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September 27, 2007

What You See Isn’t Always What You Get

I love mysteries, especially about photographs, and this is a real doozy.

I’m talking about a wonderful column by filmmaker Errol Morris posted on The New York Times web site about two famous war photographs (which are reproduced in the column).

The photographs were taken by Roger Fenton during the Crimean War along a road in a place soldiers call the Valley of the Shadow of Death. One of those photos, which is an important early iconic war image, shows dozens of cannon balls littering an empty road; the other, taken from the same tripod position by the same photographer, shows a road with no cannon balls.

Since Fenton never gave the order of the photos, a lot of critics and photography experts have weighed in on the photo order. In an essay in her last book, Susan Sontag wrote that the photo of the balls on the road was staged, specifically, she writes, “before taking the second picture – the one that is always reproduced – he oversaw the scattering of the cannonballs on the road itself.”

Sontag’s assertion that Fenton staged the cannon balls on the road photo is what you might assume at first glance. But as Morris talks to other experts and takes us further into the story, we find that the truth might be more elusive than it appears.

One thing that bothers me about many bloggers on the 9/11 Truth movement sites is their assertion that because the fall of the World Trade Center buildings looks like a demolition, it is a demolition. As Morris carefully points out, what you see isn’t always what you get.

September 25, 2007

Night Screams in Silver Gate

Another journal entry from Yellowstone. Save for Alaska, there is no place we love more than the area around the Lamar Valley, the valley of the wolves. If you have never been there, you owe it to yourself to see this place.

Silver Gate, Montana
Fall 2004

It's past dark, and I am lost in Life of Pi, Yann Martel's ravishing novel about a spiritually overactive Indian boy, the son of a zookeeper, who is left in a lifeboat in the Pacific Ocean with a Bengal tiger as companion. It is equal parts Robinson Crusoe and The Revelation of St. John.

The novel's narrative gets stranger and more trancelike as their ordeal continues. Near the end, the narrator, delirious, mad with thirst and hunger and close to death, includes a chapter about coming upon a strange, algae island that, without giving much away, is kind of a dream-state Meerkat Manor in the middle of the ocean. The chapter is delicious, an absolute hoot to read, very eerie and strange.

So I am tangled in the vines of this hallucinogenic chapter, with a little high-end bud and a gin & tonic going, when both our ears perk up. At first we write off the noise as a couple of college kids hollering at the moon before turning into their tents. Like what we might hear in Martin Acres from Roddy and the Boys behind us on 43rd Street on Saturday night.

But it's not the weekend, and there aren't any hard-partying kids up here in Silver Gate.

As soon as we get the cabin door open, it's apparent immediately that the sound is not human. We can't tell where it's coming from, mostly because the cruel screams are bouncing around in the valley.

It sounded to me like more than one animal, some almost hyena-like screaming and a chorus of snarling victory and terrifying defeat. Billie heard it as screechy yipping, and she heard pain and howling, too.

This went on for almost ten minutes. A few minutes after it starts, another voice, this one a woman, from somewhere in town behind us, calls for her dog to come inside.

The sound of the animals, the woman's increasingly nervous, plaintive calls and my absorption in the algae island tale convinced me that the poor dog being sought by its master was being torn apart by hyenas, or maybe a Bengal tiger.

Then, in a moment, silence again.

Coyotes? Wolves? Raccoons? Mountain lions?

I finished the chapter in Life of Pi before falling into restless sleep. I would hear the screams again sometime before dawn, and when I got up one time to pee, I looked out the window, imagining long-legged canine shapes moving in the shadows of the Whispering Pines motel, red stains on their coats, meerkats in their mouths, eyes blazing, on their way to Cooke City.

September 23, 2007

Moving Bear Jam

Another journal entry from Yellowstone. Save for Alaska, there is no place we love more than the area around the Lamar Valley, the valley of the wolves. If you have never been there, you owe it to yourself to see this place.

