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octobre 2019   01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Watch out, now. Take care. Beware...

It was rather coincidental that when I finished my pondering about the Beatles and the Byrds and the sitar in 1965, I turned on Coast-to-Coast, (w/ Ian Punnet), and they were talking about the Byrds, "EIGHT MILES HIGH." Later, they talked about other music from the era. Last night, the C-t-C host with the low creepy voice had on a wonderful guest, Dr. ... oops I forgot. But I need to follow up on that guy - he spoke about the crash of 08, etc., and it was like my words coming out of his mouth, yo and double yo. He had a focus on INFORMATION, which included economics, game theory, cognitive psychology, and even immunology. This is totally MY REALM of special interest.

I like listening to various radio shows an interviews, and learning more about pop music - because pop music indicates social trends and it's just plan fun. Triple yo. One thing that peeked my curiosity a year or two or three ago was the fact that NORAH JONES was on informal tour with WILCO, (the latter who is from the great Illinois university metropolis of Shampoo-Banana, but whom is claimed by the great VAMPIRE of CHICAGO as it's very own - just like it done did to Cheap Trick and others).

So, I was, "WHY is Norah Jones touring with Wilco?" Well, Norah Jones is Ravi Shankar's daughter, so she was into George Harrison, of course. Norah Jones always reminded me of the likes of BILLY HOLIDAY, and she seemed to touch off the whole DUSTY SPRINGFIELD, NANCY SINATRA, and 60-fied DORIS DAY movement that is currently full-force in Indie music. But I think maybe she took her smokey voice from George's great reverence for SMOKEY ROBINSON! (I love Smokey, too, but my great vocal influence is AL GREEN). Well, I believe Wilco also had George as a big influence, and also via BIG STAR, the first true POWER POP group, which got much of its influence from George, as well as from the lower Mississippi, MEMPHIS, TN, and MUSSEL SHOALS sounds. George also was influenced by that area, especially via his hero, CARL PERKINS.

I think T-Rex and the Kinks and the Who were the other big influence on POWER POP - as well as being, arguably, the earliest influence on PUNK, which flowered in the late 1970's, (starting with Iggy Pop, NYC Thrash, then feeding into L.A., and England to the Sex Pistols, then onto the Clash and all that); and had its big influence in the early 1980s, mixed in with NYC CBGB's Punk New Age. I think T-Rex and/or the Kinks were possibly influenced by DONOVAN. I'm not big on DONOVAN - (my comparable hero is CAT STEVENS) - but apparently DONOVAN was a big influence around 1965 - ad you can feel a little of his influence in the Byrds, the Mamas/Papas, etc. And DONOVAN was so big that he was seen as a direct competitor to Dylan, which is hard to believe today.

Besides Skiffle, the Isley Brothers, Elvis Presley, Roy Orbison, Carl Perkins, Johnny Cash, and the early girl/Motown sound, two big influences on the Beatles were BOB DYLAN and THE BEACH BOYS. The monumental flower-power album, SERGEANT PEPPER, owes much of its creation and creativity to John and Paul's amazement over Brian Wilson's album, "PET SOUNDS," which included the song, "GOOD VIBRATIONS." I think that was around 1967, when the flower-power age was underway.

I was listening to a music show on local AM yesterday - I have it on for my dog. It is a nationally syndicated show which you might have heard, called, "Into the Seventies." The host of the show is a retired DJ from Chicago's WLS. WLS was a major influence in pop music in time of the British Invasion, Motown, psychedelic pop, etc. The other giant radio stations of that time were a station in NYC and a powerful station in WINDSOR, ONTARIO, (next to Detroit). There was also a pirate radio station off the coast of the UK in the early 1960's, and there was a giant 50,000 watt radio station booming out of Mexico in the 1950's, featuring Wolfman Jack. Well, an interesting thing about the DJ hosting today's show, "Into the Seventies," John Landecker, is that, in those olden times, his voice on WLS was a major influence on some kid growing up near the Mississippi, in Missouri. This kid grew up and totally imitated the sound of the WLS DJ's voice, sprucing it up with a little more rhetorical flourish, etc., to become one of the most influential persons in U.S. history. His name was RUSH LIMBAUGH.

