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I don't much celebrate birthdays — do you? — but I don't think I'd even consider celebrating my birthday while alone, and if I did, I might come up with the idea of champagne and some special food, but not of picking up a musical instrument and serenading myself.
It's so charming — don't you think? — that mandolin, foie gras, and champagne. I look to see — when was his birthday? Did he get to that birthday before the deathday popped up in the timeline of fate? Yes, he did. His birthday was January 14th. He died on the 21st.
"But through relentless touring and a 1978 appearance on NBC’s 'Saturday Night Live,' Meat Loaf found an audience, making 'Bat Out of Hell' an enormous, if unexpected hit.... Its signature tune, 'Paradise by the Dashboard Light'... was an ornate melodrama about a teenage make-out session... more than eight minutes long and [it] even contained a long segment narrated by Hall of Fame baseball player and broadcaster Phil Rizzuto, describing a batter rounding the bases and sliding into home. (Rizzuto said he didn’t realize his description was meant to be an elaborate sexual metaphor.) His musical secret, Meat Loaf said, was that he approached every song like an actor preparing for a role. 'I can’t sing unless there’s a character... Because I don’t sing. It’s almost like being schizophrenic — I don’t sing, the character sings.' Early in his career, the long-haired, 300-pound Meat Loaf was openly mocked by critics — and even by [his collaborator Jim] Steinman, who once called him 'a grotesque, bloated creature, who stalked the stage like an animal but acted as if he were a prince.'"
This wasn't my kind of music, but I can admire his work from afar. People loved him in "The Rocky Horror Show,” and he had a very interesting role in "Fight Club."
And he's got a great Donald Trump connection — "Meat Loaf, should I run for President?"
Later, "You look in my eyes: I am the last person in the fucking world you EVER want to fuck with":
The history of polka dots. This is the article I want to read. I feel some pressure to write about Biden's 2-hour news conference yesterday, which I watched, but I'm loath to blog it without a complete transcript. I have seen the "5 takeaways" pieces and the "utter disaster!!!" stuff, and it's propaganda on top of propaganda. Until I find a transcript, I'm holding off, I'm in the ellipsis... and therefore: polka dots!
Haramis writes delightfully:
Though a staple of Central European folk art, and named for a dance popularized in mid-19th-century Bohemia (now part of the Czech Republic), polka dots have played an outsize role in defining America’s national identity over the past century. For a country constitutionally preoccupied with happiness, the print has proved a useful and recurring signifier of optimism, especially when it seems furthest from reach. Polka dots are the uniform of the ever-perky Minnie Mouse, and of a relentlessly high-spirited Shirley Temple in 1934’s “Stand Up and Cheer!,” released in the midst of the Great Depression. During World War II, when Westinghouse Electric produced a poster to boost the morale of female workers, it depicted a factory employee with her hair wrapped in a red polka-dot scarf, ready to get the job done. (The refined New Look — rounded shoulders, cinched waist, billowing skirt — that Christian Dior developed in the postwar years was in many ways an expression of European distaste for Rosie the Riveter’s earnest vigor.) By the 1950s, polka dots had come to symbolize, for better or worse, the dogged cheer of midcentury America. Marilyn Monroe and Lucille Ball wore the print with such frequency that it became the visual equivalent of apple pie — comforting but predictable — and in Billy Wilder’s 1961 political satire, “One, Two, Three,” East German Stasi officers torment a suspected spy by playing, on repeat, a caterwauling version of the 1960 Brian Hyland song “Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini.” Too much of a good thing can be wonderful; it can also be torture.
Ha ha. I remember when that song came out. There were so many novelty songs at the time, and they were wonderful to me when I was 9. As for bikinis, though they were very controversial until the 1970s, they'd been around since 1946, when the designer named them after the atomic bomb test that had just taken place on the Bikini Atoll. And that drags me back into contemplating Biden's new conference, in which I believe he advised Putin that the only way for him to succeed in Ukraine would be to use nuclear weapons. I need the transcript....
Here's the Wikipedia article on polka dots, where, among other things, I learned about Polka Dot Man and the fact that because the dots on his costume are different sizes and colors, they are not actual polka dots:
Apparently, Polka Dot Man can peel off those dots and turn them into useful weaponry. He looks a little like Biden, don't you think? That smile! Those eyes... speaking of dots....
