Wonder and Otherness

Posted July 17, 2019 by fencer
Categories: Awareness, Culture, Novel, Politics, Science Fiction, Writing

Tags: , , , , , ,

This is a meditation on science fiction, on what it means to me.

Science fiction makes me think of my father. The association is among my fondest memories of him.  He would avidly bring home science fiction magazines:  Analog Science Fiction and Fact, The Magazine of Fantasy & Science Fiction, Galaxy Science Fiction, and If.  I think he wanted to write for them.

analog_6312

I was reading science fiction novels like a twelve-year-old house on fire anyway.  As a reader who was susceptible to the beauty of all kinds of tales, especially tall ones, I developed a keen interest in sci-fi.  Science fiction opened the world up, and not just the world, the universe.  It showed me wonder and otherness,  in different ways than I could imagine as a reasonably bright boy growing up in rural/wild British Columbia.

So my father and I came together there.

When you’re a young reader obsessed with any kind of subject, reading non-stop at every opportunity to the irritation of all around is de rigueur.

From time to time I would get so enthused I would try to write a science-fiction story myself.  I couldn’t understand why the experience of trying to write a story felt so lacklustre and unfulfilling.  Yet there was that urge to write.  Where does that come from?  And what’s it for?

I went back to reading for enjoyment, admiring the prodigious talents of Ursula Le Guin, Robert Silverberg, John Brunner, Clifford Simak, Theodore Sturgeon, Philip K. Dick, James Blish and so many others.

By the time I got to university, the decline but not yet the fall of my science fiction obsession rolled on.  Then I got more interested in non-fiction subjects. Once I got back to enjoyment reading, I preferred to read modern thrillers and detective stories.

And the culture changed too.  Eventually, the really cool science fiction was on the big screen. A book needed to inspire a movie.

But novels like Stranger In A Strange Land by Robert Heinlein, and dipping a toe (maybe more like a whole leg) in fantasy, Tolkien’s The Lord of the Rings still stirred me as I entered my twenties.

If-low-resWe are all strangers in a strange land, are we not?  Heinlein’s book described a human named Valentine Michael Smith raised on Mars by Martians.  He must adapt to the culture he finds here on Earth.  In a way it reminds me of the book and movie, The Man Who Fell to Earth, of an extraterrestrial corrupted by the earth-bound existence he drops into.

But in Heinlein’s work, the stranger begins to demonstrate psychic abilities and unusual intelligence, coupled with a childlike naïveté. He understands, believes that “all that groks is God.”

And what is “grok?”  In the 1991 uncut version (released by Heinlein’s widow), ‘grok’ wasn’t explained for much of the book.  It seems to mean an understanding so thorough that the observer becomes a part of the observed.  For the counterculture of the day, a word was welcomed that captured breakdown of the subject-object distinction.  Although “breakdown” implies something falling apart.

The word takes on more the meaning of a coming together of subject and object that can’t always be articulated.

In any case, along with the overwhelming quest story of the Lord of the Rings with its ethical and moral themes, these two books (I read the Rings in the first single volume) symbolized the true interest of my mental life more than my course of studies in university about psychology.  As understood by watching white rats very closely.

What about otherness?  I just learned a new word for that: alterity.  (We may not be any further ahead in our understanding, but at least we have a more intellectually acceptable term.)

An  interesting academic article by Isabella Herman, Boundaries and Otherness in Science Fiction: We Cannot Escape the Human Condition, concludes that “we always were and always will be concerned about the other beyond the known border.”  She looks at four modern dystopian science-fiction films, asserting that science fiction is inherently political. Science fiction is engaged in thought experiments about our current human situations.  Politics necessarily applies.

For example, although Herman does describe the movie District 9 in terms of alien otherness, which is what I’m most interested in, she restricts her discussion more to the depicted extreme image of the aliens and associated political dimensions in an alternative South Africa.

To be honest, I’m not quite sure what this “otherness” is that I’m trying to get at.  It’s not only about “aliens” but encounters with a mysterious universe while confined to a tiny, tiny corner of it.

