Read Any Good Books Lately (#5)? – Crime / Murder / Mysteries

The keys to a good murder / mystery novels are a good plot, interesting personalities, interesting locations, and, of course, a good writer. There are a number of authors out there that have the gift to pull all those ingredients together . The Scottish writer Ian Rankin with his dysfunctional hero John Rebus  and his stories set in Endinburgh is one such writer. He was my first real introduction to the genre. The Swedish writer Henny Mankell  (1948-2015) who chose Yarstad in southern Sweden as a location for his, once again dysfunctional hero Kurt Wallander. The novels were so successful that the BBC turned them into a mini-series staring starring Kenneth Branagh. Another Swedish writer of note is Steig Larsen  who, in the astonishingly successful Girl with the Dragon Tattoo trilogy, created the memorable characters Lisbeth Salander and Michael Blomkvist. All novels were published posthumously and sold 80 million copies. They ended up as highly successful movies in Swedish and English. Maybe we should add Michael Genelin  to the list with his five Jana Matinova  novels . Apart from his writing skills he seems to have the necessary legal background needed to bring an air of authenticity to the plots.

Check his resume:

Michael Genelin (born January 6, 1950) is an American author and former Los Angeles Head Deputy District Attorney in the Hardcore Gang Division. Genelin has been involved around the world in Penal Code reform, Anti-Corruption reform in government, including legislative drafting, Ethics Establishment and Training, Freedom of Information laws, Witness Protection Practices, Trial Advocacy, Investigation and Trial of Cases, particularly homicides, Judicial Procedures, Reform and Creation of Evidence Procedures, Human Resources, all aspects of training, including Anti-Corruption Investigation and Prosecution and the general operations of law enforcement/prosecution/criminal court programs, Investigative Journalism Training, and Interactive Governmental Communications. He has written five novels, mostly set in central Europe, and centered around investigations conducted by Jana Matinova.

  • Siren of the Waters (A Commander Jana Matinova Investigation) (July 1, 2008)

Jana Matinova entered the Czechoslovak police force as young woman, married an actor, and became a mother. The Communist regime destroyed her husband, their love for one another, and her daughter’s respect for her. But she has never stopped being a seeker of justice.

Now, she has risen to the rank of commander in the Slovak police force and is based in the capital, Bratislava, a crossroads of central Europe. She liaises with colleagues across the continent to track a master criminal whose crimes include extortion, murder, kidnapping, and the operation of a vast human trafficking network.

This investigation takes her from Kiev in Ukraine to the headquarters of the European Community in Strasbourg, France; from Vienna to Nice during the Carnival, as she searches for a ruthless killer and the beautiful young Russian woman he is determined to either capture or destroy.

  • Dark Dreams (A Commander Jana Matinova Investigation) (July 1, 2009)

Prudent Jana and impetuous Sofia were best friends when they were schoolmates. One day Sofia approached a man in a car when she shouldn’t have and ended up being raped by a nefarious Communist Party bigwig. Jana pursued the culprit’s car, identified him, and vowed someday to bring him to justice.

Now Jana is a commander in the Slovak police force and Sofia, having made her name as a reformer, is a member of Parliament. Jana has fallen in love with an upright government prosecutor and Sofia is carrying on a notorious affair with a suave, married fellow MP.

One day Jana finds an enormous diamond dangling from a string fixed to the ceiling of the living room of her house. Was it put there as a present? Or, more likely, to entrap her? Where did this magnificent jewel come from? And why was it left for her to find? The answer leads Jana across Europe to unravel a criminal conspiracy involving multiple murders which has entangled her hapless, impulsive friend, Sofia, in its web, and ultimately to the criminal mastermind, the onetime Communist Party boss.

  • The Magician’s Accomplice (A Commander Jana Matinova Investigation) (July 1, 2010)

Devastated by her lover’s death in an explosion—on the same day an indigent student was shot and killed in sleepy Bratislava—Jana is transferred to The Hague, headquarters of the international police force Europol. On the flight she encounters a retired magician, the dead student’s uncle, who is determined to help Jana investigate his nephew’s death. And his help is indeed needed as Jana faces an international criminal conspiracy emanating from Europol itself.

  • Requiem For A Gypsy (A Commander Jana Matinova Investigation) (July 1, 2011)

When the wife of one of Slovakia’s most prominent businessmen is killed in a very public assassination, it looks like the bullets were meant for her husband. But could she have been the primary target? Commander Jana Matinova must push through her own government’s secretiveness and intransigence to discover what connects the murder of Klara Boganova to an anonymous man run down in Paris, a dead Turk with an ice pick in his eye, and an international network of bank accounts linking back to the Second World War.

  • For the Dignified Dead (A Commander Jana Matinova Investigation) (Nov. 3, 2015)

When the wife of one of Slovakia’s most prominent businessmen is killed in a very public assassination, it looks like the bullets were meant for her husband. But, could she have been the primary target? Commander Jana Matinova must push through her own government’s secretiveness and intransigence to discover what connects the murder of Klara Boganova to an anonymous man run down in Paris, a dead Turk with an ice pick in his eye, and an international network of bank accounts linking back to the Second World War.

So that’s Amazon.ca basic synopsis of the series.

One of my criteria for reading enjoyment is how long it takes me to actually read the material. The shorter the time it takes me to read then, obviously, the more I have enjoyed the book(s). It doesn’t necessarily follow that they are great literature, just that I enjoyed reading them. That is the case with this series of novels. I read the entire series in under three weeks – turned lots of pages and missed out on some sleep. I found the plots were good, although, my wife only read the first and the last in the series and she felt that the plots could be tighter. There were interesting personalities spread through out the stories. They included the chief protagonist Jana, her boss, her associates and a super villain that drifted in out of a couple in the series. The locations were places that I felt had been under represented in recent fiction. Most of the action takes place in Eastern and Central Europe including  Czechoslovakia and the two member republics, then Switzerland, Austria, Hungry, Slovenia and France with side trips to the Ukraine and Germany.  Judging by the geographic detail outlined in the novels I can only assume that the author is very familiar with the locales. Although there is a chronology of events that suggest that the novels should be read in sequence, it is possible to read the them as stand alone stories.

All in all, if you are into Crime / Murder / Mystery novels then I suspect you will enjoy them as much as I did.

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WILL THIS TECHNOLOGY BE A GAME CHANGER?

Water is the stuff of life. Without water there is no life. When we send probes to distant planets the first thing on the search list is water. Here on planet earth fresh water resources are being stretched to the limit. Deserts are expanding, under ground aquifers are becoming seriously depleted and droughts are becoming more and more  pronounced.  Agriculture in a significant part of the world is threatened. As a result the spectre of war and wide spread famine in the not to distant future is very real. What if there a technology that could increase our water resources? It just so happens that there is at least one technical solution out there. This is a reprint of an article in Scientific America ……….

