In caverns below the city lives a beast, reviled. It's fierce and ancient and patient -n- won't come up unless riled. When you read of disappearance: kidnapped or ran away? It might be neither one, rather, it's breached the light of day. So, if this beast is not one you wish to look in the face, When you take to song and dance: don't stomp or over-Bass!
i see a horse,
and hear a banjo tune,
but don’t imagine…
My rating: 4 of 5 stars
Release Date: September 6, 2022
This is a biography of the life of Jimi Hendrix in graphic novel form, from his youth in the Jim Crow South to his untimely demise. The book takes narrative license here and there, rather than being a just-the-facts scholarly or journalistic biography. This license is most extensively seen in the mystical and surreal dream and death sequences, but the back matter suggests that there was at least one event depicted in the book that didn’t happen in reality (or, at least, there isn’t evidence to support its occurrence.)
Hendrix’s life was so short and his death was now so long ago that few people know more than that he was a guitar prodigy with a penchant for playing in wild and unusual ways. The story digs into moments of poignancy and drama in the guitar phenom’s life as well as emphasizing his interactions with major artists of the day: e.g. Clapton, McCartney, and The Rolling Stones.
I found the book intriguing and valued the fact that there were notes and a bibliography in the back that help to clarify what’s well-supported and what events take creative license. The art is well rendered and colorful. If you’re interested in learning more about a rock-n-roll legend, it’s worth looking into this book.
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My rating: 4 of 5 stars
Out: September 15, 2021
This book uses skateboarding, snowboarding, trampolining, music concerts, and video games as a vehicle to teach (middle school-aged) kids some basic physics concepts. I’m not sure why this isn’t the usual textbook approach, teaching lessons via what is of greatest interest to students, but it certainly wasn’t the mode when I was a kid.
While I’m no expert on middle school science curricula, I suspect this book wouldn’t work as a primary classroom text because it doesn’t systematically cover the subject. The chapters on skateboarding, snowboarding, and trampolining explain many terms and concepts of mechanics, but not necessarily everything taught in science class. The penultimate chapter is about waves, both sound and light, and uses the idea of music and laser light shows to elaborate on the topic. The final chapter uses video games as a way to introduce the fundamentals of electricity and circuits.
I think this book is at its best when it is breaking down the physics of tricks in the first few chapters. That’s where it separates itself from the usual dry textbook approach, and any improvement in the book would be seen following that line. Granted, some topics are more amenable than others.
The book has a glossary and each chapter ends with hands on exercises students can do to improve their understanding of the material considered. The graphics are widespread and include cartoons, diagrams, and photos.
If you’re looking for a book to get a child excited about science, give this one a look – particularly if the child is interested in extreme sports.
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Obviously, in the annals of popular music, the work of Bob Dylan matters. To make sense of the title and related objective of this book (which might otherwise seem presumptuous and demeaning) one has to know a little about some recent history of the politics of the Nobel Prize for Literature. (No, not the internal scandal that delayed the issuance of the 2018 Prize to 2019.) In 2016, an American hadn’t won since 1993 (Toni Morrison,) and given the relative volume of publications from America this was coming to be seen as a major “screw you” to the nation’s literary community. The Nobel committee claimed it was because American authors didn’t get their works translated and were too insular with respect to the global literary community. Still, the disparity was on the minds of many. Then, Bob Dylan was issued the Prize. While some who were offended by this disparity were placated, many thought it was an even bigger “screw you” than if the Committee again hadn’t issued it to an American – like it was a “you asked for it, you got it; now shut up for at least the next 15 years!” kind of award. I doubt anyone would deny that, as a pop music lyricist, Bob Dylan is brilliant – if not the best — but for many that still just made him a middling poet. (Dylan wrote one piece of prose poetry, “Tarantula” as well as “memoirs” [that were apparently largely an act of creative writing,] but only his lyrics could feasibly merit issue of the award.)
It was with that mess in mind that Thomas delivers this book. It seems to be his objective to not just prove that Dylan matters — generally speaking — but that Dylan’s work matters as literature – presumably, such that he’s at least as deserving of the Nobel Prize as any living American poet, story-writer, or novelist. The thrust of Thomas’s approach is in showing that Dylan’s work is dialed into the global literary canon. As a classicist, Thomas puts particular emphasis on Dylan’s stealing from, and referencing of, Greek and Roman figures like Homer and Ovid. (I mean “stealing” only in the sense that word used by artists, and there is considerable discussion of that subject, herein.) However, he does also show how Dylan uses and references other poets from Shakespeare to an obscure Confederate poet.