Writer Gregory Benford says: “Rendering the alien, making the reader experience it, is the crucial contribution of SF.”

alien

In an intriguing article (despite its academic jargon) by Carl Malmgren, Self and Other in SF: Alien Encounters , the author mentions two directions for critics of portrayed ideas of alien encounter.  One is that whatever form the alien takes in sci-fi, it can never be really alien (or other).  However such writers as Benford distinguish between “anthropocentric” and “unknowable” aliens: the former consist of “exaggerations of human traits”; the latter, alien at the “most basic level,” partake of an “essential strangeness.”

(The second direction of criticism is about the relationship between the human and the alien.  The article cites the SF writer Stanislaw Lem criticizing the common simplistic portrayal of this relationship as Us vs. Them.)

The core of what attracts me to science fiction is the portrayal of essential strangeness.  It can really only occur through a sense of wonder, rooted in our world here today.  And projected through the kaleidoscope of whatever imagination the writer can bring to bear.

As I prepare the final draft of the science fiction novel I’ve worked on for a long time, I think on these things.

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Links to articles about sci-fi otherness, and other posts here bearing on science fiction.

There are online a number of articles (often academic criticism) about the notion of otherness in science fiction.  Here are a few:

Science Fiction and Alterity

A New Science Fiction to Understand What is Coming     This one is especially interesting.

The Transcultural Site: Interpersonal Encounters with Otherness in Lessing, Le Guin and Battlestar Galactica

Some of my posts related to science fiction (especially trying to write the darn stuff):

Why Science Fiction?

Hunting For A Science Fiction Story

Subversive Fiction

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An Imaginary Song About Running

Posted June 11, 2019 by fencer
Categories: Art, Culture, Music, Writing

Tags: , , , , , , ,

At 68, I’m in a slightly Dadaist or surrealist frame of mind.

I tried to help a friend with creative fuel for some song lyrics.  As part of that I ended up listing phrases about the subject at hand: running.  Later I had the mischievous thought that the list itself could be lyrical.  I’ve read a lot of song lyrics over the years.  I don’t think it’s so farfetched, compared to some.  So, for an imaginary song about running:

Running wild
Running crazy
Running on fumes
Running for joy
Long run

Run out, something has…
Run for cover
Run a tight ship

Running around
Like a headless chicken
Run amok
Learn to walk before you run

Dry run
Run out of steam
On your mark
Run neck and neck
Pass the baton

Rat race
A run on the bank

Running with scissors
Run DMC

Home run
Run the bases
Run around (Run Around Sue!)

*

Of course, I forget to list as a phrase the title of perhaps the greatest song about running ever, Born to Run: “Strap your hands ‘cross my engines….”

Well, maybe this effort is not so great, but I still like the hint of rhythm at the end.

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Presentation of Self Using Text Generated by “The Generator Blog”

Posted May 1, 2019 by fencer
Categories: Art, Culture, Internet, Martial arts, Music, Writing

Tags: , , , , , , , , ,

I went back to The Generator Blog linked to in one of my posts, Hunting for A Science Fiction Story, to see if it was still there.  It is, but last updated in 2013.  Which is a shame, but the site still has links to many working and amusing textual and imagistic “generators”.

I thought it would be fun and absurdist to make a post out of the site’s output.  I won’t always put the name of each generator, but you’d be able to figure it out if you took a look at the website.

Let us begin:

Artist’s Statement:  My work explores the relationship between multiculturalism and life as performance. With influences as diverse as Derrida and John Cage, new synergies are manufactured from both mundane and transcendant narratives.

Ever since I was a pre-adolescent I have been fascinated by the unrelenting divergence of the zeitgeist. What starts out as vision soon becomes finessed into a carnival of temptation, leaving only a sense of failing and the dawn of a new reality.

As shimmering derivatives become clarified through frantic and diverse practice, the viewer is left with an insight into the outposts of our existence.