ISRAEL PROVES THE DESALINATION ERA IS HERE

One of the driest countries on Earth now makes more freshwater than it needs

By Rowan Jacobsen, Ensia on July 29, 2016

Ashkelon-21

Askelon Desalination Plant in Israel

July 19, 2016 — Ten miles south of Tel Aviv, I stand on a catwalk over two concrete reservoirs the size of football fields and watch water pour into them from a massive pipe emerging from the sand. The pipe is so large I could walk through it standing upright, were it not full of Mediterranean seawater pumped from an intake a mile offshore.

“Now, that’s a pump!” Edo Bar-Zeev shouts to me over the din of the motors, grinning with undisguised awe at the scene before us. The reservoirs beneath us contain several feet of sand through which the seawater filters before making its way to a vast metal hangar, where it is transformed into enough drinking water to supply 1.5 million people.

We are standing above the new Sorek desalination plant, the largest reverse-osmosis desal facility in the world, and we are staring at Israel’s salvation. Just a few years ago, in the depths of its worst drought in at least 900 years, Israel was running out of water. Now it has a surplus. That remarkable turnaround was accomplished through national campaigns to conserve and re-use Israel’s meagre water resources, but the biggest impact came from a new wave of desalination plants.

Bar-Zeev, who recently joined Israel’s Zuckerberg Institute for Water Research after completing his post-doc work at Yale University, is an expert on biofouling, which has always been an Achilles’ heel of desalination and one of the reasons it has been considered a last resort. Desal works by pushing saltwater into membranes containing microscopic pores. The water gets through, while the larger salt molecules are left behind. But microorganisms in seawater quickly colonize the membranes and block the pores, and controlling them requires periodic costly and chemical-intensive cleaning. But Bar-Zeev and colleagues developed a chemical free system using porous lava stone to capture the microorganisms before they reach the membranes. It’s just one of many breakthroughs in membrane technology that have made desalination much more efficient. Israel now gets 55 percent of its domestic water from desalination, and that has helped to turn one of the world’s driest countries into the unlikeliest of water giants.

Driven by necessity, Israel is learning to squeeze more out of a drop of water than any country on Earth, and much of that learning is happening at the Zuckerberg Institute, where researchers have pioneered new techniques in drip irrigation, water treatment and desalination. They have developed resilient well systems for African villages and biological digesters than can halve the water usage of most homes.

The institute’s original mission was to improve life in Israel’s bone-dry Negev Desert, but the lessons look increasingly applicable to the entire Fertile Crescent. “The Middle East is drying up,” says Osnat Gillor, a professor at the Zuckerberg Institute who studies the use of recycled wastewater on crops. “The only country that isn’t suffering acute water stress is Israel.”

That water stress has been a major factor in the turmoil tearing apart the Middle East, but Bar-Zeev believes that Israel’s solutions can help its parched neighbors, too — and in the process, bring together old enemies in common cause.

Bar-Zeev acknowledges that water will likely be a source of conflict in the Middle East in the future. “But I believe water can be a bridge, through joint ventures,” he says. “And one of those ventures is desalination.

Driven to Desperation

In 2008, Israel teetered on the edge of catastrophe. A decade-long drought had scorched the Fertile Crescent, and Israel’s largest source of freshwater, the Sea of Galilee, had dropped to within inches of the “black line” at which irreversible salt infiltration would flood the lake and ruin it forever. Water restrictions were imposed, and many farmers lost a year’s crops

Their counterparts in Syria fared much worse. As the drought intensified and the water table plunged, Syria’s farmers chased it, drilling wells 100, 200, then 500 meters (300, 700, then 1,600 feet) down in a literal race to the bottom. Eventually, the wells ran dry and Syria’s farmland collapsed in an epic dust storm. More than a million farmers joined massive shantytowns on the outskirts of Aleppo, Homs, Damascus and other cities in a futile attempt to find work and purpose.

And that, according to the authors of “Climate Change in the Fertile Crescent and Implications of the Recent Syrian Drought,” a 2015 paper in the Proceedings of the National Academy of Sciences, was the tinder that burned Syria to the ground. “The rapidly growing urban peripheries of Syria,” they wrote, “marked by illegal settlements, overcrowding, poor infrastructure, unemployment, and crime, were neglected by the Assad government and became the heart of the developing unrest.”

Similar stories are playing out across the Middle East, where drought and agricultural collapse have produced a lost generation with no prospects and simmering resentments. Iran, Iraq and Jordan all face water catastrophes. Water is driving the entire region to desperate acts.

More Water Than Needs

Except Israel. Amazingly, Israel has more water than it needs. The turnaround started in 2007, when low-flow toilets and showerheads were installed nationwide and the national water authority built innovative water treatment systems that recapture 86 percent of the water that goes down the drain and use it for irrigation — vastly more than the second-most-efficient country in the world, Spain, which recycles 19 percent.

But even with those measures, Israel still needed about 1.9 billion cubic meters (2.5 billion cubic yards) of freshwater per year and was getting just 1.4 billion cubic meters (1.8 billion cubic yards) from natural sources. That 500-million-cubic-meter (650-million-cubic-yard) shortfall was why the Sea of Galilee was draining like an unplugged tub and why the country was about to lose its farms.

Enter desalination. The Ashkelon plant, in 2005, provided 127 million cubic meters (166 million cubic yards) of water. Hadera, in 2009, put out another 140 million cubic meters (183 million cubic yards). And now Sorek, 150 million cubic meters (196 million cubic yards). All told, desal plants can provide some 600 million cubic meters (785 million cubic yards) of water a year, and more are on the way.

The Sea of Galilee is fuller. Israel’s farms are thriving. And the country faces a previously unfathomable question: What to do with its extra water?

Water Diplomacy

Inside Sorek, 50,000 membranes enclosed in vertical white cylinders, each 4 feet high and 16 inches wide, are whirring like jet engines. The whole thing feels like a throbbing spaceship about to blast off. The cylinders contain sheets of plastic membranes wrapped around a central pipe, and the membranes are stippled with pores less than a hundredth the diameter of a human hair. Water shoots into the cylinders at a pressure of 70 atmospheres and is pushed through the membranes, while the remaining brine is returned to the sea.

Desalination used to be an expensive energy hog, but the kind of advanced technologies being employed at Sorek have been a game changer. Water produced by desalination costs just a third of what it did in the 1990s. Sorek can produce a thousand liters of drinking water for 58 cents. Israeli households pay about US$30 a month for their water — similar to households in most U.S. cities, and far less than Las Vegas (US$47) or Los Angeles (US$58).

The International Desalination Association claims that 300 million people get water from desalination, and that number is quickly rising. IDE, the Israeli company that built Ashkelon, Hadera and Sorek, recently finished the Carlsbad desalination plant in Southern California, a close cousin of its Israel plants, and it has many more in the works. Worldwide, the equivalent of six additional Sorek plants are coming online every year. The desalination era is here.

