Why would anyone remix Sgt. Pepper’s Lonely Hearts Club Band, you might ask? Well, this is what NPR’s mellow-voiced Bob Boilen discusses with Giles Martin, son of the legendary Beatles producer George Martin, in this All Songs Considered podcast. I should note first that it seems misleading to call this a remix since it’s more like a remaster. Wait, I should note first that this sounds AMAZING and I am legit listening to this full-time now vs the original mix. It’s like a scrim has been lifted between you and the music: everything is crisper, fuller–there are drums, even! Martin explains something I didn’t know, which is that it was a technical concern for a while that the phonograph needle could get kicked out of the groove by too much drums. Ringo wuz robbed! Seriously, though, the bit where the drums come in in “A Day In The Life” (after “he blew his mind out in a car”) is fantastic now.
Back to its being a remaster, basically the band and Martin spent four times or more as long on the mono mix as on the stereo, lavishing way more care on the former. They expected everyone to listen to the mono, but then through widespread adoption of the stereo format, it turned out that exactly no one listened to the mono after a certain point. Certainly no one my age has ever heard it, and it’s noticeably different in many places. In addition to that, the four-tracking for the stereo mix, while innovative and cool-sounding, caused the sound to be degraded as it got repeatedly bounced to make the various tracks. What Giles Martin did was go back to the original tapes from which the stereo was mixed down, and to the mono mix, and then tried to create something that is in effect a stereo version of the mono mix. So, for example, the mono version of “Lucy In The Sky With Diamonds” had something called artificial double tracking, which John loved. Another recording of his voice that’s slightly slower than the ‘top’ part (I don’t know what else to call this) is put in, creating a smeared effect that really suits the psychedelic sound. In the stereo version his voice sounds thinner by comparison. The whole podcast is worth a listen, because they put snippets from the various mixes and raw tapes next to one another so you can hear the subtle (and sometimes not-so-subtle) differences. Or just listen to the remix of the album itself, it’s on Apple Music. Needless to say, you have to use the good headphones as the varying effects will be lost on your crappy computer speakers. For the record, Paul has listened to and apparently loves the mix. And speaking of records, they cut a vinyl version and I’m kind of coveting it. Maybe John will buy it for me as an anniversary gift. [insert winkmoji]
P.S. It is a humorous fact about my life that I never listened to The Beatles until I was 17, because my parents strongly inculcated in me the belief that you were either a lame hippie who liked The Beatles or a cool person who liked The Rolling Stones and then went on to like the Sex Pistols and The Clash, as if it were a Thunderdome-style match in which the two bands entered but only one band left. I don’t know what you also liked if you liked The Beatles; the soundtrack to Hair, maybe. This is related to my parents’ insistence that they were never hippies when I’m like we had a failed back to the land farm! I was there, dammit! Anyway, it was thanks to my horrified high school boyfriend Charles Andrews that I learned this Beatles/Stones absolutism was dumb and made zero sense (sorry Mom and Dad, and thanks Charles). It was “And Your Bird Can Sing” that sold me.
No one is willing to wait in moderation for God-knows-how-long on a Sunday to see their comments to my Samurai Jack post finally show. Evidently, it’s just not worth the trouble! Well, here’s some more elevated art criticism. I’m reading a Kenneth Clark essay on Velazquez, and he’s remarking on how we prefer the buffoons and dwarfs. “Take away the carapace of their great position, and how pink and featureless the King and Queen become, like prawns without their shells.” That’s true! He looks like a prawn. Her, too. How did I miss it before? [click to continue…]
I have been down my work hole for weeks. Apologies, plain people of Crooked Timber. Also, I haven’t worked on On Beyond Zarathustra for months. Maybe that’s even worse. Gotta get back into the good stuff over the summer. Here is a downpayment. I’ve found the first occurrence of a Dr. Seuss-style tree in Western art. It’s from the Vienna Genesis, which is pretty awesome proto-comics and you should check out all the pages at Wikipedia.
I don’t recall Scott McCloud saying anything about this in Understanding Comics. If you want to read a confusing scholarly discussion, try Franz Wickhoff on Roman Art. I think it’s the earliest occurrence of ‘continuous narrative’, also ‘illusionism’. And his use of the latter is eccentric, so you are sure to be the life of the party discussing his ideas!
