Having been a licensed addiction counselor for several years, people often ask me "what is the worst addiction that anyone can have?" For many years, I answered that alcohol was the most destructive substance or behavior that I had worked to eliminate in people's lives. Despite such truly deadly substances like alcohol and opioids (prescriptions or street), and such horrible behavioral addictions such as gambling, I have decided that the worst addictive behavior around is the hoarding of money.
Before you roll your eyes and laugh until your side hurts, consider this....what other species accumulates valued "stuff" to the degree that the chasing of such "stuff" in a hoarding manner results in the progressive poisoning and contamination of the very environment they depend upon for life? The exchange of goods and services that results in 6% to 10% of the world's humans possessing between 50% to 60% of the money that exists worldwide, brings starvation, epidemics, and life expectancy being shortened by 15 to 20 years, or performing what is slave labor which seems incredibly self-destructive and absurd.
Meanwhile, another 35% of the world's population controls the other 50% of the money. Furthermore, the people who are wealthy are addicted to the compulsive accumulation of money, and resent the desire of the poor and middle classes to feed, educate, and to keep their familes healthy.
We revere certain people through the centuries who teach the lessons of detachment from the material world. This does not mean living off the backs of working people. What it does mean, to quote Jesus of Nazareth or the Buddha, is to forego the accumulation of excess money or expensive luxuries that are not essential to one's day by day living. After all, how many laborers does it take to screw in a light bulb?
Why are wars fought? In my mind, primarily to snatch/control a commodity (e.g.Iraqi Oil) or luxury that makes life easier or less painful than before such a war is fought. I don't think that we should wear yellow robes and hit the road with a begging bowl. I find that those who are wealthiest are the very people who cannot be satisfied unless "yours, mine, and ours" until it becomes solely "mine." Sometimes these sorts of people develop the idea that they "will be happy when ______."
Happiness and sadness are human emotions that drive our compulsion to acquire that one thing we have to possess or to attract that one person that will make us happy forever, only to divorce them when they are no longer young and pretty/handsome. Those types of people who marry hedonists do so because the hedonist has usually fooled the prospective husband or wife into believing they really matter. My experience in working therapeutically with addictive behavior is that there is usually some sort of event or events in the addictive person's life that causes a sense of loss or unfairness that cannot be resolved. Thus, they adopt an irrational sense of importance and think that if they can acquire______they will finally be happy. The reality is that such people can never be content because the hunt for whatever they think they compulsively need is never satisfied.
The person with the addiction therefore has what I would term an unconscious insatiable compulsion that hides the true reason that the addicted person cannot feel. Occasionally, a compulsive behavior replaces potentially self-enhancing behavior with addictive self-harming behavior due to a sense of unfairness or unsatisfied need in their life, often unresolved pain/abuse...or a feeling that they have never really been truly loved. The resentful behavior "numbs out" the terrible pain, and the addicted person regurgitates/repeats the addictive ineffective behavior until the chemical or behavioral dependence is mistakenly identified as the primary problem being presented. Among other driven addictive peers, the financier who piles up such a fortune that it cannot be spent to meet the money driven addict's compulsion to accumulate money--will be judged as successful. No one in the money addicted person's circle will see the money addict for what he or she really is--addicted!
A sense of entitlement manifested by the addicted person, family, or even a nation envelopes the addictive behavior and family members, peers, and allies erroneously believe that the money addicted person, peer, or nation is "unique, destined for greatness, or entitled to whatever substance, commodity of value, or emotion for which they manifest desire." The addicted person, family, or nation will compulsively seek money or act out repeatedly ad nauseam, until the money addict destroys himself or herself and any unfortunate person, family, or aligned nation is destroyed along with the addicted person or group.
One last thought about public life and service.....to the extent that a nation helps its poor, aged, infirm, or disabled populations, or other nations that are suffering......that nation manifests the genuine compassion that is spoken of in great world religions or codes of ethics. Individuals in public service, as a corollary, show their true selves by what they can realistically assist in caring for the impoverished, aged, infirm, or disabled. Unless I am ill informed, no person ever became a saint or exceptional person by being addicted to money.