What excites Bar-Zeev the most is the opportunity for water diplomacy. Israel supplies the West Bank with water, as required by the 1995 Oslo II Accords, but the Palestinians still receive far less than they need. Water has been entangled with other negotiations in the ill-fated peace process, but now that more is at hand, many observers see the opportunity to depoliticize it. Bar-Zeev has ambitious plans for a Water Knows No Boundaries conference in 2018, which will bring together water scientists from Egypt, Turkey, Jordan, Israel, the West Bank and Gaza for a meeting of the minds.

Even more ambitious is the US$900 million  Red Sea-Dead Sea Canal, a joint venture between Israel and Jordan to build a large desalination plant on the Red Sea, where they share a border, and divide the water among Israelis, Jordanians and the Palestinians. The brine discharge from the plant will be piped 100 miles north through Jordan to replenish the Dead Sea, which has been dropping a meter per year since the two countries began diverting the only river that feeds it in the 1960s. By 2020, these old foes will be drinking from the same tap.

On the far end of the Sorek plant, Bar-Zeev and I get to share a tap as well. Branching off from the main line where the Sorek water enters the Israeli grid is a simple spigot, a paper cup dispenser beside it. I open the tap and drink cup after cup of what was the Mediterranean Sea 40 minutes ago. It tastes cold, clear and miraculous.

The contrasts couldn’t be starker. A few miles from here, water disappeared and civilization crumbled. Here, a galvanized civilization created water from nothingness. As Bar-Zeev and I drink deep, and the climate sizzles, I wonder which of these stories will be the exception, and which the rule.

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Here is a re-print of another article

AIDED BY THE SEA, ISRAEL OVERCOMES AN OLD FOE: DROUGHT

editor Wednesday 3 June 2015
 From:

By Isabel Kershner.. JERUSALEM — At the peak of the drought, Shabi Zvieli, an Israeli gardener, feared for his livelihood. A hefty tax was placed on excessive household water consumption, penalizing families with lawns, swimming pools or leaky pipes. So many of Mr. Zvieli’s clients went over to synthetic grass and swapped their seasonal blooms for hardy, indigenous plants more suited to a semiarid climate. “I worried about where gardening was going,” said Mr. Zvieli, 56, who has tended people’s yards for about 25 years.

Across the country, Israelis were told to cut their shower time by two minutes. Washing cars with hoses was outlawed and those few wealthy enough to absorb the cost of maintaining a lawn were permitted to water it only at night.

“We were in a situation where we were very, very close to someone opening a tap somewhere in the country and no water would come out,” said Uri Schor, the spokesman and public education director of the government’s Water Authority.

But that was about six years ago. Today, there is plenty of water in Israel. A lighter version of an old “Israel is drying up” campaign has been dusted off to advertise baby diapers. “The fear has gone,” said Mr. Zvieli, whose customers have gone back to planting flowers.

As California and other western areas of the United States grapple with an extreme drought, a revolution has taken place here. A major national effort to desalinate Mediterranean seawater and to recycle wastewater has provided the country with enough water for all its needs, even during severe droughts. More than 50 percent of the water for Israeli households, agriculture and industry is now artificially produced.

During the drought years, farmers at Ramat Rachel, a kibbutz on the southern outskirts of Jerusalem, took water-economizing measures like uprooting old apple orchards a few years before their time. With the new plenty, water allocations for Israeli farmers that had been slashed have been raised again, though the price has also gone up.

desalination_plants

Israeli desalination plants

“Now there is no problem of water,” said Shaul Ben-Dov, an agronomist at Ramat Rachel. “The price is higher, but we can live a normal life in a country that is half desert.”

With its part-Mediterranean, part-desert climate, Israel had suffered from chronic shortages and exploitation of its natural water resources for decades.

The natural fresh water at Israel’s disposal in an average year does not cover its total use of roughly 525 billion gallons. The demand for potable water is projected to rise to 515 billion gallons by 2030, from 317 billion gallons this year.

The turnaround came with a seven-year drought, one of the most severe to hit modern Israel, that began in 2005 and peaked in the winter of 2008 to 2009. The country’s main natural water sources — the Sea of Galilee in the north and the mountain and coastal aquifers — were severely depleted, threatening a potentially irreversible deterioration of the water quality.

Measures to increase the supply and reduce the demand were accelerated, overseen by the Water Authority, a powerful interministerial agency established in 2007.

Desalination emerged as one focus of the government’s efforts, with four major plants going into operation over the past decade. A fifth one should be ready to operate within months. Together, they will produce a total of more than 130 billion gallons of potable water a year, with a goal of 200 billion gallons by 2020.

Israel has, in the meantime, become the world leader in recycling and reusing wastewater for agriculture. It treats 86 percent of its domestic wastewater and recycles it for agricultural use — about 55 percent of the total water used for agriculture. Spain is second to Israel, recycling 17 percent of its effluent, while the United States recycles just 1 percent, according to Water Authority data.

Before the establishment of the Water Authority, various ministries were responsible for different aspects of the water issue, each with its own interests and lobbies.

“There was a lot of hydro-politics,” said Eli Feinerman of the faculty of agriculture, food and environment at the Hebrew University of Jerusalem, who served for years as a public representative on the authority’s council. “The right hand did not know what the left was doing.”

The Israeli government began by making huge cuts in the annual water quotas for farmers, ending decades of extravagant overuse of heavily subsidized water for agriculture.

The tax for surplus household use was dropped at the end of 2009 and a two-tiered tariff system was introduced. Regular household water use is now subsidized by a slightly higher rate paid by those who consume more than the basic allotment.

Water Authority representatives went house to house offering to fit free devices on shower heads and taps that inject air into the water stream, saving about a third of the water used while still giving the impression of a strong flow.

Officials say that wiser use of water has led to a reduction in household consumption of up to 18 percent in recent years.

And instead of the municipal authorities being responsible for the maintenance of city pipe networks, local corporations have been formed. The money collected for water is reinvested in the infrastructure.

Mekorot, the national water company, built the national water carrier 50 years ago, a system for transporting water from the Sea of Galilee in the north through the heavily populated center to the arid south. Now it is building new infrastructure to carry water west to east, from the Mediterranean coast inland.

In the parched Middle East, water also has strategic implications. Struggles between Israel and its Arab neighbors over water rights in the Jordan River basin contributed to tensions leading to the 1967 Middle East war.

Israel, which shares the mountain aquifer with the West Bank, says it provides the Palestinians with more water than it is obliged to under the existing peace accords. The Palestinians say it is not enough and too expensive. A new era of water generosity could help foster relations with the Palestinians and with Jordan.

The Sorek desalination plant rises out of the sandy ground about nine miles south of Tel Aviv. Said to be  the largest plant of its type in the world, it produces 40 billion gallons of potable water a year, enough for about a sixth of Israel’s roughly eight million citizens.

Miriam Faigon, the director of the solutions department at IDE Technologies, the Israeli company that built three of the plants along the Mediterranean, said that the company had cut energy levels and costs with new technologies and a variety of practical methods.

Under a complex arrangement, the plants will be transferred to state ownership after 25 years. For now, the state buys Sorek’s desalinated water for a relatively cheap 58 cents a cubic meter — more than free rainwater, Ms. Faigon acknowledged, “but that’s only if you have it.”

