This is default featured slide 1 title

Go to Blogger edit html and find these sentences.Now replace these sentences with your own descriptions.This theme is Bloggerized by Lasantha Bandara - Premiumbloggertemplates.com.

This is default featured slide 2 title

Go to Blogger edit html and find these sentences.Now replace these sentences with your own descriptions.This theme is Bloggerized by Lasantha Bandara - Premiumbloggertemplates.com.

This is default featured slide 3 title

Go to Blogger edit html and find these sentences.Now replace these sentences with your own descriptions.This theme is Bloggerized by Lasantha Bandara - Premiumbloggertemplates.com.

This is default featured slide 4 title

Go to Blogger edit html and find these sentences.Now replace these sentences with your own descriptions.This theme is Bloggerized by Lasantha Bandara - Premiumbloggertemplates.com.

This is default featured slide 5 title

Go to Blogger edit html and find these sentences.Now replace these sentences with your own descriptions.This theme is Bloggerized by Lasantha Bandara - Premiumbloggertemplates.com.

Gaga: Five Foot Two


Born this Way, Bad Romance… I know these tunes by cultural osmosis more than having listened to them in rotation. As a baby boomer, I’ve moved from pop to denser electronic and experimental genres, but I listen to all manner of playlists and  I wonder if given the limited involvement and exposure I’ve had to this newest Joanne incarnation, I may have a different reaction to her new doc, now streaming on Netflix.

I remember watching her initial TV appearances on the talk shows and SNL and remarking about the genuine talent and technique she brought to her game. And those nutsy vids, so superfluous but so entertaining. And now, what, nearly a decade later, here’s the woman unmasked, as it were, committing to making both an album and a video recording of her life as honestly – nakedly – as she can.

She did it by allowing a trusted director, Chris Moukarbel, to point the camera and essentially be a one-man tag-along buddy. And it appears he was allowed to follow her virtually everywhere but the loo. What we get, as a result, is an unvarnished behind-the-scenes treatment that deconstructs her glitzy concert dates and feature videos, as she relates to a coterie of about a dozen close-in entourage people, who assist, sew, remind, make-up, style, drive, bodyguard and give family comfort.

And what we net is the portrait of a woman in her prime, dealing with an avalanche of challenges – from joy to managing physical pain, from stadium jitters to lonely depression, from intensely creative flourishes to exhaustion. It’s constant, it’s overwhelming, it’s real.

I think some of her mega-fans may find exception with the film. What’s she got to complain about, who does she think she is, stop whining. But my perspective is of a star who has expertly channeled her seemingly unlimited energy and who is acutely aware of her status and resolve to be fair and even-handed with staff and fans alike, when so many others of her ilk are dismissive, rude or have simply morphed into egotistical nightmares.

Gaga is none of these things. She shares the traits of a sober Amy Winehouse crossed with a strutting Beyonce, injected with true originality, creatively on fire on the inside while striving to maintain a practiced sense of calm and survival on the out. It’s a bitch being a superstar. But this superstar’s no bitch. She’s simply unafraid.

RIP, Cassini


We’ve now witnessed the passing of NASA’S greatest explorer, the Satellite Cassini, which flew nearly a billion stress-causing but mostly trouble-free miles to its destination, Saturn, sending spectacular photos and info every step of the way.

The heroes of this mission, the engineers and architects of the flight, sat at their consoles with tears in their eyes as they issued the command for Cassini’s final descent towards Saturn’s surface. There was no expectation of a landing. The satellite would be ripped to pieces as it entered Saturn’s gravitational force and encountered airborne debris. It was simply a miracle it lasted as long as it did, interweaving with bands of meteorites, orbit after orbit, just skirting the outer limit of those particles, per minutely calculated circles of concentricity.

In the end, we got evidence of 62 moons orbiting Saturn. Sixty-Two. Each with its own set of peculiar personalities, from oblong shapes to the presence of liquid substances on Titan, famous for its role in Arthur C Clarke’s 2001. Wait, I think it was his book “2010.” In which a message was received inviting Earth to come and explore, but to stay offa Titan.

