Just so you know, this one was brought to mind, and eventually found its way here, because of a lyrics quiz.*
The Motels are a band that barely escaped ‘one-hit wonder’ status in the early eighties, mostly by having two songs that became popular, but part of this was because these songs departed from their normal style; their other work, or at least everything that I found when I started checking them out more, just didn’t gel into the pop culture of the time. While they dropped into obscurity fairly quickly, just about everyone that listened to music in the eighties will recognize both songs, even if it’s with, “Oh, yeah – I haven’t heard this in a while.” Lead singer and guitarist Martha Davis has a strong, distinct voice, slightly haunting, and uses it to good effect in both of their hits. The members of the band are not what I would consider ‘accomplished’ musicians and their compositions are simplistic, but they use this very well to produce recognizable riffs and melodies, where the music stays with you just as much, if not more so, than the singing – it doesn’t take instrumental expertise to create a ‘hook.’ Both songs remain a bit formulaic, and brief, but they fill it out well and demonstrate a good knowledge of balanced instruments and counterpoint lyrics. Full credit to Davis: no transcript of lyrics is necessary to follow her. This is the better song, ‘Only the Lonely’ (from the album of the same name) released in 1982. And since this is the eighties, a saxophone serves as an integral part of the bridge, but as I’ve said before, this is many times better than the folk guitar trend that sprung up in the nineties. Meanwhile, since I’m the one bringing this to your attention, you know the bass forms a strong part of the melody.
Only the Lonely – The Motels
Their next hit isn’t as strong, and lyrically it’s vague and lackluster, though Davis still makes it work – you’re listening for the vocals, not really the story. It evokes the ‘end of summer’ vibe quite well, even when the reference to “last summer” seems to imply this was some time past rather than happening in the present. Again, fairly simple musically, and this time resorting to the over-sustained guitar riff that is used far too often, muddying up the actual notes and chords; this would have been much better with the effects toned down, but at least it only appears in the bridge. Given all that, it still has the ability to stay with you, the keyboard fills remaining behind in your head for a long time. This is ‘Suddenly Last Summer’ from 1983, off of the album Little Robbers.
Suddenly Last Summer – The Motels
Listening to some of their other work, you might find that the voice is recognizable, but not at all the style, and the broody and soulful lyricist has given way to someone a bit wilder, which is plainly visible in some of the videos of their work, especially live – Davis seems a little of a ham. I’d have to say I’m better with just the audio.
[A brief side note: While I’ve only included the audio in this post, the videos are easy to find if you’re so inclined, and the one for ‘Only the Lonely’ was directed by Russell Mulcahy, who’s been mentioned here before and, really, has done a shitload of music videos as well as several feature films. Once you’ve seen a few, you’ll start recognizing similarities and style. Music videos, especially in the early days, could be all over the place, but Mulcahy’s likely set a standard for those that followed, usually being quite elaborate productions with a great sense of place and mood.]
Yes, we’re still wallowing in the eighties music, and I say that up front so you can heap scorn and go back to listening to, I don’t know, some misspelled artist of some kind. There was a particular quality to music from the eighties, and I’m fully aware that I may be saying that because that’s when I first got seriously interested in music. It’s also the time when I started hearing music from much better sources than the local radio stations, and when I had a decent stereo system, which certainly introduced more nuances and subtleties that simply did not come through a single 8-ohm speaker on a clock radio, so yeah, there are mitigating factors. But there remain some aspects that I’ll highlight yet again here.
Our artist this fine Tuesday is Chris de Burgh, who most people are at least a little familiar with, even if they only know one song; in the US at least, there were but two that made it into regular rotation – a little too regular, according to some. We’re about to get to one of those before we move on to some unknowns from perhaps his strongest album.
“The Lady in Red” is certainly the single that charted the highest and received the most airplay, and I was under the impression that it made it onto a soundtrack of some movie from that period, but I find no mention of it so I’m probably conflating it with the obscure movie of the same name. As popular as it was, it also received some scathing criticism, a small portion of which (in my opinion) is deserved, since it’s a slow love ballad. One critic in particular called it “mawkish,” but then again, all slow love ballads can be called that if you’re so inclined, and I learned long ago that many music critics are even more sexually frustrated than televangelists, and just as mistakenly enamored of their own pronouncements; feel free to apply that to me as well if you like. I still find that “The Lady in Red” showcases de Burgh’s remarkable vocal range quite well, and establishes the mood that he was after. Depth or ‘meaning?’ Not so much; again, love ballad. It still compares favorably against countless other examples, before and since, and the sales figures have their own say. This may have led to it being relentlessly overplayed on many stations, which is enough to breed fierce resentment, but that’s the fault of program directors, not the musician or band.
But his first big hit was entirely different, and not even close to a love song, or indeed a whole lot else to be found, and certainly has all the energy lacking from any ballad. We’re no longer in the realm of ‘present day’ here, while being vague about what realm we are within – that’s up to the listener’s interpretation. Really, there should be more songs of this nature, because they induce a lot more attention to the lyrics – granted, I was into role-playing games at the time and so the legend/mythos aspect might have resonated more. Here’s the second recognizable offering from Chris de Burgh, “Don’t Pay the Ferryman,” and while the mood and energy are far from subtle, pay attention to the bassline and the synth accents that help establish much of the feel of the song.
Don’t Pay the Ferryman – Chris de Burgh
Should you have attempted to sing along, you’re either hurting right now, or cravenly skipped the choruses, or possess a significant vocal range, far in excess of ninety percent of recording artists in any time period, something for which de Burgh receives too little recognition. While most people seem to associate the eighties with synth and ‘New Wave,’ one of the biggest things emphasized then was vocalization, clear and melodic. How this morphed into semi-spoken and often mumbled lyrics throughout the nineties remains a mystery to me, possibly evidence of an interdimensional rift, but I’m betting most of those artists/bands will see no resurgence in popularity like the eighties did.
