"Frank Zappa once said 'the world is rudderless.' I like yours SO MUCH better."

Said RideSpaceMountain, about my phrase "there's a choke point somewhere, controlled by idiots," in the comments to this post about the outsider artist Lee Godie. 

I'd wanted to embed a trailer for a documentary about the artist, and the Vimeo page gave me the HTML code, but then, on publication, it wouldn't display, and there was a reference to some privacy policy. I said: "That seems so out of keeping with the spirit of the artist, so there's a choke point somewhere, controlled by idiots." 

I was just putting up this new post — because I want to encourage the world to adopt the line, "there's a choke point somewhere, controlled by idiots" — when RideSpaceMountain re-commented: "Correction: Alan Moore made that quote, no[t] Zappa." 

I was torn! I do want to popularize the expression there's "a choke point somewhere, controlled by idiots" — and not just because I want to be famous but because I think it might be helpful to think in those terms. It's not that everything everywhere is screwed up and everyone is stupid, a very pessimistic view, but that maybe there's a specific problem somewhere, and maybe just one or 2 idiots. That's actually optimistic!

But maybe this isn't bloggable without the folk hero Zappa. Better than Zappa! What an accolade! And who's Alan Moore? That's quite a plunge, from the Maunaloaesque height of Zappa to whoever this Alan Moore character is. Okay, I looked it up. Maybe he means a lot to you. Maybe better than Alan Moore is bloggable. Sorry, I don't read that sort of comic book (though I am a big fan of a certain sort of comic book).

I'm glad Frank Zappa isn't the source of the quote "the world is rudderless." I just don't imagine Zappa going in for the metaphor the world is a boat. And, Frankly, if the world were a boat, I'd want it to be rudderless — like Noah's ark — because who wants the whole world with a destination and all of us stuck going there?

ADDED: I looked to see whether Frank Zappa had ever used a ship or boat in his lyrics. The answer — if I can trust Genius.com with the lyrics of the lyricist often called a Genius — no. 

On my search for "boat," Genius, apparently grasping at straws, served up things with "beat" (or, desperately, "botulism"):

I clicked through to "Beatles Medley" and read the lyrics while listening on Spotify:

Jim... once had a girl, or should we say, she once had he 

She... showed him her room, isn't it swell, Texas Motel...

Ha ha. Very funny. Speaking of The Beatles, Meade said, "We all live in a rudderless submarine."

Yes, The Beatles had the idea of the world as a sea-going vessel, and they liked it.Isn't it wonderful?

 

I'm seeing a rudder though... and I know that thing had a destination, Pepperland... if you can ever get past the Foothills of the Headlands and the Sea of Holes.

"When the snow melts in the spring, fields can get so muddy in the plains of Eastern Europe that Russians have a word for it: Rasputitsa, or 'the season of bad roads.'..."

"If Russian President Vladimir Putin orders his forces to invade, analysts believe it would come before the spring thaw. 'The best time to do it is winter because it's going to be a mechanized advance and the mechanized divisions need hard frozen ground'... At a news conference Wednesday marking his first year in office, President Joe Biden warned Putin against an invasion, threatening a strong response by the US and NATO, but waffled over what would happen if Russia made a 'minor incursion,' in an awkward statement he sought to clarify afterward. 'The Russian dictator has not been subtle or secretive about what he wants. He might as well make the national anthem the Beatles' "Back in the U.S.S.R.,"' wrote Max Boot, in the Washington Post. 'He definitely wants to resurrect the Soviet empire, thereby undoing what he has called "the greatest geopolitical catastrophe" of the 20th century. And that requires bringing back into the fold the second-largest former Soviet republic (by population) — the independent state of Ukraine.'"

From "Putin confronts the mud of Ukraine" (CNN).

*** 

From a 2011 post of mine, collecting mud quotes: 

"We sit in the mud... and reach for the stars." — Ivan Turgenev 

"I have tried to lift France out of the mud. But she will return to her errors and vomitings. I cannot prevent the French from being French." — Charles de Gaulle 

"Let us settle ourselves, and work and wedge our feet downward through the mud and slush of opinion, and prejudice, and tradition, and delusion, and appearance..." — Thoreau 

"My own brain is to me the most unaccountable of machinery - always buzzing, humming, soaring roaring, diving, and then buried in mud. And why? What's this passion for?" — Virginia Woolf

Russian, French, American, British.

ADDED: Thank God we have a mentally competent President. He understands the seasons — "First comes spring and summer, but then we have fall and winter. And then we get spring and summer again.... Yes, there will be growth in the spring!"