So Arthur – he knew. Fascinating mind in that human. Which begs the question: What if he REALLY knew? That man, if you watch the videos of him espousing on space travel and life on other worlds, spoke with an air of intellectual engagement and… certainty… you didn’t hear from his contemporaries.

Wouldn’t it be fitting that the guy who helped inspire and invent modern scifi film-making, was actually revealed to be a Visitor someday? With all the evidence, all the logic that supports UFO theory, who better to be the chosen spokesman of the 20th century? And who will be the next?

Time Is the Jones


What would you do with YOUR time machine? Like, after you got over the mind-whack of what that actually meant. That you could dial up a time in the past and transport yourself there, knowing what you know now, walking amongst the populace as the secret God of Tomorrow.

When would you chose? What would you do? How would you do it?

That’s the subject of my song Time is the Jones, focusing on a sloshed sled-head who smokes a lotta weed, drinks way too much, tries to do good, loves being bad and scared he’ll come back to a screwed-up world, forever changed by his own past-tense behavior.

 Fortunately for us, he’s stoned more on the concept than on reeking havoc. In fact, he chooses times to go back and help improve a given situation, though always mindful of things potentially going wrong. You’d better carry some fire power in case of trouble. Stay on the path, don’t mess with mother nature, that kind of thinking.

It’s enough to give a guy pause. And admit to a room full of one that he’s a user, addicted to The Jump, high on fore-knowledge, crazy to hang with the superstars of history and prove his worth by nudging them towards their glory.

And it’s got to stay a secret, an invention second to none that nestles in a 2-car garage under a $20 tarp that no one, not mom, best girl or some five-star general gets to know about. Because that would be the beginning of the end of the world as we know it. Never mind you’re the someone who stumbled onto successfully building the thing. It’s an ultimate weapon of destruction with virtually unlimited magical power to change things.

Which makes it the world’s largest dollop of insanity. And when you’re on that kind of level, the best way to handle it is to have another drink, right?

Happy Peace Day, Space Aliens!

Nukes, wars, megalomaniacs – it’s enough to make you wanna move to a nice, safe dictatorship and hide in a comfy cement cell. But hey, nothing changes a day in the life like a full-scale alien invasion, sci-fi style. You want peace on earth and someone to show you the way?


There's a de facto vision of other-worldly beings that we all know: the gangly, egg-shaped head, elongated arms, pencil-thin legs and those big black eyes. Instant alien. We saw them in Spielberg’s Close Encounters and in thousands of images created by artists of this fanciful repeating vision. Why?

Oh, wait, one more thing: they're naked. No clothes. Who needs clothes on other planets? Waste of xoxxo-blocks. Why wear clothes when you're built for... alienship? The planets they come from are warm and utterly temperate. Or icy cold but we're built for that, so no problem. Also no problem with hiding sexual apparatus, which is really none of your damn business, but whatever: It's all under our skin folds and don't ask exactly where, just trust me, it works. We may look passive and emotionless but when we couple... hoo, boy.

Ditto for shoes. Nope, unnecessary. First off, our skin is like, impervious. Except for gunshots and knife wounds. Not nice when you point those things at us. We're here to either make friends or totally dominate you, so believe me, best thing for you to do is to accept it, relax and enjoy. Easy. No one gets hurt and we all get along under the New Order.

Back to shoes. We walk slowly and purposefully for a purpose.  Our planets are both way bigger and way smaller than yours, so the gravity thing -- it's just better for us to take it easy on Earth. Think of it as a way for you to observe us more easily. When we reveal ourselves, we want to give you a good look. I mean, know your conquer... er, new friends, right?

Dude, if we stay, we'll wear clothes, but why would we want to? Stay, that is. I mean, yer planet is quaint and all but honestly, a globe without a working Globulator is gonna be a hot mess. Always. I mean, just look at yourselves -- you call that livin'?

 So go wear your clothes and do your thing. We'll check in on you from time to time and one of these days -- could a while, mind you -- one of these days, we'll have a few laughs together, OK?