Not too long after “Don’t Pay the Ferryman” charted, de Burgh released the album Into the Light, which featured “The Lady in Red” and the following three songs. You’ve been forewarned: the next one is another love ballad, but as far as I’m concerned, it should have taken the place of “The Lady in Red” on the charts, because it’s much stronger and more dynamic musically, and even if the lyrics aren’t particularly deep, they nonetheless carry more of the story. And again, the vocalizing is excellent, though remaining within reach of more people this time. The saxophone was the only brass that seemed to make it out of the seventies for a while, largely vanishing by the nineties (in favor of the folk guitar – trite trite trite trite trite,) and it’s used to good effect here, establishing the mood as much as, if not more than, the lyrics. This is, “Fatal Hesitation.”
Fatal Hesitation – Chris de Burgh
For the next song, we see how de Burgh is adept at creating a brooding quality to his music, but it often exists as an undertone to very powerful crashes and flourishes, an undeniable amount of energy while still carrying a faintly forbidding air. No love song now – you can almost feel the stiff breeze coming off the ocean ahead of the storm, with the flashes of lightning, even as the celebrations take place. There’s triumph, but there remain indications of what it took to get there. This one deserves a lot of attention to the music, because it exemplifies a trait of the eighties, the ability to blend together a widely disparate collection of riffs and stings, commentary from countless instruments, eschewing the overused reliance on electric guitar and the extended solo (even though de Burgh is most recognized as a guitarist.) This time it’s the drums that provide a surprising amount of the music while not really being a drum song; meanwhile, the basic synth sound sticks with just a few notes in the background, though various other keyboard parts have their say. It’s a refined recipe rather than a potluck, though you’d be hard-pressed to establish what the ‘melody’ is. This is, “Last Night.”
Last Night – Chris de Burgh
I wasn’t originally going to include the next song, but realized that it should be in the collection. First off, it confirms that de Burgh has an interest in history, especially of the wars (this is not firsthand – he’s not that old,) which is further departure from love songs. But this one is much like a modern interpretation of folk songs or ballads of yore, in that it’s the lyrics that establish almost the entire melody, and it’s not hard to imagine them slightly differently as some Renn Faire version. Towards the end we get some dueling electric guitars, a little mainstream but necessary when there are no lyrics to fill in. Again, de Burgh can kick it vocally, which is a significant portion of why he’s being featured here, though his compositional skills should not be ignored. This is, “Say Goodbye to It All.”
Say Goodbye to It All – Chris de Burgh
If I recall correctly, I did actually get his followup album, Flying Colors, back close to when it first came out, but was never as struck by the songs as I was with Into the Light. I am slightly ashamed to say that I’ve done little research into later efforts, which will be corrected – I avoided it for this post, because it took long enough as it was, plus I had plenty to feature already, but there may well be a sequel to it if I find some nice little gems in there. This time around, I wanted to show that the guy that did that one song you knew of also did some much more remarkable stuff, so hopefully I accomplished that, but hey, I can accept that tastes differ. Even when they’re completely corrupt.
It’s been a while since the last installment, but then again, I never intended to be on any kind of schedule with this. Today we’re going to hear from a singer with a lot of musical background, having been in several different bands over the years (including the wonderfully named Dumpstaphunk,) but the two songs that I’m featuring here were from his solo career, peeking into the Billboard Top 40 in the late eighties (yes, the eighties, you should be used to this by now) but then fading away again, so a lot of people haven’t heard them. I’m talking about Ivan Neville, who is indeed related to the Neville Brothers and the son of Aaron Neville, possessing a soulful gravelly voice that he uses to great effect.
We’re going to do these in the reverse order that I first heard them, and start out with the more soulful one. This appeared in the soundtrack to Skin Deep, a Blake Edwards film starring John Ritter, which definitely has its moments (though I think Ritter was in better form in Noises Off, but that’s not the topic of our post today.) As might be imagined, this falls at the bridge between the second and third act and illustrates the protagonist’s self-realization. Bonnie Raitt provides the backing vocals as a lovely counterpoint to Neville’s key. One of the more curious things about this song is that it has no distinct melody, or riff or main chords or however you want to define it; no one could sit down with a guitar or keyboard and pick out the melody in any recognizable way. Maybe with a drum kit, though – it’s refreshing to hear the drums carry so much of the song without seeming to, certainly not a driving beat, but playing the part that is often up to the keyboards. Otherwise, countless instruments come in throughout to do their part but never establish dominance or a ‘lead,’ a very egalitarian song that plays nicely on the ears.
Falling Out of Love – Ivan Neville
The next one was also featured on a film soundtrack, this time in My Stepmother is an Alien, so of course, everyone knows this one. It’s easy to hear how related these both are, at least at first, and I wouldn’t be at all surprised if it was originally written as soulful as the first, and then someone said, “Hey, what if we punched it up a bit? It’s the eighties; we need a saxophone solo, and someone in the background hitting three different cardboard tubes.” It also makes me realize how many of the songs that I like feature a wide blend of sounds and riffs, little fills and stings, lots of cameo instruments stepping in for a handful of notes just to get their names on the credits. Yet it’s all blended extremely well; the people manning the studio mixing boards don’t get near enough credit, so pay attention to how many little bits contribute to the overall sound.