Copyright 2017 by Peter Reum - All rights reserved
Those people who have been friends of mine for quite awhile know that I love the combination of Miles Davis and Gil Evans. Their work together stands as a high point of jazz arranging and performance. George and Ira Gershwin and DuBose and Dorothy Heyward assembled an American Classic in operatic form, based upon Porgy, DuBose Heyward's novel about the African Americans who lived on the barrier islands near Charleston, South Carolina. George Gershwin composed the original music for Porgy and Bess, with Ira Gershwin and The Heywards adapting Porgy from a novel to an opera lyrically. The original form of Porgy and Bess lasted almost four hours, a long performance by operatic standards.
Porgy and Bess premiered on September 30, 1935, with the premier performance in Boston and a tightened performance in New York City. The pre-debut run through of the opera was done in September 1935 at Carnegie Hall. Like many Gershwin efforts, there was more material prepared for the opera than was performed. Initial feedback from critics was mixed. No one, up to Porgy and Bess, had ventured the temerity to write an opera based in African-American culture as a person outside African-American culture. The opera's subject was a couple in love, Porgy and his great love, Bess. Todd Duncan and Anne Brown starred in the title roles. The famous vaudeville performer John Bubbles portrayed Sportin' Life, a powerful man who liked Bess, and denied Porgy the chance to speak with Bess. The role of Serena was played by Ruby Elzy.
John Bubbles (Sportin' Life), Porgy (Todd Duncan), and Anne Brown (Bess)
1935 Original Primary Cast Members
One of the reasons Porgy and Bess became an American Classic is the presence of characters who were fully developed. The Porgy role was also one of the first operas or plays which presented the lead character as a person with a disability. He was said to have had polio, paralyzing his lower extremities. While the original 1935 cast did sing in a form of barrier island dialect, most African Americans were unhappy with the dialogue, as written by DuBose Heyward. Reviews were warm generally or quite critical, especially by prominent African Americans at that time. For example, Duke Ellington found the dialect spoken by the barrier islanders to be more blackface than dignified, stating "the times are here to debunk Gershwin's lampblack Negroisms."
The Cast and George Gershwin After the Boston Premiere of Porgy and Bess
The opera was produced by Rouben Mamoulian, who also directed. Eva Jessye supervised the chorus. The play was set in a somewhat isolated African American neighborhood, Catfish Row. The set, pictured above, is the set used for the initial premiere and theatrical run of Porgy and Bess, which lasted 124 performances. This was a lower figure than The Gershwins and Heywards expected. Reviews were mixed, as any Gershwin project usually was. Subsequent restagings of Porgy and Bess have helped cement Porgy and Bess as the classic American opera. Numerous restagings, have been successful, with the 1952 Porgy and Bess performance being the first American musical performance in Russia since the Bolshevik Revolution. Recordings of several versions are in print, and can be heard or seen in several types of electronic reproduction.
The Original Cast Recording of Porgy and Bess
A close listen to the original cast recording of Porgy and Bess, recorded after George Gershwin's death in 1937, helps the listener to place Miles Davis and Bill Evans' classic jazz interpretation of Porgy and Bess in context.
Original Artwork for Miles Davis and Bill Evans
Porgy and Bess
By the time Miles Davis and Bill Evans turned their attention to Porgy and Bess, both men's reputations as innovators and jazz giants were huge. The 1958 recording of Porgy and Bess is an unusual mixture of cool jazz and big band virtuosity. The recording of the album was completed in four separate recording sessions from July 22 to August 18, 1958. The album was released on Columbia (CBS) Records in February 1959. The reception for the album was enthusiastic, and Bill Evans' arrangements were heralded as a new direction in jazz.
The album, nearly an hour long at a times when 30 minute albums were considered long, begins with a brass flourish, followed by a very quiet entry by Miles Davis. This tune, entitled The Buzzard Song, sets the mood for the album as a whole. Miles first plays a quiet swing feel with his presentation being the opposite of bebop. In bebop, the emphasis is upon playing a fast pace with note changes passing the listener before they can often be understood. The tune passes into a 4/4 tempo with Miles' horn introducing a swing feel after the early first 2 minutes. Miles' playing is a quiet swinging pace, answered by trombones. The tune quietly ends, offering an emotional picture of a conflicted place, with warmth supplied by the drums and low brass.
