Best Rock Intros

Fenster writes:

Here is a 2006 Chicago Tribune article by Mark Caro making an attempt at naming the best rock intros of all time.  Granted, the article is a bit old but does it make a difference?  Most of the songs identified by the author and commenters predate 2006 by a wide margin in the first place.  And I doubt there have been many since 2006 that would make the list.  Rock per se may not be stone-cold dead, but a curatorial viewpoint is hardly inappropriate in 2012.

Heck, I listen to top 40 all the time nowadays courtesy of my kids and I don’t hear much new stuff that would qualify.  Yes, there are indie bands out there, and throwback bands we will always have with us.  But the mainstream now is some sort of hybridization of pop boy-bands/girl-bands, hip-hop and 80s synth, which was barely rock at the time.

That last influence–80s synth–seems shocking considering 60s folks like me thought it was off-putting in the 80s, and the idea that it should return does not compute.  Yet my 17 year old son asked me for a synth for Christmas.  I had no idea he knew what a synth was–but then I had my aha moment and realized just how much of what I was hearing in the car with the kids on those long drives owes to the dreaded 80s.

In any event, the heroic guitar solo–the signature sound of many of the best rock intros, mostly–is in scarce supply.

Guitars fuel much of Caro’s list and mine, too.  I have always been more partial to the Beatles than the Stones but Caro is right, I think, in putting the Stones first in the intro department.   Guitar matters here a great deal.  Caro names, among others, “Satisfaction”, “Street Fighting Man” and “Start Me Up”. No debate there.  He does not list my personal favorite: “Gimme Shelter”

The Who’s “Baba O’Reilly” also makes the list.  But Pete Townsend was always good at dramatic openings, going as far back as the hard but bouncy “I Can’t Explain” through “I Can See for Miles” and on to his solo work on songs like “Give Blood”.

Early Genesis and Peter Gabriel also good at dramatic openings.

“The Lamb Lies Down on Broadway”

and “Red Rain”

Steely Dan’s “Don’t Take Me Alive”.  Wonderful Larry Carlton solo to start the song off.

The Electric Flag’s “Killing Floor”, a neat reworking of an old blues tune dealing with a woman problem into an anti-Vietnam war song, complete with LBJ in the intro.

Many more could make a decent list, obviously.  Early Kinks singles.  “All Along the Watchtower”, Hendrix version.  “Layla”. “Daytripper”, “Eight Miles High”.

Feel free to add.

Posted in Music, Performers | Tagged | 14 Comments

Here and There

Fenster writes:

Julian Hoeber’s Demon Hill: art installation or just another funhouse at a carnival?

Is it different with kids?

Why do durians stink?

Why do we react in similar ways to danger?

Which college majors are to be avoided?

It’s a brave man who sleeps with Mike Tyson’s wife.

Posted in Art, Education, Food and health, Uncategorized | 1 Comment

Linkathon

Paleo Retiree writes:

Posted in Art, Books Publishing and Writing, Linkathons, Politics and Economics | Tagged , , , , | 5 Comments

“Mike’s Murder”

Fabrizio del Wrongo writes:

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In the 1984 “Mike’s Murder,” Debra Winger plays Betty, a young woman whose staidness is underlain by a barely-discernible yearning for immediacy. She has the most sensible of jobs — she’s a bank teller — and nothing about her lifestyle suggests imbalance, but Winger lets you see the fuzziness burbling below the comported exterior. Sensuality radiates from her infant skin, and when she goes out without a bra on it seems less like a provocation than an oversight, as though she simply never learned to wear one. She’s in a state of harmonious contradiction.

Continue reading

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Push Button

Fenster writes:

The 50s were a great time for push button.

Razors.

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Auto transmissions.

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A host of kitchen appliances.

‘n Caledonian Mahogany’s Elbows and green things in general . . .

But it’s not over.  The most recent Atlantic Monthly featured an ad for the Rabbit Push Button Electric Cocktail Mixer.

No more fretting over shaking or stirring.  Just push that newfangled button.

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Do you suppose this thing will look silly in a few years?  Do you find it silly now? Or does the resurgence in cocktails require new technical approaches?

Posted in Uncategorized | 6 Comments

How to Cook a Soft-Boiled Egg

Fenster writes:

Cooking a soft-boiled egg correctly is really quite simple.  However, the process has deep taproots so bear with me for a bit with some background about my father and grandfather.

The Backstory

My grandfather arrived in the United States from Germany around 1913, a young man from a solid middle class background.  Here, his Horatio Alger dreams ran backwards, and he spent most of his life working in a factory.  He did manage for a time to own a restaurant in New York City.