So, the logical question is whether Thomas answers his book’s titular question with enough authority to convince the reader that Dylan does matter. Thomas certainly convinces us why Dylan matters enough to have classes taught about him, like the one Thomas teaches a Harvard. However, I can’t say that I was convinced that Dylan is on-par with… for instance, Cormac McCarthy or Salman Rushdie (who resides in the US, as I understand it) as a major literary figure. While Thomas does show that Dylan’s work is literature because Dylan’s work is wrapped up in literature, the only real argument he offers for whether Dylan is at the highest echelon of literature is his intense fan-boy devotion. We see a lot of comments like: “He had all that he needed to write ‘Masters of War,’ the greatest anti-war song ever written.” Not “one of the best,” not “the best, in my opinion,” not “the best rock-n-roll anti-war song,” but a gratuitous presumption that nothing else could be considered in the running enough for there to be a debate. Thomas’s enthusiasm that Dylan is among the biggest artistic geniuses of our time – if not all time – is certainly potent, but not necessarily compelling.
The book is annotated, has a bibliography and a graphic discography.
I enjoyed this book. I learned a lot about the works of Bob Dylan and I found the author’s fervor for Dylan’s songs contagious — if not altogether convincing that it merits Dylan’s inclusion with Hemingway and Faulkner as an American literary icon. [Though I would not in the least challenge his inclusion as an icon of folk, rock, or pop music.] If you’re interested in Dylan, or this question of whether he’s the best American for the job of Literary Nobel Laureate, this book is worth a read.
There are many downsides to being introverted, but one upside (at least in being a kinesthetic-oriented introvert) is that I can get out of my head and in touch with my body quickly and efficiently when I’m in motion. It can be a blissful state when the inner yakking pipes down and my awareness becomes attuned to sensation.
I would differentiate three types of movement that have very different effects on my state of consciousness. First, there are highly repetitive acts of movement such as running. Now, I do run because it’s great exercise, but it doesn’t tend to put me in the state of mind I’m talking about. Your results may vary. I know many people find “runner’s highs” or achieve a quieting of the mind when running. For me, running tends to produce a daydream-centric state of mind. I sometimes counter this by focusing my awareness on my breath, stride, or sensations, but — left to its own inertia — my mind goes into daydream mode.
Second, there are fixed sequence series of movements — preferably with a flow. The best example that I can think of — and which I currently practice — is taiji. I’ve been practicing Yang Style Taiji for a few years now, and find it’s conducive to this state of mind. However, the point that differentiates this type of movement from the next is that it takes some time to get to that point. One has to ingrain the sequence of movements into one’s body, then coordinate the breath, and then correct minute mistakes in the movement. It’s worth it, but it’s not an instant ride to altered consciousness. While you’re getting the fundamental movements down, the conscious mind is necessarily quite active and it’s hard to tune into the movement and the sensations.
Third, this is what I would call free movement. Some people think of it as a kind of dance, but not one with a fixed choreography, which would fit more in the second category. Free movement is just letting your body move (usually to music) with awareness to the body, but without conscious direction. While the feel created is much like that of the second type of movement, mentally it bears more resemblance to free writing, which I discussed last month. That is, one is trying not to direct the body consciously, but rather let the movement come about (perhaps mediated by the music.) Rather than trying to consciously direct the movement, the conscious mind is used to direct and maintain awareness of sensations. Sometimes, I keep my awareness on the soles of my feet, feeling how various movements — subtly or unsubtly — change the distribution of weight on the feet.
In doing this, I find that sensitivity to sensations — external and internal — dials up. While I’m focusing on internal sensation. I often notice tactile sensations that would usually not register. There’s also a more visceral experience of the effect of music, which is another subject in its own right. The blissful effect of music seems to be amplified by the body in motion.
In thinking about the difference between the second and third types of movement experience, I was reminded of the argument that a ritual is an essential element of plumbing the depths of the mind. As the argument goes, there’s something about inggraining a sequence of actions into one’s muscle memory and continually performing them that tunes one into something vaster than the self.
I’m still planning to do two more posts in this series, although I’m bouncing around alternative subjects for November and December, those joining this experience in progress and curious about previous posts can find them:
January – Psilocybin Mushroom
February – Sensory Deprivation / Float Tank
March – 30 Days of Meditation
April – Hypnosis
May – EGG Feedback
June – Breathwork
July – Lucid Dreaming
August – Sleep Deprivation
September – Free-writing / Poetry
Taken in August of 2019 in Almaty.
Taken in August of 2019 at Panfilov Park, Almaty.