Near Tower Falls, we slow down in a narrow section and pull over. A black bear mother and two black cubs are scrambling above the road along some pretty unsure terrain above us on the left, knocking down little rocks and debris. A tall, friendly ranger, standing in the road, walks over to tell us we're in a "moving bear jam."

On the right side of the road, the Grand Canyon of the Yellowstone looms. On the other, where the bears are scrambling, some tall volcanic tubes and a sheer cliff of ancient volcanism. Anne asks the ranger if it's the same mother&cubs that frequent this area, with the female cub whose paw was run over and walks with a limp.

The ranger acknowledges as much, but adds that it was the male's foot that was run over, and he adds that it seems to be healing, almost two weeks after the incident. The male keeps much closer to mom than the smaller, inquisitive female. He doesn't seem to be favoring it now, but we are all aware that an injury like a wounded foot could easily cost a yearling bear his life.

There are only a few cars and about ten of us humans, and we watch them, first one of the cubs, then the mother and the other cub, tumble down the loose gravel onto the pavement just a few yards behind the car. The mother lets the female, which is the more adventurous of the two, stay back until we are closer to the cub than she. The male is sticking pretty close to mom.

The ranger, assessing the situation, says it's OK for us to walk along behind the bears up the road along this narrow stretch. Don't want any cars coming around the corner too fast with the bears walking along the road, he says.

Billie opts to walk them all the way, while Anne and I go back to pick up the car, turn around and catch up. We watch them eating and walking and playing before they all head up into the forest. The mother lets the female forage along the road with us on the other side, seemingly not concerned about any danger.

Another charmed half hour in the company of bears.

-- Sept 27 2004

September 22, 2007

The Gutpile

Another journal entry from Yellowstone. Save for Alaska, there is no place we love more than the area around the Lamar Valley, the valley of the wolves.

Anne says she thinks there is a gutpile at the west end of the valley that we can check out, so we are in the Lamar by quarter to seven. Lots of clouds and dark, so we sit out at the spot where we left the wolves last night and just listen.

It's not the finding, it's the looking, as John the Ranger says.

We are listening for wolf howls, which are usually faint but can echo across the valley when you're lucky. All we could hear was a bison across the road snoring. Making a real racket, too.

Then it was over to Slough Creek, where we spotted Carl, a friend of Anne's and a WMD. He's got a couple of Christian women from Livingston who have paid him a couple hundred bucks each to show them megafauna and take pictures.

With Carl at the helm, it is money well spent; these women have a power stronger than prayer. We drove it yesterday, so we know that Livingston is a good two hours away. It's seven fifteen a.m., and they beat us here -- do the math. Carl is on the gutpile hotline, too.

The carcass is down below us in a valley of dense sage near the river. I know the spot well, having watched bears and coyotes feed on a kill in the sage a couple years ago when a grizz treed a black bear while a mom and cubs chewed down the carcass.

We're not more than a hundred and fifty yards from a grizzly tearing at a hunk of bison. A shrub conceals the carcass, but at one point you can see him lift the rib cage, pulling for another chop.

Gutpiles are important to lots of critters. Five very healthy looking coyotes, coats shining, are around the carcass, too, skittering around waiting for their chance at scraps. We are downwind, and you begin to notice the change in smell, which quickly brings on nausea even at this distance. Remembering bears' powerful sense of smell, if it affects me this far away, how far away can bears smell it? Bears and humans are alike in so many aspects, but here we part ways; the more rancid the carcass, the more bears seem to enjoy it.

The coyotes go off on a tear, yipping, yelping, making those strange coyote noises. Since we are so close, we don't want to disturb the bear, so Anne goes to move the car, Carl heads off for the Lamar with the Christian ladies and Billie and I watch the bear for awhile, scratching and tearing at what's left of the carcass.