Not Just Another Girl – Ivan Neville
I’d like to say these songs introduced me to a whole undiscovered trove of his music – which they did, but nothing that I’ve found hits me the same way, just being in a style that doesn’t resonate as well. You may feel differently, and I always urge people to check it out for themselves; I don’t feature music here to showcase ‘the best,’ or particular examples of excellent musicianship, but to highlight little gems that I like, that perhaps someone else will as well. I mean, we already know about my tastes in photography, so this is to show that my tastes in music aren’t as warped/are just as warped/are even more warped (circle one.)
I’ll be featuring three songs this fine day, and will estimate that the majority of readers, should any such creature exist, will be familiar with only one – but that particular one might be different among different readers, and I’ll explain shortly. Yet they all have their appeal and should certainly be better known. Let’s do this in reverse order, with the most recent first.
‘Most recent’ does not qualify as ‘recent’ however, in that strange quality of the English language (well, possibly a lot are like that, but I only speak English) – we’re going back to 1992 for this one, from a new album by Peter Gabriel. It had been a decade since So, which was okay because that was a damn good album, but Us had its own strengths even though it didn’t have quite as much that made for appeal on the pop charts – there was a lot more subtlety, more moodiness from Us, and I was about to say a bit more experimentation, but that’s silly – Gabriel has always been one for experimentation, genre-skipping, and cultural inclusions. And among the slower, background-heavy tracks thereon leapt out ‘Kiss That Frog,’ one of the best songs to test out the bass response of your system, barging around kicking empty drums in the sub-basement. Attached to that we have a wonderfully compressed, ’70s electric guitar, some soul harmonica (is there any other kind, come to think of it?) and eventually an electric piano from the same era. R&B background singers round out the ensemble, though they’re hardly a new factor among Gabriel’s songs. And of course, paying attention to the lyrics is important:
Kiss That Frog – Peter Gabriel
Now, I’ve never heard for sure what the song is supposed to be about, but I know what I think, and it fits in line with the lasciviousness that tends to occur more often than not with Gabriel. I get the impression that he really wanted to sing more as a bass than a tenor for this song, though, but it’s good that he didn’t try too hard to accomplish this, because that often just sounds wrong.
By the way, Gabriel’s live performances are definitely something to see – I passed on the chance back in the early 80s when he did the So tour, not knowing enough of his music then and regretting it within the year, and finally managed to catch a concert in 2003 for the Up tour, but Secret World Live (following the Us album) is available on DVD and well worth the money if you have even the faintest interest in his music. The Girlfriend prefers the live version of ‘Kiss That Frog’ from this video while I’m a fan of the album version, but ‘Across The River’ from that concert, although brief, has drive.
Our next exit on the Wayback Highway is 1976, with the soul/R&B group of Rose Royce. The song does this phenomenal build, new instruments stepping in like multi-part choral harmonies, introducing yet another nuance as the song works its way up to the main riff, and even afterward, the different sounds slotting into place provide a slick feel; listen to the bass carry the chorus sections out. This was produced while disco was still dominant and has the horns section to prove it, but it lacks the ‘glam’ feel that a lot of that music possessed (and ultimately carried it out of popularity.) Here we have, ‘Car Wash.’
Car Wash – Rose Royce
Lead singer Gwen Dickey (identified at the time of this release as Rose Norwalt) did not learn to sing in her church choir, for which I am grateful, since there is a definite trend in that style among black female singers and I personally cannot stand wailing (Whitney Houston is a pox on the ears.) The song itself was created for the soundtrack of the movie by the same name, a ‘day in the life of’ story that I saw many, many years ago – the song is far more memorable and entertaining. If anyone asks you what “groove” is, play them this song.
Now we get to the part of the post where I confess to corrections. First off, I would have sworn that the next song was at least a couple of years before the one above, but on doing a modicum of research, it appears that they came out the same year, all part of our nations’ bicentennial celebration (no they weren’t.) Second, I was all set to claim this was so obscure that most people had never heard it, only to discover that it had been used in the soundtrack of Avengers: Infinity War (which I’ve never seen.) So a lot more people have heard it, or at the very least parts of it, than just a few years ago, but I can pull my hipster cred in saying that it’s been within my music collection since shortly after it could be found on YouTube. This is another one that builds, not quite as distinctly as ‘Car Wash,’ but more triumphantly – I will, one day, be able to play that keyboard riff. So let’s get to ‘Rubberband Man’ by the Spinners:
It’s time for a little more music – good music, mind you – and this fine Tuesday/Dittyday the selection is a rather largish English band called Madness. Formed in the late ’70s, peaking in the mid ’80s, they’re still performing today, albeit with a lineup that seems to change weekly.
I’m not the person to inform anyone about music styles and all that – I just know what I like, but edumacated sources pin the bulk of Madness’ style as ska or two-tone, primarily a strong bassline and beat-method that gave rise to reggae while branching off in another direction, gaining more rock/punk overtones. It’s different, very obviously, and energetic. Madness was also notorious for gently grasping the burgeoning field of music videos and thrashing the hell out of it, and no one ever matched their spirit and enthusiasm in those.
We’ll start off with the only official release in the US, ‘Our House,’ and it would be inexcusable to simply use the sound file.
To be honest, I have no idea how much of that was inspired by the band, how much the director, how much the label, whatever – it’s infectiously entertaining and upbeat, and even when you’ve known it for damn near four decades, it still gives an unmistakable vibe of having a blast. But within all that is a wonderful mix of instruments and riffs, blended in complementary ways that defined so much of the music of the ’80s. After disco died out, horns and brass virtually disappeared from the pop music scene save for saxophone, and it’s a shame because, done well, they provide great tone that offsets, really, too much guitar in a lot of music.
The theme continues with ‘House of Fun,’ sly commentary on the difference between ‘legal age’ and ‘adulthood.’