In the meantime, try not to blow each other off the face of your planet. We’d like to still be able to mingle, once we get there…

“Our Tomorrow” vs Software Tech

The end of my live retro scifi futurism show features an original tune called "Our Tomorrow" which is about connecting with intelligent life on other planets. Simple concept, dramatic tune, it starts quietly emotional, lyrics describing the frustration of not yet making contact, then builds to a big gospel-tinged finish about reaching for the stars, while videos display dramatic galactic zooms alternating with real people reaching towards the sky.

As with most all the tunes I write and record, everything gets properly sussed out in my home studio over a period of weeks. I have the unnerving habit of gradually building up different revs of each tune in a quest to get it to a place that's both personal and satisfying. And unnerving, because that takes WAY longer than it should, averaging 1-200 hours of studio time. Crazy, and for me, impossible not to do -- it's my l'il process!

Two key elements on this one: tempo and back-up singers.

By the time it got good, the tune seemed a little sluggish, beat-wise. It's easy to just hit some keystrokes and speed it up, but you lose little bits and pieces of fidelity when you do that, unless you isolate each track and process it separately with high-end tempo software. Which turns out to be a lot trickier than it looks. 'Took three days to get it right. That was to move the needle from 116 beats per minute to 118. That was all it needed -- quite subtle, very powerful. Three days = 0.67 beat per DAY. Why? Timing and algorhythm issues constantly warring, even when carefully aligned. Ugh -- next time I'm going for the couple o' keystrokes.

Now the good stuff: the singers. Was fortunate to snag two terrific voices, Amber Sawyer and Mayia Sykes, both artists in their own right, for the live session. Both helped to lay down a rich tapestry of harmony, then at the end of the session let loose with a tremendous set of high-energy step-out gospel stylings that infused the Reach for the Stars chant into an emotionally winning frenzy. Truly, were they great. Just finished sorting through and stacking those tracks and can't wait to share and perform the tune live. At the right damn tempo. Here's a photo...

Left: Mayia Sykes, Right: Amber Sawyer

Close Encounters of the Third Kind, post-screening follow-up


What an experience to see it present day. Had a pre-screening dinner in the towering LA Live section of downtown LA with 50 new friends, all brought together by Paul Hynek, son of the man who worked closely with Steve Spielberg to bring the original movie to light 40 years ago and who defined what the three phases of close encountership are: 1) sighting, 2) physical evidence and 3) contact.

Then into the cavernous theater for the 4K digital director's cut, which did not disappoint. Spielberg has always had a gift for capturing the American cultural zeitgeist of the moment on the screen, lingering over families and especially kids. While scenes were much longer then than now (who has time to watch people talk at dinner?) one of the reminders that we get when we watch something decades old is how it preserves the former age of people we know now as old or ancient.

Richard Dreyfuss as a virtual kid, with the reckless energy to match, not to mention that this was Spielberg’s, what, third feature film? How insane is that on the genius scale? And how in hell did anyone get along without hiding their phone under the dinner table for continuing updates on whatever? Eh, whatever.

What really resonated was the final third of the film, as Dreyfuss hones in on the secret governmental operation on the mountain plateau in Wyoming, where an enormous temporary landing strip has been assembled by a devoted corps of engineers and scientists, preparing for the greatest moment in modern Earth history. Which happens and does not disappoint.

The aliens throw a half dozen gorgeous little scout ships around just to bedazzle, which apparently signal the mother ship all's well, clearing the space for the landing of this giant vessel that handles gravity like it was a raindrop, then disgorges a group of air force crews it had scooped up 30 years prior, ostensibly for benign probing (everybody seems dazed but in perfect health) before beckoning a replacement crop of volunteers to join the friendly naked-looking aliens motioning them to walk up the gangway. Which, you may remember, includes a blinking, grinning, mind-blown Richard Dreyfuss, who has been summarily written off as certifiable by his clueless earthbound family, anyway, so what's to lose? This is what he was born for.  