Suddenly, it heads off, and the coyotes take over. In a moment, the bear disappears behind a knoll, and for a few disconcerting moments, I'm trying to figure out if it might be heading in our direction or down where Anne is parking the car.

As it turns out, the bear had already crossed the road by the time I got to Anne. In minutes, he is in the high country and a boulder field hides his path.

- October 13, 2005

September 20, 2007

Charismatic Megafauna

Each year since 2001 Billie and I have gone to Yellowstone at this time of year. We went up the first time because we were curious about the reintroduction of the wolves and how the park might have been changed by their presence. As you will see below, we found much more than we bargained for. Now our primary activity in the park is watching wolves, and a few grizzly bears when we’re lucky. We have seen some incredible things, most of them visible from the side of the road.

Due to some scheduling conflicts, we won’t make it this year. So I thought I would post a few of my journal entries from our Yellowstone years during the next few days. Save for Alaska, there is no place I love more than Yellowstone, and especially the Lamar Valley, the valley of the wolves. And it all began on this spring day.

17 June 2001
Silver Gate, Montana

It was just getting light, just before five, when Kim's knock came at the cabin door. I was already awake, and it didn't take us ten minutes to throw on some clothes and brush our teeth.

We are off at 5:30, early enough that there isn't a ranger at Yellowstone's Northeast Entrance just a mile from Silver Gate. We drive in silence, following the pick-up of Bob Crabtree, the park's chief coyote researcher, sipping our coffee and taking in the natural spectacle of the sun blazing on the rocky peaks, Baronnette on the right and Abiathar and the Thunderer to our left, all three at about 10,000 feet, some three thousand feet vertically above us. All blazing gold in the morning's first rays.

Elk are grazing several hundred yards from the road as we pass through the Pebble Creek area. We were here at this broad meadow late yesterday morning and spent an hour glassing wolves feeding on what was left of an elk or antelope carcass the pack had killed the night before. It wasn't more than a quarter mile from the road. The caravan pauses for a minute while a couple of people from our group silently glass the treelines for movement.

We pass the burned-out Soda Butte itself, a formation which names this valley and creek, go around a curve or two, and we are below Druid Peak, at the place where Soda Butte Creek flows into the Lamar River and snakes west through a broad valley.

Billie and I took a walk into the meadow here yesterday afternoon, hardly realizing that it was home turf for the Druid wolf pack, at 26 members the largest in the park since the reintroduction of wolves in 1994-'95 and now one of the most observed packs in the world. Their den is high above the road, several hundred yards away.

We learned on that walk that wildlife is plentiful here. We watched a badger in an area where the landscape was crawling with ground squirrels. An unfortunate squirrel was in the badger's mouth as it walked the ridge eyeing us before disappearing in the short brush.

And we found a large, heavily eroded wallow next to a creek at an intersection of trails. The bark of the trees had been worn smooth by bear scratching that we recognized as similar to trees bear biologist Charles Jonkel showed us at Pine Butte Ranch in Montana last spring. It’s located at a busy

We don't know if bears scratch trees to announce their presence, mark territory or for the same reason we love our backs scratched. But the trees at this crossroads were crawling with bear hair, and we weren't more than a mile and a quarter from the road, though out of sight of vehicular park traffic.

But we never realized that every Druid wolf in the den area could, and no doubt did, watch us walking out and back to our car. Which is pretty cool, when you think about it.

Crabtree, who is near the end of a 12-year study of park coyotes, told us during his campfire talk last night that there might be as many as three litters of wolfpups up there in that den. Wolf packs usually only have one set of pups, that of the alpha female, but it's just another of the many new things we're learning about wolves as they repopulate the Greater Yellowstone Ecosystem.

Crabtree's truck pulls over, and we all follow suit, get out and head up a steep trail to a location about 75 to 100 feet above the road that offers a great vantage point right above the spot where Soda Butte Creek runs into the Lamar, which then bends and stretches north and west into an immense, broad valley as it heads downriver toward its rendevous with the Yellowstone River.

