Otra Covid Wave, Ad Infinitum

Hello ladies and gentlemen of the internet. Welcome to covid 2022 July edition. 

We're going on year three with this thing. It's a real drag. They're reinstating an LA mask mandate soon. I've only taken off some three months since covid began and surprisingly, I never caught covid myself from anybody. Talk about lucky! That being said, I wear my mask at work regularly and in crowded places just in case. However, I am double vaccinated. But I digress. 

The work gig is going strong. The work is heavy and consistent as well as the hours and pay. Decent, but it's never enough to really pull you out of the class of poverty to the middle class.

Covid at work is still a thing but much less so nowadays. However, the case rates are going up again, so we are seeing small increases here and there. One of my pet peeves is the loud yelling customers that don't wear masks that really spray it all over the place. Yuck! 

I mostly cashier and customer service. It ain't much but it's honest work. 

In terms of my free time, I'm doing all kinds of things. I've learned a good amount of Spanish and bits of other languages like French, Portuguese, Italian, and even Chinese. I'm reading a lot of books, mostly classics of the western canon. Tonight, I was just reading Vasari's Lives, the chapter on Leonardo Da Vinci. I'm playing a lot of guitar. I'm seeing friends here and there. Owning enemy players as the team healer. Working at least forty hours a week. 

As this next covid wave storms upon the shore, remember to plant your anchor and keep your grounding. There's a storm brewing within the land and a lot of people are being washed away. You have to have a steady grounding in whatever it is that you do, believe, feel, and think, ya dig? For me, the answer has been to stay inspired, whatever it takes works, anytime, all the time. 

In the beginning of the pandemic I was doing meditation about an hour each day because I was working less hours and had more relaxation time. Well, now I'm finally using that training to good use and using that TM to stay calm and relaxed even in my most stressful moments of my work day. Yowza, yowza! 

A new big thing for me has been to enjoy nature much more often. Whenever I go for walks now, I never put in earbuds. Just enjoy the scenery, the plants, the Sun, and the blue skies. I am a night elf druid. Nature thanks you. 

Also, for those who are interested I've kept a record of life since covid first began, you can read my plague journal, as I call it, here, http://ofigueroamusic.blogspot.com/p/blog-page.html.

See you later in time and space. 

King Crimson

Today was an interesting morning. As soon as I woke up I kept thinking about a certain King Crimson song. The song was Lament from their album Starless and Bible Black. It's a terrific record, as most of their early records and late records are. What makes that song in particular so interesting that I was reciting them in my head upon wake up?

Well, the song is, well, a lament of sorts. The song features some interesting lines. Here are some:

I guess I tried to show you how
I'd take the crowd with my guitar
And business men would clap their hands
And clip another fat cigar

 

But now it seems the bubble's burst
Although you know there was a time
When love songs gathered in my head
With poetry in every line

 

I like the way you look at me
You're laughing too down there inside
I took my chance and you took yours
You crewed my ship, we missed the tide

 

And strong men strove to hold the doors
While with my friends I passed the age
When people stomped on dirty floors
Before I trod the rock'n'roll stage

 

Those are all pretty damn good lines for vocals. Even in the 70s. And the music was topnotch art-rock with heavy feedback guitar and mellotron [a synth].  

So yeah those lines in particular really stood out to me. I guess what I'm trying to say is that I can't escape the influence of King Crimson on my life. When I was 19 years old I would sit in the freezing basement in Wisconsin. I would invite my friend David over and we would smoke a lot of weed and blast progressive rock. But it was always King Crimson that was our favorite progressive band from England. 

 

There's something about King Crimson that makes them stand out apart from the other English art-rock bands from the 1970s. Robert Fripp's guitar playing and lead role in forming and keeping the band going through many permutations made them a much better band than say, ELP, Genesis, and even Yes. Fripp was a art-rock guitar god. He knew how to play any chord for any feeling. He was like a jazz guitarist in a rock band. He knew many great 'noise chords,' as I would call it, but he could always mellow out and play something that a nice jazz guitarist could play. I credit him for this day for helping me develop my guitar sound. 