It was a religious experience for me in 1977. And while time changes everything, it still left me buoyed and otherwise uplifted the other night. That scene, that visitation. Have we already experienced it? Are we simply descendants of a race that touched down a million years ago and dropped off the building block DNA to get us started? And if not, why not? And why haven't they made themselves more known if they have the tech to get here?

We'll never know. Until we know.

The Guns of Sci Fi


They shoot colored beams of light, in streams, lines and glowy balls. Interestingly, they all shoot slowly, to better illustrate the path they are taking and show off said balls. They're various forms of deadly, depending on the weapon. Some just stun their target, some flame and spark on the clothing of their intended victim as he/she/it stares at the wound incredulously.

Size: Star Trek phasors were quaint compared to most modern scifi weaponry. Your basic sidearm is a big damn thing designed to make you look important, impressive and just plain scary. Gun barrels are 4 inches in diameter, the better to pack a bright flash. Handles barely fit in demure human hands, barrels run from 8 inches to a foot and a half and we're talking side-arms here. Magically, they are lightweight and easily maneuverable. THAT'S a good thing.

Bigger armaments -- handheld rifles, repeaters, bazookas and the like. Them's some POWERFUL colorful light-balls, brah... They'll blow holes in the interior wall of a ship’s hallways, but not to worry, your outer hull always stays intact. Lightweight, easy to run with, big guns use fine-quality scifi materials designed for minimal impediment and maximal explosive appeal. Right on.

Now: Accuracy. The count-onable anomaly of scifi gunmanship.  The law of scifi gunfights -- say it with me is: Good guys hit, Bad guys miss. Simple as that, and think about it, could it be any other way and if it were, would you really be willing to deal with the consequences? There are obvious conclusions long drawn on this principle. Good guys have had access to the finest marksmanship training and munitions schooling in the galaxy. Bad guys have, for the most part, had to deal with aiming at zero-grav space garbage or landfill smeer cans for practice. No wonder they can't hit the broad side of a shuttlecraft.

This is a good thing. It preserves the balance, saves the day, makes for happier endings and indemnifies the genre for future generations. So support your local third act and be thankful for the balance of handheld weaponry in space. It's a simple ecosystem that errant mutants are gunning to change, but good luck with that, sucker. Take your best shot.

Dark Blather

This series cancellation brought to you by I-Former, the app that sorts out your past life and keeps mostly the best parts. Purchase a one-year membership and get two months of memories free.

Click here for clone reconstruction. When you choose TablaSordidum, you're in charge of your future destiny -- for a while… Act now and get a fast pass one-way Marauder ride to Zairon and a free android tune-up at any authorized Ferrous Port. Offer limited to oxygen-breathers whose social security numbers have not been breached within the past 30 microns.


Side-effects may include envy, deceit, hallucinations, visions of grandeur, insane gunfights with aliens, random character number switching, intense personality shifts and home gravity envy. 

Employ nanites for self preservation. Blink Drive not included.

Keepin' Up With the Jetsons


What's it gonna be like to run with the fast crowd in the year 2400? Will we still be waiting at rope lines to get into the coolest zero-grav clubs? Dropping big bucks on magnums of GoThereJuice and sporting the latest pomp-doos?

I wrote this song to give myself a little tour of what money could buy 383 years out. Or whatever money's called by then. Maybe retinal scans will be so retro you'll just need to think’n’pay... Jet packs, vacation planets, fetching androids, textured ultra-beats, flying cars! Oh, it's ALL comin' baby. 

The twist in the song is about being able to AFFORD it. You think you can join in on a piddling salary? Honey, if you have to ask... So my avatar in this one is bound and determined to be a playa, even though he has no business being there. His FOMO runs so deep, he's about run through his second mortgage hangin' in, and those beautiful people he's running with? Every now and then one whispers to another: Wait, WHO'S this guy again?

You know the type, the sad wanna-be who's just so doggone determined, he'd be cute if it weren't for how hard he was trying to be someone else. Give the dude a nod for tryin', but without the scratch (or whatever slang it'll be then) it ain't gonna happen. With this crowd? You gotta be bad, beautiful or filthy rich -- pick three.