As we set up and begin to watch, we can see a scattered herd of bison grazing and patches of antelope dispersed in the short grass.

There's something else going on out there in the meadow, too. Crabtree comes over and sets the scope onto a carcass several hundred yards away. As our eyes become accustomed to the lenses, seven or eight wolves can be seen in the general area around the kill site.

The animals are exhibiting many of the same types of behaviors we saw yesterday morning at the Pebble Creek site. Individual wolves seem to be in a state of anxiety, eating, tearing at the meat, running around, biting and scratching, communicating with each other.

Some are just sitting or lying around, perhaps in the "meat drunk" state the canids enter after "wolfing down" large quantities of meat, their only real food source. Unlike bears, they are true carnivores.

Others are dispersed as much as a half mile from the kill, on the move, sniffing, urinating, running errands, performing their wolfpack duties. They're interacting with each other in all kinds of ways. One male is trying, rather unsuccessfully, to mount a female.

But as we angle our glasses westward along the plains, we catch the unmistakable gait of something else moving toward the kill site. It's a grizzly, the hump immediately and plainly visible. And two smaller versions scampering around it. The trio is perhaps two hundred yards from the carcass. No doubt led by that amazing sense of smell, it is a grizzly sow and her two offspring, from their size probably a year old already, maybe even in their second year. The cubs are playing with each other and bouncing around, and they're heading in the same general direction as the trio we saw last night.

The situation changes rather quickly and dramatically in a very short time. About the time we spot the bears, the wolves at the kill pick up on them, too. Several head over toward the bears at a very high rate of speed, running in that loping style that's deceptively fast. Soon they all leave the kill site.

Encountering the trio, they immediately begin circling. While the mother&cubs gather themselves together to evaluate their situation, I glass a couple of the straggler wolves, who are hightailing it to join the circle around the three bears.

Quick count: eight wolves; a female sow grizzly and two yearling cubs. At one point, there are bison and antelope, curiously indifferent to the encounter, as well as the bears and most of the wolves, in the ken of our scopes and glasses.

Can this possibly be happening? This part of Yellowstone has been compared to the Serengeti, the wild game preserve in Tanzania, in the richness of its wildlife and beauty of habitat, and we are in no position to argue.

As this curious life-and-death tango between two top predators begins, I'm thinking the wolves have a serious advantage. My sympathies immediately shift to those cubs and their situation, which doesn't look promising.

The drama intensifies. The wolves continue to circle and stalk, charging occasionally, darting in and out and then backing off. But this doesn't smack of the almost paramilitary teamwork often attributed to wolf packs. Sometimes, the wolves seem indifferent, walking away from the action, then just as suddenly charging and nipping.

The mother is tenacious. She charges individual wolves several times when they come in too close, once in a dash long enough to make my heart beat a couple of extra times when the bearlings are seemingly left to the whims of the rest of the pack. And the mother can't seem to control one of the cubs, which is pretty tenacious itself. Two or three times it charges a wolf on its own, just enough to keep them away before backing off closer to mom.

They are too far away for us to hear, but we know from our McNeil experience that mom is no doubt making those scary popping and chuffing noises with her mouth. The wolves are squealing and barking and howling and snarling and yipping as they move in and out of the circle.

"Who's benefiting from this encounter," asks Bob Crabtree. A look over at the kill site, now just 50 yards from the bears and unattended, offers one answer: The ravens and other scavengers are getting an extra half hour at the carcass. Crabtree says you can bet there are coyotes hiding somewhere out there on the plain, keeping their distance from the wolves, hoping for their chance at the last pickings from the carcass, too.

I ask him about what's going on inside their brains, and Crabtree says, "Give me one second inside there." That would be something, but 'til then, he adds, we can only guess their intentions, and we're limited by our own perceptions as humans.