*          *          *
A song dedicated to the song writer in all of us:

Soul Wolves

Verse 1:

Game is in your hands.
He led my mother
The ceiling is invisible
Yeah, I’m gonna take you for a feel good meal

Chorus:

Have you got a fine place to slip to
Let’s go moon some cars
Looking through a broken diamond
Never pawned my watch and chain

Verse 2:

Acid casualty with a repossessed car
Hairy fairies spinning the golden looms
Reap the reward
Who’s gonna answer

Chorus:

Have you got a fine place to slip to
Let’s go moon some cars
Looking through a broken diamond
Never pawned my watch and chain

Bridge:

And I am not a bone
Like a voodoo curse in an old lady’s purse
One by one
The demons just came through the window

Verse 3:

[repeated]
A thousand miles away from home
Dead right
Make notes, burn like broken equipment

Chorus:

Have you got a fine place to slip to
Let’s go moon some cars
Looking through a broken diamond
Never pawned my watch and chain

Have you got a fine place to slip to
Let’s go moon some cars
Looking through a broken diamond
Never pawned my watch and chain

Please, let us go moon some cars.  I like that line.

*          *          *

Anthropomorphic Personification Plot Generator

Truth finds himself stranded in a bird sanctuary in the form of a man. The experience is changing him.

Can he escape before the transformation is irreversible, and will he even want to?

*          *          *

Kung Fu Movie Script – Scene One

SCENE ONE – STUDENT MEETS MASTER

INSIDE MASTER PONG’S ONE-ROOM COTTAGE – EARLY MORNING

Master Pong stands in the center of the room, facing Student. Student stands shyly in the corner near the door.

MASTER
You are the new student. Come closer.

Student walks to master, does a double-take as he notices that master has no elbow.

STUDENT
You cannot see!

MASTER
You think I cannot see.

STUDENT
I cannot imagine living in such darkness.

MASTER
Ah, but fear is the only darkness. Also, you forget, I live in North Vancouver. Now… take your octopus and strike me with it.
Student hesitates.

MASTER
Do as I tell you – strike!
Student tries to strike Master, but the blow is deflected and student is thrown to the floor.

MASTER
Never assume because a man has no elbow that he cannot see. Close your eyes. What do you hear?
Student closes his eyes, pauses with concentration before answering.

STUDENT
I hear English Bay, I hear firecrackers.

MASTER
Do you hear your own nose?

STUDENT
No.

MASTER
Do you hear the balloon which is at your feet?
Student opens his eyes and sees the balloon on the floor.

STUDENT
Old man, how is it that you hear these things?

MASTER
Young man, how is it that you do not?
Student looks pensive.

MASTER
Now, we will commence your battle training. Go to the weapons closet and choose an item.
Student walks to the closet, grabs the cutting board and rejoins master. Master holds a kitchen whisk.

MASTER
Ah ha… you’ve chosen the cutting board. Excellent choice.

They bow and begin to fight. Master easily defeats student several times. Student is thrown to the floor and injures his chin. He rubs it to ease the pain. Master laughs while student has a look of hope.

MASTER
Arise slightly, young frog, and brush the indignity off of your vest.
Student does so.

MASTER
You fought blindly, frog. A geezer nerd could’ve beaten you.

STUDENT
Yes, Master Pong, forgive me.

MASTER
Forgive yourself, you have suffered for it. What is the cause of your anger?

STUDENT
It is anger at Stephen Colbert.

MASTER
Yes, but what is the reason?

STUDENT
For being nasty.

MASTER
Ah. And when did you discover this?

STUDENT
About 1 hour ago when Stephen Colbert and I were attacked by 11 big bullies at Walmart. I was struck first. And Stephen Colbert, out of fear, did nothing to help me.

MASTER
You were only two against 11 larger than yourself. What do you think Stephen Colbert should’ve done?

STUDENT
Fought back and tried to help me.

MASTER
Yes, frog, that would’ve been heroic.

STUDENT
You agree, then, that Stephen Colbert was nasty.

MASTER
The body is nasty when it understands its weakness. The body is remarkable when it understands its strength. The cheetah and the squirrel march together within every man. So to call one man nasty and another remarkable merely serves to indicate the possibilities of their achieving the opposite.

Student looks confused as scene fades to black.

