True Blood 2.2

When Maryann showed up towards the end of season 1, she was clearly positioned as some kind of “alternative lifestyle type” (perhaps Wiccan, or at least “former hippie”) who had somehow managed to accumulate wealth and become a mysterious benefactor. This is all still fairly unexplained, though, in the same way that “doggie Sam” was relatively unexplained until rather well into season 1. She seems to be able to “control” people (and shape-shifters) and is arguably positioned as a “good witch” (by 2009, as opposed to 1939, standards), but the question really is this: what does she have to do with vampires? (Didn’t her pseudo-Latin or “alien” or “DEAD!” brain-language remind you of the vampire language we sometimes hear spoken by Eric and his cute sidekick?) And what was with all the food and all the sexy dancing? Maybe the “Tinkerbell” thing, the excess food, the controlling, the weird language, etc. has something to do with the vampire/shape-shifter equivalent of “multiple souls.” Her “flitteriness” also reminds me of that original series “Star Trek” episode with those people infected by something that makes their physiologies “run fast” (so that they are invisible, but also highly susceptible to injury.) Clearly, whatever category Maryann is in, she’s at least as “powerful” as Eric. Maybe she actually is “alien” (or something else) and has to consume all that food in order to keep up her human appearance. That would be an interesting twist, and the actress did once play a recurring role as an alien on “Star Trek: TNG”!

I found ep. 2 otherwise oddly “flat,” in terms of the main characters, because Jason and the freaky “Christians” had to be made to seem “off,” as much as possible, so that many of the others (Jessica, Tara, “cute black boy,” and even Sookie and Bill) were made to seem somehow less “interesting,” at least until Eric, etc. changed Lafayette towards the end and Bill showed up at Jessica’s house at the very end. Setting up Lafayette’s new turn (presumably in ep. 3) perhaps also explains why he was made to seem so much less, uh, “queer” in ep. 1. He should be quite interesting as a vampire!

I found the episode’s music quite interesting, especially the hymn-like instrumental music when Sookie looked at an old picture (it vaguely looked like herself, Tara, and Gran from a few decades ago, but I’m not sure), which abruptly (and very pointedly) cut out for the next scene of Jason and the “Christians” at the “Bible camp.” The anti-fang “praise songs” and “Christian rock” were also pretty funny.

Thanks, Musicology!

From 1999 to 2008, I taught 31 sections of 22 courses at seven different universities. I have also presented 23 conference papers and invited talks, have two books presently in development, and have published eight chapters or articles and 72 reference entries. I know that there are plenty of recent (is 2003 recent?) Ph.D.s out there with “entitlement” issues, but my record speaks for itself, despite not having been applied to a tenure-track position. 2009 is the first year since 1998 in which I will not have taught at least one course, and it is also the first year since 2000 in which I will not have earned at least $1800 doing professional choral singing. The result of all of the above has been (1) bankruptcy and (2) a new (i.e., actual) career direction into computer applications development.

Choral Concert in Oakville

I’m singing in the following concert tomorrow:

Magnificat – Oakville Chamber Ensemble

Choral Music of the 16th, 17th, and 18th Centuries

G. Puccini – Credo in G (Puccini’s Mozart-era ancestor)
A. Vivaldi – Magnificat
T. Victoria – Regina caeli laetare a 5
T. Victoria – Alma Redemptoris a 8
Monteverdi – Lamento d’Arianne: Lascia
Gastoldi – Baletti (l’acceso – amor vittorioso – l’inmorato)

Time: 7:30PM Saturday, May 23rd
Venue: St. Simon’s Anglican Church, Oakville ON

“Star Trek”

Star Trek (2009) is a fun, fast-paced movie that is reasonably consistent with the tone, humour, and “edge” of the better elements of the franchise’s various TV series and movies (1966-2005). It will likely do quite a bit to restore Star Trek as a widely-shared cultural institution. In line with that, the movie makes some use of Alexander Courage’s theme music for the original series, and Michael Giacchino bases some of his original score on the “open-interval” trope used for the American west by Aaron Copland and Elmer Bernstein and reasserted for science-fiction by John Williams, Jerry Goldsmith, James Horner, and others. In addition, the ethnically “eastern” Federation captain of the prologue (the actor’s parents are of Pakistani/Muslim origin) and the movie’s variety of non-human aliens moderately update the multi-ethnicity of Star Trek‘s “liberal universe.”

The characterizations of Kirk, Spock, Sulu, Uhuru, and Pike are fine, but the mannerisms of McCoy, Chekov, and Scotty are especially commendable for being “true” to their respective stereotyped origins as a cantankerous Southerner, a Russian whipper-snapper, and an energetic Scotsman. However, certain things about the movie ring a bit “untrue,” especially if you know more than an average amount of earlier Star Trek. For example, was it ever previously suggested that Spock had programmed the Kobayashi Muru test on which Kirk ended up “cheating” by re-programming it? Was Chekov really on Pike’s Enterprise, given that he wasn’t on the original series until its second season? Could the movie’s central characters really have gotten past certain emotionally fusing and/or alienating incidents? Or, as is quite possible, are things the way they are in this movie mainly because most of its storyline is contained within an alternate timeline?