If you can emulate lead singer Suggs’ “N-n-n-n-n-n-n-no no miss,” you’re doing better than I can – I always imagine that little things like this, done in the studio where multiple takes are common, obligates the singer to repeating the feat for every live performance. He did it quite well when they appeared on the British counter-culture program The Young Ones though, the only band to be featured twice (but appropriately – they’re all kindred spirits it seems.)
This song was also used in the soundtrack to Shaun the Sheep Movie, reminding me that I needed to do this post.
Getting a little more ‘serious’ musically, we have ‘It Must Be Love,’ a cover of an original work by Labi Siffre, and much more representative of the typical ska style. Siffre’s version is also quite nice – not quite as dynamic – and Siffre himself appears in the Madness video right near the end, one of the violinists removing his sunglasses.
[Let me tell you something, writing this is introducing all sorts of rabbit-holes, and it’s taking far longer than it ever should; now I have to look for the movie The Tall Guy, which used the above song in its soundtrack and looks like it might be entertaining.]
There are plenty of other songs by Madness, with varying levels of kookiness, and I’ll leave that to you to chase down – this post could be a lot longer. Right now, I’ll feature a slight departure. I stumbled across this one a few years ago while ferreting out other music, and gave it a listen; it took a moment to realize this was the former (and returned) lead singer, Suggs, on a solo project. Camden Town is a suburb of London, a touristy area that was where the band originated, and Suggs pays homage to the eclectic nature of it, and to the Jamaican music roots, with ‘Camden Town.’
Oh yeah, we need the lyrics for this one:
Sing up tourists, sing
There’s a great crowd of tourists and they’re coming down the street
Pleased as punch with brand new Doctor Marten’s on their feet
Past stalls with leather jackets, old bric-a-brac
Indian sunglasses or a Chinese bobble hat
Tramps stare in the window of the local butcher’s shop
Like a pack of wild dogs they’d run off with the lot
In Primrose Hill, an angry man his hair standing on end
Shouts and rants in the ear of his imaginary friend
In Camden Town I’ll meet you by the underground
In Camden Town we’ll walk there as the sun goes down
In Camden Town
In Camden Town you can do anything you want to
A drunken busker hits the pavement, sending hot-dogs in the air
Towards a broken down bus full of people going nowhere
A string of Irish pubs as far as you can see
Greek, Indian, Chinese or would you like a cup of tea?
There’s tapas, fracas, alcohol, tobaccos
Bongs, bongo bingo, Portuguese maracas
There’s reggae in the jeggae, music everywhere
Every kind of song and dance, madness in the air
In Camden Town I’ll meet you by the underground
In Camden Town we’ll walk there as the sun goes down
In Camden Town
The tourists sing
Ooooh, they sing
Ooooh, sing up
Ooooh
And what’s my name in invisible game?
The two fat Americans interrupt their stay
They put down their bags, they were clamped and towed away
There’s Turkish cakes, designer fakes, fathers dressed as nuns
Every kind of music here, the night has just begun
In Camden Town I’ll meet you by the underground
In Camden Town we’ll walk there as the sun goes down
In Camden Town
In Camden Town you can do anything you want to do
In Camden Town
In Camden Town
In Camden Town
In Camden Town
… and you did catch the overdub when he sings, “madness in the air,” right? And that he plucks a Madness album cover out of the air when he does so?
[By the way, countless versions of this on YouTube are absolutely horrendous quality – this one took a while to find.]
If that was enough to interest you, there’s plenty more to be found, so have at it. And keep a couple of links handy when you’re feeling down.
I’ve kicked this story around for a few years, debating about posting it because it’s not at all thematic, regardless of the various themes, and I’m never really sure if anyone would care. But then again I do detailed closeups of creepy things, so what the hell. Plus, it’s Provide Unwanted and Disregarded Insight Into Yourself Day, so what better time to post this? And it serves as a reminder for everyone else to post their own.
We’ll open with (what used to be) the oldest image in the blog folder, and in fact, half of these weren’t taken by me – because they’re largely of me. This was in that uncivilized time when selfies were unknown, but even if they had existed then, it would have been challenging, to say the least, to accomplish. This one is The Girlfriend’s photo, back in 2006.
Yes, that’s me in the cockpit, at the controls even. Though, given how level the helicopter is, chances are very good that I’m not in control, but have had it taken from me for a moment by the instructor to re-stabilize the aircraft – he’s blocked by the doorframe. Ever since I was eight years old or so, I’ve had an interest in learning to fly helicopters, and on just two occasions (so far, anyway,) I’ve had the chance to indulge this interest.
It all began with a little police show called, “Chopper One” back in the early ’70s, which featured the relatively new Bell 206B ‘Jetranger’ as the aircraft, sleek and maneuverable. If you like, take a look at the helicopter models produced up until that point and recognize that the only thing that looked slicker was the Bell AH-1 ‘Cobra’ attack helicopter, which I hadn’t yet seen. Everything else was pretty dumpy-looking and slow.
Not this model, but close Then came the New York State Fair in Syracuse, somewhere around 1976 or ’77, when they were offering brief rides in the very same model over the fairgrounds, and my brother and I took the opportunity (for a very reasonable amount of money, too.) I was permitted the front seat and thus got the best view as we lifted off, a strange bobbing feeling of moving in three dimensions freely, and then circling over overcast, dirty, industrial Syracuse (the fairgrounds are in a really shitty location,) but hey, I was hooked. That was my first flight of any kind, actually, though within two years I’d fly down to Florida with my family on commercial airlines.
