FALLING PIANOS (REDUX)

Because it is Friday (cue Dave Edmunds), this post, which started out in a state of decided disquiet (last night I dreamt about falling pianos and being swallowed alive by God's Great Fish), is guaranteed to end well.

 

Before dreaming, I had simply planned to collect and share a few unrelated, delightful and interesting (to me, at least) things with you today.  Then when I woke (underneath the piano and inside the fish) at the usual palindromic hour of 3:33 am Eastern Standard Time, the first thing that came to mind was the news story I read yesterday about Britain's Got Talent (Jane likes it, but ugh!) singer Susan Boyle finally being given Lou Reed's permission to record the creepy song "Perfect Day" and filming a music video under the maestro's remote supervision (apparently, when you're a maestro, you can do that sort of thing) on beautiful Loch Lomond in Scotland.

Well, Ms. Boyle's rendition is just what you would expect (sort of pretty vocal histrionics) and  the song is as much of a miss (as in "hit and miss") as it ever was. Loch Lomond is glorious, but would look better in person, without the blue optical filter set between the viewer and the Highlands.

I hope this is the last we hear of  "Perfect Day" for a long, long time.  As a Velvet Underground fan, I was happy for Lou Reed when he achieved success with his "Transformer" record, but at the same time could never pretend that it was his best work.  Pop hits are unusual things -- lightning in a bottle, they always say -- and "A Walk On The Wild Side" captured listeners' imaginations so long ago, I think, because of Herbie Flower's insinuating bass guitar riff, the cool borrowed Nelson Algren title, the risque subject matter and the naughty words.  Lou's ability to sustain and maintain a successful career in the face of uneven material and terrible live performance problems is a testament to how very good and original his best work is.

However, nothing could possibly justify the bizarre veneration extended to "Perfect Day" by the BBC in their very, very weird "Perfect Day" advertising campaign, culminating in the star-studded viewer appeal (keep paying that tv license fee; thank you very much) based on the song.  Paraphrasing an old National Lampoon Radio Hour gag, it was a new low for both "rock" and "roll".

There are better "hands across the water" approaches to our UK neighbors than forcing a morbid, creepy lesser Lou Reed pop song on them.  This book, by Wallis Warfield Simpson, which I recently found on the excellent, highly valuable Cookbook of the Day blogsite written by "Lucindaville" of West Virginia, is one of them.  Considering the astronomical problems that the British caused Mrs. Simpson and vice versa, I think it was fine of her to share a valuable bit of her Southern U.S. hospitality and heritage with them, as she does in this very interesting, unusual (I've never seen anything like it), well-annotated recipe for:

The Duchess of Windsor's Pork Cake

1/2 pound fat salt pork, ground

3/4 cup boiling water

3/4 cup molasses

1/2 cup firmly packed brown sugar

2 cups raisins

1 cup currants, washed and dried

3 1/2 cups sifted flour

1 1/2 teaspoon baking soda

1 1/2 teaspoon cinammon

1 1/2 teaspoon cloves

1 1/2 teaspoon nutmeg

Place pork in a mixing bowl and add boiling water.  Add molasses, brown sugar, raisins and currants and cool.  Mix and sift the flour, baking soda and spices together three times.  Add to the molasses mixture and beat until smooth.  Turn into long narrow bar pan (10 X 4 X 3 inches) and bake in a slow oven (325F.) 1 hour and 15 minutes.

"Lucindaville" notes that : "Rarely does one find a cake recipe that begins with the '1 1/2 pound of fat salt pork'.  Pork Cakes are a Southern invention -- you know in the South, when it comes to pork we eat everything but the squeal!  Who knew we had such fine ideas for porky desserts?   Pork Cake shows up in a few Southern cookbooks from the early 1900s, but doesn't seem to have caught on or survived.  Such a cake is not mentioned in Mrs. Dull's Southern Cooking, considered to be one of the most comprehensive chronicles of Southern tradition.  The recipe appears in Southern Living's encyclopedic Southern Heritage series culled from The Williamsburg Art of Cookery......the first American cookbook being printed at Williamsburg in 1742."

In a nice addition to better-known history, the Duchess herself also advises the reader that: "I have been very happy to help carry some of the well-known dishes of my native land to other countries, and especially to have served on my table Southern dishes which appeal to the Duke."