ADDED: 2 years before "Itsy Bitsy Teenie Weenie Yellow Polkadot Bikini," there was that other novelty song about skimpy clothing for women, "Short Shorts." On the piano, that's Bob Gaudio, who co-wrote the song and went on to co-write all the most famous Four Seasons songs:
And as long as I'm extending this post with extra video of songs about wild things women are wearing, here's the most famous number from "The Gang's All Here," "The Lady In The Tutti Frutti Hat":
That moved the classy critic James Agee to write: "There is one routine with giant papier-mache bananas, cutting to thighs, then feet, then rows of toes, which deserves to survive in every casebook of blatant film surreptition for the next century." And here we are in the next century, talking about it.
AND: From the OED entry for "polka dot":
1966 Mrs. L. B. JohnsonWhite House Diary3 Apr. (1970) 382 A young newspaper-woman in a black-and-whitepolka-dotbikini, with a figure to suit it....
1957 V. NabokovPninvi. 138 Amber-brown Monarch butterflies flapped.., their incompletely retracted black legs hanging rather low beneath theirpolka-dottedbodies.
1996 EsquireJune 38 A model whosenom de spumewas Big Ginger bobbed her lush mangoes perkily against herpolka-dottedbikini top.
"According to MRC Data, old songs now represent 70% of the US music market.... The new music market is actually shrinking.... [T]he 200 most popular tracks now account for less than 5% of total streams. It was twice that rate just three years ago.... [T]he current list of most downloaded tracks on iTunes is filled with the names of bands from the last century, such as Creedence Clearwater and The Police. I saw it myself last week at a retail store, where the youngster at the cash register was singing along with Sting on 'Message in a Bottle' (a hit from 1979) as it blasted on the radio. A few days earlier, I had a similar experience at a local diner, where the entire staff was under thirty but every song more than forty years old. I asked my server: 'Why are you playing this old music?'
She looked at me in surprise before answering: 'Oh, I like these songs.'... The people running the music industry have lost confidence in new music. They won’t admit it publicly.... The moguls have lost their faith in the redemptive and life-changing power of new music—how sad is that?... [And yet m]usic company execs in 1955 had no idea that rock ‘n’ roll would soon sweep away everything in its wake. When Elvis took over the culture—coming from the poorest state in the US, lowly Mississippi—they were more shocked than anybody. And it happened again the following decade, with the arrival of the British Invasion from lowly Liverpool (again a working class city, unnoticed by the entertainment industry). And it took place again when hip-hop emerged from the Bronx and South Central and other impoverished neighborhoods, a true grass roots movement...."
I was listening to Bob Dylan's old radio show — "Theme Time" — the other day, and he read what was supposedly a letter from a listener, asking why did he play so much old music when there's new music too. His answer was: He plays old music because there's so much more of it.
The old should dominate. There's a century and more of old recordings to play on the streaming services. Why should the music of the last few months predominate? Anything new has to compete with everything old.
I'm old, so I don't expect to like anything new, and I'm delighted to have access to the entire history of recorded music with Spotify. I discover things that are new to me. Some of them are many decades old, sometimes even older than I am, and, as I said, I am old. These are recordings, not live concerts. They're like books. We pick what's best, not what's new.
But I remember how exciting it was, back in the 1950s and 60s, to hear what was new on the radio, to feel that the culture was alive and inventive and a cool, unfolding surprise. Maybe none of that would have happened if we'd had something like Spotify/Apple Music to allow us to root around endlessly in the past.
“She will have her own place in history because there was nobody like her,” Darlene Love, who also worked with Spector in the early days, tells Rolling Stone. “When I first met her in 1964, she was this little bitty thing — she reminded me of a little Barbie doll. But then she had this big voice. The way she sang and moved onstage, that was rock & roll.”...
“As I said many times while he was alive, he was a brilliant producer, but a lousy husband,” [Ronnie Spector] said shortly after [Phil Spector] died last year. “Unfortunately, Phil was not able to live and function outside of the recording studio. Darkness set in, many lives were damaged. I still smile whenever I hear the music we made together, and always will. The music will be forever.”
"... died on Saturday at her home in Los Angeles. She was 93. A spokesman, Ken Sunshine, said the cause was respiratory failure.... For many years their words were also heard every week over the opening credits to hit television shows like 'Maude,' 'Good Times' and 'Alice.'.... In 1956 she fell down a flight of stairs and broke her shoulder.... Unable to play the piano because of her injury, she recalled many years later, she could not compose and so decided to write lyrics instead."