The wolves continue to lose ground as the dance progresses ever-so-slowly toward the kill. I catch one wolf leaving the group, going back to the carcass and coming off with a big leg piece that has a chunk of flank attached. spinning it wildly in its mouth so that it hangs funny and throws the wolf off balance before disappearing into a swale of grass.

Crabtree suggests that the wolves could be yearlings themselves and perhaps learning or practicing their pack skills. They are probably low-level pack members, the last wolves at the kill. The alpha is not present. And many of the wolves, while interacting, have their tails down or between their legs, both which indicate submission. It's the b-team, the scrubs.

It takes awhile, but the mother grizz moves ever closer to the kill, and then, in one motion, moves to take it over and immediately turns to face any wolf who wants to try and take it back. There are no takers, thank you, and the three bears tear into the remains.

Most of the canids immediately give up and head off after she takes the carcass, though a couple stretch out and settle in to watch the action. Most scatter into the timber or down the draw while the bears munch down.

There isn't much left. After about twenty minutes, the bears head off upriver again and soon are lost to our sight as they head for the wallow where we found the bear hair yesterday afternoon. Hopefully, they spent some time there scratching and smelling our scents from yesterday and making their own marks over them.

Billie points to her watch. It's five to eight.

September 19, 2007

Truckers Rule!

A friend at NewsGator turned me onto a live Drive-By Truckers show, which reminded me that I haven't posted this piece about a Truckers show I attended at the Fox Theatre in April of 2005 after falling in love with their music during my DJ stint on KCUV. Since this was written, one of the major players, Jason Isbell, has left the Truckers and embarked on a solo career.

I never actually saw Lynyrd Skynyrd perform. But my first interview assignment as a green-behind-the-ears reporter was to talk to Ronnie Van Zant before a Kansas City show. It was May 11, 1976.

I had no idea what to expect when I arrived at 5 p.m. at the elegant, now-demolished Muelbach Hotel downtown on Twelfth Street. After being ushered into their inner sanctum on the seventh floor – I had to give the password “narum sin” – someone informed me that Van Zant had the flu and that the date was being rescheduled. Next thing I knew I was moved into another room with guitarist Gary Rossington.

Rail thin, his hair curled like Amy Irving, who was starring in Carrie at the time, Rossington was still nursing a hangover but was gracious as I droned through my perfunctory young-rock-crit litany of questions; “how would you describe your music?” etc.

He was proud of their success as a live act, adding that they rarely had to cancel dates and that the band always made them up. I asked how long he thought the band could continue at its present frenetic pace, and a gleam came to his eye. “I’ll keep doing it as long as I can,” he said with an “I get laid more in a week than I thought I ever would in my entire life” smile.

In October 1977, less than a year and a half later, the frenetic pace caught up with Skynyrd and exacted a particularly harsh penalty. Van Zant, guitarist Steve Gaines and singer Cassie Gaines would die in a plane crash Rossington and the rest of the band would survive. A decade later Rossington reformed Skynyrd with the still-living members and Ronnie’s younger brother, Johnny. They are now Southern Rock’s elder statesmen.

I thought about that twinkle in Rossington’s eye while watching the Drive-By Truckers at the Fox Theatre the other night.

I was turned onto the Truckers when G Brown added five songs from The Dirty South to the KCUV playlist last spring.

The first one that caught my ear was “Carl Perkins Cadillac,” a well-crafted revisionist history that attempts to place Perkins’ star a little higher in the Sun Records firmament. All three guitars are in play, and the song just fucking rocks.

Another, “Tornadoes,” tells the story of a funnel cloud that swept through a small, Great Plains town. The guitars are marvelously sinister, portraying a Midwestern storm rolling across the prairie. There were references to Oz and a line that said the tornado “sounded like a train.” I knew those references and remember that sound all too well.

The songs generally told stories, and with three writers, the subject matter was all over the place. “Daddy’s Cup” was about car racing, “The Sands of Iwo Jima” concerned World War II vets. There was a song about John Henry and another about Buford Pusser. It suggested that all were well-read and in touch with their culture as well as their heritage.