"I had a hunch that old songs were taking over music streaming platforms—but even I was shocked when I saw the most recent numbers."

"According to MRC Data, old songs now represent 70% of the US music market.... The new music market is actually shrinking.... [T]he 200 most popular tracks now account for less than 5% of total streams. It was twice that rate just three years ago.... [T]he current list of most downloaded tracks on iTunes is filled with the names of bands from the last century, such as Creedence Clearwater and The Police. I saw it myself last week at a retail store, where the youngster at the cash register was singing along with Sting on 'Message in a Bottle' (a hit from 1979) as it blasted on the radio. A few days earlier, I had a similar experience at a local diner, where the entire staff was under thirty but every song more than forty years old. I asked my server: 'Why are you playing this old music?'

She looked at me in surprise before answering: 'Oh, I like these songs.'... The people running the music industry have lost confidence in new music. They won’t admit it publicly.... The moguls have lost their faith in the redemptive and life-changing power of new music—how sad is that?... [And yet m]usic company execs in 1955 had no idea that rock ‘n’ roll would soon sweep away everything in its wake. When Elvis took over the culture—coming from the poorest state in the US, lowly Mississippi—they were more shocked than anybody. And it happened again the following decade, with the arrival of the British Invasion from lowly Liverpool (again a working class city, unnoticed by the entertainment industry). And it took place again when hip-hop emerged from the Bronx and South Central and other impoverished neighborhoods, a true grass roots movement...."

From "Is Old Music Killing New Music?/All the growth in the music business now comes from old songs—how did we get here, and is there a way back?" by Ted Gioia (Substack).

I was listening to Bob Dylan's old radio show — "Theme Time" — the other day, and he read what was supposedly a letter from a listener, asking why did he play so much old music when there's new music too. His answer was: He plays old music because there's so much more of it. 

The old should dominate. There's a century and more of old recordings to play on the streaming services. Why should the music of the last few months predominate? Anything new has to compete with everything old. 

I'm old, so I don't expect to like anything new, and I'm delighted to have access to the entire history of recorded music with Spotify. I discover things that are new to me. Some of them are many decades old, sometimes even older than I am, and, as I said, I am old. These are recordings, not live concerts. They're like books. We pick what's best, not what's new. 

But I remember how exciting it was, back in the 1950s and 60s, to hear what was new on the radio, to feel that the culture was alive and inventive and a cool, unfolding surprise. Maybe none of that would have happened if we'd had something like Spotify/Apple Music to allow us to root around endlessly in the past.

"I had a hunch that old songs were taking over music streaming platforms—but even I was shocked when I saw the most recent numbers."

"According to MRC Data, old songs now represent 70% of the US music market.... The new music market is actually shrinking.... [T]he 200 most popular tracks now account for less than 5% of total streams. It was twice that rate just three years ago.... [T]he current list of most downloaded tracks on iTunes is filled with the names of bands from the last century, such as Creedence Clearwater and The Police. I saw it myself last week at a retail store, where the youngster at the cash register was singing along with Sting on 'Message in a Bottle' (a hit from 1979) as it blasted on the radio. A few days earlier, I had a similar experience at a local diner, where the entire staff was under thirty but every song more than forty years old. I asked my server: 'Why are you playing this old music?'

She looked at me in surprise before answering: 'Oh, I like these songs.'... The people running the music industry have lost confidence in new music. They won’t admit it publicly.... The moguls have lost their faith in the redemptive and life-changing power of new music—how sad is that?... [And yet m]usic company execs in 1955 had no idea that rock ‘n’ roll would soon sweep away everything in its wake. When Elvis took over the culture—coming from the poorest state in the US, lowly Mississippi—they were more shocked than anybody. And it happened again the following decade, with the arrival of the British Invasion from lowly Liverpool (again a working class city, unnoticed by the entertainment industry). And it took place again when hip-hop emerged from the Bronx and South Central and other impoverished neighborhoods, a true grass roots movement...."

From "Is Old Music Killing New Music?/All the growth in the music business now comes from old songs—how did we get here, and is there a way back?" by Ted Gioia (Substack).

I was listening to Bob Dylan's old radio show — "Theme Time" — the other day, and he read what was supposedly a letter from a listener, asking why did he play so much old music when there's new music too. His answer was: He plays old music because there's so much more of it. 

"We've researched it and it has nothing to do with slavery. James Penny was a slave trader, but he had nothing to do with the Penny Lane area."