But thanks for playin' our game, and damn, look’it the time. Gotta jet!

The Orville


Cool CGI, big music underscoring, shiny interiors and costumes that look like everyone is about to get in formation and march down the football field playing an arrangement of the latest Taylor Swift tune.

The Orville (Fox, Sundays) made its debut last night with Seth McFarlane doing what he does best – starring Seth – and opening with a pretty funny bit about spousal cheating when it’s about getting caught in bed with a panic-stricken alien. This one, a blue-hue guy who splooshes when scared.

Let’s be sure we understand this is a Star Trek-type spinoff comedy series, meant to, like, disrupt, outer space, that place that’s always been fraught with peril and discovery and drama. And that no one ought to be more qualified to do so than Mr. Family Guy, who looks cute in his marching suit.  The challenge comes from pushing the envelope every which way until it’s no longer mailable.

McFarlane, the show’s writer, dances between what he seems to want to portray as legit dramatic saga combined with silly pizza party jokes, and illustrates how you really can’t have it both ways. The movie “Airplane!” is the perfect example of a serious soap opera genre going rogue, leaving us with a permanent joke about gladiators and filling every 20 seconds with another pratfall. That was funny, because funny was what the producers aimed squarely to be.

The problem with Orville is that it tries to go both ways, dipping its characters into ostensibly real danger, running around to neutralize it, then relaxing back into goofy characterizations to frame the after-jokes that no longer fit with the seriousness of what was just supposed to have been being portrayed (self-editor: woah, interesting sentence construction).

The net result is a show that doesn’t seem to know what it is. Is it middling SciFi drama lurching boldly forward or is it cartoon shtick, portraying frat-party humor in the 24th century? Keep on eye on your main screen to see how warped things get.

Where Retro Meets Futurism


In 1928, Fritz Lang unleashed his masterwork, Metropolis, on an unsuspecting movie-going public. No one had had ever seen the spectacle of a beautiful female robot brought to life via the genius of a possessed inventor using glowing animated electrical rings pulsating up and down the length of her body. The spectacle of her first animate move, then gesturing towards a male visitor with mechanical precision in a slow-motion movement of arms and hips that was wondeorously sensual in its precision and cold silence.

This, whilst an entire underground city labored around towering expressionistic machines to provide the energy needed to power the machinations of a foppish above-ground populous blissfully unaware of its very existence.

It happened again in 1931 as Dr. Frankenstein linked massive tesla arcs of power to shoot through his monster in the raucous splendor of a castle laboratory at the top of a dark European castle, losing his mind as the formerly dead body reanimated and came to life.

In France, a series of illustrations were published in 1902 depicting life a hundred years hence, with vivid illustrations of flying automobiles, societal parties featuring projections of living operatic performances broadcast from some stage a hundred miles away while its viewers listened in on candlestick phone devices.

So that by the time Arthur Radenbach shared his depictions of a streamline future in the late 1950’s we’d already become used to a rich pastiche of trailing imagery that made his incredible predictions easy to associate and believe were just around the corner.

SciFi was born out of fantasy and imagination dating back hundreds of years and works on the same logic, informed principle and vastly increased sense of magic we’ve come to expect from a culture that has assimilated a trail of visions of flying spacecraft, alien invaders, medical breakthroughs and unexplainable phenomena that begs to be taken literally in the name of a future we never cease to dream of.

It’s our nature to dream, invent and progress. And is a product of dreamers and visionaries who wove the path we will continue to broaden, explore and constantly bring to a closer reality. To witness that progression is to be dipped into the past and appreciate the culture that brought it to spectacular light.

Mars vs Doonesbury



Surprisingly thought-provoking Sunday comic from Gary Trudeau, the beloved author of the 40+ year strip, who, along with Charles Shultz, ranks as the only artist to be regularly published with vintage re-runs while being listed as "On vacation" during most weekdays. He's that good and that entertaining and an American treasure.