Hearing the story from my dad growing up, I had visions of 21 or The Stork Club.  In fact, the place was a tiny storefront eatery in Brooklyn, mit counter und four tables, where he slung hash behind the counter along with inexpensive wiener schitzel and sauerbraten.

Like this but more German

Like this but more German

From this experience sprung my father’s founding family myth: “I am the son of a chef!  And you are the grandson of a chef!”  Food, including the particulars of preparation, were a fairly big deal in our central Massachusetts house in the 1950’s.

But my grandfather’s influence over the soft-boiled egg extended beyond the simply culinary.  While for the most part a blue-collar factory worker, he retained the middle class mores and values from his German upbringing.  Thus my father grew up working class in environment but middle class in attitude and aspiration.  He was determined that we should recapture our lost status, and that meant one thing: go to college.

This was by no means assured in the town I grew up in, which broke both ways in terms of career paths.  So dad made sure we held as many unattractive, low-level jobs as possible, using the experience to remind us how easy it would be to end up like the mythical Joe Doaks the Ditchdigger, ever present as a threat to our future.

My brother and I at various turns worked on the town highway crew, as landscaping laborers, as supermarket baggers and on the line at a sprinkler factory.  I hated them all and learned nothing, except that I had better go to college.

There was one exception to this dreary list of part-time jobs: working as a short-order cook behind the counter at a local greasy spoon.  I was, after all, the grandson of a chef–or at least a counterman–and took to the job immediately.

Like grandfather like grandson

Like grandfather like grandson

I found I really liked the multi-tasking aspect of it: toast in the toaster, two eggs on the grill, over light, get some home fries crisping, remember two coffees one black one regular, new omelet order coming in–don’t forget toast from the first order!  Important skills to bring to correctly soft-boiling an egg.

The Recipe

Now just because your grandfather didn’t come from Germany, or was not a restaurateur, well, that’s no reason you can’t boil an egg right.  Just pay attention.

The key lies in proper time management, the kind of thing they don’t teach in college and that you can pick up best working behind a counter, or learning from one who has.

Look at it this way:  how much time does it take to soft-boil and egg, start to finish?  Take out small pan, add water, put on heat bring to simmer–figure that at 4 minutes if you’ve got, as you should, a gas range that can put out a nice blast of heat.

egg 001

Take out an egg, lower into simmering water and let it bubble away–figure another 4 minutes.

egg 002

That means you have eight minutes–a veritable eternity in short order country–to fix your egg correctly.

Now you go to the refrigerator and take out whatever else you want with your egg.  I am taking out shredded cheese, Trader Joe’s arugula and some sliced prosciutto.

egg 009

I sliced from the whole ham but you save time if pre-sliced!

I sliced from the whole ham but you save time if pre-sliced!

Also–very important–take out the ball of dough you keep in there.  So far less than a minute has gone by.

egg 003

[You don’t have dough in icebox?  No problem!  Do it some time previous, whenever, and just keep one in there, always.  Three parts flour to one part water, a pinch of salt and maybe yeast, and oh a little fat. I use the lard or schmaltz I keep in the freezer from when I cook chicken or pork but any fat will do.  Run through food processor until it balls up nicely and just put aside.  The dough-making process itself shouldn’t take more than a couple of minutes, but better to have it done in advance, and that you have the dough around whenever you need it.]

Put broiler on high.  Then take out your cast iron skillet and put on high heat on the rangetop.

[What no well-seasoned skillet?  Get one.  OK any pan will do but cast iron is great.]

Take a golf ball size piece of dough.

egg 004

Make sure it is floured so it is not sticky.  Roll it out quickly till is is about skillet-sized, adding flour as needed to keep it unsticky.  Don’t worry about how circular it is.  And anyways, after a few times it is a breeze to get about right in no time.  Takes me about 45 seconds to roll out.

egg 008

Then into the hot skillet.  If the skillet is quite hot, as it should be, you’ll see the dough start to bubble up in 15 seconds or so.  Once it appears cooked and dry on the bottom, and before it starts to char, turn it over and repeat on the other side.

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Now take the thing out and, pushing the skillet away, toss it directly on the gas flame.  Char–don’t burn!–on both sides, something that takes maybe 5-10 seconds a side, max.

egg 012

Then onto the counter, where we add, in order, cheese, arugula and prosciutto.  Again, less than a minute.  Then under the preheated broiler for maybe a minute, just enough time to sizzle the ham, wilt the arugula, melt the cheese and finish whatever additional charring the crust might need.  Don’t waste this last minute.  This is when you drain the egg, at its four minute mark, run it under cold water so you can handle it, and peel it.

