“I’d rather be talking about stuff that everybody welcomes – like new programs,” he said at a recent press conference.
That would be the President. Maybe that's his problem, the President thinks we want new programs. No, I don't want new programs. In fact, I would like to see some existing programs shut down. Since that "everybody" of whom he spoke clearly doesn't include me, the President would be wrong, again. Everybody DOESN'T welcome new programs. These knuckleheads in Washington think everyone wants new programs and higher spending on existing programs. I believe those who are not affiliated with either the Republicans or the Democrats want a currency which doesn't lose value on a daily basis, enforcement of the Constitution, and honesty and integrity from the people we elect to represent us. Not a great deal to ask. Why would we want new programs? You can't run the existing programs.
Tuesday, July 26, 2011
Wednesday, July 13, 2011
Where Do You Want To Go Today?
One of the great things about the web is the tangled webs you can weave. This AM I opened an email from Wolfgang's Vault promoting a video release of a Ten Years After concert. I listened to a song, then listened to Robin Trower's "I Can't Wait Much Longer", then went to a Robin Trower site, which inevitably led to a Procol Harum site, and then a few sites related to Procol's drummer extraordinaire, B.J. Wilson, and I saw this...
But B.J.'s greatness isn't primarily about technique, but rather his incredible artistry, unmatched by any other drummer before or since. Stephen Braitman said it best in his letter to Goldmine Magazine in 1991:
"...Despite what anyone else might have told you, B.J. was the true heart of Procol Harum. Not Matthew Fisher's grand organ washes, not Robin Trower's droning guitar, not Gary Brooker's droll vocals, not Keith Reid's wilfully enigmatic lyrics. BJ's drumming was almost literary - following and emphasizing the narrative with far more power and passion than any mere beat structure.
... In the usual description of Procol Harum's style, "grandeur" is a typical adjective. B.J. created that grandeur with stunning punctuations, great open spaces, surprising reversals of rhythm. .. B.J. Wilson made the drums express both the unpredictability and inevitability of fate. He was awesome, and he will be missed ..."
I couldn't agree more, a description as brilliant as B.J.'s drumming! If all you know of Procol Harum is "A Whiter Shade Of Pale" or "Conquistador", you're missing out on some great music.
http://www.wolfgangsvault.com/procol-harum/concerts/hollywood-bowl-september-21-1973.html
But B.J.'s greatness isn't primarily about technique, but rather his incredible artistry, unmatched by any other drummer before or since. Stephen Braitman said it best in his letter to Goldmine Magazine in 1991:
"...Despite what anyone else might have told you, B.J. was the true heart of Procol Harum. Not Matthew Fisher's grand organ washes, not Robin Trower's droning guitar, not Gary Brooker's droll vocals, not Keith Reid's wilfully enigmatic lyrics. BJ's drumming was almost literary - following and emphasizing the narrative with far more power and passion than any mere beat structure.
... In the usual description of Procol Harum's style, "grandeur" is a typical adjective. B.J. created that grandeur with stunning punctuations, great open spaces, surprising reversals of rhythm. .. B.J. Wilson made the drums express both the unpredictability and inevitability of fate. He was awesome, and he will be missed ..."
I couldn't agree more, a description as brilliant as B.J.'s drumming! If all you know of Procol Harum is "A Whiter Shade Of Pale" or "Conquistador", you're missing out on some great music.
http://www.wolfgangsvault.com/procol-harum/concerts/hollywood-bowl-september-21-1973.html
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