And then, for years, no chance at all to fly anywhere in anything, much less helicopters. But in 1992 when I was living in North Carolina, I took a trip up to New York again to visit family, and did a side trip out to Niagara Falls. We spotted the sightseeing helicopter pad and stopped to inquire about the cost, finding it within my budget, and so I took my second ride, this time in a McDonnell-Douglas MD-500E, even sleeker (and a bit quieter) than the Jetranger. My sister’s family opted to take a ride too, stretching their budget to the limit, but for the next two circuits the sightseeing company, not having a full bird, elected to allow my two nieces to ride for free while I chafed on the ground and cursed their narrow asses.
Tragically, several months later one of their aircraft collided with another sightseeing helicopter operating from the Canadian side and crashed into the ravine east of the falls, killing all onboard. Years afterward I was reviewing the National Transportation Safety Board report regarding the accident and was appalled at the lack of coordination and communication between the two companies. They basically operated on open, unplanned flights in the very small airspace over the falls without any communication, schedules, or airspace restrictions, relying only on visually spotting one another. It’s amazing something hadn’t happened earlier.
That wasn’t enough to deter me, however, and sometime in the mid-nineties I had a little disposable income and elected to take my first introductory lesson, a half-hour of ground school (mostly preflight) and a half-hour of actual, at-the-controls flight time. This was to take place in a Robinson R-22 HP, roughly the same model in the opening photo though that’s from a different flight – we’re getting to that.
That first lesson was on a beautiful day, and as we did the preflight orientations and walkaround, the instructor pilot removed the door from his side, a trivial thing to do, to give us better visibility and access to the various controls and certificates. Once we’d finished with that and were about to fire up the helicopter for the flight, he started to pick the door back up, then shrugged and left it there, saying it was too nice a day to close it up. Then he looked at me and asked if I wanted my door removed too.
I’m a guy; I immediately said, Sure – why not? and he promptly popped the door on my side free from its hinges. At this point in the story, let’s have a closer look at the R-22.
“Are you sure this is big enough for two people?” The cabin itself is literally just over a meter wide, seating two abreast – yes, you’re practically rubbing shoulders, with the doors (should they be affixed) sitting right at your hip. Since they run almost the entire height of the cabin, this means that, not affixed, it’s wide open on that side. As we lifted off (under the instructor’s control) and headed out, I was paying too much attention to the instruments and lesson to really be much aware of this – up until I had the controls and was doing banking practice. A 30° bank is typical but a little steep if you’re not used to it, and while the left bank (towards the instructor’s side) was just fine, he had to keep telling me to bank harder for the right bank, my side, since I was hanging over completely open space with a junkyard full of twisted metal about 300 meters below; subconsciously, I kept easing away from this. I need to emphasize that banking doesn’t actually mean you’re hanging from your seat harness, because the motion of the aircraft is counteracting gravity and you’re more pressed into your seat, but visually, I was over a bad drop and I was reacting to it.
These negatives date from 1994, I think, and are degrading badlyBut forward flight isn’t too difficult, because the nature of the beast means that it’s stabilized fairly well then; it’s hovering that’s a real bitch, and let me go over the controls. There’s the cyclic pitch control, the “joystick,” which essentially controls what direction the aircraft leans/moves, and in the tiny R-22 and R-44 models, this is one rod rising from the floor between the two seats, with a T across the top going to a handgrip in front of each seat – in virtually every other aircraft, each pilot has their own cyclic, rising between their knees. Then there’s the collective pitch control, more or less the throttle (I’m simplifying things here, no rotary-wing jockeys need to come in and correct me.) This sits alongside the seat on the left side and dictates the altitude in a hover and the airspeed in forward flight. Finally, there’s the yaw control pedals under your feet, which control how much power goes to the tail rotor or anti-torque system.
This deserves its own recognition. A helicopter of course relies on that spinning main rotor, and while on the ground gravity and friction cause everything to behave as we expect. But once in the air, the helicopter body wants to spin the opposite direction that the rotor does because there’s a bit of wind resistance to spinning that rotor, and so the tail rotor counteracts this. Feeding more or less power (blade pitch, really) into it makes the body spin in one direction or another, so the yaw pedals also help control which way you’re facing. And helicopters are inherently unstable: without constant input from all three of these, a helo will quickly decay into a worsening situation, i.e., a crash. Coordinating all three of these at the same time is the key bit of course.
So, at our return to the airport, we found a grassy spot away from traffic and, at less than two meters off the ground, began getting acquainted with each of these. Well, I began – the instructor seemed to have it down pat. We started with the yaw pedals, and he had me stabilize and hold the aircraft facing exactly in one direction while he maintained the other two controls. Not too difficult, and the subsequent four-point compass turn went quite smoothly. Next he took over the yaw and had me control the collective to maintain our altitude. Not quite as slick this time; you’d think maintaining altitude would only require finding the sweet spot where lift and descent were balanced, but these alter constantly with wind and movement, so we did a bit of up-and-down as I got the hang of compensating for these little environmental changes, but eventually it wasn’t too shabby.
Then he had me do both of these at once, and all hell broke loose. As I devoted my attention to one, the other would decay and we’d start spinning, or dipping, or both. This is far from being as easy as it sounds, believe me; adjustments to the collective to maintain a steady altitude also affect how much wind resistance the main rotor encounters, and thus how much the body wants to spin, so any adjustment to the collective needs a commensurate adjustment to the yaw pedals. It does not help that the minimal mass of the R-22 means it is incredibly twitchy, subject to the faintest breezes and angle changes, and very easy to feed too much power into.
Then the instructor took over those controls and had me do the cyclic.
