Reading Alex Ross’s book Listen to This, a compilation of his columns from The New Yorker, I was reading a chapter on Icelander singer Björk, and I came across this passage:
Modern Icelandic music begins with Jón Leifs, who lived from 1899 to 1968, and whose 1961 work Hekla helped bring Björk and her chorus together…Hekla, which is named after Iceland’s largest active volcano, has been described as the loudest piece of music ever written. It requires nineteen percussionists, who play a fantastic battery of instruments, including anvils, sirens, bells, ship’s chains, a sort of tree-hammer, shotguns, and cannons.
I mean, come on. How could I not want to hear that?
Hekla depicts the 1947 eruption of the volcano of that name, which Leifs witnessed. The mountain already had a fearsome reputation stretching back to 1104 when a huge eruption led to a belief throughout Europe that Hekla was the gateway to Hell – a belief that only died out at the approach of the 20th century.
…
Characteristically, Leifs thought little about the practicalities of his piece, and called for an array of instruments that were either unobtainable – massive church bells for instance – or unplayable, such as rapidly repeating shotguns. Rocks that ring with musical pitches were found, and ships’ chains and steel tubing were scrounged from the Reykjavik dockyards. Whether or not the exact sounds in the composer’s head made it to the concert hall, the effect at its 1964 premiere would have resonated throughout the musical scene in Iceland, liberating a surge of edge-of-the-world originality which has yet to cease.
Here it is. And yes, you need to turn it up…but be careful. This thing is like the last part of the 1812 Overture and the storm from Strauss’s Eine Alpensinfonie, jammed together, given multiples doses of steroids, and blasted from the heavens.
Today begins Pride Month, which I enthusiastically support and will continue to do so, for all members of the LGBTQ+ community.
I start with a work by Peter Ilyich Tchaikovsky, whom most scholars agree was almost certainly homosexual. He had to remain closeted his entire life; Imperial Russia was not a place friendly to non-straight people; come to that, post-Imperial Russia hasn’t been great for those people, either. There seems to be a shadow coming over that community these days; let us hope that it is only a passing shadow.
The warm months of the year, for us, tend to be bookended by two specific festivals: the Rochester Lilac Festival in May, and the Ithaca Applefest in October. Lots of stuff happens in between, but those are the markers of “outdoor stuff” season. So, yesterday we were off for the Lilac Festival!
Which was, this year, well…we’ve been enjoying gorgeous weather recently. Today is sunny and wonderful. The days leading up to yesterday were also mostly pleasant and nice. But yesterday itself was…a soggy rainfest that started before we even left for the day. Here I am, staring existentially out the back window at the gray rains. (More specifically, I’m waiting for my water to boil for coffee.)
We got to the Festival and tracked down our favorite food truck for poutine, which we were lucky enough to eat out of the rain in a big food tent. So that was nice. Poutine is always lovely.
Pulled-pork Poutine
But then we were out into the rain to try to see some of the lilacs and the various trees in Rochester’s Highland Park.
Reservoir at the crest of Highland Park. City drinking water is sourced here.
We didn’t walk around nearly as much as we usually do, because it was raining. I had an umbrella, but it’s on the small side, and The Wife wore a coat that she believed to be waterproof. (This turned out to be incorrect, so we stopped into a tie-dye clothing vendor at the Festival’s art sale and bought her a shirt just so she’d have something dry to change into. Some years, the anniversary gifts aren’t as romantic as others, I must admit.) I stayed mostly dry, thanks to my umbrella, but I have determined that I need a larger umbrella, probably one of those gigantic ones that some folks carry around. I concluded this because it turns out that the sleeves of a poofy shirt can actually exceed the coverage provided by your small umbrella, with dampening results:
Not one but two wet sleeves. Oh well, live and learn. Onto the shopping list a bigger umbrella goes.
Later on we went to The Chicken Coop in Webster, NY for fried chicken. We love this place and it’s a favorite destination of ours now when we’re passing through that particular part of town.
So, the day was something of a mixed bag, alas.