I want you to look at a picture and give me some responses to questions. The picture is Raphael’s so-called Mond Crucifixion. Here’s a large version. Kindly open it in another tab. Admire it for a minute in a mood of sophisticated discernment. (It’s a nice painting, so this shouldn’t be too painful.) Now stop looking at the picture and answer a few questions for me. Close the tab. Put the image from view. [click to continue…]
Doilies! Glitter! Overpriced prix fixe menus! But there are songs too.
Is this the best soul song ever? Wait, no, the most beautiful? The way he makes his voice break on “please hear my cry” blows my mind every time.
I hope you all eat chocolate or enjoy the highest pleasure of souls entwined who, the modeling the other on Zeus, begin to grow wings because of their intense attraction to and vivid memory of the Forms, or whatever. But with less physical restraint? (The Phaedrus is not crystal clear on this point.) I’m going to finally see my honey at 10 pm on Monday!
I like to relax at night with a spot of sketching. I would like to improve my capacity to render human anatomy accurately. My gesture drawing could be more – gesture-y. The girls and I are resolved to branch out into animation. TVPaint, here we come! (Or is that more than we can manage? We shall see.) The internet is a glorious source of free reference material. Fine books exist, and a few sit on my shelf. But a new site launched today, which looked good enough to make me open my wallet and pay for a yearly subscription. They are having a 50%-off deal, launch day only. And you can look around for free. It’s nicely done. It’s fun to look at.
Or perhaps you prefer vintage 1914 kittens, courtesy of the Library of Congress Flickr feed, celebrating 9-years of Flickr Commons.
This year blew hairy goat balls. Like, Mickey Kaus learned lucid dreaming techniques and came up with these balls. I know this, you, The Plain People of Crooked Timber know this. Anyway, did DJ Earworm’s 2016 mix blow perforce? Nah. It’ll grow on you. I know y’all are all going to say “oh Belle Waring there were no good songs this year and this just reminds me how much I hated that “worth it” song which was like some stepped-on B-List Destiny’s Child knockoff bullshit, and also that Drake doesn’t rate and I should get with Rhianna, and stuff.” That’s as may be, Plain People of Crooked Timber, but basically Rhianna needs to date like a Rhianna clone or maybe Cara Delivigne or something, or else we’re all still going to be standing here saying, “this person? Seriously?” but this is a good mashup. It has an EDM-esque enough track in it, which is crucial for a good mix. Zoë thinks 2013 is best while Violet favors 2012. Both very solid choices. I have a lot of love for 2012, in part because I listen to it so much with Violet. This is so even though I find it brings up memories of a year that also blew hairy goat balls, but for me personally rather then the world at large. (John is experiencing the cold robbies as he reads the number 2012.)
If I never go that crazy again it’ll be too soon, I tell you what. And what did my Singaporean psychiatrists do? Prescribe every wrongest worse medication in the world, to where I got ordered an EKG an hour in on my first day here at the Mayo Clinic when they asked “so, they’re monitoring your heart carefully on this right?” Me: wat no. And now I have to titer down off all this scheisse and what does amitriptyline withdrawal give you? MIGRAINES HA HA HOW IRONIC. (Also plain old reg’lar headaches. Also I have 8 more weeks on the taper. Also some people have headaches for 8 weeks following total elimination. Those people are probably pussies who suck at withdrawing from drugs though, am I right?)
I like to listen to music loud on the good headphones when I’m miserable. When Violet pointed out the other day that this might be counter-productive I explained, rather lamely, that when I control the sounds I hear and I know what they will be I don’t find it disturbing in the same way that other loud noises are. Violet, with excessive emphases: “oh my favorite songs could never hurt me. They’re my favorites!!” Mmmmmm. Compelling. Also, the headphones just died lol fine. I’m going to go put my feet in the hot tub and pour icy water on my head which, put that way, makes this seem pretty baller. I mean, some people have real problems. I even have new anti-depressant/mood stabilizers that appear to make me be not depressed! I’m an ungrateful shit, really; I was actually depressed a month ago and had forgotten how vile it is, and also Zoë is doing great and now I’m all “I have a headache”/whine. In some ways 2017 can only be worse generally but for my family in particular I’m certain it’ll be way better (provided my mom is OK.) I’m fervently hoping the same is true for all the Plain People of Crooked Timber and their simple but honest families. OK, I have a soft spot for the complicated dishonest families; y’all stay safe too.
