With help from Shaw, Walter Piston was admitted to Harvard in 1920, where he studied counterpoint with Archibald Davison, canon and fugue with Clifford Heilman, advanced harmony with Edward Ballantine, composition and music history with Edward Burlingame Hill. Piston often worked as an assistant to the various music professors there, and conducted the student orchestra.

At about that time Piston joined the Navy Band and learned to play more instruments. He wanted to join the U.S. Navy as an officer, but was deemed more useful as a musician.

Upon graduating summa cum laude from Harvard, Piston was awarded a John Knowles Paine Traveling Fellowship, consisting of $1500 yearly for two to three years of travel abroad. He chose to go to Paris, living there from 1924 to 1926, but he also visited Italy. At the Ecole Nationale de Musique in Paris, Piston studied composition and counterpoint with Nadia Boulanger, composition with Paul Dukas and violin with George Enescu. His Three Pieces for Flute, Clarinet and Bassoon of 1925 was his first published score.

He moved to Belmont, Massachusetts after returning from Europe, and taught at Harvard from 1926 until retiring in 1960. His students include Samuel Adler, Leroy Anderson, Arthur Berger, Leonard Bernstein, Elliott Carter, John Davison, Irving Fine, John Harbison, Frederic Rzewski, Conlon Nancarrow, and Harold Shapero.

In 1936, the Columbia Broadcasting System commissioned six American composers (Aaron Copland, Louis Gruenberg, Howard Hanson, Roy Harris, William Grant Still and Piston) to write works for CBS radio stations to broadcast. Piston considered radio better suited to smaller orchestras and he wrote a Concertino for Piano and Chamber Orchestra. The following year Piston wrote his Symphony No. 1, which was premiered by the Boston Symphony Orchestra on April 8, 1938.

At the invitation of Arthur Fiedler, Piston wrote his most famous ballet, The Incredible Flautist, for Hans Wiener and the Boston Pops Orchestra.

Piston studied the twelve-tone techniques of Arnold Schoenberg, and wrote a work for organ using them, the Chromatic Study on the Name of Bach.

During World War II, Piston was an air raid warden in Belmont, and he wrote patriotic fanfares and other such works.

In 1943, the Alice M. Ditson fund of Columbia University commissioned Piston's Symphony No. 2, which was premiered by the National Symphony Orchestra on March 5, 1944 and was awarded a prize by the New York Music Critics' Circle. His next symphony, Symphony No. 3 earned a Pulitzer Prize, as did his Symphony No. 7. His Viola Concerto and String Quartet No. 5 also later received Critics' Circle awards.

Piston wrote four books on the technical aspects of music theory which are considered to be classics in their respective fields: Principles of Harmonic Analysis, Counterpoint, Orchestration and Harmony. The last of these went through four editions in the author's lifetime, was translated into several languages, and (with changes made by a later author) is still widely used by teachers and students of harmony. In it, Piston introduced, for the first time, the concept of the secondary dominant, as well as his unique theory of classifying nonharmonic tones (nonchord tones).

Piston's handwriting was so neat that almost all his orchestral scores were published as facsimiles of his original scores, and he also wrote the musical examples in the textbooks he authored.

In his final years, Piston was debilitated by diabetes, and his vision and hearing suffered. His wife died in 1976, and he died later that same year, of a heart attack, in Belmont, Massachusetts. He was cremated, and his ashes were dispersed at Mount Auburn Cemetery.

Yeah, good luck on Eddy Emerald. I did find your own reference on Google, from your above comment. It was the only thing that listed the two names in order. I guess somewhere there is an Eddy Emerald building too.

Have a nice morning, sir.


6:15 AM  
Blogger butch said...

Actually you peaked my curiousity about McCartney and the Beatles, the history and data relative to HELTER SKELTER:

"Helter Skelter" is a song written by Paul McCartney,[1][2] credited to Lennon/McCartney, and recorded by The Beatles on The White Album. A product of McCartney's deliberate effort to create a sound as loud and dirty as possible, the clangorous piece has been noted for both a "proto-metal roar" and "unique textures."[3][4] It was one of several White Album compositions taken by Charles Manson as elaborate prophecy of a war to arise from tension over racial relations between blacks and whites.