In other news, there's this:

Giant space bubbles baffle astronomers

Space Bubble Image (Source AFP)

"The two vast structures, stretching to the north and to the south of the centre of the Milky Way, are so big that a beam of light, travelling at 186,282 miles per second, would take 50,000 years to get from the edge of one to the edge of the other.

The previously unseen bubbles were discovered by astronomer Doug Finkbeiner, of the Harvard-Smithsonian Center for Astrophysics in Cambridge, Massachusetts, using NASA's Fermi Gamma-Ray Telescope. He admitted yesterday: 'We don't fully understand their nature or origin.' 

They span more than half the visible sky, from the constellation of Virgo to the constellation of Grus, and are thought to be millions of years old. They were not noticed before because they were lost in a fog of gamma radiation across the sky. 

Astronomers' best guess is that the bubbles were created by an eruption from a supersized black hole at the centre of our galaxy. 

Mr Finkbeiner and his team discovered the bubbles by processing publicly available data from Fermi's Large Area Telescope. The space telescope, launched in 2008, is the most powerful detector of gamma rays, which are the most energetic form of light. 

Scientist David Spergel, of Princeton University, New Jersey, said: 'In other galaxies, we see that starbursts can drive enormous gas outflows. 

Whatever the energy source behind these huge bubbles may be, it is connected to many deep questions in astrophysics.'"

Artist's rendering of Black Hole

One person who would not lose sleep over the above story is Dave Davies, erstwhile lead guitarist, songwriter and singer for The Kinks, whose theories on metaphysics and extra-terrestrial life forms have aroused admiration and/or derision and sometimes ridicule in many who have followed his ultra-illustrious career.  Personally, I'm fine with everything Dave says and does because he's unpretentious, funny and always unpredictable.  It is true, however, that many years ago, while researching Dave's beliefs (he is an initiate of the Aetherius Society, an unusual spiritual community, and an acolyte of  their founder "Sir" George King, a London taxi driver turned medium and guru) in the Samuel Weiser occult and spiritual bookstore in Greenwich Village, I encountered consistent dismissive (at best) looks from the staff when I told them what I was searching for.  Because certain Aetherius publications consist of purported transcripts of interstellar transmissions from Jesus Christ across the lightwaves (in Aetherius terms, Jesus Christ was a Venusian warrior who once visited Earth to help us out), complete with static and other ham radio snap, crackle and popping, I suppose I can understand. I wear these incidents as something of a badge of honor.  Freaking out the tolerant staff at Samuel Weiser wasn't an easy thing to do. (The books, by the way, did not appear to be big sellers.)

"Sir" George King broadcasting an interstellar "medium" transmission.  

I think Dave looks great in the mid-1960s "Terylene" raincoat ad above -- cool and confident like Ina, the female model who holds her own with the man they called "The Rave". Here is a link to a song of Dave's  that's not nearly well enough known.  It is called  "Dear Margaret" and it appeared as a bonus track on the Kinks' U.K. Jive lp.  It's a very funny, crunching rock-y number and, for my money, is the outstanding contribution to the well-established genre of Anti-Margaret Thatcher rock songs. 

Finally, here is a painting I like by the late "hard-edged abstractionist" Larry Zox called "Green Diamond Drill" (1968), 

an image of a cupcake that Jane "fingerpainted" on her cellphone,

and a link to one of the most beautiful songs I know, "There's A Reward"  by Joe Higgs, the man who taught the Wailers and the Wailing Souls harmony singing.

The piano had to fall.   But I do get to climb out of the fish.

ALMOST SATURDAY NIGHT -- HAPPY BIRTHDAY

Re-viewing this photograph of Kevin preparing paella at home at 7 Es Clot, Deya, reminds me of so many things.

It’s obviously not the world’s best shot -- it would be nice to see the subject’s face clearly, although the outline of a smile and beginning of a low laugh are evident – but I think it captures Kevin’s very accomplished and natural cooking movements and style.

Kevin's paella was marvelous, among the very best I’ve ever had, and so much better than the mediocre restaurant preparations which are almost universal outside of Spain.  I myself eventually learned to make a creditable paella, but it wasn’t nearly as good as Kevin’s.  And obviously the Balaeric al fresco atmosphere you see here can’t be beat.

The picture re-summons cooking memories (there are many) of Kevin and stirs related brain-drifts.  Many depressive types I've known became excellent cooks and hosts because, apart from being useful and interesting pastimes, preparing and serving your fellow man fine and fitting food and drink is a great way to chase the blues away.   