Well, the song I mused over from that session was a 1970's ONE HIT WONDER I've never heard before, something like, "FLOAT," by, "THE FLOATERS," (although I could be wrong). This was a really interesting pop R&B song, which I thought sort of exemplified the decade - but even more sounded like a modern IMITATION, in the METROPOLIS or the LENNY KRAVITS, (mush as I don't like the latter). In the past 2 years, there has been a modern "revival" of pop folk psychedelic soul from the 1970's, (bordering on funk). (That makes me predict that a revival of psychedelic funk, i.e., early funk, is coming soon).

Yesterday, I was also listening to one of my favourite NPR music shows, "AMERICAN ROOTS," which features rock roots music, (often from Louisiana, since that is where the show is produced). Last night's show was great, cuz they were focusing on the 1960's or something - oh wait, they were featuring MUSIC FROM MOVIES! Well, they played a song by BOB DYLAN which I've never heard before. He was performing it LIVE in a 1965 concert in ENGLAND - and it was in the movie called, "DON'T LOOK BACK." Dylan was possibly the biggest influence on pop music in the 1960's. Other than his great lyrics and flat folksy style, emulating Woody Guthry, his revolutionary contribution was to ELECTRIFY folk guitar, bluesing it into ROCK. (I guess this was inspired by LES PAUL, who's guitars/playing and recording inventions also influenced The Beatles). However, the version of the song he did on "DON'T LOOK BACK" was entirely ACOUSTICAL. And the haunting sound of the song really intrigued me. It sounded a LOT like GEORGE'S later acoustical playing. It had some very essential sounds in it - I am thinking that the Dylan 1965 England concert became a major influence on the Beatles. This is just a hypothesis at the moment. Presently, I am listening to George and friends, "APPLE JAM," from "ALL THINGS MUST PASS," and you can really hear the influence of CREAM/TRAFFIC and Clapton and Jeff Beck. (Very obvious influence of Dylan on many of the LP's lyrical songs). So, I'm thinking that the big influences on George around 1965 were:

girl/Motown sound
Smokey Robinson
Lord Richard Buckley - (add this to the "Comedy/psychedelic" discussion in earlier post)

Before I switched over to, "ALL THINGS MUST PASS," I was listening to the local AM oldies station for dog. They were playing the Beach Boys, "Don't Worry, Baby." What a beautiful wonderful song that is. I once had a guy friend who's sister listened to nothing but the Beach Boys. This seemed so strange to me, that I was tempted to fall under her spell but I resisted. But I love the Beach Boys, as uncool as that might be.

Well, since moving to this small town - I feel like I have time-travelled to the 1950's or 1960's. For one thing, their big radio stations play music from then. One FM station plays a really great show Sunday mornings, featuring silly crooning ballads from that time, some which I've never heard before on ANY typical oldies station. And another regional station plays big-band swing, which has always been important to me.

For another thing, when you walk downtown in this small city, past little shops, an ice-cream parlour, a popcorn store, and such, they blast the AM oldies station's music all along the streets! So it feels like you're in "BACK TO THE FUTURE." - BUT - I THOUGHT: Don't worry, Baby - DON'T LOOK BACK! What is going on?!?!

Am I paranoid? As you might know, one reason I moved away from the OLD CITY, was to get away from ALL THE CREEPY PEEPS who were or were not watching me. You know, snitches, Safety Sallies, busybodies, jerks, people who walk around like zombies at all hours with their territorial leaf-blowers. And let us not forget the time there was a helicopter stationed over my house for about a half an hour. I wanted to get away from the craziness. The creepiness. The covetousness and the blame and the gossip and so on...

When I got here, the first thing I noticed was that people were walking around yelling to themselves. But they were nic enough not to walk on other people's grass. I came to conclude that they had the same kind of idiotic blustering as the OLD CITY, but they were more timid about it. Easier to back down. I notice that my neighbours, who make far more noise and nonsense than anyone would have DARED back in the OLD CITY, seem also to be more inclined to back down as well, when push comes to shove.

I know a bully when I see one, and have no problem standing up to bullies - except now that I am POSSIBLY DYING from a stress-reactive illness...

Another thing - a hypothesis, actually... My neighbours seems to be relentlessly obsessing over my presence here, as if it's the only event in the universe. And they fume and they squabble, fighting with each other while not even realising that their obsession with the guy upstairs, plus the phases of the moon, is what is doing it to them... But, perhaps unlike anyone they have ever met locally, I don't care and I just go on with my life, although being careful to document all this for later generations, dear reader.