Says a Liverpool tour guide, quoted in "The Beatles 'Penny Lane' Controversy, Explained/The street the song is named after has come under fire for a potential link to a slave trader" (radio.com).

Madness Penny Lane Defaced 😡 pic.twitter.com/IARaqO9zcP

— 🔥🔴David McGrady🔥🔴 (@Djmc76) June 12, 2020

Not phrenology. Phenology.

Phrenology is the pseudo-science of studying bumps on the skull ("When the forehead is perfectly perpendicular, from the hair to the eyebrows, it denotes an utter deficiency of understanding").

Phenology is...

... the study of plant and animal activities and when they occur each year. Phenology is a real science that has many applications. In farming and gardening, phenology is used chiefly for planting times and pest control. Certain plants give a cue, by blooming or leafing out, that it's time for certain activities, such as sowing particular crops.... Indicator plants are often used to look for a particular pest and manage it in its most vulnerable stages. They can also be used to time the planting of vegetables, apply fertilizer, prune, and so on....

We were worried that we were going to have a freeze last night, and Meade said to look at the lilacs. They're an indicator plant. If they're opened up, then we would not get a frost. Those within earshot all thought — But how does the lilac know the future? I was going to the Arb, and I made sure to photograph the lilac:



It's indicating that there will be no freeze, and sure enough, there was no freeze. The lilac knew. There was a lack of lie in that indication.

Another thing about yesterday: It was the 50th anniversary of the release of The Beatles' "Let It Be." That includes "Dig a Pony," which has those lines: "You can celebrate anything you want... You can penetrate any place you go... You can radiate everything you are... You can imitate everyone you know... You can indicate everything you see... You can syndicate any boat you row..."

John Lennon wrote that song, which he called "a piece of garbage." Wikipedia says it has a "multitude of strange, seemingly nonsense phrases which were strung together in what Lennon refers to as a Bob Dylan style of lyric." I don't trust these putdowns. That's a way of speaking to the press (a Bob Dylan way by the way). But "Dig a Pony" — with all its "-ate" words — does feel like Bob's "analyze you, categorize you, finalize you, or advertise you...."

I'm willing to believe you can celebrate anything you want, penetrate any place you go, radiate everything you are, imitate everyone you know, and indicate everything you see.

Look! There's the lilac, telling the truth again.

I left out "syndicate any boat you row" because that's getting into metaphor. Genius lyrics tells me "syndicate" is a British way to say "incorporate," and, at the time, The Beatles were turning themselves into "Apple Corps."  To get back to phenology: "When apple trees shed their petals, sow corn."

ADDED: That link on "it was the 50th anniversary of the release of The Beatles' 'Let It Be,'" goes to my son John's post at Facebook. John states a preference for the song order in a later version of the album:

The joyously driving "Get Back" is moved from the end to the beginning (in contrast with the original album's first song, "Two of Us," which is beautiful but wasn't a particularly exciting way for a rock band to kick things off).

I said:

"Two of Us" is seared into my head as the way this thing begins. Nothing else feels right. But then, I always listened to side 2 of "Abbey Road" first, making it begin with "Here Comes the Sun." I like the quiet, hopeful beginnings. I guess the notion of "side 2" doesn't even make sense anymore, hasn't made sense for the last quarter century. And yet, I still have my 50 year old LPs.

I could do without John (Lennon) yelling at the beginning. "'I Dig A Pygmy' by Charles Hawtrey and the Deaf-Aids! Phase one, in which Doris gets her oats!" That was Phil Spector's choice, I'm reading. Is it racist? It's always felt ugly to me. But now I'm reading that "Deaf-Aid" is a Britishism for hearing aid, and that "Doris gets her oats" means Doris is getting regular sexual intercourse.

That "I Dig A Pygmy" business begins the album and goes right before "Two of Us." Only later in the album do we reach the song titled "Dig a Pony," which doesn't really have a pony in the lyrics. It's just John (Lennon) announcing "I Dig a Pony" before beginning the song. It's Phil Spector who is responsible for editing in these spoken-word bits.

ALSO: I edited this post to change the song title to "Dig a Pony." I'd had it as "I Dig a Pony," but now I'm seeing on Wikipedia that "Early American pressings of Let It Be mistitled this song as 'I Dig a Pony.'" I take issue with "mistitled." The album that was bought here in America the day it came out 50 years ago and that I've kept all these years has the correct title in my world.

In any case, the original Beatles title for the song was "All I Want Is You" (rhymes with Bob's "All I Really Want To Do" (quoted above)).

And Phil Spector is in prison.