A transition into the mournful Bess You Is My Woman Now, with Miles' horn presenting Porgy and Bess. Porgy is played with a quiet intensity and brass flourishes offer a small hope that things will turn out for Porgy and Bess's getting together. Rising trumpet flares present a feeling of hope. Porgy, being a polio survivor with paralysis in his lower limbs speaks with Bess, who remains silent, so to support Porgy's hope they will be together. The conflict is Bess being attractive to Sportin' Life, a man without honor, who will do whatever life presents to get his way and proceeds to bend situations in his favor, without having reservations about killing to accomplish his goals.
A piece entitled Gone follows, not to be confused with Gone, Gone, Gone which follows Gone. This tune captures the confusion that Porgy has when he first realizes that Sportin' Life has made off with Bess. The tune presents a gradual building of tension with drums illustrating the growing anger and confusion when he realizes Bess has gone to New York City with Sportin' Life without Porgy even being told, The drums are important in this track in showing Porgy's mixed feelings.
Gone Gone Gone is a song helping to convey the sheer sense of abandonment that Porgy experiences after his initial period of feeling frantic and looking everywhere he can for Bess without results. His mood turns from hope to feeling completely desolate. The tones in this tune convey utter desolation, with no comfort possible. Summertime, perhaps the best known selection from Porgy and Bess, follows and sets a feeling for life in Catfish Row, where the story is set. Summertime can best be described as a quiet swinging tune with muted trumpet set off against the feel of Catfish Row residents greeting each other after work for the day is done. Miles Davis's trumpet leaves the feeling of neighbors sitting outside on the steps of their homes and having some quiet time, perhaps with talking with their neighbors. Miles is answered by quiet flutes, which offer a tone with gentle satisfaction. In Porgy and Bess, Summertime could be considered a transitional song in the overall sequencing of this album.
Oh Bess, Where Is My Bess is somewhat of a desolate lamentation from Porgy, whose woman is not around. The feel of the song is Porgy at first feeling that he must have not been enough for her. As the tune progresses, the drums move into a swinging cadence, which seems to convey that Porgy realizes that Bess leaving was not her choice. Flutes convey a feel of uncertainty about what Porgy is trying to comprehend. As the tune progresses... Miles Davis's horn speaks to the flutes, which offer a small hope, with the tune quietly and hauntingly fading away.
Prayer (Oh Doctor Jesus) is a musical staging of the Book of Job fwithgentOld Testament. Miles Davis's trumpet wails a desolate flourish, with his trumpet neighbors seeming to mock him in muted trumpet flourishes in a manner similar to Job's so called friends, who asked him what foul deed he had done to deserve the calamity of losing Bess. Like Job, the so called friends do not understand that Porgy has done nothing to hurt Bess. As the tune progresses, Porgy, represented by Miles Davis's trumpet, wails in a manner similar to Job, not understanding why he has lost the one presence in his life who is a blessing. With no answer for his suffering, Job wails to God, asking why God was punishing him harshly in that manner. A response from percussion in the manner of loud brass and cymbals could symbolize God, who is angry at Job for having the nerve to ask God why Job was suffering. The piece ends on a somber tone, with Job humbling himself and repenting. Porgy has a similar experience to Job's, with both men understanding that it is not God's fault in either case. As with God in the end of the book of Job in the Bible, the bass brass engages the trumpet authoritatively at the end of Prayer.
Fishermen, Strawberries and Devil Crab brings a feeling of evening life at Catfish Row. The feeling that emerges is relaxing over an evening meal that was obtained on the island. The music is langorous, communicating the feeling that the fishermen and their families are hot and exhausted from a day that began before dawn and ended at sunset. Miles Davis's tone on this piece is soft, simple, and is surrounded by music that combines brilliantly the blue notes shared by African American and Judaic musical forms. The flute parts played by Danny Banks on this tune and throughout Porgy and Bess are noted as excellent by the review done in Allmusic.