Just big enough All I had to do was hold the bird steady in one position, without worrying about yaw or altitude. Now, you remember first learning how to drive, and the overcontrolling thing where you turned a little too hard, then too much back when compensating, and started weaving? Magnify that times a hundred. What the instructor failed to tell me was that there’s a lag between the control input and its actual affect on the helicopter, so if you hold the stick over until you feel the pitch change, you’re probably already too far gone; what it takes is a little bump on the stick to counter the slide to one side, then returning the stick to neutral upright position before anything appeared to happen. What actually happened was that we, repeatedly, started with a little wobble that soon magnified into wild oscillations – in every direction. I’m not the kind of guy that ever gets sweaty palms, but goddamn did it happen on that flight. Essentially, every ten to fifteen seconds the instructor would announce that he was taking control and restabilize our attitude, then hand it over to me to ruin again; he had to keep telling me to stop drying my right hand at these times and keep it on the stick.
I’m going to insert a little detail here, because it’s cute. Balance is a big thing for aircraft of course, and this shows on the ground too. After that lesson we hangared the Robinson, and this is remarkably easy. He had me go to the tail of the helicopter and push up on it, which lifted the rear ends of the skids off of the ground, and he slotted two specially-made little tires in place. Then he took over and pulled down on the tail, rocking the aircraft back until it was supported entirely on these wheels, and walked it into the hangar like a handtruck. It’s that light and easy to move.
Look carefully at the skid shadows I was by myself on that flight (well, except for the instructor,) and while I got these couple of photos, they were all post-flight on ancient negatives. But then in 2006, The Girlfriend gifted me another introductory flight (with Jim Kramer along for kicks, thus the source of the other, better photos,) where I largely repeated this process, albeit with slightly more control this time. Slightly. Let’s put it this way: FAA requirements for a rotary-wing certification requires minimum 20 hours with an instructor, and at least 10 of those are typically spent learning to hover in various conditions. You’re pushing against air, which is remarkably fickle and capricious – picture how kites bob without any change in attitude or configuration. When something is suspended in the air, this same capriciousness has a noticeable affect, regardless of the method of holding it within the air; while the blades are pushing down to lift the helicopter, the breeze may be shifting it sideways, and it may perhaps be pushing off of a surface that causes more turbulence and throws out its own lateral effects. Then, the helicopter tends to tilt a little with every input because, again, there’s nothing holding it steady, and that tilt goes straight into the main rotor shaft and causes more lateral effect. It’s hard, and requires a long time to get used to and know what it takes to correct. Fixed wing flight, while no walk in the park, is loads easier to learn.
This is return approach, so I might actually be in control of the helicopter for this shot I was nowhere near the point of learning autorotation, which I consider the most harrowing aspect of rotary-wing flight instruction. Most people believe that if the engine fails in a helicopter, you’re screwed, but this isn’t really the case; the technique of autorotation (which is a required part of obtaining a license) provides for a controlled descent. In essence, changing the pitch of the main rotor blades allows them to keep spinning at a viable speed just from the wind of the descending helicopter, and their own lift properties means they can regulate this rate of descent; it’s a lot like those little seeds that helicopter down from trees. Rotor speed must be maintained in a narrow window, with the pitch being changed to appropriate within a few seconds of the failure or disengagement of the engine (itself controlled via a clutch,) and the rate of descent really can’t be altered, so during this, you’re looking for a clear landing area. Landings may be anything from just a little awkward to rough but survivable, but it’s a crucial technique and, yes indeed, performed during instruction. I remember being at Cape Canaveral in Florida and seeing a Schweizer 300 (pretty much the same size as the R-22s seen here) approaching in the distance, then suddenly begin a rapid descent. I lost sight of it behind the trees and watched that area for a while with nothing to see, then shrugged it off. About ten minutes later I saw the exact same thing again, same spot, and knew the local flight school was practicing autorotation.
But anyway, since those two instructional opportunities of mine, nothing more. Flight instruction is expensive, and I just don’t have that kind of disposable income. Moreover, there’s not a lot of reason to drop the cash. Even a lightweight like the R-22 here costs about $200 an hour to operate, without a lot of reasons why I would/should spend that, just for cruising around. It’s not even an investment on future employment, because there really isn’t much demand for helo pilots, in this area or indeed most. In a six-county region, we have a handful of law enforcement helicopters, a pair for the news stations, and another handful of medevacs for the hospitals – that totals maybe thirty positions for all shifts, and all requiring turbine ratings. That’s actually additional instruction over top of a basic rotary-wing license; the R-22 operates on a piston engine, but just about everything else (including the first-mentioned Jetranger) runs on jet turbines, an entirely different set of operational rules. Moreover, all of those potential employers prefer to have experience, lots of hours in a logbook, so that would also be coming out of my own pocket – nearly everyone just hires ex-military pilots, already certified and with hundreds of operational hours.
Which means that this… is probably all it’s gonna be. Even if I get a lot more income not directed towards something else, I still couldn’t really justify spending that much on what is essentially frivolous indulgence, as much as I might like flying in helicopters; it’d just be very expensive sightseeing, with the occasional very expensive trip out to the coast or something (and you don’t want to know how little luggage is going into an R-22.) I’m glad that I had the opportunity, twice, and will remain an enthusiast, looking up every time a helicopter passes over; no one will need to ask twice if there’s ever a spare seat in one at any time. But the chances of my being at the controls are in the single-digit percentage now.
Yes, indeedy, it’s the 2,000th post here on Walkabout! And it actually would have been here a little bit sooner, but I decided that I was going to feature something for it, which required finishing a long-standing project, and I have now. That’s all explained in the podcast, because yeah, it had to be a podcast too.