My favorite was “Never Gonna Change,” a head-banging, careening redneck manifesto powered by a three-guitar assault on the senses. Don’t tell John Hayes, but I traded it out in place of other songs more than once ’cause I just had to hear it again when it was on KCUV’s A-list. I haven’t tired of it yet, a year later.

Listening to The Dirty South, it wasn’t hard to understand why the Truckers were being compared, fairly and unfairly, to Lynyrd Skynyrd. Fairly because they share similar fascinations with the South and rock’n’roll, and unfairly because to portray them as second-generation Skynyrd is selling them off far too cheaply.

The live show fleshed out the band members and their individual contributions. Patterson Hood, son of Muscle Shoals class-act David Hood, commands center stage for his own songs and moves into the background when somebody else’s turn came up. His enthusiasm for his song, “Buttholeville,” which I imagined as some kind of twisted response to R.E.M.’s “Never Goin' Back to Rockville,” was a genuine surprise and delight.

Though each member brims with self confidence, everybody seems to know his/her place. Jason Isbell – he’s the one behind “Never Gonna Change,” which they did early in the set, hooray — and Mike Cooley have distinct styles, Isbell with a harder metal edge and Cooley often veering into country rock. You never know who’s gonna play the next lead break. Shawna Tucker and Brad Morgan seem perfectly happy holding up the bottom end on bass and drums.

Hood introduced the band members fairly early. As each was announced, a bottle of Jack Daniels was passed around, and they swigged from it. The Black Jack bottle continued to make the rounds all night. Like I said, they know their culture – and their audience.

Many Truckers adherents totally buy into the middle-finger arrogance that gets more pronounced as the Black Jack works its way into the brain cells. “Some people are asking for rock and roll. Fuck ’em. I’m going to do a country song,” said Mike Cooley at one point to wild cheers.

The biggest applause came from over to my right, courtesy of the Trucker Boys, eight or ten male twentysomethings, several with well-worn band T’s high-fiving, swigging drinks and passing the pipe. The Trucker Boys know all the songs; they high-five each other and start singing along every time a new one begins.

Next to me, Baseball-Cap Dude sang along with all the choruses and most of the verses and held his right arm skyward while he mouthed the words, sometimes flashing his Bic – a rock tradition now in its fourth decade.

Then a large fellow moved in next to Baseball-Cap Dude. He’s obviously pretty stewed and digging the band. Suddenly, out comes a little notebook and pen from his tattered coat pocket. The guy with the Bic moves in to help him see what he’s writing.

Like the ghost of rock’n’roll past, it was like looking back at myself on so many hundreds of nights scrawling in my notebook in the dim stage lights.

I have always been semi-fascinated observing the relationship between guitarists and their cigarettes. Cooley is a major player in this department; he has spent too many hours watching old Rolling Stones videos perfecting the Keith Richard/Ron Woods ciggie-moves and hand poses. He’s got them all down cold.

At one point, Hood does a particularly infectious song that somehow puts me in the mind of the pre-Born to Run E-Street band. Another, about how goddamned happy he is now, engages the audience in a kind of “Blinded by the Light” fervor. During a couple of the harder-rocking songs I closed my eyes while the guitars screamed and fed back at each other and imagined I was at a Derek and the Dominoes show and Gregg and Eric were blazing away at each other again.

Their emotional tribute to the Band’s Rick Danko and Richard Manuel seals the bargain with even a skeptic like me. The Truckers understand the stakes, and if they can keep the Jack under control, they will keep doing it, like Gary Rossington, for as long as they can.

September 13, 2007

Hopes Fade For Fossett Survival

With the search now into its tenth day, most people are coming to grips with the fact that aviator Steve Fossett apparently has died after not returning from a short flight in western Nevada September 3.