My Man's Gone Now-This track conveys the grief that Bess feels acutely when she believes that Porgy has gone away. It is communicated in the first thirty seconds by Miles Davis in a flurry of quietly intense segments alternating with what sounds to this listener as a quiet form of incredulousness. Having finally decided to give her heart to Porgy, he is nowhere to be found. Somber trombones and cornets eloquently restate a theme that Davis uses in a number of moods throughout the piece. At 5:05 into the tune, a dramatic and intense final wail of sadness and bewilderment overcomes Bess, after which she quietly asks herself musically what she should do.
It Ain't Necessarily So-This tune, one of the best known from Porgy and Bess, was sung by John Bubbles in character as Sportin' Life in the first production of Porgy and Bess. The tune has a tone musically that is relatively unique in this opera. A quiet beginning which I interpret as Bess debating with herself as to Porgy's fate, is followed by three minutes of snappy swing, with Davis's cornet taking the part of Sportin' Life doing his best to convince Bess that Porgy has abandoned her, and that she should accompany Sportin' Life to New York City. He extols the desirability of New York City compared to Catfish Row, telling Bess whatever he needs to sway her to a decision to accompany him instead of waiting for Porgy.
Here Come De Honey Man-Performed vocally by Gus Simons in the 1935 Porgy and Bess production, the version here is a lovely interlude that shows an orchestra playing muted with Miles Davis playing quiet scales on his trumpet. The piece gets louder from a silent introduction, then fades as it becomes quieter and then disappears as mysteriously as it began. If you are a Brian Wilson follower, you may notice that the scales Miles is playing have a passing resemblance to Fall Breaks (Then Back to Winter) on the Beach Boys Smiley Smile album. Back in the days when fan tapes were traded like gold, I placed this track on a tape I traded and called it (The Elements: Air). A buffoon who tried to make money by pressing bootleg albums put it on the first Smile unauthorized album, telling me exactly who it was who betrayed myself and other Smile Fans by putting Smile on vinyl.
I Loves You Porgy-This song is the saddest, yet perhaps the most hopeful of the pieces that Miles Davis cut for this album. Bess needs someone to take care of her, and Sportin' Life is the only choice available. Bess is despondent about losing Porgy, but she leaves information with Catfish Row residents to pass on to Porgy when he reappears. The neighbors, who promised to tell Porgy what Bess had said to them, convey the message to Porgy, whose turn it is to be in grief. After mulling over his possible actions, Porgy makes the decision to follow Bess to New York City, without really having any idea of it's size or how to get in touch with Bess once he arrives. He raises the money to travel to New York City by boat, and commits to doing it.
There's a Boat That's Leaving Soon for New York-First, this song swings! Brass fanfares accompany Miles Davis's muted trumpet that becomes more and more jubilant as the tune progresses. This tune is a joy to listen to, and is a perfect conclusion to one of my favorite jazz albums. This is jazz really designed for big band, and it delivers on all of my expectations. The ending is a bit strange, but after nearly an hour of listening to Miles Davis's mastery of Gershwin's music, and appreciating the brilliance of the Bill Evans arrangements, one is left with an appreciation for both men's artistry. If you buy any Miles Davis music, this would be a great beginning to his work, or could be bought as the instant classic that Porgy and Bess is.
A short interview with Miles Davis About Gil Evans
Porgy and Bess (1958)
Written by:
George Gershwin
Ira Gershwin
DuBose Heyward
Personnel:
Miles Davis — flugelhorn
Gil Evans — arranger, conductor
Ernie Royal — trumpet
Bernie Glow — trumpet
Johnny Coles — trumpet
Louis Mucci — trumpet
Dick Hixon — trombone
Frank Rehak — trombone
Jimmy Cleveland — trombone
Joe Bennett — trombone
Willie Ruff — French horn
Julius Watkins — French horn
Gunther Schuller — French horn
Bill Barber — tuba
Romeo Penque — flute, alto flute, clarinet
Cannonball Adderley — alto saxophone
Danny Bank — alto flute, bass clarinet
Paul Chambers — bass
Jimmy Cobb — drums
This work appears on CBS Sony Records and is copyrighted by them
My essay Copyright 2017 by Peter Reum - All rights Reserved
If there was to be a Latino Supergroup, these guys and Los Lobos would get my vote. Both groups have musicians who have integrity, longevity, and proven musicianship. I have several favorite Los Lobos albums, but today I would like to express my admiration of the Texas Chicano Supergroup The Texas Tornados. The lineup of this group reads like a who's who of Texas/Tejano music. Regrettably, the group's longevity was cut short by the untimely deaths of Doug Sahm and Freddy Fender. With Augie Meyers and Santiago "Flaco" Jimenez, these guys could play anything remotely approaching Tex-Mex music.