This morning's article is an unusual combination. I'm going to introduce you to a song, then talk at some length about its very profound meaning for me. Call it an extended meditation on God, life, the universe and everything, if you will.
A couple of weeks ago I happened upon an album released in 1999 by country and bluegrass musician Ricky Skaggs, titled "Soldier of the Cross".
I'm not a big fan of either music genre, and I don't normally bother with "commercial" Christian music, but somehow I felt led to click through to a couple of the tracks and listen for a few moments.
One of them was titled "Seven Hillsides", composed by Texas native Walt Wilkins. It describes the dilemma of a preacher who's to deliver memorial services at the graves of seven soldiers, killed in action overseas. How is he to comfort their families, particularly their mothers? How is he to make sense of their deaths in the context of the Christian message? Since that's something I've had to do for myself, first from the perspective of my own faith, and then for others as a pastor and chaplain, you'll understand that this song struck me very powerfully indeed.
Walt Wilkins has recorded this song himself, on his 2001 album "Rivertown".
However, Mr. Wilkins has said he loves Ricky Skaggs' version of the song, and who am I to argue with the songwriter? Before I go on, let's listen to it.
As a pastor, I can assure you that's a very good description of the moral and spiritual dilemma we face every time we have to do something like this. How can we make sense of tragedy and loss in the context of our faith? To me, it's blasphemous to suggest that everything that happens is God's will. I refuse to believe that God points at someone and says, "I'm going to kill you now, to see how your family copes with your death, and test their faith!" That's not the God I've come to know over the years. Rather, I recall that God never once promised us a life of wine and roses, or milk and honey, or whatever. Instead, he promised us grace to cope with life, whatever it throws at us. In my experience, he keeps that promise - if we're prepared to accept his grace on his terms.
Regular readers will know the background to my faith, and how it's been formed and tested over the years. I make no claim to be some sort of Christian hero - I'm anything but. I've made more than my fair share of mistakes, and committed far more than my fair share of sins. I fear God's justice when I face his judgment for my life - almost as much as I hope in his mercy, which is the only thing that will save any of us. Nevertheless, as best I can, I try to live what I've come to believe through my experiences.
For those of you who aren't familiar with my background, here are a few blog articles I've written over the years, in chronological order.
My faith grew out of those experiences, and remains formed by them to this day. I try to express it in the pages of this blog, particularly when writing about modern tragedies such as terrorism and war. However, a lot of people who haven't seen such destruction at first hand seem to approach such issues with a much simpler, black-and-white perspective that doesn't allow much in the way of "gray areas", where ethics, morality, attitudes and actions are less clear-cut and more complicated. Far too many people seem to see the world - they prefer to see the world - in terms of "us" and "them": and we're all right, and they're all wrong, because that's the way it is.
That attitude is the cause of so much death and destruction that it's almost impossible to tabulate. I've seen it in more than one war zone in sub-Saharan Africa, and I'm seeing it now in these dis-United States. I wrote about it at some length after the Paris terror attacks of 2015, in an article titled "Paris and the pain of being human". I meant every word I wrote there; but my words clearly didn't satisfy many readers, as the more than 60 comments the article attracted will make clear if you read them (I hope you do).
Here are the salient paragraphs from that article.
Those aren't the worst aspects of violent conflict. To me, the worst is what it does to the human psyche. You become dehumanized. Your enemies are no longer people - they're objects, things, targets. You aren't shooting at John, whose mother is ill, and who's missing his girlfriend terribly, and who wants to marry her as soon as he can get home to do so. You're shooting at that enemy over there, the one who'll surely 'do unto you' unless you 'do unto him' first. He's not a human being. He's a 'gook'. He's 'the enemy'. He's a thing rather than a person. It's easier to shoot a thing than it is a person.
. . .
And in the end, the bodies lying in the ruins, and the blood dripping onto our streets, and the weeping of those who've lost loved ones . . . they'll all be the same. History is full of them. When it comes to the crunch, there are no labels that can disguise human anguish. People will suffer in every land, in every community, in every faith . . . and they'll turn to what they believe in to make sense of their suffering . . . and most of them will raise up the next generation to hate those whom they identify as the cause of their suffering . . . and the cycle will go on, for ever and ever, until the world ends.
We cannot 'kill them all and let God sort them out' (and let it never be forgotten that those obscene, inhuman instructions were reportedly issued, not by a Muslim fundamentalist, but by an Abbot and Papal Legate of the Catholic Church). There are too many of 'them' to kill them all, just as 'they' can never kill all of 'us'. We cannot kill our way out of terrorism. We cannot kill our way out of the dilemma of being human, with all the tragedy that entails.