Most depressives (I am one) passionately want to feel happiness, to laugh, and to share joy with others. There’s no better way to do this than through cooking-borne hospitality.  The rest of the time we do prefer to be left alone to think.

Happy birthday, Kevin.  I wish we could be with you and Ollie in Deya today for the celebration of your life, but Jane’s engaged in some school tasks I think you'd find interesting and I’m trying to figure out which way is up.

We will be joining you there again very soon.

Gene Clark and Carla Olson: Almost Saturday Night (Link) 

HOORAY -- EDWARD LEAR BICENTENARY EXHIBITION IN OXFORD OPENS TODAY

Edward Lear (1812–1888), Monastery of Konstamonitou, 1856. Pen, brown ink and watercolour with bodycolour on buff paper, 29.7 x 45.7 cm© Private Collection, courtesy of Agnews.

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Blue and Yellow Macaw


OXFORD.- 

The bicentenary of the birth of Edward Lear is being celebrated with events and exhibitions throughout the English-speaking world. As the home of the largest and most comprehensive collection of his work in the UK, the Ashmolean is mounting a retrospective exhibition covering all aspects of his career. From early natural history illustrations and extraordinary landscape sketches, to the nonsense drawings and verses for which Lear is so well known, the exhibition presents 100 works of art from the Ashmolean’s own Lear collection and important loans from the Bodleian Library and works from private collections, many of which will go on public display for the first time. Edward Lear is one of the most notable artists and popular writers of the Victorian period. Although best known for his literary nonsense in poetry and prose, Lear saw himself primarily as an artist. 

Study of Palm Trees  


HAPPY BIRTHDAY EDWARD LEAR presents his work chronologically, with watercolours, oil paintings, manuscripts, and illustrated books carefully selected to reflect every aspect of his artistic output. Among the highlights are watercolours of animals and birds; sketches made during his travels in Greece, Italy, Egypt and the Near East, and India; and a group of the Tennyson illustrations on which he spent the last twenty years of his life. Lear’s work as a painter in oils is represented by rarely seen evocations of Beachy Head, Venice, and landscapes in the Near East; and the great view of Jerusalem, painted in 1865, now in the Ashmolean. More than 30 loans from the University of Oxford’s libraries and private collections will bring together editions of the books Lear illustrated early in his career. These include copies of Lear’s travel books; the natural history publications to which he contributed; and the principal editions of his nonsense books. The exhibition also shows examples of the sketches and self-portraits he gave to his friends, as well as a nonsense alphabet composed for Ruth Decie, who was only a few days old, on 22 June 1862. 

A Book Of Nonsense, 1862 edition


“Edward Lear is one of the most extraordinary figures in Victorian England. He was one of the greatest of all natural history illustrators, a highly original artist who travelled more widely and recorded the landscape more faithfully than almost any other, and also an endearing writer whose experiments with words long predate those of Lewis Carroll.” Colin Harrison, Senior Curator for European Art at the Ashmolean. Edward Lear was the 20th child born to Jeremiah and Ann Lear on 12 May 1812, in Holloway, London. He became one of the most extraordinary figures in Victorian England. 

Gozo, Malta


 Sociable and immensely engaging, he was also an epileptic, prone to long fits of melancholy, and once declared that “I HATE LIFE unless I WORK ALWAYS”. Lear’s earliest work was as an ornithological draughtsman, his outstanding achievement being the Illustrations of the Family of Psittacidae, or Parrots (1830–32). Between 1831 and 1837, he was a regular visitor to Knowsley Hall, where the 13th Earl of Derby kept the most important menagerie in Europe, and Lear’s studies of the animals were privately published as Gleanings from the Menagerie at Knowsley in 1846. While he was at Knowsley, he began to invent nonsense rhymes and drawings to amuse Lord Derby’s children. These were first gathered together as A Book of Nonsense in 1846, but it was not until the third edition of 1862, including wood engravings, that Lear’s nonsense began to enjoy the extraordinary popularity it still does today. 

Plain of Thebes With Two Colossi


It was landscape painting which Lear himself most valued and for which he wished to be remembered. From 1837 onwards, he travelled more extensively than any other painter of the 19th century, recording the landscape as he went in an apparently endless succession of topographical drawings in pencil, which he annotated with the date, time, and a running number for each tour. These he later inked out and kept as a dictionary of compositions for his more commercial work, the finished watercolours he made in long series and, from the early 1850s, the oil paintings he made on commission. 