I will spend a little time talking about the various members' histories. If you have remotely listened to Tejano music from the Sixties forward, you have heard these guys on their own, or in the Sir Douglas Quintet. Freddy Fender's work has been on the Mexican Music Charts, Country Western Charts, and probably some others of which I am not aware. Augie Meyer and Doug Sahm shared a history of playing together for over thirty years, dating from the mid-Sixties up through Doug's untimely passing in 1999 in Santa Fe, New Mexico.
The history of any of these guys would parallel any of the rockers from the Sixties and Seventies. Doug Sahm's history in music dates from 1952 when he began singing. He eventually migrated to Texas in the early Sixties. The Sir Douglas Quintet formed in Texas, uniting Sahm with Vox Organ Master Augie Meyer. Their music was unique, and was noticed by Bob Dylan. Their first album, which is simply titled "Texas Tornados," begins right out of the starting block with Augie Meyer's Vox Organ, and Doug Sahm's vocal is immediately recognizable to any who has listened to Tejano music the last 50 years.
The Texas Tornados 1990 - Their First Album
Who Were You Thinkin' Of is a tune that follows the inner thoughts of a couple that have been together for awhile. Apparently their love life has fallen stale, and when his wife suddenly becomes reengaged in lovemaking, the first question that comes to the husband is "Who were you thinkin', of when we were makin' love last night?" It is unclear as to whether this an internal conversation in the husband's mind, or whether the confrontation is directed at the wife. Many men have had this experience, whether married or in a long-term relationship.
Doug Sahm in His Trademark Hat
A Young Doug Sahm With Hank Williams Sr. December 1952
Doug with Bob Dylan in the Early Seventies.
Hey Baby Que Paso follows, a tune that features Flaco Jimenez prominently. Like the previous tune, the singer focuses on a troubled relationship, asking his female friend not to leave him brokenhearted. The song has the feel of perhaps the singer (Doug Sham sings lead) getting drunk the previous night and pleading with his main squeeze, who knows what's up, not to leave him. Doug enjoyed life immensely, and was known to mood alter with some regularity during his life. Freddy Fender contributes several excellent guitar solos on this first album, including this one. Doug Sahm was an early performer, even playing with Hank Williams Sr. in late 1952, some 18 days before Mr. Williams untimely passing.
A Younger Flaco Jimenez
Flaco Jimenez in Concert Wearing Traditional Tejano Performance Regalia
Flaco Jimenez with the Grammy Awards He Has Won Through the Years
Laredo Rose, is a tune that reaches out to a woman of the night for whom the singer has feelings. The lead vocal is a Doug Sahm led group vocal, and Flaco Jimenez contributes fine accordian throughout the tune, including the song's bridge. The lyrics asks in "mancode" why a woman that lovely leads a life involving prostitution, asking "The Sun Is a Stranger to You, How's a Rose Supposed to Bloom?" The overall feeling is that the tune's protagonist views Laredo Rose as a golden hearted woman, slowly losing her own self-respect and inner and outer beauty.
A Man Can Cry, written by Freddy Fender (Born Baldemar Garza Huerta) and Wayne Duncan, is a lament from a man who has given up on any sort of intimate love. The song is a form of blues, or as close to blues as Tejano Music gets. The narrative is a monologue with the singer explaining that he cannot abide another failed relationship. Freddy's life story reflects some of the emotions expressed in A Man Can Cry. Like Doug Sahm, he was a childhood performer, beginning at age 10 in Texas. Freddy's life reflected hard work, serving prison time for a pot possession charge. Freddy had a distinguished solo career, and finally reached the recognition as an artist he so richly deserved.