Up in the title to this post, I mention Rachmaninoff. There is a tie-in here: specifically the lilac flower. In 1902 Rachmaninoff wrote a song cycle, 12 Romances, one of which is a setting of a poem about lilacs. From this sprang an odd gesture of appreciation from one of the composer’s fans, as described here by Bertensson and Leyda in Sergei Rachmaninoff: A Lifetime in Music:
It was about the time of his return from America that the mysterious activities of the “white lilacs lady” began. Rachmaninoff could give no concert or recital without a bouquet of white lilacs among the floral tributes. Bouquets of white lilacs were also delivered on every birthday, every saint’s day; and if he happened to be abroad on those dates, the white lilacs would just as surely arrive at his hotel or the compartment of his train. The notes accompanying this tribute were always brief and tender, congratulating him on his birthday or wishing him success in the concert, and the only signature was the Russian initials of “White Lilacs”; the song “Lilacs” in Op. 21 appears to have inspired this extraordinary labor of love. Rachmaninoff appreciated the lady’s incognito as deeply as the simple, warm words of her notes, though sometimes the gift was a little flamboyant–especially when the everlasting white lilacs arrived on schedule in the depth of winter. Not only did bouquets, wreathes, and other ornamental florist’s designs arrive with these flowers but the gift took other forms, such as an ebony conductor’s baton engraved with a design of white lilacs and Rachmaninoff’s initials. The giver’s identity remained hidden from the composer and all members of his family.
Fortunately, the mystery did not remain so. From the footnote in Bertensson and Leyda:
It was not until 1918, after the Rachmaninoffs had gone abroad, that “White Lilacs” was identified. Sophia Satina [the composer’s niece] tells of this: “As I walked to my laboratory one day I heard a horse galloping behind me: I turned and saw a cabman whipping the horse frantically, with an elderly woman standing in the lurching cab, clinging to him with one hand and waving to me with the other. When they came up to me, this woman, breathless and agitated, said, ‘Thank God! How happy I am to find you! I am White Lilacs–my name is Rousseau.–Where is Rachmaninoff? Is he alive?’ She was overjoyed to hear that he was well and working abroad. When Sergei Vasilyevich heard about Mme. Rousseau, he offered to help her to leave Russia, but she preferred to stay in Moscow with her daughter.”
Apparently when it became clear to Mme. Rousseau that Rachmaninoff would not be returning to Russia at all, in the wake of the Revolution, she ceased the gifts of lilacs. I do not know what became of her after this, but I do wonder if Rachmaninoff missed the constant presence of white lilacs in his later life…perhaps not as a reminder of a specific admirer, but as one more way his beloved Russia of old was gone forever.
Speaking of our anniversary yesterday, this song reminds me of…us. So many of our best memories involve getting in a car and going…someplace, and this song captures that feeling perfectly for me.
I wanna take you somewhere It’s all I know to do I need to feel your freedom, Come on darling, say you will go
North to the lights to watch the snow fall East to the city, we can see it all South to the ocean, west to the mountains It doesn’t matter where we go As long as we’re together, what we don’t know Won’t stop us now, I’ll take you anywhere but here!
It’s a tone poem by Mikhail Ippolitov-Ivanov, a Russian composer whose music has fallen into unfortunate and unfair obscurity over the years since his life. This tone poem is notable for featuring a soprano voice in addition to the orchestra, and it’s a rich tone painting of…something. In all honesty, I have found scant information about this piece so far. I actually sometimes like it when that happens because it means I can attend on the music alone, without any preconceived notions of what it is about or what it means….
The oldest extant text ever printed with movable type predates Gutenberg himself (born in 1400) by 23 years, and predates the printing of his Bible by 78 years. It is the Jikji, printed in Korea, a collection of Buddhist teachings by Seon master Baegun and printed in movable type by his students Seok-chan and Daijam in 1377. (Seon is a Korean form of Chan or Zen Buddhism.) Only the second volume of the printing has survived, and you can see several images from it here.
Impressive as this may be, the Jikji does not have the honor of being the first book printed with movable type, only the oldest surviving example. The technology could go back two centuries earlier.
Causey’s most successful TikTok videos follow her as she packs old-school candies, like wax bottles filled with sugary juice and vintage candy buttons, into boxes for customers. Her videos also show off new offerings that she eats on camera: Think gummy Nerds clusters and chamoy-drenched dulces enchilados, or Gushers coated in chamoy syrup and rolled in Tajin seasoning. Her account features imported chewy Puchao candies and Pocky sticks from Japan, along with a slew of other Asian candies. There’s also weird stuff — sour candy that you spray in your mouth, candy shaped like unicorn poop, and gigantic gummies, along with nostalgic favorites like fizzy Zots and lemon drops. But Causey’s taste of viral success really began when the jelly fruits trend emerged on TikTok.