Israeli environmentalists say the rush to desalination has partly come at the expense of alternatives like treating natural water reserves that have become polluted by industry, particularly the military industries in the coastal plain.

“We definitely felt that Israel did need to move toward desalination,” said Sarit Caspi-Oron, a water expert at the non-government Israel Union for Environmental Defense. “But it is a question of how much, and of priorities. Our first priority was conservation and treating and reclaiming our water sources.”

Some environmentalists also say that the open-ocean intake method used by Israel’s desalination plants, in line with local regulations, as opposed to subsurface intakes, has a potentially destructive effect on sea life, sucking in billions of fish eggs and larvae.

But Boaz Mayzel, a marine biologist at the Israel Union for Environmental Defense, said that the effects were not yet known and would have to be checked over time.

Some Israelis are cynical about the water revolution. Tsur Shezaf, an Israeli journalist and the owner of a farm that produces wine and olives in the southern Negev, argues that desalination is essentially a privatization of Israel’s water supply that benefits a few tycoons, while recycling for agriculture allows the state to sell the same water twice.

Mr. Shezaf plants his vines in a way that maximizes the use of natural floodwaters in the area, as in ancient times, and irrigates the rest of the year with a mix of desalinated water and fresh water. He prefers to avoid the cheaper recycled water, he says, because, “You don’t know exactly what you are getting.”

But experts say that the wastewater from Israel’s densely populated Tel Aviv area is treated to such a high level that no harm would come to anyone who accidentally drank it.

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So that’s one solution to the problem. Waiting in the wings, admittedly a long way off centre stage, is the prospect of unlimited freshwater as a by-product of Thorium based Nuclear Reactors. When fully developed these radio-active waste neutral (in fact they will burn radio-active waste) plants will produce almost unlimited energy with fresh water as a by product. See, its not all gloom and doom. See the my past blog entry on the subject of Thorium based reactors

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“It’s only an opinion, but……….”

“The War on Drugs” was (is) a stupid approach for handling drug use. Prohibition on alcohol in the 1920s didn’t work and the legal / illegal frameworks of the current era have completely failed. Drug use, particularly cannabis, is endemic. At last the “light bulb” has gone on and the beginning of a legalization process has begun. The concept of a legal, taxable, and controlled distribution has taken root and the government revenue agencies are frothing at the bit to get their hands on an untapped revenue stream. Enforcement agencies have better things to do and are looking forward washing their hands of the petty enforcement rituals they inflict on mostly law abiding citizens. The application of the laws as they now stand is impossible. A law that can’t be enforced is no longer the law. So there is really no choice but to create a legal frame work for drug use.

The following thoughts have come to mind while paying attention to the dialogue surrounding the legalization of Pot. It seems we haven’t learned much from the “Tobacco Debates” of recent years.

  • Number one: The inhalation of foreign substances into one’s lungs is probably not a good thing. It took us a couple of hundred years with tobacco smoke to come to that conclusion and yet as an issue there seems to be little thought or discussion of the ill effects of just inhaling noxious substances, psychoactive or otherwise
  • Number 2: The issue of second hand smoke – It is a given that pot is detrimental to brain development in youth and the very young so it would stand to reason that second hand smoke may end up being a far bigger issue in the Pot debates than in the recent Tobacco issue. Should children, or any one else for that matter, be subject to the ill effects of second hand pot smoke or vapour. I am looking forward to that becoming part of the debate. If you are a parent with young children there is a very strong possibility that your drug use will have a significant impact on your child’s mental development.
  • Number 3: Will there be an issue similar to the fetal-alcohol syndrome if pregnant women smoke up? It took us more than a few years to determine the links between alcohol consumption by pregnant women and its detrimental effects.
  • Number 4: The links between Pot use and Mental illness are out there but they don’t seem to be attracting too much interest. After all Cannabis use alters one’s brain chemistry and is that necessarily a good thing?
  • Number 5: In Colorado it has been noted that legalization has created a surge in the use of “edible” cannabis products and that is creating a whole new variety of problems all the way from the control of product strength to how do we keep “doped” candy bars out of the hands of children?
  • Number 6: How is Vancouver going to control or ban the annual “smoke-in” ? Technically the drug is still illegal, as is smoking in a public place, but the authorities have chosen to not enforce the law and the result is the mass misbehavoir of a large crowd who have no truck with societal norms. Will the city have to resort to using riot police?

Pot has to be made legal, controlled and taxed. The world is full of idiots and we can’t prevent people from acting in idiotic ways but at least we can generate tax revenues to do some good and get it out of hands of criminals. I suspect when it is legal Pot smokers are not going to be happy. The end result will not be what they wanted or expected. With the corporate interests of a new huge commercial industry to be protected along with the government protecting its new found revenue stream I suspect “home grown” operations will be strictly controlled if not eliminated. After all, in the world of booze how many individuals have a moonshine operation in their basement?

Pot has the reputation of being “a harmless recreational drug” and I suspect that is largely a myth. Here is a link to some information that may be useful in the ongoing discussions National Institute on Drug Abuse

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While I am at it here are a couple of my more outlandish opinions and rants.

  • Performance enhancing drugs in sport. Why do we bother banning these drugs? If an athlete chooses the drug enhancement route why should we care? The negative effects are self inflicted and as individuals they will bear the final cost. The standard answer is that drug use creates an uneven playing field. But once again why should we care? The list of drugs keeps growing and the testing protocols are always a step behind. The current policy has not eliminated use and  has only succeeded is creating a huge expensive bureaucracy of testing and enforcement. What a waste of time, money and energy. Don’t we have better things to do rather than catering to a bunch of overgrown adolescents indulging in less than meaningful activities? To paraphrase John Lennon “who cares who is the greatest Bass Player / Tennis Play / Weight lifter, etc. in the state of Israel?”
  • Sport and Pop Music both of these activities are meant to be recreational and if we relegate the activities to a cadre of professionals we are defeating the intent of the activities. Couch potatoes may be recreating but not in a meaningful way. Apart from coaches, trainers and educators I suggest that there should be no such thing as a “Professional Sportsman” or a “Professional Musician”. The top echelon in both of those categories reap millions of dollars for what are essentially non-productive activities. There is something basically wrong when we pay these people millions of dollars and yet quibble about the cost of welfare and paying productive workers  meaningful wages.

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What can you buy for ten bucks?

WHAT CAN YOU BUY FOR TEN BUCKS? I GUESS IT DEPENDS ON WHO YOU ARE.

My wife is Scottish. I know, I know, in fact we all know the stories about the Scots ability to hang onto a dollar. But my wife is not like that. Because she has expensive tastes I don’t mean to imply that she is a spendthrift. But she is what I call “high expense – low maintenance” and she always has an eye for “a wee bargain”. Now my friend Doug Crawley, I don’t know if he is also “high expense – low maintenance”, you would have to ask his wife Beth about that. But I do know he has an eye for “a wee bargain” and he seems to have some incredible luck when it comes to musical instruments. There is the story of the e-bay bidding war for a Larrivee guitar. Then there is that beautiful mandolin, fully re-furbished, that he picked up for an unbelievably low price. Last, but not least, there is also the tale of the $10 purchase of a D09 Larrivee Dreadnought.