 

 

What's also interesting is the fact that when my friend and I were listening to King Crimson stoned all those years ago is that we are both black kids. I know this might be kind of arrogant to think, [but I definitely believe this is true] but I actually believe that David and I were probably the only black kids [or at least part of a very select few] in America in the mid 2000s that listened to and loved King Crimson. That's actually truly remarkable. 

 

King Crimson is one of my favorite bands. I listened to them more than any other band from England, including those four lads from Liverpool [who they were inspired by of course]. Their legacy lives on. Fripp was and still is a monster and I credit him [and countless others] for inspiring me to make noise on the guitar. The art-rock thing died but its influence will live forever through indie rock and its noise variants.

 

As Pete Townsend [the guitarist from The Who] said about the first album, the critically acclaimed In the Court of the Crimson King, "an uncanny masterpiece."

The War of the Worlds [novel]

The War of the Worlds is a novel written in 1898 by H.G. Wells. The novel has been overshadowed by movies, a record album, and a broadcast in 1938 by Orson Welles, which made people angry because it was never said that the broadcast story was fictional, leaving some people to probably believe that it was true. Or maybe they just didn't like to hear it. The novel was originally written in serial format Pearson's Magazine in the UK and by Cosmopolitan magazine in the US. 

The story is told in the first person. Its told from the narrator's point of view and then tells his brother's account of the invasion. Nothing is known about the characters personally. In fact, here is a novel where hardly anything is known about the characters other than that he's a philosophical writer and married. The aliens land in London and all hell breaks loose, literally. The Martians have a Heat-Ray gun that they use to burn down everything in sight. Not only that, but they have a black poisonous cloud that kills humans too.

The Martians are described first as not having chins. They have small bodies, round heads. They have these tripod mechanical vehicles they use to lay waste to London. They eat kill humans and inject their blood, sort of like zombies.  The narrator spends a lot of time not unlike the nuclear video game Fallout, hiding out in houses, searching for food, and avoiding contact with the Martians with fear for his life, believing his wife to be dead.

The writing style here is formal. Old school. In fact, I could see high schoolers reading this novel back in the 50s or 60s, but today's millennials would not like this in the least bit. They would find the prose wooden. In fact, if I wasn't such a fan of classical books, having gone as far back as Voltaire's Micromegas, Sir Tomas More's Utopia, Cavendish's Blazing World, Francis Bacon's New Atlantis, Jules Verne's From the Earth to the Moon, and Shelly's Frankenstein, I might find this prose to be a bit wooden. 

However, it is precisely because I am familiar with these works of antiquity that I can see how great Well's prose really is. I must admit that some of the words, phrases, and sentences were lost in translation to me. But that only happened a few times, and if I couldn't interpret what Wells was saying, I could always look up the old school phrases online. That's how I got through all those old classical works. Wells knows how to describe things, with a lot of detail. There's tons of exposition, dialogue between characters, but only just bits and pieces of action here and there. In a way he makes you work for all the alien destruction, with tons of exposition. But in the end, you realize that it's worth it. It's a good read. A fun read. 

The War of the Worlds is only science fiction in retrospect. Because science fiction has had such an immense influence on pop culture this book will never be forgotten. Although like I said, the prose doesn't age well. Kids today would not enjoy this novel. Again, this is just my thinking but from what I know about high schoolers today, they would hate this novel. Much in the same way that they would hate Frankenstein. Too many classical words and phrases, that would bewilder them and leave them disliking the book. 

The book touches on a couple of themes that have become commonplace. Invasion, space travel, total war, weapons, natural selection, human evolution, colonialism and imperialism, social Darwinism, and religion and science. Did you get all that? All that basically just means that although this is a thin book with only 194 pages, it is quite a heavy book thematically. 