Apparently, he had only a water bottle with him when he took off, and little or no food. Some have been quoted that Fossett might have survived the crash but was hurt. It hasn’t been mentioned by anyone I’ve read yet, but equally plausible is that Fossett suffered a heart attack or brain hemorrhage or some such health incident, which caused him to lose control of the plane.

That could explain why an experienced flyer and survivor didn’t set off the special watch he was wearing that would have announced his location. The plane had a beacon device in its tail that hasn’t been activated, but there are reports that the beacon was an older model that has often failed.

Meanwhile, Steve Fossett, a man who survived a balloon malfunction at 30,000 feet and a hero to the rest of us couch potato thrill-junkies, joins Amelia Earhart in the Lost Adventurer column after a routine flight. I can almost hear the conspiracy theories being spun and the cell-phone conversations trying to figure out the movie rights.

September 06, 2007

“Radio Nowhere”: YouTube Rules the Airwaves

I got an email early this morning from a friend in Kansas City that said he had “watched” the new Bruce Springsteen single and liked it.

Intrigued by his choice of words, I immediately called up YouTube and typed “radio nowhere” into the search box. It gave me a list of videos, including the official Columbia Records version. I clicked on it and wound up hitting replay – a bunch of times, in fact.



Looking farther was instructive. The song has been out about a week, and fans are already involved, too, and seriously interactive. Apparently unhappy with the official version, many have already mashed their own video versions. Some are using the music and adding their own Springsteen images. One is an old video of the E-Street Band from the Hard Rock Café with the new song superimposed that almost works. R.M. Rueff shot his flag waving in the wind and added “Radio Nowhere” as the soundtrack.

Enterprising amateur guitarists have added videos of themselves playing the song in their dens and living rooms. One guy offers a tutorial on how to play the chords. Another fan who calls himself Tele0009 (hint: let people know your actual name) has 35 other Springsteen covers online. He’s not bad.

But what this really got me thinking about was how quickly things are changing in the music industry. But the principle is the same. When I first started listening to music, I relied exclusively on the AM radio dial, which, when the late-night frequencies were clear, brought an astounding diversity of music into my transistor radio.

Today, I watch the new Springsteen single on my computer, then copied “Radio Nowhere” -- it’s a free download -- and it’s already crowding for position in the Jukebox in My Head. And reading this weblog, you can "watch" the same music I'm writing about.

A couple clicks of the mouse, and the job that Columbia Records once assigned to radio stations (and sometimes paid them well to do it) had been done. And you just gotta think that this is a cheaper and more efficient way to promote your product than back in the good old days, or even last year, for that matter. Columbia is giving away the single, betting that all of us will rush out and buy Magic, the first studio album with the E-Street Band since The Rising.

And whether it's a transistor radio or an iPhone, it's just connecting people to the music they want.

More as we watch Columbia, the label that hired producer Rick Rubin to save it, promotes one of its biggest artists in the last days of the music industry as we know it.

September 05, 2007

The Steve Fossett Mystery

I can’t exactly explain this, but I am really caught up in the drama of Steve Fossett, the multi-millionaire adventurer who holds many of the world’s most impressive air records who disappeared into the Nevada wilderness Monday morning on a routine flight.

How can you not like a guy who has circumnavigated the planet in an airplane without refueling and then went and did it solo in a balloon, among many exploits only a true obsessive would even try? But I have never particularly been interested in his life or his other accomplishments. I just learned yesterday that he climbed mountains and ran strong in the Iditarod sled race back in the nineties.

Fossett has always been bigger than life itself. Yet on Monday, apparently scouting locations where he could attempt to beat the world land-speed record, he took off in a single-engine plane from a private airstrip in western Nevada and hasn’t been heard from since.

The disappearance is puzzling for many reasons. Everybody interviewed says that Fossett is a conservative pilot and expert glider, with survival skills that are second to none. Though he didn’t have a radio, the plane had a transponder that would have been set off if the plane had crashed – unless it didn’t work.