Remove pizza-like contraption from oven, shmoosh soft-boiled egg on top.

egg 019

For a total experience, toss on some chiu chow chili oil.  It adds a wonderful flavor and heat, and makes for a terrific visual, what with the bright red of the chili oil set against the bright yellow yolk, the greens, the ham/melted cheese and the charred bread.

You don’t need the chili oil but it helps.  You can get Lee Kum Kee’s version at most Asian markets or online.

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Or you can make your own for a couple of pennies and pass on the $2.85 (Amazon) Lee Kum Kee.  That’s mine in the photo–recipe available on request.  It is killer.

egg 020

The result: a soft-boiled egg in the time it takes to cook it.

egg 022

Soft-boiled egg a la Montaigne

Soft-boiled egg a la Montaigne

The well trained counterman will always make efficient use of time.

Posted in Food and health, Personal reflections, The Good Life | Tagged | 7 Comments

Tarantino Remake News!

Fenster writes:

Over at iSteve, Steve Sailer speculates on a possible next project for Quentin Tarantino film: The Protocols of the Elders of Zion National Park.

In late 2008, following the horrifying defeat of gay marriage at the polls in California, fiances Samuel L. Jackson and Michael Madsen (the ear-cutting Mr. Blonde from Reservoir Dogs) uncover the secret plot by which Utah Mormons control the California media. In response, Jackson-Madsen assemble a team of gay lovers denied their sacred right to marry (couples hoping to head to the altar include Harvey Keitel-Robert DeNiro, Bruce Willis-Robert Forster, Steve Buscemi-Bo Svenson, Tim Roth-Eli Roth, Kurt Russell-Mickey Rourke, and Danny Trejo-Rutger Hauer). In a 75-minute finale that has audiences cheering wildly, the AR-15-toting heroes gun down each of the 360 members of the Mormon Tabernacle Choir execution-style, pausing only for long, insightful discussions about the old Kung Fu TV show.

That reminded me of a film with Tarantino roots still in the can from some years back, unreleased and maybe unreleasable.

Marimekko Gekko  (1998)

Director: Andre Gregory (stage)  Louis Malle (film)

Based on “Reservoir Dogs”, an original screenplay by Quentin Tarantino

Adapted for the stage and translated to Finnish by Aalvar Kaukkonen

Translated back to English by Dennis Hopper

Cast:

Mr. White              Dennis Hopper

Mr. Blonde            Dennis Hopper

Mr. Orange            Dennis Hopper

Mr. Brown             Dennis Hopper

Mr. Pink                 Dennis Hopper

Eddie                      Quentin Tarantino

Joe Cabot              Wallace Shawn

Policeman             Mark Fuhrman

After the success of Pulp Fiction and the award of the Nobel Prize to literature to the author, Quentin Tarantino, the following year, demand steadily grew for a stage adaptation for Tarantino’s earlier masterwork, Reservoir Dogs.  Tarantino refused to grant permission for such adaptations, with the result being underground stage versions and translations circulating around the globe for use in theater productions, usually outside the US (although the now-famous “bust” of an illegal Florida production starring Burt Reynolds is now legend).

Of all the bootleg versions, the most “buzz” was heard about one of the earliest translations, into Finnish.  (Aalvar Kaukkonen’s original Marimekko Gekko is still playing to packed houses in Helsinki).  Tarantino finally relented at the urging of his friend Dennis Hopper, who subsequently reconfirmed his Renaissance Man reputation by retranslating the play from the Finnish and adapting it for the US stage.

The result—an uncut filming of a dress rehearsal of the stage play mounted at the Dorothy Chandler Pavilion in Los Angeles— is both a must for Hopper fans and a marvel of modern theater technology as Hopper plays virtually all of the parts in the play/movie.  Mark Fuhrman is stunning as the captive policeman taunted by Mr.  Blonde (Hopper).  The fact that Fuhrman’s own ears were sliced off by Rodney King in a bar fight shortly before the production opened  lends a touch a pathos to his stage predicament, to say nothing of the plus in terms of verisimilitude (that word again!)

Joint Academy Award for Best Director went to Gregory and Malle in their finest stage/film collaboration since Batman—the Movie of the Play of the Movie of the Comic Book (1997).

Posted in Humor, Movies | Tagged | 1 Comment

Eyesore of the Month: Library of Birmingham

Blowhard, Esq. writes:

The architectural decadence of civic buildings continues. Here are a couple shots of the new library currently being built in Birmingham, England.