Walkabout podcast – Two Thousand
Just for the record, it’s a total of nine separate tracks; I had a lot more, but mostly of other riffs that didn’t make the grade, that were muted out and then, when I was satisfied (for now,) discarded.
The MIDI keyboard was/is the M-Audio Oxygen 25 Mk IV, though I got mine used so lacking the full software bundle, and thus only what I could download for free.
The main software for all of this is the same as for the podcasts themselves, which is the marvelous Audacity.
The Windows side of the synthesizing was done with Reason Lite – literally thousands of instruments, but only a small percentage of those were ones I’d find useful.
The Linux side was largely accomplished by Rosegarden, with help from Hydrogen. There is also MuseScore, which is a pretty slick program in itself but not used for this particular project.
If you have the interest in tackling music production on a Linux OS, I found this page to be the most helpful by far. However, it is also helpful to route PulseAudio through Jack so that both the MIDI sound system and all other system sounds (like music files, videos, and so on) can be heard simultaneously – if you don’t do this, you’ll have to choose one or the other for a session (which basically means starting and stopping Jack – not difficult, but a pain in the ass if you’re trying to follow a video tutorial or want to hear some sample sound files.)
By the way, in my defense, when I finally decided I was going to finish this project for the 2,000th post, that milestone/kilometerrock/furlongmineral was only ten to twelve posts off, and I buckled down and completed the entire set of tracks in a couple of weeks. I think one of the riffs was composed beforehand, but all of the recordings were done in that time – previous stuff that I’d played with never made the final cut. So while I’d been noodling with this for a long time (including the delay when the system simply wasn’t going to allow any futzing around with music at all,) the actual work was accomplished fairly quickly. At least for an amateur that, seriously, can’t actually play any instruments.
I mentioned finding another mantis egg case in there:
Even though it exists at a little below eye-level, you may get the impression of how difficult it is to spot casually, and this one is going to prove challenging to photograph or video come hatching time. But yeah, I was glad to see the mantises succeeded in placing two egg cases in the yard, even when they weren’t anywhere near cooperative enough to so do when and where I could see them.
The Welcome page was written back at the very beginning and edited only trivially since then, and still maintains the purpose and reasoning behind the blog, so check it out if you wish.
And while I feel like I should have even more superfrabulous content for the 2,000th post, it occurred in the slow season when there really isn’t a lot that I could add, and delaying it until there was would mean, well, fewer posts. But just you wait until the 3,000th post!
Back in August 2017, I mentioned trying to find the original image for a one-color logo that I use for Wading-In Photography, curious that I hadn’t seen it in the slide pages. I kept this in the back of my mind, watching for it as I went through the bird images yet not actually finding it, and I’m sure all of my readers have been on the edge of their comfy computer chairs waiting to see what the original image looked like.
Well, finally, you can now stop fretting, because I found it yesterday as I was looking for something else. Turns out that not only was it a negative (thus pre-dating the switch to slide film,) but one from the pre-Canon era, taken likely with the Olympus OM-10 and 75-260 lens, so back before 1997. I hadn’t thought at all that it was that old, but there we go. And I remember nothing about the process of creating the logo, but the reasoning behind it, likely anyway, became apparent as I scanned the frame. Which was this:
That is not bad scanning – I can color-correct most negatives even before the scan, and certainly afterwards. No, I’m inclined to say this was bad processing, or a bad batch of film, though I haven’t compared other frames from the same roll to see the effect, but the blue layer seems to be almost completely missing.
[Because it’s a negative, technically this would be the yellow layer, because negative, get it? The complementary/opposite color in the RGB spectrum is what shows on the film, blocking the other two colors from passing through to the print paper in the enlargement exposure, which is technically also a negative – that’s how the process works. We see here what shows just in the (positive) blue channel of the frame, the darkness meaning virtually no blue to be found despite the fact that, even if the sky were overcast white, that would mean an equal amount of blue, red, and green in each channel, but by all rights it should be more, so this layer should have been close to white in the background. Very odd.]
I made several attempts to bring this towards normal, but there wasn’t actually enough blue in the frame to even enhance, and I would have had to have added it myself, manually. This made the photo an obvious candidate for monochrome, and the whole pelican’s position spelled, “logo” to me, so it was a simple matter to render it thusly. I also believed, until yesterday, that the actual position of the pelican was more level in the frame, beak pointing downwards a bit because that’s how they fly, but I see now that I rendered it as taken; the position came from how it banked and/or how I was aiming. Now, I doubt back about 20 years ago (when I first had a film scanner) that I was doing channel-clipping, and had simply rendered it into monochrome and then applied a halftone filter, but this time I did the channel separation thing and selected the green channel as being optimal, then boosted contrast as seen here.
From there, it was simply a matter of applying the appropriate halftone screen. Except, GIMP doesn’t actually have a halftone screen; all of the iterations of Photoshop that I’ve used did, but GIMP only has a half-ass filter to render it looking like newsprint, and this takes a lot of playing around with to make look right.
[Explanation, also in the linked post: Halftone screens are a filter physically laid over a regular photo to render it into dots, because the offset print method doesn’t handle greys at all – it’s either black, or it isn’t, and many laser printers are much the same. So by reducing the image to dots, it’s the density of the dots that mimics shades of grey, and while it produces a grainy effect, it actually renders greys a hell of a lot better from offset presses and laser printers than just trying to embed a greyscale image in the document.]
I have decided that, from time to time, I should feature some more music here – maybe something obscure, maybe just a favorite, maybe something profound. It seemed Tuesday was a good day to do this, so it has become Dittyday. I mean, what else was I gonna call it? Songday? Musicday?
It won’t be every week, so we’ll still have plain ol’ Tuesdays, but here and there it’ll become Dittyday.