On a recent summer’s day he was on his way downtown to take in a concert in Rotary Park. It was a beautiful day so he had decided to walk rather than drive. On the way he passed one of those traditional yard sales. It didn’t particularly attract his attention until he spotted a guy walking out of the yard with a guitar. So just on the off chance he wandered into the yard just to check on what inventory maybe left. There it was. A Larrivee guitar that looked like it had been in a train wreck. It was broken, battered, and bruised with lots of major splits in the top and sides. It looked like it was beyond redemption. Also, on the off chance, he offered the owner $10 and, lo’ and behold he became the new owner of a piece of what he thought was un-redeemable junk. Doug and his wife Beth already owned a number of Larrivees and he thought that perhaps there might be something worth redeeming in the mess.

106. Bass Side before    108. Treble side - before 110. Neck block - before   100. Top - before  112. Bracing - before    102. Back - before 104. Serial NumberWhen he got back home he did an internet search on the serial number and discovered it was a D09 Dreadnought guitar, rosewood back and sides with a solid spruce top, probably built in Vancouver around 1994. The current list price of that same model today is over $3,000. What to do? It may have been worth that amount when it was new but in its present condition it was far cry from anything like that value. Or so he thought. He took it to the local Luthier Jamie Wiens to determine what were the possibilities. Given the make and model of the instrument Jamie felt that he could restore the instrument. It would not be one of his top priorities but he could fit it in with his bread and butter custom work. The project presented a substantial technical challenge that intrigued him. It was somewhat akin to putting humpty dumpty back together again. It would require a lot of custom improvisation to get the job done. Just getting the neck off the fractured instrument would require some ingenious tinkering that required building a device to generate steam and direct it to neck joint to loosen the glue.

At the end of the day Jamie rehabilitated the instrument and here is the list of what was required……..

  • Steam off the neck.
  • Glue neck, block and clamp.
  • Align and glue the large crack in the treble side.
  • Align and glue the large crack in the bass side.
  • Glue, clamp and splint the X brace.
  • Glue and clamp the cracks in the top.
  • Two rosewood re-enforcement patches and glue to the bass side.
  • Clean up the glue residue.
  • Buff and clean the body.
  • Fix the crack in the finger board.
  • Scrape and clean the binding.
  • Level and dress the frets.
  • Supply and install a Taylor end-plug, pin, and strap pin.
  • Install new light gauge strings.
  • Remove old pick-guard.
  • Install a new faux tortoise shell pick guard.
  • Install new saddle.
  • Supply old ebony bridge pins.

So here we have Humpty Dumpty back together again sounding beautiful, looking stunning and very comfortable to play. I defy anybody to be able to find the original cracks in the rosewood back and sides.

304. Refurbished D09   306. Refurbished D09  312. Refurbished D09 316. Refurbished D09

So this is what ten bucks (plus rehabilitation costs) can buy you in this day and age – a beautiful D09 Larrivee Dreadnought Guitar, as new, with a current value somewhere around $3,000. Only Doug Crawley could be that lucky.

300. Refurbished D09

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Software for Musicians

FINALE PRINT MUSIC 2014 for quickly creating customized notated music.

There is the old joke – “How do you stop a guitar player from playing? – The answer “You just give him a page of sheet music.”

Unfortunately it is just so true. Most amateur, and a sizeable number of professional guitarists, cannot read music.  Not only that, they often take great pride in their inability to read musical notation. Just think about that! Is there any other profession where professional practitioners would take pride in their inability to master a basic skill set ? Who has ever heard of say, an actor, who can’t read. Just think about how professionally limiting that would be for an actor. How would he or she learn their scripts? Would they have to get some one to teach them the parts and try and memorize the entire performance. Just imagine the nightmare of rehearsals. And for each new play or script the whole process would begin all over again. In the very early days of Greek Drama that may not have been a problem. There were the classic plays that once committed to memory could be trotted out year after year without any real need for change. Present day rock/pop musicians are in a some what similar situation. Once you have the classic rock repertoire down pat you can roll on year after year without any need to develop or change. But the other side of that coin is to just think about the limitations that imposes on one’s repertoire and possibilities .

I confess that my ability to sight read has been limited. Throw me a piece of sheet of music with a simple melody line and I have to laboriously work my way through the piece and commit it to memory. As I have grown older and my appetite for new and interesting music has out stripped my ability to memorize new music it has become imperative that I find a better way expand my repertoire. That means I need to improve my sight reading skills to the extent that I no longer need to memorize every piece of music I want to play. I want and need to improve my reading skills. Perhaps not to the level of interpreting a symphonic score but at least to be able interpret and perform music at a reasonably professional level. This is where Music Notation Software comes in. I used a program called SONGWORKS for a few years. It was cheap ($60) and clunky. I have been aware of the SIBELIUS software for years but the cost put that out of my reach. FINALE is a competing piece of software that also has a flagship version that is functionally competitive with Sibelius. It is also is some what expensive. FINALE has another product called FINALE Print Music 2014. This is a down scale version that is both affordable ($120 from Amazon.ca) and very easy to learn. My experience with SONGWORKS was probably a good primer for the FINALE product but I suspect any musician could get a handle on the software in one or two weeks. The notation entry is fairly intuitive, with lots of options to produce sheet music or a score that when printed looks and is very professional. Transposition of music from key to key is a breeze. Transposition within a key is also very quick and simple. Have you ever wonder how a piece of music would sound a third, fourth or fifth, etc, higher or lower? No need to wonder any more. A few clicks of a mouse and there it is. There is the option in the software to harmonize music in the fashion of Band-in-a-Box. There is a playback feature with a bank of sample sounds that enables you actually hear the music. The canned sounds are not the greatest but I suspect that there are opportunities in the software to access more realistic sounds. For melody lines I tend to just use the Flute or Oboe selections. The guitars are okay but the mandolin is horrible.

In the past I have had my printed music stored in a zillion three ring binders and the task of finding an older piece of music has always been problematic. But once you have notated the music with FINALE it is always there in an organized directory on your computer. Similarly, word processed lyrics can be treated in the much same way. If you need a hard copy, for whatever reason, just print it as required. Alternatively, transfer the files to a Tablet. Although not the complete answer there are advantages to this approach. With an appropriate clamp a tablet can be attached to a microphone stand and all your music is just a finger tap away. A thing to note is that FINALE Print Music 2014 files can only be read with the original software. It is possible to install that original software on a tablet. The license allows you a month of full use before the license needs to be activated. That doesn’t really need to be a problem. I do all the entry and editing on a desk top computer then transfer a copy of the files to the tablet for practice and performance. Even when the license has not been activated on the tablet it is possible to view and playback the files and that’s all one needs from the Tablet. You won’t be able to edit or save the altered file on the tablet but those functions are more easily done on the desk top.