May God have mercy on us all.
That article, looking at the pain of loss suffered by so many in those terror attacks, strikes very close to the heart of what I felt when I listened to "Seven Hillsides". Right now, I'm seeing the same hardness of heart felt by Americans towards each other. Those on the left demand their version of utopia, and regard all who stand in their way as "reactionaries" or "conservatives" or "rednecks" or "deplorables" or whatever the "label du jour" might be. Those on the right regard their opponents as "progressives" or "socialists" or "terrorists" or "thugs" and the like. However, neither side refers to their opponents as "human beings". They objectify them as something to be rejected, perhaps feared, certainly destroyed in respect of their positions, if not their actual lives. They won't accept them as fellow Americans who happen to hold different opinions.
The Christian faith that's supposed to animate this country, according to so many of the Founding Fathers, is conspicuous by its absence on both sides. The right may complain about openly anti-Christian sentiments on the left, but their own attitudes display as much disregard of the Golden Rule as do their opponents'. Pot, meet kettle. Kettle, pot.
And so, pastors such as myself are again dumped straight into the old dilemma. How can we make sense of suffering, pain and loss in the context of our faith, when both sides fail to recognize their opponents - political, electoral or otherwise - as fellow human beings for whom Christ died? In war, it's common for allegedly "holy leaders" to claim that "God is on our side" or "God is with us". It's always struck me as incongruous that both sides make that same claim. It must be awfully schizophrenic for God to find himself divided like that, two halves of himself working against the middle! Clearly, that sort of religious propaganda won't fly. Mothers on either side mourn the loss of their loved ones . . . so how can we put that loss in the context of what it means to be Christian, and human, and real? How can we preach God's truth, rather than our partisan, one-sided, limited perspectives?
I have no answers that will satisfy everybody. All I can do is point out that we are called to judge ourselves by God's standards, not to judge him by our standards. Sadly, most of us fall into the latter error; and if pastors try to point that out, we're derided and rejected for not taking sides. We can't win.
And that's the pain of being human. We are called to be more than human; not just natural, but supernatural - yet we insist on remaining in the mud and the mire, and refusing to "lift up [our] eyes unto the hills, from whence cometh [our] help". We won't find God's answers by looking down at the human condition, but by looking up, to see what he intends human beings to become.
He has showed you, O man, what is good; and what does the Lord require of you but to do justice, and to love kindness, and to walk humbly with your God?
That, right there, is a pastor's calling; to remind and help people to lift up their eyes, and their lives, and "walk humbly with our God". That's not an optional instruction, to be observed only if others do the same to us. The Golden Rule ("Do unto others as you would have them do unto you") and the eleventh commandment ("Love one another as I have loved you") are spiritually synonymous. However, as pastors, we need not be surprised if reminding people of that reality leads to rejection by some. After all . . . look at what they did to Christ, who embodied that teaching.
And, thus, today . . . we face our own "Seven Hillsides".
I'm obliged to reader Andrew S. from Brisbane, Australia, for sending me the link to this morning's music. He wrote:
"... this guy normally films real estate videos but had some COVID 'spare time' on his hands and decided to see if he could still play the guitar or not. I think he can, and it’s well worth a few minutes of your time if I may suggest so."
In the video blurb on YouTube, the composer, Duane Adam, writes: "Filmed on Kings River in Kingsburg CA during the pandemic because there was nothing else to do." I'm very glad he did! Judge his composition and playing for yourselves.
Andrew, you were right. Definitely worth taking the time to listen! Readers, if you agree, let's see if we can persuade Duane to compose and play more. There's real talent there. Leave your comments at the music video on YouTube, or on the forum discussion (and here as well, of course!).
We've heard the music of Ian Anderson and his group Jethro Tull on many occasions in these pages. This morning I'd like to introduce a recording of which many Tull fans may never have heard.
He partnered with John O'Hara and the Carducci String Quartet to produce chamber music versions of many classic Tull tunes. I rather like it, and I hope you will too.
To start off, here's a medley of two very early Tull tunes: "Sossity: You're a Woman" (from the album "Benefit") and "Reasons for Waiting" (from the album "Stand Up").
Now and then readers send me music recommendations, to which I always listen in the hope of discovering something new, interesting and enjoyable. Even if I don't necessarily like what they recommend, it helps stretch my musical boundaries and keep me from staying in the same old rut.