An Early Freddie Fender Album Recorded in 1959
Freddy Describing the Feelings in A Man Can Cry
Freddy Fender and Doug Sahm Texas Tornados
Soy de San Luis is a tune presented initially in Spanish, then changes to English on the second and fourth verses. The song's melody is carried nicely by Flaco's accordion, with a simple drum beat behind it. The song's narrator describes what sounds like a whirlwind courtship which morphs into marriage. Somehow, the new wife runs to places away from her new husband, probably meeting up with new pigeons to con. In the end, the narrator laments the stupidity of his impulsive marriage, saying his former wife "belongs to the devil, I don't want her any more." It seems that her "wave bait, catch naïve man, fool him with short term false adoration, run to another pigeon, and get the old pigeon to send money" scam is as old as creation itself.
Adios Mexico, which on the old album began side 2 of this record, is the tune on this album that can be considered the track that most closely resembles some of the mid and late Sixties Sir Douglas Quintet. The song is a straight ahead mid-tempo boogie number with Augie Meyer's organ playing a part that would probably be played by a rhythm guitarist. The tune is not complicated lyrically, and it appears to be a tribute to the lead vocalist's family home in Mexico.
The Sir Douglas Quintet-Augie Meyer top left
Augie Meyer Early Nineties
Sunset, Lake Chapala, Jalisco, Mexico
If That's What You're Thinking is a very appropriate tune for Freddy Fender to sing, as he is the most prominent of several Tejano musicians who sing songs about heartbreak in a way that cannot be duplicated. In this case, Freddy is not the author of this tune, but owns it in this performance. The mood that this fine interpreter put forth is something similar to the old sawhorse "once burned, twice cautious." There is a dignified quiet power in Freddy's delivery of a cowboy lamentation that is unique and heartfelt.
She Never Spoke Spanish to Me is a song about unrequited love, as are many of the great songs of Tejano Music. In this case, a young customer has fallen in love with a prostitute who lives in a small room presumably attached to a larger house of ill repute. Although this woman seems to have a personal interest in Doug's character in this song, what the john perceives as genuine attraction is simply part of the woman's mood setting for her job. Doug's character overhears her speaking Spanish to a few customers, and interprets this action as her being intimate. Of course, this action is again part of the mood setting for her job. Doug's character seems to think that if this woman spoke Spanish to him, that the feelings between them would be the intimacy he so badly craves.
Young Woman in Business for Herself-Mexico
Dinero-The final two tracks on this fine example of Tejano music reflect the two aspects of this supergroup of the Tejano style. Dinero, track nine, is an all out rocker that features excellent examples of the mixture of Spanish and English words to form Spanglish. Doug rips a fine guitar part and lead vocal for Dinero, which was a staple of the Tornados' live set for their entire time together.
Baby! Heaven Sent Me You- This tune goes back to the early days of Freddy Fender's career, to New Orleans and songwriter/producer Huey P. Meaux. This song is a beautiful love song, and is a fitting close to the album, which brought The Texas Tornados international sales and acclaim. Freddy's vocals are always sincere and highly emotional, which explains why so many women fell for him at his concerts throughout his distinguished career.