As a start (even though I’ve done this numerous times before, just without a supremely catchy topic name,) I’m featuring an obscure one that not too many people have heard, and it mostly didn’t chart well. Definitely a bit different, but it’s by Thomas Dolby, and if you know anything about his work, you’re just nodding knowingly right now. So let’s just jump into, ‘Eastern Bloc.’
Eastern Bloc – Thomas Dolby
I went looking for more information about this, but there exists little that I could find, which is a shame because there’s this enigmatic little aspect to it. First off, it’s subtitled, ‘Sequel to Europa and the Pirate Twins,’ and while ‘Eastern Bloc’ was released in 1992, ‘Europa and the Pirate Twins’ was a single released by Dolby in 1982 – the third bar in ‘Eastern Bloc’ is taken directly from ‘Europa and the Pirate Twins.’ The first bar opens with some obscure metaphors, potentially referring to the Cold War, but the second bar is more compelling. When watching the news reports of the fall of the Berlin Wall, he suddenly spots someone he’s sure he knew (the whispered, “Europa,” hints at his emotions at that moment.) And he realizes that this glimpse is all he’s going to get, with no ability to confirm. This leads, after the chorus, into the third bar of reminiscing, and we realize that Europa was the childhood sweetheart that he left behind, now freed from the communist state herself.
The chorus has the curious line that, despite the singer’s own escape from the Eastern Bloc, it’s the woman who stayed behind (up until the Wall fell, anyway) that is supposed to rescue him, giving some indication that it’s not the country or the regime that traps one.
Musically, it’s light and catchy, almost frivolous in the face of the subject, with a lot of eclectic instruments that you may be hard-pressed to even identify. The one place where it becomes mainstream, the guitar solo, is performed by none other than Eddie Van Halen, who guested on two songs from the album (this being Astronauts and Heretics.) Dolby had reached his best success in the eighties, and by the nineties the interest in his music was waning, thus the obscurity of this track. Yet it’s fun and dynamic, even as it maintains the standard pop music scheme. And, it leaves us (or at least me) wanting to know a little more of this story, even as we realize there may be no more.
Here in England, it’s so green
Martian men can move unseen
Apparatus underground
Monitor the crunching sound
Joey’s gone and Georgie’s gone
Put their best torn trousers on
Found a crowbar and a drill
Headed for the Berlin Wall
Last night I swear I saw her face
As they stormed the gates on satellite TV (Europa)
Too bad I don’t get News At Ten
‘Cause the CNN would tell a different story
Eastern Bloc, Eastern Bloc
You’re never gonna break that deadbolt
How can I shake that gridlock shellshock?
Tune it out, tune it in, Europa, Europa
Shine across these waves and rescue me
Loud and clear, through thick and thin, Europa, Europa
Come in, come in, come in, come in, do you read?
Are you receiving me?
So I was fourteen, she was twelve
Father traveled, hers as well
Down the beaches hand in hand
Twelfth of Never on the sand
And we said,
We’d be the Pirate Twins again
In the freezing rain of the Eastern Bloc
And I used to think each time we kissed it was for real
But tonight I feel that the wind has changed
Eastern Bloc, Eastern Bloc
You’re never gonna break that deadbolt
How can I shake that gridlock shellshock?
Tune it out, tune it in, Europa, Europa
Shine across these waves and rescue me
Loud and clear, through thick and thin, Europa, Europa
Come in, come in, come in, come in, do you read?
Are you receiving me?
Eastern Bloc, Eastern Bloc
You’re never gonna break that deadbolt
How can I shake that gridlock shellshock?
Tune it out, tune it in, Europa, Europa
Shine across these waves and rescue me
Down the years, through thick and thin, Europa, Europa
Come in, come in, come in, come in, do you read?
Are you receiving me?
Tune it out, tune it in, Europa, Europa
Shine across these waves and rescue me
Loud and clear, through thick and thin, Europa, Europa
Come in, come in, come in, come in, do you read?
First off, I apologize for anyone who’s ever seen this before, but not that much, because chances are you can watch it again without being bored. As internet popularity goes it’s a little old, but I doubt it received as much attention as some woman j’accusing a white cat (yes that’s a word.) I’m still not going to have a lot to post in the foreseeable future, unless I actually go somewhere a little later on and, the crucial bit, find something while I’m at it. So as I’m sitting here tracking packages and wondering if our postal service has completely shit the bed, we have this.
I came across this a few years ago I think, and saved the link then promptly forgot about it, which is a shame because it’s damn cool. My original link was through Gizmodo (though I believe it was Sploid at that time,) but their post didn’t provide a lot of background so I’m just going to embed the video here. Basic premise: RicKy Syers (his spelling) is a puppeteer and musician, and from the looks of things an accomplished drummer on his own, who tricked out a puppet he calls “Chopsy” and then demonstrates just how good it looks by playing along to Rush’s ‘Tom Sawyer.’
I want you to note that the ensemble even has a working kick drum and high-hat cymbal, so just the model work is impressive. But this was only a little demo, with the song playing in an ambient room and the actual rattle of the puppet on the drumset carrying through, so it wasn’t long before he did another version, this time with a music track on its own, as well as multi-camera work and synced (!) stage lighting, to Rush’s ‘2112.’
I can’t help but think how almost surreal it might have looked had he shrouded himself and his manipulating sticks in black; I also wonder how many more times he pulled this off before the arms of the puppet simply disintegrated. But there was one thing missing, and had he been able to include it, the illusion might have been virtually (heh!) complete: the ability for the puppet to sweat copiously. I mean, c’mon!
Now I gotta go play some other music so I don’t have Rush going through my head incessantly…