You may now imagine the rest of the movie.

*          *          *

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Making Some Music With Guitar

Posted March 28, 2019 by fencer
Categories: Art, Guitar, Internet, Music, Writing

Tags: , , , , , , ,

This follows on the same path of trying to learn electric guitar as chronicled in previous posts like The Aging Learning Guitarist Keeps On, The Impatience of Learning Guitar, and On the Need to Make Music.

I can now link to a YouTube playlist of guitar music I’ve recorded.  (All due to the guy who I take lessons from and who puts the tracks together – Eddy Bugnut, music producer extraordinaire, at Bugnut Records: Mixing – Production – Songwriting.)

There’s four music videos there now, with some more to come.  I’m not quite sure what to make of them.  A great opportunity to show off to friends and relatives, I guess, as well as to hapless blog readers.  I like them, which is better than the opposite.

The one I’m happiest about right now is Take the High Road.  I’m flabbergasted that it rocks. It actually rocks. That I played it is totally amazing to me.  (Well, with the aid of some skillful editing here and there.)

I’m really interested in hearing how one of the next — Watching the Watchtower — turns out.  It’s not up yet.  That’s the title we’ve put on a shortened version of Jimi Hendrix’s All Along the Watchtower.  Sacrilege, I know.  It’s shortened because I couldn’t quite manage some of the more difficult speedy finger-twisting lead parts.  It’s different enough from the original to have a related name.  Anyway, it still is powerful to me what we’ve done, how Eddy’s put it together.  He’s making the rhythm guitar sound so good, along with the sound in general.

Besides that, another video is an actual original tune, if you can imagine, and a couple more videos of cover tunes after that.  It’s fun to participate in helping them come together.

OK, enough fun.  Time to get back to work on the writing….

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A Few Notes On Getting Creative With Writing

Posted March 16, 2019 by fencer
Categories: Art, Awareness, mystery, Novel, Science Fiction, Writing

Tags: , , , , ,

Here are a few notes to myself about creative writing.  Gathered from many places!

—  If you want a creative scene, dialog or description, put two or more disparate elements (characters, scenery, moods) together.  Make them as unlikely and interesting as possible. Beware ridiculousness.  Have it make sense.

— People often belie their names or labels or concepts about themselves.  They’re not quite what they’ve been categorized as.  It’s fun to try to show that.

— Describing one thing vividly can be more effective than describing an entire room.  Or civilization.

— Try to look at the world, and especially your loved ones, with wonder.  And then at yourself.

— Story as change, not just conflict.  Thank you, Ursula Le Guin.

Our interest’s on the dangerous edge of things
The honest thief, the tender murderer,
The superstitious atheist, demirep*
That loves and saves her soul in new French books —
We watch while these in equilibrium keep
The giddy line midway: one step aside
They’re classed and done with.
— Robert Browning

* a woman whose chastity is considered doubtful; an adventuress.  I think these are elegant ways to put it.

— But you may be sitting at your computer, or dipping your quill into the inkwell, and yet even with that sneezable amount of writing to do, you’re still feeling a little stuck or fretful.  You lack faith.  Having an inspirational book on writing beside you to browse for a minute or two is good then.

It is the writer’s openness to the ambiguity and uncertainty of any experience (even the experience of determination and certainty) which gives clarity, and thus a kind of certitude, to his writing. — John Bergen

— At the end, our hero is sunk so low in his voyage of revenge — a change of heart is his only possible way forward.

— There are aliens, or at least alien artifacts, in this story. How can one portray the really alien? I haven’t figured that one out yet — or I should say, I haven’t discovered what it might be. Giant ants or robots with laser eyes are so… human.

Springsteen sings like a man intent on opening his heart.  In this way he is an inspiring figure.

— Every character has some kind of armor, perhaps manifested in physical form that the character feels safe inside — a role or symbol or self-presentation that the character relies on, like say a doctor’s white coat or a stripper’s lack of clothes.  This becomes highly limiting.  And then to make it more complicated, occasionally putting the armor on is the right thing to do.