This Sunday's comic features the now mature and wizened Uncle Zonk, sharing a doob with his young college-age nephew, who asks if he thinks humans will ever make it to Mars. And his surprisingly pragmatic answer: "I hope not." Zonker goes on to explain that the tech required to sustain humans on the round-trip flight and keep them from harm's way will cost billions and would be a catastrophic disaster if something went wrong. Interesting response, especially in light of the catastrophes dotting the US in this most volatile September ever. 

Robots, he explains, could do the job, likely better than humans, and at a far cheaper cost. Interesting debate. Trudeau nails the premise masterfully, ending, as he always does on a side joke, this time about fixing any in-space problem with duct tape. But leaves the discussion to us.

So let's do a quick review. We're on the precipice of a spectacular technological future (just wait 'til Apple unveils its new iphone this week) that may well be dominated by AI. Along with mechanical technology that changes our whole notion so revolutionary, it changes our very sense of purpose over the next hundred years. And it well may make sense to send sentient beings to Mars and beyond to explore and gather data, just as we've been doing with satellite launches for the past 57 years.

But nothing is going to stop the progression of events that lead to human space exploration because it's simply what we as a species are programmed to do: To inquire, examine, risk and reach out. The economics of human missions to Mars are something to be reckoned with. But every administration has been, and continues to be, on board with making it happen. The logistics will require years more of development, study, testing and preparation and will undoubtedly include the use of robotics and robots to smooth the way (at least until they wake up enough to demand their OWN set of rights).

But we're goin', folks. 

Money, time, fires, quakes and hurricanes be damned. We are so goin'.

Can't hardly wait.

This Sci Fi Weather

In 2004, the movie “Day After Tomorrow” depicted a freak weather system that inundates Earth with Armageddon-style weather, from tidal waves engulfing New York City to a permafrost that kills billions, while survivors hunker down awaiting a thaw. Cool CG, including your basic mob panic and flying trucks in a debris storm you needed to jump out of the way from in order to survive.

This was, among other things, a warning fable about global warming and the trouble we’d be in for if we didn’t pay attention and do something now. They even included, a computer forecast of the continental-sized storm weather pattern forming on a globe scale that would do the number.

See any resemblance to what’s happening in the Caribbean today?

The "Day After Tomorrow" hurricane map

 September’s real thing

Spooky. As I write this, Irma is making landfall on US soil and no doubt will be a horrendous event affecting millions of people. But hopefully, the future will bring change that helps to regulate or even eliminate the worst natural disasters.

One such solution has been proposed  by a group of serious science geeks based on a detailed plan to build thousands of giant floating plastic donuts -- enormous plastic rings made up of thousands of discarded automobile tires -- that would be strategically anchored in the Caribbean. As they floated on the surface, the water that washed over them would be gradually pushed down by its own weight through long hanging plastic tubes to exit in colder deeper water, exchanging the surface water with colder water from below the floats.

Done en mass, this could theoretically cool the surface temperature of the ocean enough to mitigate or entirely prevent the formation of the kinds of high pressure systems that typically turn into hurricanes, ridding us of this incredibly dangerous and repetitive disaster process.  (more about it here)

Preposterous? Welcome to my daily world of scifi wonder, where magic is the stuff of greater dreams.

Carl's Gold Record



Hey, it's the anniversary of the Golden Record -- the one that Carl Sagan lovingly assembled and pasted to the side of Voyager 1, sending it off into space for parts unknown.

What do you put on a record meant for curious aliens to grok centuries from now? A little rock  'n' roll, fer sure: Johnny B. Goode. A little Mozart, some Beethoven, Navajo dances, Indian dances (chill: from INDIA), etc, etc.
So, in forty years, Voyager has managed to travel 13 billion miles but likely won't find a listener for another 38,000 years or so. That's the problem with traveling at a mere 18K per hr when your nearest sentient neighbors likely live in another galaxy.

More likely, we'll have figured out how to travel at Warp 9 or Warp 999 by then, and maybe go after the thing, scoop it up and hand deliver it as a sign of good will to the giant warlords of Planet Plaxton, with super powers so far beyond our own, it'll be a nervous bribe to buy another period of relative peace at their hands.