In countless videos on the platform, users would eat the jellies — a type of candy sold in fruit-shaped plastic capsules — by popping the capsule with their teeth, causing the jelly to burst in their mouth, often to comedic effect. The hashtag #jellyfruitcandy has racked up more than 27 million views, and for a while Candy Me Up was one of the few places that sold it.
The article goes on to describe “freeze-dried candy”, which is something I saw in a store in Toronto recently. I thought about trying it, but that stuff was expensive, at least in the store where I saw it, and I’d already dropped a chunk of money in an anime-and-comics store that very morning. Alas!
I find Tiktok kind of fascinating, and I hope it, or at least something very much like it, survives the current challenges. (I have to be honest here: I don’t get terribly worked up about the Chinese maybe “spying” on what I’m doing. If they think they can learn something insightful from the odd doings of a guy in overalls who lives near Buffalo, well, have at it, Hoss. Something needs to be done about the car-theft thing, though.)
I actually didn’t watch V the first time it aired. I don’t remember any buzz about it in school, and right around then all our geeky energy was laser-focused on the impending arrival of Return of the Jedi. I think I remember one kid talking about the V show that he’d watched the night before. Plus, V aired on NBC, which was at that point languishing in third place on the networks, and it’s biggest hits of the 80s had either just launched and had yet to gain traction (The A-Team) or hadn’t even come along yet (The Cosby Show), and in those days (wow, there’s a phrase I’m not keen on using to describe the 19-freakin’-80s), buzz was based pretty much on if you saw the commercials on the network you were watching at the moment. So, for me, V came and went very quickly, and I missed it entirely.
A year later, though, the sequel dropped, and that one, I saw. By then we were watching NBC a little (thanks, A-Team!), and I might have watched a movie that I wanted to watch on NBC’s weekly movie telecast, back when the networks actually televised movies. In fact, I think it was a movie, because I remember a long preview at the movie’s end–maybe five minutes long, maybe more–for the upcoming Big! Teevee! Miniseries! Event!, called V: The Final Battle. Now that I was properly briefed, I watched V: The Final Battle faithfully, and I was a big fan right from there. The original miniseries from the year before was re-broadcast soon after, and I was now fully briefed.
V: The Final Battle was produced by a different team than the original series from just a year earlier, which led to some differences in tone and story; the second series is much more action-oriented than the original and it doesn’t focus nearly as much on the allegory of fascism that the original did. Also, the second series features one of the most gobsmackingly bad endings I’ve ever seen, even for a thirteen-year-old kid. But the preceding five hours and fifty-five minutes of the six-hour miniseries was great, so if the ending sucked, I was willing to forgive.
V was a big enough hit that the two miniseries led to a weekly series later that fall (1984, I think), which started off strongly but then bogged down a bit. There’s some handwavey-stuff in the series opener explaining how the humans’ victory from The Final Battle actually wasn’t, and then a favorite character from the miniseries was killed immediately, and the show just wound up bogging down. There was a reboot many years later (ten years ago, maybe?) on ABC, but I didn’t watch any of it.
Oh, and The Final Battle boasted a wonderful 80s-synth score:
SO MANY BRILLIANT songwriters came out of Canada in the Sixties — legends like Leonard Cohen, Joni Mitchell, Neil Young, and Robbie Robertson — that the talents of Gordon Lightfootare sometimes overlooked by those who don’t know better. He never even appeared on a Rock and Roll Hall of Fame ballot before his death at 84. That’s a raging injustice when you listen back to gems like “If You Could Read My Mind,” “Carefree Highway,” and “Early Morning Rain.” These songs earned him a sterling reputation as a songwriter’s songwriter, which you can see when you check the list of people who covered them: Bob Dylan, Johnny Cash, Elvis Presley, and countless others. Or you can take it from Dylan himself, who famously remarked, “I can’t think of any Gordon Lightfoot song I don’t like. Every time I hear a song of his, it’s like I wish it would last forever.” Here’s a guide to ten of Lightfoot’s best songs.
:: Color Him Busy: A profile of heavily-tattooed actor Robert LaSardo.