We live immersed in narrative, recounting and reassessing the meaning of our past actions, anticipating the outcome of our future projects, situating ourselves at the intersection of several stories not yet completed.
— Peter Brooks

— The tasks of this second draft I think will be to carefully remove the indistinct and to sharpen turns of the characters and to tighten the chains of causation between them. Make the future world more interesting and strange, yet plausible. Make the story better. Don’t die before it gets published….

— Thwarted needs turn into neediness, even if only on a subliminal or subconscious level.

— Texture of air.

— Emotions can often be more effectively described by showing the restraint of them.

— Each character’s little vanities about themselves or what they do, little prideful things.

— “Kenning.”  A kenning is a different name for a thing — so the sun becomes a day-star.

Clifton Fadiman on a book by Hemingway:
It is written with only one prejudice — a prejudice in favor of the common human being.  But that is a prejudice not easy to arrive at and which only major writers can movingly express.

— Write just enough setting detail to get in the scene with the character.

— It really requires getting in the scene with characters, as if in some battle arena where you, incorporeal, closely observe the goings on without fear of a knife in the ribs. One or two, or more, specific sensual descriptions in the scene can do so much. Being in the scene imaginatively with the characters facilitates that.

— I’ve realized that a lot of what makes satisfactory writing is developing emotional resonances for the characters and for the meaning of the story. I have a long way to go with this.

— I’ve come to understand how obsessed with story I am, just like everyone else in the world as we distract ourselves through film and music and books. Occasionally we discover real meaning through story. For us who want to write creatively, this obsession becomes more conscious, and in its compelling way, comes to capture our thoughts. We want to make stories that can speak in the same way that others have moved us, at the height of the best story-telling.

Being certain about any aspect of our story limits us. Let’s trust that the story lives fully within us, and that something valid wants to be expressed. There’s an experience far more empowering than certainty, and that is a faith in the fundamental truth of our story, a growing belief that it is not necessary to force anything, but rather to inquire into the nature of what we want to express.
— Alan Watt

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We Did Good Work – The Decline of Flood Safety in British Columbia

Posted January 27, 2019 by fencer
Categories: Environment, Politics, Remembering

Tags: , , , , , ,

Here are a couple of ponderous words. “Floodplain management.” That’s much too bureaucratic for the reality of swollen rivers and creeks and lakes and storm surge ocean, for alluvial fan avulsions and debris floods.

But that was the kind of work, looking after public safety around those bodies of water and unstable slopes, that I did for 26 years or so in a ministry for the British Columbia provincial government.

hwy-97-washout

I say “I did,” but I was usually a junior person in an experienced team of technicians and engineers.  I was one of the new technicians twenty-five years ago when active flood protection was a serious function of the province.

Over the years though, the job took on more responsibilities as the work force dwindled, and the Technician became Officer became Senior.

What ministry was that again?

I’ve left the name of the ministry indefinite because there were so many names, and accompanying re-organizations, over the years.  There was the Ministry of Environment, Ministry of Environment and Lands, Ministry of Environment and Lands and Parks, back to Environment somewhere and then onward to Ministry of Water, Land and Air Protection.  We called that one WLAP (wallop).  WLAP was so named because the government of the day hated the word “environment.”

The current and the most ungainly version, in every way, is the Ministry of Forests, Lands, Natural Resource Operations and Rural Development.  Try saying that real fast three times.  Or even worse introduce yourself on the phone.  And what the hell is a natural resource operation?  Tree surgery?

There was an entire generation of foresters who were close to being out of a job due to markets, pine beetle infestation and silviculture neglect. The government needed to find a place for them.  They are good people, but with a different culture and priorities in the long-standing Forest Service as compared to say, the Ministry of Environment.  They were given this huge new ministry, MFLNRORD, to manage.  (Try to say that as an acronym.  MffflnrrrORD!)

13345493_web1_1990-sumas-flood-gps

Where I worked was known variously over the years as Flood Safety, Flood and Groundwater, Flood, Engineering Section, and so on. It was always an odd duck to the managers. They usually put it with something roughly accurate like Water Management, but for awhile we were in Environmental Protection with the pesticides people. Not long ago they lumped us in with the fish & wildlife people, who really hate dikes, the flood safety structures.  Not too keen on dams either, with dam safety being another thing I did.