Text Copyright 2017 by Peter N. Reum - All Rights Reserved
She presented as a wounded bird
Her gifts were plentiful nonetheless
He was looking for something new
How things would go he could not guess
She was complex--a female Rubik's Cube
Her moods were chimerical yet sad
He could not deny his new feelings
Nor curb his passion--emotions reeling
His marriage ending--a deeper void
Than any comfort could redeem
New raging attraction left him annoyed
Breaking sacred boundaries it seemed
It began before the divorce was final
Appearances were horribly awry
The ex dropped hints he was a cheater
No wins for him, the picture bleaker
She found him wandering-so lost
Offering him herself, a high cost
Her health--waning he did discover
His heart grew deeper as her lover
The relationship gave them a brief time
To flow together in sickness and health
He learned to offer his whole self
Death stalked her quietly in stealth
She died quietly on an October day
Her heart, weakening, gave away
Alone once more, no sunshine there
Whether he would live or die he didn't care
Dazed and more dead than alive
He swore never again for love he'd strive
Several years passed, comfortably numb
To again be in love he thought dumb
Living through such pain wasn't wrong
Because what didn't kill him made him strong
Perhaps in the future he'd take a chance
If serendipity brought romance
The world of music has brought me so much richness that it is difficult to express how music has broadened my life. Today, I celebrate 50+ years of being a follower of Brian Wilson and the Beach Boys. I know nearly every song they recorded, and I love singing with their recordings.
I started out playing old jukebox singles my dad bought from a guy who serviced jukeboxes. My vintage Capitol Records phonograph played those worn 45s when other stereos wouldn't.
One batch my dad bought for me had a few Beach Boys and Jan and Dean singles. I played them obsessively, learning different vocal parts, and sang enthusiastically and loudly to my favorites. I loved Surfin' Safari and Surf City, and those two tunes were the beginning of a love affair with music that continues to this day.
The Beatles and Motown were late to arrive in the little town in which my family lived. Our town's radio station, KDCE (Que Dice) played Spanish and Mexican music until one hour before. sunset, when they would play roughly an hour of top 40 music.
I would drag out my little transistor radio at bedtime, use my ear plug, and listen to Wolfman Jack play records in between doing ads selling baby chicks, phony "bulk up" muscle tonic, and hair restorer for the folically challenged. The clear channel radio stations were my musical beacons. There was XERB from Mexico, KOMA in Oklahoma City, and KFI for Los Angeles Dodger baseball games, with the great Vin Scully announcing the games.
As things evolved with my getting older, I realized there were big records, called albums. The drug store in our small town carried some lps, and I became a die hard fan of The Beach Boys, Beatles, The Four Seasons, Nat King Cole, Henry Mancini, Bob Dylan, and Dave Brubeck.
As time went on, my interest in music grew, and I learned to play piano, and several brass instruments. What we played was not pop music, and some of the music we played made me sleepy. But there is a certain feeling of satisfaction when everyone played their parts well, and as a school band we blended well together.
As time went on, and I left school and got married, I spent about six years in the retail music business, and as we played complimentary promotional albums, I got very familiar with all sorts of musical artists and styles. The great informal exposure to all sorts of musical styles, and also artists was irreplaceable. Those years were invaluable and I found artists in most music genres that I really liked.
Over the years, I developed one of the most comprehensive archives of Beach Boys music, record company promotional materials, and photographs in the world. I developed lasting friendships with some of The Beach Boys, their families, people who wrote books about the group, and Brian Wilson in particular. In the late 80s and early 90s I was able to help separate Brian from his abusive psychologist by figuring out what excessive psychotropic medications were causing Brian's trembling, eyes rolling back in his head, and inability to follow basic conversations and instructions.
We had assembled a team of Brian's friends and relatives to separate Brian from his highly controlling and abusive psychologist and attendants known as "The Surf Nazis." The movie Love and Mercy is a partial segment of the story. Thanks to his current wife, then his female love, we were able to present my findings to his brother Carl, and his mother Audree.
Music today is a companion and support for me that I treasure and keep close to me. I have sung in choirs, giving me a chance to use my voice to make music. Most of my kids and step kids have excellent voices, and they sing almost without thinking about it. My youngest daughter has become a big Brian Wilson fan, and sings enthusiastically when I play Brian/Beach Boys music in the car stereo. A new generation of my family loves music just like her parents.
Fine arts like music and drawing pictures have been found to assist children's math and science abilities in school. They certainly have enhanced my life from childhood. It will be tempting to remove Art and Music from elementary and secondary schools. That would be a terrible mistake. The joy in life offered by music, art, and being outdoors in nature is irreplaceable in my experience.