Lastly, the influence upon other books, movies, TV shows, and music are immense. Edgar Rice Burroughs wrote A Princess of Mars in 1912, not too long after Wells wrote this. It is because of this book that we use the term 'martian' to describe something unknown or otherworldly. This is a great 'scientific romance' [a term used for science fiction back in Wells' and Jules Verne's' day] novel that will continue to influence. As a science fiction reader, I'm obligated to read it. It was an enjoyable experience.

Recommended if you enjoy classical literature and science fiction.

New Music, Jazz History, and Science Fiction

I've been doing more research into jazz and new music, avant-garde classical music. I've also been reading science fiction and such.

The science fiction novel is easy enough to explain. It's a science fiction novel set in the future where a scientist is trying to find out what happened to a town in Germany called Eifelheim. Then it goes back into Medieval German times where a priest named Dietrich is working as the communication between humans and these insect-like aliens called Kreken. The novel explores this idea: Can we convert aliens? There's other ideas and tons of rocket science abstraction (dense reading!) in it but this is the primary subject of the book. Its called Eifelheim and its written by Michael Flynn. The book was nominated for a Hugo award back in 2007. Although the book came out in 2006 this is already ancient by today's memelord society.

I also picked up two new books on jazz. Both seem superb after only reading a bit. They're two books written by Nat Hentoff. Jazz Life and Jazz Is. Both explore jazz in a variety of ways with interviews, history, and in depth analysis of the music, the musicians, the audience, and the time periods (some of which include when jazz wasn't popular). Hentoff is a Jewish writer (that wrote for pretty much every major publication) that was well known for his politics. He comes to know the music personally because he met and knew most of the "greats" as a kid in New York. I find his insight on the people to be enlightening. He explains that although the people who play jazz are flawed, the music itself isn't. I'm looking forward to reading both books and I hope to learn a lot more about the history (black history) and people that made such great music.

Then there's the readings on and about the new music scene. I've become a listener of the avant-garde, so called "new music", or as I like to say avant-garde classical music. It started during the Chicago trip when I saw Messiaen's Quartet For the End of Time performed and then it just expanded from there like a mothership dropping its young onto an unsuspecting planet.

I've become particularly fond of Xenakis, Ligeti, Guillermo Gregorio (Argentinian clarinetist and improviser), Stravinsky, Stockhausen, and others. Xenakis wrote a great book about mathematics and music but once I got past the initial introduction the book goes a little over my head. Interesting to check out and read about still.

The thing I like about this sort of music is that it sounds like it could've been completely improvised but it was all written down and thought about. They didn't just throw together random stuff and some people say it sounds random and not music at all (a general opinion on the avant-garde) but I've come to learn that music can be made out of anything and everything, a lesson this music has taught me more so than ever. These composers were revolutionary because they didn't follow the standard norms of composition and influenced music of the twentieth century in a profound way. 

Guillermo Gregorio's music is great. His playing is as my dad put it,"dated". He has a sound that was popular back in the mid to late 1960's jazz, free jazz to be specific. He has the sound of Eric Dolphy, if Dolphy was from Argentina and became an intellectual artist inspired by architecture and European art and philosophy. I don't want to generalize him but his playing reminds me of Dolphy a lot. And I dig that very much.

On the other end of the spectrum (the one where European/American art music and rap don't mix!) I read the entire LA Weekly edition that just came out and in the back they had a list of fifteen of LA's best rappers. I'm not a fan of rap but I figured I would check out some of these guys and see if they had done LA proud with their work. DJ Quik has a nice funky style and Tyler the Creator has become a rap darling. Apparently the guy who doesn't give a fuck about anything actually cares.

All of this stuff will enrich my musical and literary palette. I'm trying to improve the blog, do more editing and limiting my posts and sentences, something before I never would have done because I thought too much editing was a bad thing almost akin to censorship. My goal is to eventually be showcased somewhere on a website and for something to come out of all of this. After all, nobody should write for free. But a free thinker must express his ideas to others lest it all sit inside one's head. As Grace Slick (from Jefferson Airplane) sang in White Rabbit, "Feed your head."

Picture is the composer Ligeti