“Holding with Haeckel that all life is a chemical and physical process, and that the so-called “soul” is a myth …”
– H.P. Lovecraft, “Herbert West – Reanimator”
Years ago I made a parody Christmas book mash-up of Lovecraft/Haeckel/Clement Clark Moore. I called it Mama In Her Kerchief and I In My Madness: A Visitation of Sog-Nug-Hotep. I made print versions but then took them down (they weren’t quite it.) Yet it lived, lurking beneath the surface, in the form of a perennially popularpair of Flickr albums and this old Hilo post. Hidden, winter sun-dappled tide pools of hideous, unfathomable, happy depths for kiddies to dip their toes in! But 2016 is the year of fake news. You can’t spell ‘fake’ without the ‘Haeckel’. So my fraudulent yet innocent concoctions have wandered and, eventually, been mistook for genuine Victoriana. Oh, well. I can’t completely blame them. Real Victorian X-Mas cards are often dark and weird. Hence the joke.
Caliginous gloom is the best disinfectant. If, as some whisper, ‘even death may die’, then perhaps it is possible to quash a rumor that Haeckel actually designed X-Mas cards. Accordingly, I have seized the seasonal opportunity to republish and set the record straight. A new, improved version of the print edition is now on Amazon! It is also available on Kindle. Somehow Amazon not seen the connection yet, but I imagine that will resolve itself. (Also, I made slightly different covers for the two editions. Which do you prefer?)
For impoverished urchins, with nary a penny to spare, yet high-speed internet access, I have updated the Flickr galleries with some higher quality images. The old ones were skimpy. My most popular images, Blue Boy and Feeding Birdies, are available in larger sizes. Some others, including several of my favorites. (Maybe I’ll get around to doing all of them. But not today.)
There’s a class of Amazon negative reviews. Not vicious or trolling. These are honest, often terse reports. I will not foreshadow my Kierkegaardian theme by calling them ‘preambles from the heart’. They are fired off from the front, where the battle is forever being fought and lost against the relentless disappointment of erroneous expectation. I’m thinking of purchasing In Another Light: Danish Painting In the 19th Century. But what’s this I read? “Not what I expected.wanted more Zorn!” [click to continue…]
I wrote a survey article on “Caricature and Comics” for The Routledge Companion To Comics. (I’m sorry to say that the volume is currently very overpriced, although I trust in a few years they will release a more modestly-priced paperpack version, and the Kindle version price shall descend from the heavens, where it dwells.) However, Routledge allows authors to self-archive, so I did. Abstract:
Caricature and comics are elastic categories. This essay treats caricature not as a type or aspect of comics but as a window through which we can view comics in relation to the broader European visual art tradition. Caricature is exaggeration. But all art exaggerates, insofar as it stylizes. Is all art caricature, since all has ‘style’? Ernst Gombrich’s classic Art and Illusion comes close to arguing so. This article conjoins critical reflections on Gombrich’s discussion of ‘the experiment of caricature’ with a survey of art historical paradigm cases. It makes sense for comics to emerge from this mix.
And this seems like a nice occasion to showcase the newest addition to my small, but growing set of philosophical caricatures. Soren Kierkegaard!
There’s nothing like a few unexpected days at home to allow you to discover new things, and the great find of the past few days — thanks to a tweet from Fernando Sdrigotti @f_sd — has been to watch (via Youtube, start [here](https://www.youtube.com/watch?v=vpijOSSlZCI) five programmes in all) some BBC documentaries about Albert Kahn and his Archives of the Planet, now preserved at the [Musée Albert Kahn](http://albert-kahn.hauts-de-seine.fr/) outside Paris. Born in Alsace, Kahn was displaced by the Prussian seizure of the territory in 1871 and became immensely rich though banking and investing in diamonds. But he was also an idealist, convinced that if the various tribes of humanity only knew one another better they would empathize more and would be less likely to go to war. In pursuit of this hope, and taking advantage of the Lumière Brothers’ [Autochrome](https://en.wikipedia.org/wiki/Autochrome_Lumi%C3%A8re) colour process, he sent teams of photographers to all parts of the globe and, before the First World War, caught many forms of life on the edge of being swept away by globalisation, war and revolution. (There’s quite a good selection [here](http://www.afar.com/magazine/a-trip-through-time) but google away.) Pictures taken around the Balkans, for example, depict the immense variety of different cultures living side-by-side at the time and then later we see the sad stream of refugees from the second Balkan War as they head from Salonika towards Turkey. Kahn’s operative document rural life in Galway, harsh penal regimes in Mongolia, elite life in Japan and a tranquil Rio de Janeiro with little traffic and few people.