Meanwhile, I’m going through my own obsession for Fossett news. I can’t seem to stop myself from checking Google headlines or my NewsGator smart feed on his name to read any update or opinion. I have even looked over the area around Yerington, Nevada, where he took off, on Google Earth. So far, I haven't found anyplace that looks like a millionaire's ranch with an airstrip.

Hope the news is good when I get up in the morning.

September 04, 2007

Stephen Stills: Just Roll Tape

The story is almost too good to be true. On April 26, 1968, Stephen Stills, 23 years old and just two weeks away from Buffalo Springfield’s final concert, slipped a couple thousand dollars to an engineer after a recording session with then-girlfriend Judy Collins and proceeded to run off a half-hour set list of new material. Forty years later, the tape shows up and winds up in the hands of Graham Nash.

But that’s basically the tale behind Just Roll Tape (Rhino Records): 12 songs, apparently released in the order in which they were recorded, with a later, seven-minute demo of “Treetop Flyer” added so it wouldn’t be the shortest CD ever.

Short though it might be, for Stills’ watchers, Just Roll Tape offers a nascent glimpse into his creative process at the beginning of a period of peak creativity that culminated in CSN&(sometimes)Y and his early solo records.

Three of the songs here – “Suite: Judy Blues Eyes,” “Helplessly Hoping” and “Wooden Ships” – would appear in finished form 13 months later on Crosby, Stills and Nash, the epochal album that made them huge stars and opened up the concept of country/rock to a mass audience for the first time.

“Black Queen,” which I heard on CSN&Y’s debut tour in the fall of 1969, shows up on record for the first time on Stills’ 1970 solo debut. Both “Change Partners” and “Know You Got to Run” don’t appear officially until 1971’s Stephen Stills 2, and “So Begins the Task,” another CSN live highlight, would wait for 1972’s Manassas. (Judy Collins would record “So Begins the Task” in 1973 for her True Stories and Other Dreams. )

I’m kind of surprised that “All I Know is What You Tell Me” didn’t see the light of day until now. “The Doctor Will See You Now” and “Bumblebee (Do You Need a Place to Hide?)” are both nice examples of Still’s unique blues stylings that apparently weren’t taken up in the ensemble process.

Looking over this sheaf of potential gold, with at least six career songs, it suggests that Stills knew what he had and was willing to wait to provide them, at least on record, at his own whims. It helped that there were other songwriters in his band.

If you argue that Stills has always better in group settings than as a solo artist, there is potent ammunition here. It’s obvious that “Suite: Judy Blues Eyes,” “Helplessly Hoping” and “Wooden Ships” are simply awaiting the glorious additions of David Crosby and Graham Nash.

It’s easy to forget how influential Crosby, Stills and Nash was at the time of its release. Although it was hardly a new concept, in the rock world it was novel to see members of previously influential groups forming a “supergroup” – or creating such a strong record.

Two of the songs on that album were especially revolutionary, and hearing these versions of “Suite: Judy Blue Eyes” and “Wooden Ships” at this embryonic stage is kind of like hearing the original recording of the Beatles equally influential “Strawberry Fields Forever” and then hearing its evolution into the single version.

You can hear the three distinct parts that Stills stitched together to form “Suite: Judy Blue Eyes.” He adjusts the tuning between the first and second sections, and ends it with the penultimate line in the final version, “be my lady,” just before the miraculous “do-do-do-do-do” harmonies that magically end the recorded single.

Even more embryonic is the post-apocalyptic poem, “Wooden Ships.” Within a year and a half of this recording, two major groups, CS&N and Jefferson Airplane, would release very different versions of “Wooden Ships.” (I loved them both, though I preferred the CSN version). Like everything on this disc, all the pieces are here; they just haven’t been segued together.

All in all, if Crosby, Stills and Nash was an important musical signpost on the musical road of life, Just Roll Tape should tickle the hell out of you.