I use FINALE in conjunction with two data bases of traditional tunes. THE SESSION https://thesession.org/tunes has just about every traditional tune in as many versions you could possibly wish for and it also has a lot of background information on sources, recordings, composers and artists. JC’S ABC TUNE FINDER http://trillian.mit.edu/~jc/cgi/abc/tunefind is another useful source.

http://balkanarama.com/charts.htm and http://voluntocracy.org/Music/tunes.html are useful sources of Eastern European melodies. I am sure there are a lot more out there. I am still looking for Middle Eastern and Turkish data bases. Of course a little surfing of YOUTUBE often turns up some interesting tunes that you can search the databases to get the notation of the tune. Type the notation of the tune into FINALE and use that as a learning tool. The down side to all this is the shear number of tunes that will end up on your tablet that are just begging you to practice, polish and move into your repertoire.

So that is my recent experiences with FINALE Print Music 2014. It is a piece of software I can readily recommend. It is available from many on-line sources but the cheapest and easiest is probably Amazon.ca. For $120, plus taxes and no shipping costs it could be on your doorstep in three days.

 

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Quotes of the week

There’s an old joke that goes: Why did the Canadian cross the road? Answer: To get to the middle of the road. Likewise (so they say), if you cut the average Canadian open you would find two words engraved on his or her heart. One would be “moderate”. The other would be “nice”.

and also

Stephen Harper didn’t do “nice”. His default setting was “nasty”, and he positively revelled in it. He was a control freak who instinctively tried to hurt and smear those who disagreed with him, and in his government even the time of day was a state secret.

These are from a recent column by Gwynne Dyer

 

Unwelcome House Guests

Have I told you this story? No? Well here it is. My encounter with a vicious ” wild beastie” in the jungles of British Columbia.

Mae (my wife) and I were watching TV when we heard a noise down by the front door. When I checked there was a cute Chipmunk perched on the jackets in the clothes rack by the door. He may have looked cute but there was a blood lust in those big cute eyes. We quickly closed all the internal house doors and opened the one to the outside. So, armed with a broom I organized myself to do battle. I tried knocking him off his perch but as each jacket fell to the floor he skipped back onto the one behind  until finally there was only one last jacket left. I thought it would then be an easy case of knocking him off that last jacket onto the floor and he would then scramble out the door. Not so. The “wee beastie” decided to make a fight of it. As I poked him he leaped off the last jacket, onto the broom and up the handle, over my face, lacerating my nose, then he made a mighty leap to the underside of the stairs. From there  I did manage to knock him onto the floor and then out the door. Although I was the victor he had extracted his vengeance. He left me with a face full of scratches and blood dripping on to the floor. I did manage to get the last laugh by trapping him a couple of days later and taking him up the road for be released into the wild. However, my last laugh may have been short lived. I got back to the house and I swear to God he beat me home. At least I thought it was him. Well it turned out it actually was two of his buddies or his extended family. They have been trying to move into the house ever since. So far they have managed to elude the trap and the battle continues. I WILL WIN THIS BATTLE. Hopefully without further blood shed……….. Rod Wilson

704. Tom and Jerri  706. Tom and Jerri710. Tom and Jerri

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Loud or Louder – Paquito D’Rivera

Paquito D'RiveraPaquito D’Rivera defies categorization. The winner of twelve GRAMMY Awards, he is celebrated both for his artistry in Latin jazz and his achievements as a classical composer. Born in Havana, Cuba, he performed at age 10 with the National Theater Orchestra, studied at the Havana Conservatory of Music and, at 17, became a featured soloist with the Cuban National Symphony. As a founding member of the Orquesta Cubana de Musica Moderna, he directed that group for two years, while at the same time playing both the clarinet and saxophone with the Cuban National Symphony Orchestra. He eventually went on to premier several works by notable Cuban composers with the same orchestra. Additionally, he was a founding member and co-director of the innovative musical ensemble Irakere. With its explosive mixture of jazz, rock, classical and traditional Cuban music never before heard, Irakere toured extensively throughout America and Europe, won several GRAMMY nominations (1979, 1980) and a GRAMMY. (Paquito D’Rivera website)

A few years ago, the great actor-educator Bill Cosby said that in order to correct the failures of our different communities, the first thing to do was to recognize and face those failures. So inspired by those wise words Paquito sent to the editor of “Modern Drummer Magazine” an article titled “Alfred Nobel and the Invention of the Microphone.” It didn’t work out.  The magazine declined to publish the article. In a modified form it has since resurfaced in the June 2015 issue of Down Beat (page 88).

Here an abridgement of several edited versions of the “offending” article:

“I truly believe that technology is here to help the art form, not to overwhelm it. But tragically, with few exceptions , the invention of the microphone  credited to the German-American Emile Berliner in 1876, has had truly damaging results – almost as damaging as the dynamite invented by Alfred Nobel in1876.  Both have been used and abused into creating irreversible material destruction by the latter, as well as serious damages in the good taste and ear drums of listeners by Berliner’s artificial amplification device. All of that came to be with the support of sound engineers and the consent of musicians  – some of them talented professionals – who increasingly ask for more and more volume in their reference speakers, and consequently in the house. It seems as if we have all reached the same conclusion that the louder the music is heard, the better it is; that volume is a synonym for energy, and the one that screams the loudest is the one who wins. I have witnessed the volume and reverb go up so high on Dave Valentin’s flute, that it converts the gorgeous natural sound on tunes like Obsession, the beautiful Pedro Flores classic that Valentin and his many fans enjoy so much, into something more appropriate for a heavy metal band. These days, the circus like atmosphere, the unnatural pyrotechnics, the reliance upon gimmicks to provoke applause , bad taste and excessive volume have hit jazz and popular music with such tsunami-like force that everything is now forte and fortissimo.  So, I naively thought that a well-known publication like “Modern Drummer Magazine” would be the ideal vehicle to awake drummers, as well as sound guys, percussionists, and electric players to the fact that they crossed the volume line a long time ago, and that it is about time to do something about it. But for some reason said magazine refused to publish my article.  Too bad.

“Paquito, ¡Nos hablas al alma de las innumerables víctimas de esta fenomenología! (You speak to the soul of the so many victims of this phenomenology!)”, wrote Colombian pianist Hector Martignon after reading a preview of that article, while soprano Brenda Feliciano mentioned on her Face Book page that “Many a vocalist has been a victim of this noise volume syndrome. I’m just one of them.”

