I show up at around 22:50 minutes.
I show up at around 22:50 minutes.
[With all due apologies to Monty Python!:]
Denied the opportunity to use his talents in the paid service of his profession, the unaffiliated musicologist began to operate what he called ‘The Operation’… He would select a book or journal editor and then threaten not to send in his chapter or article if they paid him. Four months later, he started another operation, which he called ‘The Other Operation.’ In this racket, he selected another victim and threatened to send in his work if they didn’t pay him. One month later, he hit upon ‘The Other Other Operation’. In this, the victim was threatened that if they didn’t pay him, he wouldn’t send in his work. This, for the unaffiliated musicologist, was the turning point.
With millions of people applying for government support and millions more (like me) still earning non-living wages to provide “essential” services, it is time for Canada to have a guaranteed annual income. Give every adult $2000 a month from now on. Make it taxable, so people who already earn a lot don’t get to keep much of it. Cut the red tape. Cut the bureaucracy. Easily cover the cost by cutting the costs of having to run so many different government programs (EI, CPP, OAS, GIS, CERB, CESB, provincial welfare and disability systems, etc.).
I’m glad that the Canadian government is finally replacing the Phoenix pay system. On my eight-month Master of Library & Information Science co-op placement at the Parks Canada National Library in 2017, it seriously messed up my pay. They’re replacing it with something from Germany-based company SAP. However, as someone who now uses SAP’s incredibly complex main product every day at work, I have to wonder if they can really build a system that will make sense. Part of the problem with Phoenix is that the necessary training by IBM to use it correctly was simply never done. Hopefully, SAP can build something that won’t require much training and that will just work.
Hilariously, these several plow-dudes plowed their way to work this morning in their snow-plow-fitted pickup trucks and then switched over to their industrial-strength snow plows.
“Meta Plow, that’s their name; that name again is Meta Plow.”
Umm….okay. That’s not Rush; it’s Pink Floyd!
I always sort of hoped that Rush’s drummer-lyricist Neil Peart and I would cross paths at some point and have an interesting conversation. We both first lived on family farms in Ontario, our fathers both worked at International Harvester dealerships, we both wrote multiple books (much of my work being about Rush’s music), we are both Canadians who lived in Los Angeles for a time, he was nicknamed “The Professor,” and I actually once was a Visiting Assistant Professor. Rush’s music is not everyone’s cup of tea, but the complexity (definitely present in the drumming), the constant stream of influences (lyrical and musical), and the work ethic were remarkable. Please consider giving a monetary gift in his memory to a cancer charity of your choice. RIP, Neil.
One or more individuals at the Iranian Revolutionary Guard Corps and/or Iranian Civil Aviation Organization have committed criminal acts by shooting down (and/or allowing to be shot down) a civilian, commercial airplane full of 176 Iranians, Iranian-Canadians, and others with surface-to-air missiles. Was it done intentionally, or was it somehow a horrible mistake?
My book chapter, “Be Sharp: ‘The Simpsons’ and Music,” appears in: The Simpsons’ Beloved Springfield: Essays on the TV Series and Town That Are Part of Us All (McFarland, 2019)
On the 50th anniversary of The Beatles (a.k.a., The White Album, 1968), I’ve just listened to the whole album for the first time in years. My first thought is that it’s inconsistent and far too eclectic. It sometimes tries to one-up earlier Beatles’ songs but never really succeeds at that. For example, “Glass Onion” and “Honey Pie” both try way too hard. Similarly, the album is so long and sprawling that it even quotes itself several times, but never in a good, thematically-unifying way. The album also wants to help establish the potential of the individual Beatles’ solo careers, and “While My Guitar Gently Weeps” and “Don’t Pass Me By” do that pretty well for George Harrison and Ringo Starr. However, even with “Back in the U.S.S.R.,” “Blackbird,” “Julia,” and “Helter Skelter,” John Lennon and Paul McCartney both still arguably have better material elsewhere. Half of the double album could have been (and probably should have been) B-sides. However, they decided not to release any singles from the album (let alone B-sides), in favour of releasing a single of the same period’s “Hey Jude” and the faster, more pop-oriented version of “Revolution”–neither or which is on the more than 93-minute album. It’s hard to imagine that the 50th Anniversary, “Super Deluxe,” special edition of the album comprises up to seven discs of material. Very few people are going to need to hear a “bright new mix,” obscure demos, abandoned versions, and an eventual guitar solo hummed by Paul McCartney. Besides, Revolver (1966) and Abbey Road (1969) are much better albums.