This is good news for Mets fans. Pedro Martinez — he of the three Cy Young Awards and dominating presence — threw 31 pitches off the mound today and remains on schedule for an August arrival with the big club.
Whoo hooo!
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Started with some rowing (about 1,100 meters in five minutes) followed by some lifting. Then onto the treadmill — I do not run outdoors in the rain; I’m not a masochist — for three miles. I took it easy — about 27:30 for the run — and no pain from the knee or the hamstring.
Listened to new Wilco, Sky Blue Sky.
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I hate the term collateral damage. It is one of those words used by bureaucrats and politicians to make it seem as if their actions on the battlefield have little impact beyond the immediate war. It makes me think of car loans and physical property, when it really means human life.
And the sad thing is, as Derrick Jackson points out in his column today on last night’s Democratic debate, there are too many candidates out there — the exception being Dennis Kucinich — who are willing to sacrifice innocent civilians on the alter of revenge.
Here is Jackson:
So for all the talk about who among the Democrats is most against the war, Iraqi civilians remain too abstract to say “Enough!”
Yes, we lost 3,000 people during 9/11. But between 64,000 and 600,000 Iraqi civilians are now dead because of our invasion and the resulting civil war.
Are we not done killing innocents in the name of bin Laden, Saddam Hussein, and weapons of mass destruction?
Apparently not.
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This story explains that feeling I’ve been getting at the grocery story lately — that I’ve been writing progressively larger checks but bringing home fewer and fewer bags of groceries.
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Sgt. Pepper’s Lonely Hearts Club Band — released 40 years ago today — maybe the single most overrated album in rock history.
That may sound counter-intuitive and a bit heretical, but hear me out. I’m not downplaying the album’s quality — it is a groundbreaking work with an artistic vision that remains surprisingly alive (mostly).
It’s just that the album doesn’t live up to the hype. But then, really, nothing could.
Mythologized like no other album in rock history, credited with single-handedly altering the landscape, Sgt. Pepper’s has become rock music’s version of “The Wasteland” or Ulysses.
Artistically, it remains a powerful and important work, but it is not one that stands above all else, especially when placed within the context of its time, its contemporary musical landscape and The Beatles own remarkable canon.
Historical context: The album may be the definitive psychedic soundtrack, which is both its strength and primary weakness. Connected to the Summer of Love via its exploration of Indian ragas and massive, multitracked sound, it also is incredibly selfconscious and arty, almost to a fault.
But as so many critics, if not fans, have come to realize about the album, it fosters an illusion (delusion?) of peace and love (in its sound if not in its lyrics, which mostly are about malaise), reinforcing the clichés of hippiedom at a time when the darker elements of the sixties were slowly coming into view (the band catches this in “A Day In A Life”). Because of this, the record stands in many ways as a great fake, as Devin McKinney wrote in his find book Magic Circles: The Beatles in Dream and History (my review here).
Musical context: Sgt. Peppers was a groundbreaking record, but not in isolation. It was part of an amazing continuum of change that included records by The Beatles themselves (Rubber Soul and Revolver) , Dylan (the electric trio), the Byrds and particularly The Beach Boys.
Dylan, of course, expanded the genre’s lyrical possibilities, bringing the vocabulary of literary expressionism and surrealism to popular song while simultaneously expanding the boundaries of the blues form. Highway 61 Revisited with its organ assaults and explosive wall of music opened new frontiers, while The Beatles’ two records did the same for the pop side of the rock equation.
The Beatles’ records, in particular, had an amazing impact on Brian Wilson and The Beach Boys, who released Pet Sounds a full year before Sgt. Pepper’s came out. From All Music:
The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound. Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more.
The songs were great, perfectly structured, and Paul McCartney in particular has said he viewed it as a challenge. There would have been no Sgt. Pepper’s without Pet Sounds, but no Pet Sounds without Revolver and Rubber Soul, and perhaps no Revolver and Rubber Soul without Dylan and so on. The continuum.
(One other note on this: The Beatles and the Beach Boys did not pioneer the use of violins and other “nonrock” instruments on rock records. Buddy Holly used them way back in 1958 and 1959.)
The Beatles canon: I love Sgt. Pepper’s. I do, despite what this post might seem to imply. But I don’t think it is the best Beatle record recorded — not by a long shot. Each record has a lot to recommend it, of course, but I take the two 1965 records, Rubber Soul and Revolver, mostly because they show a brooding edge and complete unity, and because they are the bridge records taking the band from early lighter days into the slow dissolution that follows Sgt. Pepper’s.
They also contain the best songs, the tightest, most well-crafted and mature music the band was to make.
But that doesn’t diminish what Sgt. Pepper’s is: a remarkable and majestical record by the greatest band in the history of popular music.
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Hank Kalet 