The most meaningful thing

The most meaningful thing for me was that we responded to emergencies. This made it stand out within whatever organization included it.  When I started at the end of several years of seriously bad flooding in our region, we were provided a thick folder of forms and procedures to use while hiring equipment and working with Ministry of Highway crews to do flood fighting.

But even then, within a very few years, the section’s responsibilities were pared back.  No longer expected to run the show (usually), we now became the subject matter experts, assessors and observers, for anything to do with flooding.  From the debris flows of the Chilliwack River Valley to the extensive farmland deluges around Hatzic Lake to threatened high water and flooding from the massive Fraser River, we were supposed to know what was going on and the best way to get things done.

bc-flooding-201805123

Over the years, our ability to respond to flood emergencies dwindled as the section’s staff were cut back and cut back.  The Emergency Management BC organization took over more, usually without enough specific technical expertise or planning.

Flooding in this part of BC, with everyone living on the delta of the mighty Fraser, or next to the Serpentine, or the Nicomekl, or the Pitt, or the Alouette, or the Chilliwack Rivers, to name only a few, risks the livelihoods and occasionally lives out of a few million people, and billions of dollars in property and infrastructure.

Flooding is not a rare occurrence. But it always fades out of topical awareness for the public in a surprisingly short period.  A couple of years maybe, or sometimes less.  Serious flooding happens somewhere in BC every year.

The foresters who have become Ministry managers inherited the responsibility for floodplain management with little understanding of dikes, other flood-related structures and policies. They lack acquaintance with the dire consequences of serious flooding.  Compared to forest tenure issues, timber sales and forest fires, it has little priority.

A certain camaraderie

But this blog post is really meant to be an appreciation of the people I worked with.  Responding to emergencies, assessing flood situations in driving rain or summer heat, built a certain camaraderie, passed down from the old hands to us more junior staff.  Sometimes we would have to step up and take on responsibilities we weren’t completely prepared for, with people going bugshit around us.

We cared about what we were doing.  We thought it was important.  It helped people.  That’s why it’s such a shame to see that function be ignored and slowly dropped with nothing to replace it.  The province has been lucky the last decade or so in the Lower Mainland Region — not so much serious flooding as there could be.

There are several of us in the Lower Mainland who, although retired, meet once in a while with who’s left.  These few struggle to do the mission, which is to keep people safe from flooding.  Safe from defective or poorly thought out diking designs, and poor planning placing more people at flood risk, safe from seismic failures and poorly engineered pipeline crossings.  Among many, many other things.

flood_mill1894

We get together and learn of the really insufficient effort the ministry makes about its flood prevention and response duties.

A case in point

A case in point, and then I’ll leave this….  Our section head was always an engineer who directed other engineers and technicians.  A dike is only as good as its weakest spot and it can be a highly technical issue.

Besides the engineering, the section head at one time had to know all the flood related bylaws of the municipalities in the region, all the personalities of engineering heads in the different municipalities, all the plans for studies on flood and river related matters up and down the main branch of the Fraser River, and elsewhere.  The section head would be expected to advise inter-provincially and internationally (down to the States).  Sea level rise and climate change had to be on his horizon. Seismic standards became important.

The management of this ministry of foresters had a hard time finding a competent engineer, for what they were willing to pay, to replace the retiring section head.  So that position is vacant and has been for months and months.  Other important engineering positions are vacant.

The solution?  Hire yet another manager to run things with little background or appropriate knowledge about flooding, dike standards or construction, and without the necessary engineering background.

We used to do good work.  I realized that the other day when I had a chance to chat with one of the other oldtimers.

[Home]

Notes on photo locations from a variety of news sources, top down:

1) Northern BC, along Highway 97
2) Flooding of Hwy 1 in BC, from Nooksack River in Washington State
3) In eastern BC.
4) Chilliwack flooding along Fraser River – always the potential.