One such recommendation came from reader Badfrog a few weeks ago. He sent a link to a video on YouTube. It's from Icelandic group Skálmöld, who are described by Wikipedia as "a Viking / folk metal band".
The band's name is literally translated as Age of Swords and also means "lawlessness", referring to the Age of the Sturlungs of Icelandic history, when a civil war broke out between the country's family clans.
. . .
From the beginning, Skálmöld's intention has been to combine the sounds of the traditional Icelandic music and metal. Initially, the band planned to use a lot of folk instruments, but soon decided to scale back and have three guitar players instead. The band's influences include such metal bands as Metallica, Iron Maiden, Anthrax, Slayer, Amon Amarth and Ensiferum, as well as Jón Leifs, the classical Icelandic composer. Skálmöld's lyrics, written by Snæbjörn entirely in Icelandic, are inspired by the Norse mythology and Icelandic sagas. Furthermore, the lyrics conform to some of the Old Norse poetic forms, including fornyrðislag and sléttubönd.
All the band members are members of the heathen organisation Ásatrúarfélagið. Jón Geir Jóhannsson explained the way they believe in the Norse gods: "You shouldn't personify them. It's not people, it's stories that represent human nature. So yes, the ethics are there, but we don't believe in them as 'persons'."
I freely admit, I don't like their vocal style. Their lyrics are sung in a hyper-aggressive growling tone typical of a lot of thrash metal groups, which I find grating and unpleasant on the ear. On the other hand, their melodies are undoubtedly inspired by both the folk and the classical traditions, and make interesting listening. Judge for yourself in this live performance (with the Iceland Symphony Orchestra) of the group's composition "Kvaðning" (which Google Translate renders as "Query" or "Question").
The track is taken from the group's 2013 live album "Skálmöld Og Sinfóníuhljómsveit Íslands" ("Skálmöld with the Iceland Symphony Orchestra"). The group also has five studio albums to its credit. Many tracks are available on YouTube. Here, for example, is the song "Vanaheimur" from their 2016 album "Vögguvísur Yggdrasils" (which translates as "Cradle of Yggdrasil" or "Yggdrasil's Cradle" - it appears to refer to the branches of the fabled tree of Norse mythology as the cradle of the life or lives that depend on it).
My verdict? I like their melodic lines, and the innovation of blending the Viking and folk rock genres (or, more accurately, sub-genres). I dislike (and I mean really dislike) their vocal style; to me, its grating violence ruins the music behind the lyrics. There are clearly many who disagree with me, or the group (and the many thrash metal groups like them) would not survive and thrive as they do. Nevertheless, I'd like to hear an album of their music without the vocal track. I think an instrumental version would be much more enjoyable to my old-fashioned ears.
I leave it to you to make up your own mind. Meanwhile, thanks to reader Badfrog for broadening my musical horizons. This was an intriguing diversion.
Let's have a change of pace this morning, to a bygone age.
English composer and organist William Boyce was Master of the King's Musick from 1756 until his death in 1779. He wrote eight symphonies, plus many other works. Here's his Symphony No. 1, a pleasant, easy-listening short late baroque/early classical piece.
All eight of his symphonies may be heard on YouTube. They're typical of English music of the period. I don't find them particularly outstanding, but they're pleasant background listening, and easy on the ear - which is probably exactly what the Master of the King's Musick was supposed to compose.
I was amused to read of a 1964 Beatles tour of South America that . . . er . . . wasn't. The BBC reports:
Early in 1964, as Beatlemania swept the world, newspaper headlines announced that The Beatles would be travelling to South America later that year. Millions awaited their arrival with bated breath – and in July, when four young moptops descended into Buenos Aires Airport, it seemed that teenage dreams were about to come true.
The Beatles were actually nowhere near Argentina at the time. The British group – who split 50 years ago this month – were back home in London, on a rare rest stop between concerts and recording. But with or without their knowledge, four young guys from Florida named Tom, Vic, Bill and Dave had taken their place.
There had been a terrible mix-up.
Previously a bar band called The Ardells, the quartet were now 'The American Beetles', or sometimes just 'The Beetles' for short. "When The Beatles got to be famous," their manager Bob Yorey recalls in The Day The Beatles Came To Argentina, a 2017 documentary directed by Fernando Pérez, "I said, 'You know what? They’re the English Beatles. I’m gonna make up a group…'
"I got these four guys and I said, 'Listen. Grow your hair and we’re gonna call you ‘The American Beetles'.’" They duly obliged. "We wore our hair the same, we dressed the same, we wore suits. It was pretty good", Bill Ande, their lead guitarist, tells BBC Culture, over the phone. Both a joke and a timely cash-grab, the group’s rebrand had won them big crowds and fresh attention from promoters back home.