                                    

NOTE:  The Ashmolean exhibition, which is a real reason for celebration, runs from September 20 to next January 6.  Edward Lear's visual and literary art is extraordinary, inspiring, enlivening and ennobling.  Borrowing Lear's capital letter declaration above, 


NO NONSENSE !! I WISH I COULD BOARD A PLANE TO ENGLAND IMMEDIATELY TO SEE THIS EXHIBITION!!

A View Of The Roman Compagna


 

The Owl And The Pussycat 


Please See Also:

Letter To Anna Duncan -- January 3, 1865 (Link) 

'Gozo my child is the isle of Calypso' (Edward Lear) (Link)

There Was An Old Person Of Sheen (Edward Lear Selection) (Link)

OXFORD.- The bicentenary of the birth of Edward Lear is being celebrated with events and exhibitions throughout the English-speaking world. As the home of the largest and most comprehensive collection of his work in the UK, the Ashmolean is mounting a retrospective exhibition covering all aspects of his career. From early natural history illustrations and extraordinary landscape sketches, to the nonsense drawings and verses for which Lear is so well known, the exhibition presents 100 works of art from the Ashmolean’s own Lear collection and important loans from the Bodleian Library and works from private collections, many of which will go on public display for the first time. Edward Lear is one of the most notable artists and popular writers of the Victorian period. Although best known for his literary nonsense in poetry and prose, Lear saw himself primarily as an artist. HAPPY BIRTHDAY EDWARD LEAR presents his work chronologically, with watercolours, oil paintings, manuscripts, and illustrated books carefully selected to reflect every aspect of his artistic output. Among the highlights are watercolours of animals and birds; sketches made during his travels in Greece, Italy, Egypt and the Near East, and India; and a group of the Tennyson illustrations on which he spent the last twenty years of his life. Lear’s work as a painter in oils is represented by rarely seen evocations of Beachy Head, Venice, and landscapes in the Near East; and the great view of Jerusalem, painted in 1865, now in the Ashmolean. More than 30 loans from the University of Oxford’s libraries and private collections will bring together editions of the books Lear illustrated early in his career. These include copies of Lear’s travel books; the natural history publications to which he contributed; and the principal editions of his nonsense books. The exhibition also shows examples of the sketches and self-portraits he gave to his friends, as well as a nonsense alphabet composed for Ruth Decie, who was only a few days old, on 22 June 1862. “Edward Lear is one of the most extraordinary figures in Victorian England. He was one of the greatest of all natural history illustrators, a highly original artist who travelled more widely and recorded the landscape more faithfully than almost any other, and also an endearing writer whose experiments with words long predate those of Lewis Carroll.” Colin Harrison, Senior Curator for European Art at the Ashmolean. Edward Lear was the 20th child born to Jeremiah and Ann Lear on 12 May 1812, in Holloway, London. He became one of the most extraordinary figures in Victorian England. Sociable and immensely engaging, he was also an epileptic, prone to long fits of melancholy, and once declared that “I HATE LIFE unless I WORK ALWAYS”. Lear’s earliest work was as an ornithological draughtsman, his outstanding achievement being the Illustrations of the Family of Psittacidae, or Parrots (1830–32). Between 1831 and 1837, he was a regular visitor to Knowsley Hall, where the 13th Earl of Derby kept the most important menagerie in Europe, and Lear’s studies of the animals were privately published as Gleanings from the Menagerie at Knowsley in 1846. While he was at Knowsley, he began to invent nonsense rhymes and drawings to amuse Lord Derby’s children. These were first gathered together as A Book of Nonsense in 1846, but it was not until the third edition of 1862, including wood engravings, that Lear’s nonsense began to enjoy the extraordinary popularity it still does today. It was landscape painting which Lear himself most valued and for which he wished to be remembered. From 1837 onwards, he travelled more extensively than any other painter of the 19th century, recording the landscape as he went in an apparently endless succession of topographical drawings in pencil, which he annotated with the date, time, and a running number for each tour. These he later inked out and kept as a dictionary of compositions for his more commercial work, the finished watercolours he made in long series and, from the early 1850s, the oil paintings he made on commission.

More Information: http://artdaily.org/index.asp?int_sec=2&int_new=57806#.UFnd164b56A[/url]
Copyright © artdaily.org