On certain occasions, the legendary recording engineer Rudy Van Gelder, who made all those famous recordings for Impulse, Blue Note, CTI and Atlantic with Coltrane, Monk, Hubbard, Rollins, Miles, Lee Morgan and all those hip jazzmen of the 50’s and 60’s, had the guts to say – I believe it was in a DownBeat interview– that “Jazz pianists don’t want or don’t know how to get a decent sound on the piano.”  And to a certain point he was right since nowadays it is really difficult to find jazz pianists with the elegant, delicate, yet swinging sound of Kenny Baron, Teddy Wilson, Makoto Ozone, Renee Rosnes or Bill Evans, and there is no doubt that some of the fault lies on the drummers that everyday play loud and louder, forcing the pianists to bang on the keys, to ask for more volume on their wedges and thus destroying the inherent acoustic character of the instrument. So I wonder if that was one of the reasons that Nat “King” Cole and Oscar Peterson many times didn’t use a drummer in their trios.  “Give me more piano in the monitor” is the usual request onstage and my response is a simple question “why don’t you play more softly so that you can hear what  the freakin’ piano player is playing? You left the brushes at home or what?” On the other hand, the only way to play in tune and blend in an ensemble is by listening to each other, but how in heaven can I listen and play in tune with the guy next to me if all I can hear around is guitar, bass and drums acting as if we’re on a gig with Grateful Dead or Metallica?! Without mentioning names; the other day I went to listen to the supposedly “acoustic band’ of an unquestionably outstanding drummer, and when they started playing, the volume of the PA system for that tiny club was more than enough to be used at the Yankee stadium for amplifying “KISS”.

The great Argentinean pianist Jorge Dalto was convinced that drummers were carriers of the “original sin” and when they did play another way  – meaning softly and tastefully – it was with great effort and went against their nature. “Otherwise they would have taken up the Harp or Violoncello, no?” he would say half in jest. I think Dalto was exaggerating a little bit, since you are still able to find drummers like Ben Riley, Ernie Adams, or the wonderful Brazilian Edu Ribeiro to swing your butt off without breaking your ear drums. So, please do not misunderstand me. The drum set as well as the brass and even the saxophones, are instruments that have strong sonorous presence. I think that keeping that in mind all the time would make a big difference in balance and finesse.

Here is a statement that I have been hearing since my early days at the conservatory: “If you can’t hear the guy next to you, you’re playing too loud. That’s the only way to play in tune.” How in heaven can I listen and play in tune with the guy next to me if I am not able to hear my own horn with all that noise around me?” And then, since the electric bass emerged on the scene we have bassists who always think they are playing with Kiss or Metallica. Usually they ally with the drummers, and I even think they buy earplugs together, in sets of four, so they can have some fun amongst themselves while making life unbearable for the rest of the musicians.

Wynton Marsalis told me once that mikes are here to enhance the music, not cover it. That’s probably why they have removed even the contact microphone from the contrabass of Carlitos Henrique (I love his walking bass) in the Jazz at Lincoln Center Orchesta – so that the drummer has to come down so he can hear what his partner in rhythm is doing.

One evening at the annual Jazz Festival in Punta Del Este, Uraguay, trumpet player and leader Terrance Blanchard ordered the removal of all the microphones, including that of exquisite pianist Ed Simon. And guess what ? Miraculously, everything was heard crystal clear and with tremendous energy and swing. And the only thing required was to be quiet and listen with attention. That is what music was invented for in the first place, isn’t it?

Here is a little taste of Paquito’s music (Tico Tico) – note the driving samba rhythm of the Pandiero (Brazilian Tamborine) and the absence of an overbearing drum kit.

 

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I hear you Paquito, but it isn’t quite that simple. I think part of the problem is that audiences have forgotten how to listen. Away from the serious concert hall, the music has to compete with ambient audience noise, the big screen TV, cell phones, hand held devices and other extraneous noise. The musicians respond by just cranking up the volume. Having said that I agree that most drummers play way too loud. After hearing some classic recordings of the Teddy Wilson Trio (The Complete Verve Recordings of the Teddy Wilson Trio, Mosiac MDS-173) I came to the conclusion that all drummers should have their sticks broken and be forced to play with brushes. Teddy Wilson is the consummate elegant and tasteful pianist from a bygone era. On that collection of 8 CDs he is a accompanied by a plethora of acoustic bass players and drummers. Among the drummers on the recordings there were the giants of the day – Buddy Rich, Denzil Best, J.C. Heard, Specs Powell and the impeccable master from the Count Basie Band,  Jo Jones. If my memory serves me well all drummers only used brushes and the outstanding result was one of incredible pulse, drive and swing.

While the following is not an example of the extremes of the above debate it does illustrate some of the problems. Two recent concerts in Cranbrook illustrated some of the difficulties facing approaches to amplification. Both concerts were held at the Royal Alexandra Hall. The first concert featured the stellar Classical Chamber group Octagon playing the music of Schumann and Beethoven. The music was completely un-amplified  and the resulting sound was gorgeous – from the ultra soft to the ultra loud there was a full sonic spectrum. The second concert, just several days later, was by Bluegrass musicians. This genre of music is known for a  reverence for “a true acoustic sound” so, by definition, the amplification was not over the top. In fact it was quite modest. However, for one brief moment towards the end of the concert there was a lull in the amplification and the true possible glories of the music were evident. In any given musical environment, when to amplify and what to amplify is a tough call. Who plugs-in, what microphones to use, and how many to use are all questions to be considered. On top of that there are the expectations of the audience. In the case of Octagon the audience had no expectations of amplifications and that made life very simple. The musicians had vast experience in playing in completely acoustic environments and the audience had no expectations otherwise. The audience was amply rewarded for its faith. In the case of the Bluegrass concert, despite the philosophy of the musicians, there was an obvious audience expectation for some amplification. After all that is the norm. How well a group of acoustic bluegrass musicians could fill the given sonic envelope was open to question.   This would have been a good venue to test the possibilities. After all, unlike most venues, there was no ambient noise to defeat and the audience was attentive and committed to the music. It was a great concert with attentive and sympathetic sound techs and patrons, but one wonders how much better it may have been if the musicians had played the room like their classical counterparts.

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Crossing the Rainbow Bridge

600. Clancy 2005 ed

Clancy became part of the family one Christmas fourteen years ago. He is a Labrador cross who was found, along with his siblings, those many years ago, abandoned at a dump site. The SPCA took him into care until he was placed with us. Since that time he has been Mae’s best fiend and my constant walking companion. He loved to walk. He has been a very healthy dog up until very  recently. Of course he has aged and in the past 12 months he started slowing down. In the past three months he become afflicted with a respiratory problem that started to make walking slow and difficult. Yesterday (March 17, 2015) while walking on the crown land he had an almost catastrophic collapse and it was only with difficulty Mae managed to get him home. We decided that his days of  long walks were over. This morning we only walked him around the yard and once again he collapsed. He recover enough to start searching around in the bushes for a place to die. We had been warned that his respiratory condition would lead to this final outcome. It was with great sadness that we had to make the final decision to have him euthanized. So, at 4pm today, Wednesday March 18, 2015, the staff of the Tanglefoot Veterinary Clinic assisted Clancy on his final journey over “the Rainbow Bridge” to the place where all pets must eventually go. He started on this final journey from one of his favorite sunny spots at the front of the house. It was a very sad but peaceful farewell.