An impresario named Rudy Duclós spotted them in a Miami club. He was from Argentina, he explained, and he was keen to book them on a tour of South America. Yet in selling the group to promoters and venues, Duclós hadn’t quite mentioned the 'American Beetles' part. He’d pitched them as the real thing. Contracts were signed, the press was primed, and teenagers anxiously awaited their arrival. The Beatles were coming.
The resulting mix-up was chaotic, catastrophic, and highly amusing.
'They have hair in their vocal cords! They sing bad, but they act worse!' went one headline. 'The Beetles showed that all the talent they have is in their hair!' screamed another. Crónica called the tour 'a farce far greater than their disputed male presence', and devoted column inches throughout the month to their attacks. The American Beetles were 'antimelodic', 'howling songwriters', and drew comparisons to los pelucones, the wig-wearing conservatives of 19th-Century Chile. As for their singing, reporters claimed bluntly, '…they are awful'.
There's much more at the link. It's highly amusing in hindsight, but at the time it must have been quite the experience for the faux Beatles.
Reader Glen W. sent me a YouTube clip from an Israeli group calling themselves "Anna RF". On their Web site, they describe themselves as follows:
We’re ANNA RF, An Electro Ethnic Reggae band who creates music that combines the beauty of different cultures and brings people together in a joyful celebration of unity. The group’s sound is a mix between east & west, our vision stands for blending ancient and modern instruments with a live-electronic touch.
Our shows are known as parties 🙂 people are coming to dance and feel free.
The band exists since 2012. In these years we performed in many countries in big crowded festivals as Ozora, Ancient trance festival, Psi Fi, Edinburgh fringe festival and many more.
. . .
The phrase anna RF is an Arabic-Hebrew expression which has a double meaning – “I know” and “I don’t know”, That stand for the philosophy of the group.
I'd never thought of a combination like "Electro Ethnic Reggae" before, so I was naturally intrigued. Their music is certainly easy on the ear. Here are four selections from YouTube.
First, here's the clip Glen sent me. Anna RF join with Indian group Naadistan to create harmony.
Here's "Why?", composed and recorded in the Alps in 2014.
This one's called "Weeping Eyes".
And finally, here's the title track from their album "Flight Mode".
It's certainly interesting music, and rather different from what I normally play. You'll find more on the group's YouTube channel, and at the links they provide beneath each video there.
I hadn't known that the album had been re-mastered and re-released. I was pleased to find it through Irish's blog post. For fans of Pink Floyd, perhaps the most technically accomplished rock group ever, here's the re-mastered album.
Here's something different for music fans of every genre, and an introduction to a very versatile young lady. Harpist Amy Turk has composed and performed in genres ranging from power metal, through folk music, to classical. She graduated with a Masters degree from the Royal Academy of Music in London, England, in 2014.
Her last performance at the Academy has become a hit worldwide. From her bio at her Web site:
For her final recital Amy transcribed and arranged J.S. Bach’s Toccata and Fugue in D Minor, BWV565, drawing heavily from the original organ score and consulting with organists at the Academy in order to properly convey the timbral details of the original work, in addition to incorporating authentic German baroque ornamentation.
I'd never have thought of the Toccata and Fugue as a harp piece, but Ms. Turk delivers a virtuoso performance.
To demonstrate her cross-genre versatility, here she is with Billy Idol's "White Wedding".
And, continuing the marital theme from the world of folk music, the very well-known "Mairi's Wedding".
You'll find more of her work on her YouTube channel. I think she's off to a great start to what I hope will be a long musical career.
I'm obliged to Michael Z. Williamson, author, blogger and friend in meatspace and cyberspace, for posting yesterday, on MeWe, this clip of a 2019 performance by Mark Knopfler of his 1982 masterpiece, "Telegraph Road". It was originally performed with his group Dire Straits. It was the lead track of their album "Love over Gold".
The album has always been one of my favorites, so I thought you might enjoy Mark's rendition of the song, almost 40 years after it first appeared. He's grown older (a lot older!), but so have I; and the song itself is timeless.
I daresay "Telegraph Road" will still be played a long, long time after I'm dead. It's a masterpiece of its oeuvre.