Uncle Carl put a lot of research and thought into that record, replete with an unblushing illustration of two nicely-endowed naked humans, a diamond stylus to play the record and instructions on how to do so. As if the Plaxtonians needed that.

But how cool to attempt to sum up our earthly sonic culture in one collection of recordings, with barely 75 years of content to choose from. Imagine how much richer the experience would be now if we'd included some Miley, Garth and Kendrick. In fact, if we'd wanted everyone to just leave us ALONE, I can think of a trove of recordings that just might do the trick…

Voices

My career has been a winding road of artistry and entrepreneurship-by-necessity. Fortunately, I've been able to make left-brain choices that closely supported right. Early on, I realized that working from home offered the great advantage of time and convenience and by my junior year in college, I had my first little 2-track tape studio set up in a corner of the bedroom. It was a cool-looking 7" reel-to-reel Sony tape deck with professional-size VU meters whose needles danced to every wave my Shure 565 picked up. Finished in silver and black, I was like a kid with his first bike.

It was a three-head machine, which meant there were three magnetized 1/2" little blocks the tape dragged across, spaced a quarter inch apart. When chosen, the first head erased the previous recording, the second recorded and the third played it back.  This was a big deal, because it meant you could set it to monitor both recording and playback over headphones or speakers. And because the tape was travelling at a fixed 7 1/2" inches per second, the delay from record to playback caused an echo that could then be repeated over and over, until it faded out, replaced by the next sound.

You could sing "Your love is fading" and instantly get FADING, Fading, fading, fading... And brotha, with some mind-altering substance in your brain enhancing that headphone experience, ooooo, time stood still.

I had a flute that sounded like a soaring bird with that echo effect turned on. Vocals could almost be doubled live, which was both thrilling and confusing. It's weird trying to sing something new while the line you sang a second ago still echoes in high fidelity in your ears. Weird and totally cool.

I was playing in a popular local band call the Ramrods at the time and we often drove off in a giant Ford station wagon pulling a trailer full of equipment, going out for a weekend in some distant part of New England. Returning late eve one Sunday, contemplating the classes I was gonna skip in the morning, I arrived to find my front door gone -- replaced with a new one --a bit disorienting -- along with a note from my landlord explaining that my old door had been literally smashed to bits by persons unknown, who had then ransacked and robbed the place.  In their haste, they'd grabbed some loose cash, wrenched a window air conditioner loose, taken a sax in its case and disappeared. I ran straight towards the corner with Sony, which I'd installed in a recessed bookcase so it was flush with the wall. They'd moved right past it, distracted by my more accessible goods – which bounced me back and forth between murderous anger and eye-blinking relief. That memory still evokes the angst of the moment and nostalgia for the simplicity of just laying down a live track in real time and blissfully leaving it at that.    

Monolith


Fifty years after the fact, the majestic black structure found on the moon by astronauts in the film 2001 still stands as a perfect metaphor for the mysteries of space. Left by some vastly superior race, they are present on Earth at the dawn of man and in the astronaut's Jupertarian bedroom in what appears to be his final destination.

Author Arthur C. Clark, the brilliant geek who brought us this vision, describes them as objects that were placed around the universe to observe, interact and when necessary, to regulate... Behave and everybody gets to evolve the way they will, including you messy humans. Eww.

But how perfectly symbolic to turn to a solid black rectangular block as the key to unfolding the mysteries of the cosmos. A big black block o' “Huh?" Never mind, silly Earthlings. When you're ready, you'll know.

Meanwhile, I've got a monolith of my own. No, not a metaphor for a belief or how I live my life. It's a real, miniature model of a monolith! Six inches tall, it's solid black plastic and sits majestically on a dusty section of bookcase, just waiting for me to throw it some attitude. I love this thing, which came wonderfully blister-packed on a card that pronounced it an action toy, featuring "zero articulating parts!" Bought several and gave them to friends couple Xmases back, proudly inviting them into my elite club. They were, all of them, struck more or less speechless with what I can only conclude was sheer and grateful delight. I imagine the places of honor where their facsimiles now reside, these graceful reminders of our puny insignificance in this minute li'l corner of galaxy.