The incorporation of original Spock (Leonard Nimoy) as “future Spock” is fairly convoluted, as are the gratuitous “CGI monsters” in an action scene on an “ice planet.” Speaking of ice planets, the aspect of young, rural “hick” Kirk being goaded on to greater things in order to come to terms with the “destiny” of his father reminds one very much of a certain young fellow in the other main sci-fi franchise of the past 43 years. However, Jim Kirk in Star Trek (unlike Luke Skywalker in the original three Star Wars movies) rises to become an important figure within about two hours – and I do NOT just mean the running time of the film!

Susan Boyle

I barely follow the “Idol”-type shows, because I find nearly all of the music to be complete and utter rehashes of existing things. On the other hand, practically everything about those shows is already predetermined or, at least, media-fabricated. Thus, in such a context, isn’t it at least slightly OK that a relatively “normal”-looking, middle-aged woman (Scotland’s Susan Boyle) was even allowed to appear, as opposed to exclusively “well-above-average-looking” 19ish-year-old “girls” and “boys”? You can’t even audition for most of the “Idol” shows if you’re over something like 27, but I suppose the producers and judges of this particular show were just “covering their middle-aged asses” (in a sad, politically-correct kind of way) by letting her through to that point. I never expected such producers to have any reasonable amount of artistic or social integrity in the first place, so why should this particular “stunt” offend me? Besides, if the general public is looking for “gifted musicians” on such shows, they deserve exactly what they usually get. Everyone who deserves better than that should instead watch the excellent 2006 documentary “Before the Music Dies.” See http://beforethemusicdies.com/

“The Simpsons” & Music

My editor is pleased with my updates to Chapter 1 of Be Sharp: ‘The Simpsons’ & Music. I will shortly revise Chapter 3, and then the book will go to the external reviewers. I am optimistic that this book will be published in 2010. In addition, “Intertextual Music & Discursive Parody in The Simpsons” (which I presented at a conference at McGill in Montreal in April) has been accepted for the 4th Annual ECHO conference, Music and Humor, being held at UCLA on June 5 and 6. Eric Wang, one of my 2008 teaching assistants, has agreed to present it for me.

“EMC” articles

My Encyclopedia of Music in Canada articles from March, April and May 2009:

  • Peter Oundjian
  • Choral Singing
  • Ensemble Anonymous
  • Arion Male Voice Choir
  • Winnipeg Philharmonic Choir
  • Bluegrass
  • Rap
  • Cantatas
  • Canadian Electronic Ensemble
  • Blues
  • Heavy Metal
  • The Internet and Music

(Yes, that IS all over the map!)

For my existing EMC articles, do a search on my name at: http://canadianencyclopedia.ca/index.cfm?PgNm=EMCSubjects&Params=U1.

Kalsubai

After “finding” and posting a copy of the album cover, I managed to “track down” the opening song and first single, “My Pal in (d)Rome,” from the album A Defining Characteristic of Intelligence (1974) by the Canadian-British progressive rock band Kalsubai. The music is heavily influenced by King Crimson, Genesis, and early world music “fusions,” and it thus provides a sort of cross between “psychedelic progressive” jazz-rock (perhaps also a little bit along the lines of the Mahavishnu Orchestra) and what would later be called “new age” music” (but along the relatively “rock”-oriented lines of Mike Oldfield). “My Pal in (d)Rome” is mainly noted for having reached #41 in the US “Top 40,” although it also reached #34 in the UK’s “Top 30” and #21 in Canada’s “Top 20.” Magically, the song includes approximations of all of the instruments mentioned on Facebook by people who “remember” this album: Shakuhachi flute, clarinet, Mellotron, harmonica, and a Hammond organ “solo,” in addition to drums and percussion, jazzy guitar-chord comping, fretless bass, and weirdly-echoed, semi-pompous (!) lyrics and vocals. See https://youtu.be/2Gmr_JV2R6M.

Rush book

In March, I heard from an upstate New York teacher (Jim Berti) who is interested in putting together a book called Rush and Philosophy in the ongoing series that began with Seinfeld and Philosophy. After some discussions by email, I agreed to co-edit (and contribute to) this book, contacted a number of likely contributors, and proposed that abstracts be submitted by the end of May. For my own contributions, I will use elements from my dissertation, an article on Canadianness I had recently submitted to an academic journal, and my “Rush Tributes” article that may still be published elsewhere. Hopefully, we would be able to get this published in 2010. I still also hope to publish my own book on Rush (i.e., more closely related to my dissertation), possibly in 2011.