BirmLibrary1BirmLibrary2

Not only does the style clash with the surrounding context, but so does the scale. It looks like someone plopped down a stack of boxes in the middle of the city and wrapped them in some sort of Spirograph scrim.

The interior is just as bad.

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The circular layout looks like an attempt to ape the Guggenheim, although I don’t know if it’s one continuous ramp. All those escalators make it look like a cheap mall. Is the one below supposed to look wobbly or is that due to the odd perspective? What about the one up top leading to the creepy, leering author portraits? Not to mention the random, shotgun-patterned recessed flourescent lighting in the ceiling.

With buildings like this, thank God for Amazon Prime and a Kindle, right?

Delft

Posted in Architecture | Tagged , , , , , | 7 Comments

Juxtaposin’: Men and Their Tools

Fabrizio del Wrongo writes:

Posted in Sex, Technology, Television | Tagged , , , , | 1 Comment

“Mysterious Mamberano”

Paleo Retiree writes:

pavol01

“Mysterious Mamberano” is one of several adventure documentaries available on Netflix Instant made by a Slovakian filmmaker named Pavol Barabas. I’ve watched and enjoyed them all. This time Barabas and a couple of buddies set out to go down the Mamberamo River in Irian Jaya (ie., the western half of what most of us think of as New Guinea). There are corrupt officials to bribe and deceive, landing strips in the midst of jungles to be braved, rafts to be hauled, oozy cliffs to be ascended, rapids to be navigated …

The footage of landscape and water and the time spent with near-untouched tribespeople are perfectly amazing. This footage isn’t remotely like the ultra-glossy, let’s-marvel-at-the-wonder-of-it-all stuff of so many NatGeo nature documentaries. This is Handicam stuff shot in rough conditions. It looks like what a lot of crappy, routine days in the jungle probably really look like.

But the movie isn’t meant to be about the wonder of it all. Instead, it’s about the nutty adventure-for-the-sake-of-adventure trip itself. It’s about a small group of obsessed, determined white men penetrating into the heart of what are presented unashamedly as darkest primeval forests; confronting lizards, insects, snakes, malaria, and pain; experiencing the ecstasy of the wilderness and the wildlife; enduring the challenges of making peace with suspicious tribespeople and of subsisting on unfamiliar foodstuffs.

In all the above ways, Barabas’ documentaries have some similarities to Werner Herzog’s. Watching them, though, I was reminded less of Herzog’s films than of European photo magazines, with their mixture of visual features on slaughters in Africa, sexy white models cavorting in front of dark-as-the-night tribespeople, insanely risky Alpine assaults, etc. Barabas doesn’t try to equate the mania of European conquerors with art-making, as Herzog does. Instead his films are records of his own crazy adventures. The craziness — and the point — is in the trip itself, not in the filmmaking.

The genuinely shocking part of Barabas’ movies comes from the fact that he (and presumably his European fans) are unapologetically into values that we blanded-out Americans no longer permit ourselves: the thrill of the exotic, contrasts between civilization and nature, between civilized people and, well, er, primitives …

This particular Barabas yarn ends anticlimactically; halfway through the quest a raft capsizes and all the photographic equipment is k.o’d, so we aren’t able to see the actual descent down the river. I had a good time watching the film nonetheless. I also had a good time after the film was over savoring a lot of indignant comments about the movie on Netflix. About half the viewer-reviews are from right-thinking intellectual types who attack the movie for not offering an undergraduate-anthro-major, all-cultures-are-equal view of the place and the people. How dare Barabas present the New Guinean forests as places of myth and fear? How dare he treat them as a setting for Europeans with a drive to prove themselves? And — sin of sins — how dare he experience and present the tribal folk he encounters as strange and exotic? Doesn’t he know better? (Answer: Hey, right-thinking Americans, the rest of the world doesn’t give a damn about what you consider to be correct and fair.)

As exotica-besotted as the film admittedly is, though, I detected less condescension in Barabas’ view of the natives than I often do in a lot of PC views of indigenous people. He seemed to like and respect them, and to have a nice rapport with them. And for the life of me, I couldn’t see how encountering Barabas and his buds was going to spoil the natives in any way. Still, here they are, on very raw video, in all their physicality and spirit, tiny dark creatures wearing nose-bones and feathers, wielding wooden spears and bows-and-arrows, covered in mud and eating slugs. Are we really not supposed to notice (or mention) that they’re stone-age people?

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