Brothers and sisters, WE are the Monolith. We stand tall, proud slabs of black plastic, wildly gesticulating, windblown, winsome non-articulating parts. Don't let the opportunity pass. EMBRACE the Monolith. BE the Monolith. We are ALL Monoli-Thick.

Close Encounters


Let me tell you about my experience with Close Encounters of the Third Kind. I’m old enough to have seen it first run at the Egyptian Theater in Hollywood back in 1977 and this weekend is its 40th anniversary, celebrating with new prints in a one-week run at theaters around the country.

I’d never imagined anything close to the overwhelm of witnessing the moment we make actual contact with beings from another planet, who naturally, would need to be coming to us, seeing as our piddling technical prowess is hundreds of years away from finding them. 

There were two extraordinary things about Steven Spielberg’s vision, brought to life on-screen. First, there was an incredible cinematic build-up with sightings and visions to the ultimate major encounter, which was run by government experts and professionals who were both welcoming and awestruck. And second, here was a story of a peaceful visit. No ray-guns, no megalomaniacs, no nervous, trigger-happy army generals or panic in the streets.

That blew me away; the concept that this wasn’t some catastrophe on the way, but that given the right circumstances, we could actually handle it. And welcome it. And be invited into this heretofore hidden galactic community that we had no inkling of until that moment.

I staggered home and spent the next couple of days in contemplation, ultimately writing a deadly serious song about our present situation call Exile in the Universe. 

The chorus:
We are in exile in the universe
And we’ve been sentenced to serve ten million years
Let the courts of the Infinity
Be the judges of our destiny
As we struggle with our prejudice and fears…

That was the chorus, for cryin’ out loud… And I’m looking for the tapes but don’t know if I’ll find them. If not, I’ve got to get around to re-recording something, just to have it and share it with you guys.

That experience changed me in my conscious and unconscious relationship with everything out beyond. And made me the person who ultimately came around to wanting to share that future vision on stages around the world. The movie is playing for one week only (THIS week) – so join me in experiencing history’s most powerful positive experience of things to come. I’ll be sitting center row halfway back, in awe all over again.

Unbearable Love


Solaris, the Stephen Soderbergh’s 2002 film starring George Clooney and Natascha McElhone, frames a classic story of heartbreak a billion miles from Earth, orbiting a mysterious planet in a space station sent to figure what’s up. Something big enough to fly Clooney’s eminent psychologist and space higher-up out to investigate why people are flipping out and dying.

This is a love story, built around a rare level of attraction between two people, which is so powerful, it seems like it could transcend life itself. Which, thanks to the weirdness around Solaris, it does. Spending his first night on the orbiting station, Clooney awakes to find his beautiful wife sitting next to him, smiling serenely. Shocking not only as to the mystery of how she got there, but because she’d committed suicide on Earth years earlier. Yet here she is, flesh and bone and heart and brain, dark memory-free, in one piece, staring at him innocently and asking what’s wrong.

Remember how little dialog there was in 2001? The empty spaces were filled with huge and lush mixes of giant orchestral works, including the iconic Also sprach Zarathustra – Daaa-Daaa Daaaaaaaaaaaaa…. DiDAAAAAA, boom-boom-boom-boom-boom… etc.

The paucity of dialog in this film makes for the most underwhelming framework since then, adding to the mystery of these manifestations that it turns out each member of the crew is dealing with. Whoever meant the most to them – they’re there now. How to go insane in one easy step.

Clooney makes an ultimate decision at the climax of the film, all the more desperate because in this brainy experiment, he’s ostensibly the brightest bulb. Yet he cannot resist chasing the greatest love of his life towards what must surely be his doom, satisfied it’s what’s worth living for.

Heady stuff, the things that matter most. The greatest love. The biggest score. The most magnanimous gift. The ultimate expression of art, skill, gratitude, forgiveness…

These things that stir our souls, now and a thousands years hence. It’s the stardust talkin’. And we’re all made of it.