In person, LaSardo comes across as a sensitive soul with a sense of humor. In an interview in his agent’s office he lifted his right forearm as if to prove it, and there, amid a roiling sea, is winsome Betty Boop in her flirty pose. “That’s my comic relief,” he said. He’s reluctant to make too much of the other tattoos — or as he prefers, “illustrations” — that cover both arms, his abdomen, neck, hands, fingers, back and legs. He’s even a bit self-conscious about discussing their significance.
LaSardo admitted the ink has helped him establish a 20-year career portraying thugs, drug dealers and gritty undercover cops. But he said landing roles through his tattoos was never his intention. “It’s my life story,” he said. “It’s the trip through my world.”
A bit of background here: a while back I found a YouTube channel that posts clips from the classic show NYPDBlue, and just this morning there was a clip that features a guest stint by Robert LaSardo. Now, La Sardo has been one of my favorite “Hey, it’s that guy!” actors for years–the proper term is “character actor”, obviously, but “Hey, it’s that guy!” or “Hey, it’s her!” works to convey the same idea. His work as a particularly nasty bad guy in CSI: Miami is a standout in my mind, but he’s always good when he turns up. A quick glance at his filmography reveals five different appearances on NYPDBlue, each time as someone different!
Actors like LaSardo tend to get lots of reliable work by being, well, not only good, but also professional and reliable. The linked article above, which I found on a simple Google search, is almost twenty years old, but LaSardo’s career does not seem to have slackened one bit since then.
Shortly before each Chicago Symphony Orchestra concert is set to begin, someone discreetly walks onstage to place a score on the conductor’s music stand, then returns to retrieve it when that first piece is over — a process repeated for each selection on the program.
Those brief, easy-to-ignore trips across the stage are the only times that audiences get a glimpse at the three staff members who work in one of the CSO’s most important if little-known behind-the-scenes departments — its library.
Located one floor below the Orchestra Hall stage, this windowless space serves as a repository for the music the orchestra owns and a work space for three librarians.
Here’s a fascinating article about a little-known facet of professional orchestra operations: the library and its librarians. The music they’re playing–the actual physical music, consisting of the conductor’s score and the orchestral parts for all the musicians–comes from somewhere, after all!
In 1984, The Voyage of the Mimi debuted on PBS. The groundbreaking educational science series, part of the curriculum of many elementary and high school students (including this writer!), captivated kids throughout the ‘80s and ‘90s, spawned a sequel, and kicked off Ben Affleck’s career.
If you’re my age, you may remember watching The Voyage of the Mimi, either in school or on PBS at some point. I’m honestly not sure when I first saw it, but it’s been on my radar for years, so I’m assuming it was in the 80s at some point. It’s a 13-episode series about a research expedition into the North Atlantic to study whales, aboard a ship called the Mimi. There’s a crusty sea captain, two research scientists, their graduate assistant (who is deaf), two teenagers, and the sea captain’s grandson, who was played by a young Ben Affleck, if you can believe that. The whole show is available to watch on YouTube, and it actually holds up pretty well, as period educational shows go. Each episode consists of fifteen minutes of story followed by a fifteen-minute mini-documentary that applies to that particular episode’s topic. I wish it was viewable in better resolution than YouTube’s max from eleven years ago.
Sadly, the Mimi herself fell on funding and ownership difficulties that led to her eventual scrapping (though she was a long-lived ship, originally built in the 1930s!), but I did get to see her once! We were on our honeymoon in May 1997 in Boston and New England, and we went one day on a whale-watching expedition that set out from Plymouth. On the way back in, the boat’s tour guide pointed out two ships anchored nearby: one was a replica of the Mayflower, and the other was none other than the Mimi. I wish I’d taken a picture, but this was in the days (there I go again) of film cameras and I don’t even think I took my camera with me on that trip. Alas!
There was a sequel series to Voyage of the Mimi that I don’t think I ever watched, and sadly, a proposed third series never managed to get funding. Anyway, I like to think that the characters from the show got together again for more adventurey science voyages in the future!
:: Finally, speaking of Tiktok, this particular creator has found an incredible pair of overalls. I’m actually envious of these! The Big Smith brand made a lot of funky-patterned overalls years ago, I’m assuming in the 1970s, and they do turn up on eBay and vintage shops now and again.