 

McCartney’s Recovered His Beatles Heart

Posted November 24, 2018 by fencer
Categories: CD Review, Culture, Music, Remembering, Writing

Tags: , , , , , , ,

Review of Paul McCartney’s Egypt Station
CD Album
_______________________

As a child of the sixties, I’m going to say that McCartney’s new album Egypt Station continues a renaissance for the aging Beatle that began with the album New.

It may have begun before but I don’t have, like, the whole collection, man….

I do have one of the little known (to most) Fireman albums, so I’m that much of a nerd.

CS695250-01A-BIG

What I hear in this set of 18 new songs is McCartney once more finding that sweet honesty combined with rocking musical intelligence that helped power the Beatles’ creative force, sweeping them to greatness so long ago.

(Of course back then if you add the “can’t give a shit what you think — aren’t you amazed anyway?” creativity of John Lennon, then things cascade upwards, if such a phenomenon exists.)

McCartney, Lennon, and really Harrison and Starr too had uncanny antennae tuned to the world.  They shared that in different ways, as did many who listened to them and who struggled, too, to find the right frequencies.  As their musical journey began to lift into the stratosphere, the four of them seemed to feel the mood behind the moods of the time. It sifted into their music.

Of course, like all of us, they bore, for one reason or another, screwed-up parts of their lives.  Yet they still pursued their dreams, and made art when they could of the old painful places.

Opening Station

The album begins serene and moody, prefaced by a few moments of muted Beatles-style street noise segueing into angels.  It starts the Section called “Opening Station.”

Then the voice comes in on the second track, I Don’t Know.  I’m struck by how much Paul’s life must be sheltered and private to evade spotlights. Yet the old Beatle returns to something of his original heart for songs formed now with maturity sampling the entire life of Paul McCartney.

The next song, Come On to Me, begins the rock out portion of our show.  McCartney is a master of rhythm, and I want to get up and start moving around.  Imagine the horror when Grandpa starts to dance!

The next one, I’m Happy With You, shows McCartney plumbing the ordinary, including our ordinary happiness now and again.  It is as good as that is….

With the introductions made, he starts the creative experimentalism in a rock wrapping with Who Cares.

Fuh You is about what you think, and yet or because, it is stirring.  “I just want to know how you feel.”

The following song Confidante could easily be called Long Lost Anthems, one of its lines.

People Want Peace is straightforward.  And rocks.

Hand in Hand is moving as we recognize those whom we are lucky enough to hold.

Dominos pulses with creative prompting:

“And all the telephones keep calling
Constantly imploring us to come out and play”

The song Back in Brazil combines latin rhythms, “ichiban, ichiban, ichiban,” and something faintly reminiscent of Ob La Dee Ob La Da.

Do It Now reminds me of The Long and Winding Road channeling Henry David Thoreau.

In Caesar Rock, you don’t recognize the voice for a moment before you do, it sounds like Roger Daltry, and the song heats up:

“She got loyalty
Like the royalty

She got symmetry
Anonymity.”

She shoot Coca-Cola….

Despite Repeated Warnings strikes a more ominous tone about human wilfulness and dire stupidity, with urgent political references to You Know Who, given such items as global warming.

In there he’s got a wonderful lilting thing right out of Band on the Run. The song is an extended piece much like on Ram or Abbey Road.

Station II

The section “Station II” starts off with the driving and then moody Hunt You Down/Naked/C-Link:

“I’ve been broken in so many places
Put together by a sea of faces
What to make of them
I don’t hardly know
I’ve been naked for so long, so long”

Get Started is a love song that for me hearkens back to the early Beatles with a voice leavened by experience yet still happy and enthusiastic.  And then it rocks out at the very end.

Nothing For Free is a whole different rhythm. It’s coming to be the high point of the album for me, the stern infectious nature of it, the refrain that goes

“I know you need something
You’re talking to me
But you don’t get nothing for free.”

As you can probably tell, I like this album.

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Note: There seem to be two versions of this CD available, one with 16 tracks and one with 18.  I ended up with the 18 one, for which I am grateful…. That’s the one to get.