R.I.P CLANCY – MARCH 18, 2015

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Here is something Mae has had stuck on the refrigerator door for many years…

PETS TEN COMMANDMENTS

  • My life is likely to last 10-15 years. Any separation from you is likely to be painful.
  • Give me time to understand what you want of me.
  • Place your trust in me. It is crucial for my well being.
  • Don’t be angry with me for long and don’t lock me up as punishment.
  • You have your work, your friends, your entertainment, but I have only you.
  • Talk to me. Even if I don’t understand your words, I do understand your voice when speaking to me.
  • Be aware that however you treat me, I will never forget it.
  • Before you hit me, before you strike me, remember that I could hurt you, and yet, I chose not to bite you.
  • Before you scold me for being lazy or uncooperative, ask yourself if something might be bothering me. Perhaps I am not getting the right food, I’ve been in the sun too long or my heart might be getting old or weak.
  • Please take care of me when I grow old. You too will grow old.
  • On the ultimate difficult journey, go with me please…. Never say you can’t bear to watch. Don’t make face this alone. Everything is easier for me if you are there, because I love you so.

Take a moment today to thank God for our pets. Enjoy and take good care of them. Life would be a much duller, less joyful experience without God’s critters.

Please pass this onto other pet owners. We do not have to wait for heaven, to be surrounded by hope, love and joyfulness. It is here on earth and has four legs.

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Culture Vultures

My son (BJW) and I have had on going discussions for many years about when is it appropriate to plunder another culture. My son is now in his late thirties and works for an authentication software company. The job requires a significant amount of travel that exposes him to many different cultural mixes. So the discussion continues. This is a recent email exchange that kicked off with the following:

BJW: “The home of the blues is ……….. of course Finland” and the attached link

My (RW) response: “A reasonable cover but why do they bother? That stuff has been done to death over the past 50 years. She’s not black, she not a share cropper, she’s not oppressed, except perhaps as a woman,  and has no cultural connection to the material. And, besides, its has all been done before. Finland and Scandanavia have a great musical heritage (check out VARTTINA in the link below). After all Finland gave the world the great classical composer Jean Sibelius.  I have a problem when artists step outside their true cultural envelope. Brazilian musicians doing heavy metal, rap and hip-hop; Canadian musicians with great technical skill doing bluegrass and singing about Kentucky in fake down home accents. What a waste of talent. For myself I am very careful, even in the Celtic bag, to avoid being fake Irish. There are enough common songs and tunes that have spread across the Anglo/ Celtic world that it is not too much of a problem, and on top of that, there is a huge reservoir of down east fiddle tunes. Most of my material is deeply rooted in my Canadian / Australian / Irish / Scottish heritage.

(If I was Finnish why would I bother with hand me down blues interpretations)

BJW: .yeeeeah. I mean I get what you’re saying in terms of people doing the musical equivalent of dressing up in blackface. However, I don’t think anyone can see the world in strict terms of who “should” do particular varieties of music. All art is derivative. While I agree that I’m not too fond of people dressing themselves up in other cultures, you have to remember the old Clark Terry adage: Imitate, Assimilate, Innovate. Without the co-opting of jazz, we would not have the blues; without the co-opting of blues, we would not have rock. Without the co-opting of African drum / beat centric music, we would not have the drum/percussion centric drive behind rap. Without the co-opting of Irish / Celtic music, you would not have bluegrass. Every new generation of music steals from the old, as with all art. People steal it because it speaks to them, and then they make it their own.

In a global community, what does it mean to be a part of a “true cultural envelope”? The tribes are global. Examples:

  • I went to a club in Korea on one of my last trips – one of the top electronic music clubs in the world. The part that was most interesting was that the musical and cultural touchstones were identical in Korea to the ones I’d seen in Germany (where much of electronic music started with the avant-garde minimalist electronic music of Kraftwerk), England (which perfected the “house” brand of electronic music popular in the 1990s), and even the raves in the US and Canada. Were these people outside their “true cultural envelope”? I’d argue they weren’t – it just so happened that their true “cultural envelope” spans continents and language.
  • Yesterday, while we were in the “Christmas in the park” in San Jose, there were a bunch of teenagers in cosplay – dressed up as characters from a cartoon. A cartoon from Japan.
  • A buddy of mine was in India a while ago, in Goa. He went out to a bar with some of his Indian co-workers, and they were trading stories about where they grew up. When he mentioned Canada, they asked if he knew “Robin Sparkles” – a fictitious Canadian character on the American series “How I met your mother”, popular with a particular tribe of nerds. This is a show that isn’t even broadcast in India.
  • On my last trip to Korea, I ended up at a bar in Gangnam. I was tired of Korean food, so I picked a German brewhaus. Picture it: I’m a Canadian, born in Australia, working for an American company, drinking an English beer, in the German-style beerhaus, in Seoul. Oh, and then I have a call after that beer to sync with my Armenian and Indian development teams.
Cultural envelope is irrelevant. It’s like asking scientists to not bother being aware of other areas outside of their discipline that may have cross over benefits. Watson and Crick were successful specifically because of their experience across biology, physics, and chemistry. They beat the woman working on the problem of the form of DNA in terms of pure X-ray crystallography specifically because of their divergence from their “cultural envelope”. If there’s one thing nature has taught us, it’s that to simply continue to color within the lines is to stagnate. If DNA were a perfect replication process, we would have no evolution.  ……. Such is the same with music.
RW: I am a great believer in the benefits of cultural mixing. It is how new styles and musical adventures come about. That’s why I am constantly trying to pull other stuff into my own musical mix trying to create something that I can own. I just get a bit disheartened when musicians are incapable of recognizing their own and adding it to the mix. There seems to be an assumption that if its ours it can’t be worth anything.
 I have a friend who is a  musician with great musical chops in rock, country and bluegrass. A few years back he pulled together a cover band and I went along to hear it. After the performance he asked me what I thought and I gave him what he wanted to hear …. they were good and, truly they were good. But privately I thought “why bother, it had all been done before and done much better”. I am dying to hear what he could really do if he stepped out of the box..

I have another young friend at the moment who is into Nick Drake, who along with Michael Hedges, in my opinion are grossly over rated. Nick Drake wasn’t a success in his day simply because, in my mind, his music was uninteresting. So this young friend is busy trying to replicate Nick Drake’s recorded material. Once again, what’s the point. No matter how much time and effort he puts into the music it can never be as good (or as mediocre) as the original. He is not Nick Drake.  I would encourage him to, by all means experiment, with the open C tunings etc but come up with something that is original and something that he can  own. Which brings me back to the Finnish girl playing the blues …… What’s the point?

ps. Of course I disagree with your sentiments that  the cultural envelope is irrelevant. It is the basic building block of who you are and no matter how much you try you can’t really escape it. It is baggage, for good or ill, that always goes with you.”

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Because it is my blog I have the last word. I really believe in that  old Clark Terry adage  (one of the great jazz trumpeter soloist of the past 60 years): Imitate, Assimilate, Innovate. The problem as I see it is that there is a lot of attempted imitation, some assimilation and not too much innovation. The current state of Rock is a case in point   ….. has there been anything truly new since the days of “Classic Rock” ?

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