McCartney was inspired to write the song after reading an interview of the Who's Pete Townsend where he described their latest single, "I Can See for Miles," as the loudest, rawest, dirtiest song the Who had ever recorded. McCartney then "wrote 'Helter Skelter' to be the most raucous vocal, the loudest drums, etcetera" and said he was "using the symbol of a helter skelter as a ride from the top to the bottom—the rise and fall of the Roman Empire—and this was the fall, the demise."[1] "Helter Skelter" is a British term for an amusement park slide. McCartney has used this song as a response to critics who accuse him of only writing ballads.
The Beatles recorded the song multiple times during the The White Album sessions. During the 18 July 1968 sessions, a version of the song lasting 27 minutes and 11 seconds was recorded, although this version is rather slow and hypnotic, differing greatly from the volume and rawness of the album version. Another recording from the same day was edited down to 4:37 for Anthology 3. On September 9, eighteen takes of approximately five minutes each were recorded, and the last one is featured on the original LP.[7] After the eighteenth take, Ringo Starr flung his sticks across the studio[8] and screamed, "I've got blisters on my fingers!"[1][7] The Beatles included Starr's shout on the stereo mix of the song (available on CD); the song completely fades out around 3:40, then gradually fades back in, fades back out partially, and quickly fades back in with three cymbal crashes and Ringo's scream (some sources erroneously credit the "blisters" line to Lennon). The mono version (on LP only) ends on the first fadeout without Ringo's outburst. The mono version was not initially available in the US as mono albums had already been phased out there. The mono version was later released in the American version of the Rarities album.

According to Chris Thomas, who was present,[9] the 18 July session was especially spirited. "While Paul was doing his vocal, George Harrison had set fire to an ashtray and was running around the studio with it above his head, doing an Arthur Brown."[7] Starr's recollection is less detailed, but agrees in spirit: "'Helter Skelter' was a track we did in total madness and hysterics in the studio. Sometimes you just had to shake out the jams."[6]

On the version that appears on the Anthology 3 album, McCartney occasionally sings "hell for leather" instead of "helter skelter".

Critical reaction
The song has been covered by a number of bands (see below) and praised by critics, including Richie Unterberger of the All Music Guide. Unterberger called it, "one of [the] fiercest and most brutal rockers done by anyone" and "extraordinary."[4] John Lennon, referring to the song's association with Charles Manson, sarcastically said that it was "Paul's completely ... Paul's song about an English fairground. It has nothing to do with anything, and least of all to do with me."[2] Ian MacDonald was also critical, calling it "ridiculous, McCartney shrieking weedily against a massively tape-echoed backdrop of out-of-tune thrashing." His other remarks indicate a lack of appreciation for heavy metal music in general.[10]

In March 2005, Q magazine ranked "Helter Skelter" number 5 in its list of the 100 Greatest Guitar Tracks.

Charles Manson
Main article: Helter Skelter (Manson scenario)
The infamous Charles Manson told his followers that White Album songs including "Helter Skelter" were the Beatles' coded prophecy of an apocalyptic war in which racist and non-racist whites would be maneuvered into virtually exterminating each other over treatment of blacks.[11][5] Upon the war's conclusion, after Black Muslims would kill off the few whites they would know to have survived, Manson and his companions, having ridden out the conflict in an underground city, would emerge from hiding and, as the actual remaining whites, rule blacks, who, as the vision went, would be incapable of running things. Manson employed Helter Skelter as the term for this epic sequence of events. Los Angeles assistant District Attorney Vincent Bugliosi, who led the prosecution of Manson and the killers who acted on Manson's instruction, named his best-selling book about the murders Helter Skelter. The book was the basis for two films of the same title.

Notable covers
In 1978, Siouxsie & the Banshees included a cover of this song on The Scream.
In 1981, Pat Benatar released a cover of "Helter Skelter" as the final track on Precious Time.
In 1983, Mötley Crüe recorded their version of this song on their Shout at the Devil album.
In 1983, The Bobs released an a capella version on their eponymous album. It earned them a 1984 Grammy nomination for best new arrangement of an existing song.

The White Album was like the beginning of the end for the super group. I remember that I found "Helter Skelter" hard to listen to, and it did seem on the random side for the Beatles. I do like it better than "Revolution" though. Some of the mix on that song sounds like it was recording on a K-Mart tape recorder.

Thinking about how important the Beatles were to our generation, it is hard for others to fully appreciate. They set the hair styles, and the philosophic ambiance. I remember being very angry at Yoko Ono for breaking up the gang, even though it was probably their egos and not the dame.