Kahn’s hope for a peaceful world was lost in 1914, but we owe to his project many images of wartime France, particularly the life of ordinary people behind the lines. Postwar, Kahn was a great supporter of the League of Nations and, again, his operatives were on hand to document many of the upheavals of the inter-war years, such as the burning of Smyrna in 1922 (as Izmir, the city is once again crowded with refugees today) and the abortive attempt to found the Rhenish Republic in 1923. Many of the photographs are included in a book by David Okuefuna, *The Wonderful World of Albert Kahn: Colour Photographs from a Lost Age* (BBC Books, 2008). Sadly, Kahn was ruined by the Great Depression and died in Paris shorly after the Germans invaded in 1940. He seems little-known today, but there’s a lot of material out there that’s worth your time.
I just added an item to my collection of graphical curiosities: a 1948 pamphlet, published by The International Book Store in San Francisco, “The Communist Manifesto In Pictures”.
You can get the PDF version for free. I’m interested in it mostly as a data point in the history of American graphic design. The International Book Store seems to have had some graphical flair:
I don’t own that one. I don’t imagine the contents – apparently republished from Soviet Russia Today – are as fun as the cover.
I forgot St. Patrick’s day. But I remembered all-Trump, all-the-time is dull. And some people like my pen-and-ink posts. So let’s celebrate a pair of illustrators named ‘Neill’, or nearly. [click to continue…]
Cory Doctorow links to a nifty graphic design project: crowdsourced covers for public domain classics. If you know anyone teaching a relevant art class at the high school level, or above, I think this might make a fine class project. Everyone pick a title and go for it!
Cory: “I can’t figure out what license the new covers are under and whether anyone can use them as covers in their own collections of public domain books, or whether permission must be sought for each design.” I wondered about that as well. The info page doesn’t cover rights. I signed up to see what one would have to agree to. Answer: a CC license. (Cory will be gratified to hear it!) [click to continue…]
First things first: thanks to everyone who dug deep (or shallow) to purchase (or just freely download) a copy of Reason and Persuasion, allowing us to enjoy evanescent ecstasies of semi-upward-mobility into the 5-digit sales range on Amazon for a period of some days now. Now please keep that Amazon aspidistra flying for the next several years running and we’ll have ourselves a standard textbook! (Sigh. I know. No hope. If I want sales like that, I have to update Facebook more than once every 4 years. And be on Twitter. Shudder.)
As I was saying: it is also fun to watch the (no doubt CT-fueled) evolution of the ‘customers who viewed this item also viewed’ Amazon scrollbar, associating our Plato book with all manner of comics and science fiction. I hope the present post shall further enrich that eclectic mix.
Back in December I posted about how I would like a history of semi-popular philosophy of mind, to complement the history of science fiction. Many people left genuinely useful, interesting comments, for which I am sincerely grateful. Today I would like to strike out along a semi-parallel line. Science fiction film, with its special effects, has a strong phenotypic and genotypic relation to stage magic. Georges Méliès was a stage magician. But sf is older than film; stage magic, too. We might enhance our sense of the modern origins of the former by coordinating with the modern history of the latter. I just read a good little book, Conjuring Science: A History of Scientific Entertainment and Stage Magic in Modern France, by Sofia Lachappelle, that doesn’t make the sf connection, but makes it easy to make. (It’s an overpriced good little book, I’m sorry to say. Oh, academic publishing. But perhaps you, like me, enjoy library privileges somewhere.)
It contains some nice sentences, certainly. For example: “While Robertson was presenting his phantasmagoria in an abandoned convent and professors of amusing physics were performing their wonders, scientific and technological innovations were impacting the world of the theater at large.” (118)
As I was saying: history of modern stage magic. I’ll quote passages, and comment, and supplement with relevant images. [click to continue…]