Well, as luck would have it, I experienced my first annoyance of a helicopter lingering low, past my house, last night. I thought, "So soon? They've traced my internet so soon? And now they're back at it? Trying to scare me away from making all my radical revolutionary LIVEJOURNAL POSTS?!?!" Who's to say how close I have been tracked? But the fact is I have been tracked to some degree, just like every fucking body else, yo squared. Unfortunately, I don't have the scanner frequencies for the local stuff...

Later that night, I stepped out with my dog to let said dog make his daily deposit on our small postage-stamp-sized front lawn. Right next to the house was a po-lice car just sitting there, flashing its lights, waiting. Waiting. Seeing. And looking. And saying secret things to secret voices in secret places!!!

It didn't bother me cuz if they had something on me, then there wasn't much I could do. Yes, it's a fact, that I haven't informed any financial or government institution know of my new address. And so forth. But I can argue convincingly that being near death kinda makes you fall behind a little on such things. So, I paid it no never mind, and me and dog just ambled back into our chambers, deep in the bowels of my own personal hell.

A little later, we heard po-lice and fire and ambulance sirens off in the distance. Soon, they were getting louder and louder. Soon, they were all driving past my house, and turning onto my own street! There were dozens and dozens of police and fire vehicles and ambulances all flashing lights and honking, driving single file, while cops directed traffic to let the go by! I thought this was queer in the very antique sense of the word, to say the least, or slightly more than the least.

I also thought that either the entire town was paranoid and so they had a meeting and decided to drive by my house to proclaim, "See, madman, YOU PROBABLE SUSPICIOUS CRIMINAL PERSON, WE ARE NOT AFRAID OF YOU - AND SO WE YELL, WE YELL TOGETHER, AT THE TOP OF OUR LUNGS, AND TO OURSELVES BASICALLY, (but we might back down if we really must)," or else PRESIDENT OBAMA was being escorted through town. But wait...

This parade was soon followed by an even LONGER parade of regular cars honking their horns, flashing their lights: an endless stream of cars in parade, with people waving their arms out their windows, and shouting, whilst pedestrians nearby joined in with their own existentially obtuse shouts, "EOUHH!!!," they said. Strangely, this "shout-to-oneself" custom was a widely honoured and protected tradition shared by every frickin person in town.

It was as if the entire town was letting out one giant shout, "FUCK YOU OCCUPY WALL STREET! WE STILL LIVE IN THE 1950's!!!"

Seriously, that what it was like! I don't know why it happened or where they came from or where they went or if this was maybe a Spielberg movie but maybe moving here was a big mistake or maybe I am in another universe and can never return! Maybe I am going to die soon and the universe said, "Well, let's give the poor guy one more weird special event to puzzle about and then we'll pull up his number and cash in his chips, yo to the power of yo."

There was no full moon. I looked it up in INTERNETS and it said that yes, OF COURSE, this town DOES have a 1950's CRUISE NIGHT, but that is in SUMMERTIME. So, I don't know - but I later heard that it was Mardis Gras time, so maybe that was it. Why this town is so crazy about Mardis Gras or LENT, I don't know - cuz it doesn't look like there are too many Catholics here. There are about 12 people of Irish descendency, and only 3 of them are out of the bars or prison at any one time.

Speaking of Lent, I was thinking of giving up cardboard but then I'd starve to death.

"Everyone has choice: When to, or not to, raise their voices."

It's you that decides!

*When people are really out to get you: "In late 1999, Harrison survived a knife attack by an intruder in his home. At 3:30 am on 30 December 1999, 36-year-old Michael Abram broke into the Harrisons' Friar Park home and began loudly calling to Harrison... The attack lasted approximately 15 minutes. Abram, who believed he was being possessed by Harrison and was on a "mission from God" to kill him, was later acquitted of attempted murder on grounds of insanity."

*crackerbox palace: "An accomplished gardener, Harrison restored the English manor house and grounds of Friar Park,[154] his home in Henley-on-Thames. The house once belonged to Victorian eccentric Sir Frank Crisp. Purchased in 1970, it is the basis for the song "Ballad of Sir Frankie Crisp (Let It Roll)".[155] Several Harrison videos were also filmed on the grounds, including "Crackerbox Palace"; in addition, the grounds served as the background for the cover of All Things Must Pass. He employed a staff of ten workers to maintain the 36-acre (150,000 m2) garden, and both of his older brothers worked on Friar Park as well.[156] Harrison took great solace working in the garden and grew to consider himself more a gardener than a musician;[156] his autobiography is dedicated 'to gardeners everywhere'."

We've got to get ourselves back to the garden...

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