To have John Lennon murdered in that senseless manner, and to have George Harrison die so young of cancer --it just provides the perfect amount of tragedy to the whole picture. Then you have Heather, Paul's latest ex-wife, dancing on DANCING WITH THE STARS, stumping around magnificently on her one leg, and claiming that Sir Paul is an arrogant selfish twit. What is Ringo up to these days?

Do you still have your Beatles albums? You were one of the few of the old gang, because you actually had a job, that could afford to buy the albums when they first came out. At one point I had a batch of 8-track tapes of their music that I used to listen to for endless hours in my '68 Chev SS convertible with that 396 in it, hot rodding between LA and Seattle in the early 70's. Actually mostly I listened to Leonard Cohen and Billy Joel and Jonie Mitchell.

In response to Anonomann's inquiries, cutting and pasting is very simple maneuver, and it can be great fun. Since most of my own poetry is already on the website, 1millionstories, I can even cut and paste it if I want.

I am pleased he liked the Adventures of Sir Lane and Anonomann. That is Chapter Three in the continuing adventures. Is Anonymous already back in Germany?


6:59 AM  
Blogger Lane Savant said...

The "companion" refers to the Lebrecht book about 20th century music.
Eddy Emerald is a covert reference to a real composer Whose initials are D.D. You will never find him except on my site. The SSO paid sombody off to keep his name off another (and better). If I tell you any more I'll have to kill you.
D.D. himself was at the Benaroya performance in which I was inspired by an accordianist aquaintance to write the piano piece (Another Sad Song Littering the Higway of Life)
It originally was for accordian.
The spy writer's name is spelled Le Carre.
Spike Jone's band was notable for thier ability to play incredibly fast and incredibly together, even though they were paying homage to the god of silly.

8:53 AM  
Blogger butch said...

When shall you get to your "notes", Dougie. RE the Road Trip? You know, the Union Hotel and the Annie Oakley room, and like that. My summer road trip will happen in just five more short weeks, on June 23. As we peruse the Southwest, we are confronted yet again with wildfires and forest fires. Last year we could not get to the north rim of the Grand Canyon, or Sodoma, AZ because of fires. In the 60's, when I was an airman/seaman at NAS Miramir, south of Escondido, CA, there was a huge fire, and it sort of inspire me:


There is a fire in the mountains.
The desert is covered with a black fog.
A roaring crackling snarling thing
that devours its way through the lushness of green-brown,
burning and burning,
choking the air with cinders and sparks.
Sagebrush afire,
vermin fleeing,
whole towns gutted,
rag-dolls and mansions,
horses and fallow hay,
all burned,
blister and char.
People standing and praying,
horns blasting.

Firefighters with watery weary eyes
and hard soot-smeared faces,
and big shovels,
hearing the screams in the moment,
and for an eternity of moments.
A whole countryside burning
under clear skies with blood on the sun;
and the creatures struggling in the hellish haze,
watching toil turn to ash,
raise their collective eyes to the dark clouds above;
fire clouds,
and beyond,
and they see nothing;
no rain,
no golden thrones.

Glenn Buttkus 1967

12:13 PM  
Anonymous Anonymous said...

Hallo, Glenn!
You write that you don't know much about classical music, but if you read all that you cut and paste about it, you are certainly learning alot!!!
Is your last name really Buttkus??
In the mid-70s or 80s, I knew a woman in Wiesbaden (Germany) with that surname; I've forgotten her first name.

5:12 PM  
Blogger butch said...


Yes, my last name is Buttkus. It was my stepfather's name actually, and when I was 18 we changed it from Bryden, who we thought was my father, but as it turned out was simply my "first" stepfather. Art Buttkus was my last stepfather. The Buttkus family were in fact, very German, from Berlin if memory serves. Dick Butkus the footballer is Slavic, I believe. I would have changed Buttkus to Savant or something, but all my service records, and college records, and work records are under Buttkus, so I just left it. What's in a name anyway? There usually is not too many Buttkus' in the phone books.

Yes, through your comments, and certainly all of Doug's, and all that research I do, my education in classical music and opera is going great guns; but I remain a nyophite, a cherry boy, who stands quietly in the shadows of his betters, all ears, endeavoring to pick out the odd name, title, tune, or reference that I can grasp, and fondle, and mull over.


1:14 PM  

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