Copyright 2017 by Peter Reum - All rights reserved
Since before we as humans could write, there have been oral stories passed from generation to generation. There are stories explaining the consciousness of human beings, such as creation myths, divine benefactors, wars of the gods, people coming into this world from another world, and so many more...too numerous to identify. Human being's self-awareness is the driving force behind such oral traditions. I wrote a poem a few months ago called Sagacity's Folly. It is a lamentation of sorts, an expression of the pain that comes with "knowing too much." In the last 3000 years, our hunger for knowledge has outstripped our capacity to use such knowledge in a manner that does not destroy ourselves, our fellow creatures that are alive, and Mother Earth herself.
As befits each human generation that lives on this small rock orbiting our sun, in a backwater part of our galaxy, we approach self-awareness through ordering our surroundings to fit our perceptions. Hence, many of the world's great belief systems, such as science, mythology, religions, stories regarding the end of the world as we know it, offer perspectives on life, our place in the cosmos, something we can call life everlasting (consciousness after death), the world we live on, with our fellow animate creatures, and the inner world we know from observation.
Because of my dad's job, working in one of the largest research labs in existence for 30+ years, I have struggled in my heart and my mind, as Thomas Jefferson once described this need to order our world, swinging from one belief system to another. In recent years, the burgeoning and dramatic manner of observation called quantum mechanics has opened a door (some say a Pandora's Box) to the world beyond logic, beyond order, and many physicists have had the dilemma of trying to describe and explain observations that simply do not conform to what we have known as the scientific method.
I read the other day in an internet physics site that a group of researchers have actually observed anti-matter for the first time. What has been a theory for roughly the last hundred years has moved beyond theoretical physics into applied physics. I do not pretend to comprehend the world these people are observing. The quantum world has thrown many of our basic assumptions about our universe into question, having formally been accepted as proven to be true. The Hadron Collider in Switzerland has brought to light so many new and exciting ideas regarding our universe. The Higgs Boson theory was verified by observation on on the Hadron. What I have found fascinating is that the Higgs Boson was thought to be the particle of assembling matter. I am not explaining this well, but hopefully readers will understand what I am alluding to.
Hadron Collider - World's Largest Particle Accelerator-Switzerland
After the Higgs Boson became a reality observed and verified, some of my recent reading of science news explained that observation of the Higgs Boson has led to the identification of two particles smaller than Higgs, which leads to the old chicken and egg problem...do the two particles exist because of the Higgs, or is the existence of the Higgs dependent upon the existence of the two smaller particles....or are they not related at all? If all of our observations come through what is called the Observer, our own brain, is all of this information developed in our minds just to satisfy our unending inquiries about the universe?
Dr, Higgs and a Cross Section of the Hadron Collider
I am left asking myself---was Chicken Little right after all, is science another manner of our own mind trying to make order out of chaos, or, is there an objective reality separate from the observer in our minds, that only science can explain? One of the interesting debates the physicists at Hadron were having when I watched this program on the search for the Higgs Boson on PBS (thank you, public tv) was whether the sub-atomic world opened by the Hadron Collider was formed by chance or by what I will call a Prime Mover. Several teams observed the data from the Higgs, and the teams theorized that there was a certain level of data that would support the chaos explanation, and another that would support the Prime Mover explanation, both of these being theories themselves, by the way. Maddeningly, the data revealed a number roughly halfway between the Chaos and Prime Mover theories of how the universe was formed.
Layperson's Explanation of Higgs-Boson Particle
To extend this question...is our human existence due to billions of years of chance, or, is human existence a result of the work of a Prime Mover?
Copyright 2016 by Peter Reum-all rights reserved
To my friends who are scientists, I apologize for this rather simplistic explanation of a profoundly difficult physics question.
For more information, use the Hadron Collider website:http://www.stfc.ac.uk/research/particle-physics-and-particle-astrophysics/large-hadron-collider/lhc-large-hadron-collider-resource-portal/Hadron Collider Site
For a fairly understandable explanation of the Higgs Boson Particle: http://www.stfc.ac.uk/research/particle-physics-and-particle-astrophysics/peter-higgs-a-truly-british-scientistDr. Higgs Biography and Higgs Boson
