Monday 30 January 2012

Bioethicists Suggest Killing Someone With ‘No Autonomy Left’ Is Not Morally Wrong!!! NO WAY JOSE! This will never happen.

Bioethicists Suggest Killing Someone With ‘No Autonomy Left’ Is Not Morally Wrong!!!

NO WAY JOSE! This will never happen.

In the USA two bioethicists — one from Duke University, the other from the National Institute of Health — bring up the question “What makes killing wrong?” in the latest issue of the Journal of Medical Ethics. Using their definition of killing, the authors conclude if the person is “universally and irreversibly disabled” and has “no abilities to lose” then killing them to take organs for donation in order to save the lives of others should not be considered morally wrong.

Bioethicists Suggest Killing Universally and Irreversibly Disabled Person Not Morally Wrong
Walter Sinnott-Armstrong from Duke University (Photo: Duke University)

Walter Sinnott-Armstrong, a professor of practical ethics from Duke, and Franklin Miller, a senior faculty member in the NIH Department of Bioethics, state in their abstract ”What makes an act of killing morally wrong is not that the act causes loss of life or consciousness but rather that the act causes loss of all remaining abilities.“ They argue that if no abilities remain then the ”dead donor rule,” which is the ethical practice that a person must be declared dead before removing vital organs, should apply to patients whose hearts have stopped and are being removed from a respirator.
This discussion has been ongoing for several years and continues with this article. BioEdge, a publication discussing bioethical news, brings a few segments from the subscription-only journal in which Sinnott-Armstrong and Miller publish their opinion. BioEdge reports that the authors are seeking to make a case for organ donation after cardiac death when a person is taken off of a respirator. Once off the respirator, the person’s organs would be immediately harvested, but even at this point, BioEdge states, Sinnott-Armstrong and Miller believe the person is not yet dead because there is the possibility that his or her heart could start beating again.

Shepherd and Sheep ... Bronze by Elisabeth Frink.

                      Shepherd and Sheep (1975), Bronze and fibre-glass
by Dame Elisabeth Frink.
 Paternoster Square London


Commissioned for the previous Paternoster Square complex and retained for the redeveloped square in 2000. Probably commemorates Paternoster Square's past, as the site of a livestock market.
Paternoster Square London sheep

Sunday 29 January 2012

GAY MARRIAGE (sic)? NO WAY JOSE

The Definitive Case Against Gay Marriage

In my previous article I stated the arguments for "gay marriage" and exposed the weaknesses within them. Here, I would like to first examine more closely some of the arguments that have been given against "gay marriage," and, upon revealing their defects, state my own case against it.
There are essentially but two fundamental arguments that have been stated against "gay marriage," the first of which appeals to its intrinsic problems, the other to its extrinsic consequences. The former claims that since marriage is an inherently reproductive union, and every homosexual union lacks even the potential for reproduction, it is both biologically and metaphysically impossible for homosexuals to "marry" one another.
This argument undoubtedly possesses an air of plausibility, but in light of the fact that no one today any longer favors withholding from infertile heterosexuals, or even fertile heterosexuals who haven't any desire for children, the right to marry one another, it is increasingly difficult to shake the suspicion that this is only an air. The owners of this argument from reproduction have ready at hand a response to our skepticism: although not in fact, and unlike that which occurs between homosexuals, the sexual intercourse that transpires between infertile heterosexuals and those heterosexuals who prefer not to reproduce is at least reproductive in type. In other words, heterosexual intercourse between couples either incapable of or unwilling to beget offspring is nevertheless marital because while they may not be oriented toward having children, the sexual act itself is. Homosexual activity, in stark contrast, is inherently antagonistic to the end of procreation and, thus, essentially non-marital, or even anti-marital.
While only a mind enslaved by the merciless demands of an ideology could be devoid of all affection for this line of reasoning — both the simplicity and the readiness with which it resonates with the most rudimentary understanding of human biology, coupled by the ease with which it appears to "justify" some of our traditional sensibilities regarding sexual morality make it difficult to entirely ignore — ultimately it must be rejected, for the robustness of the metaphysics by which it's draped and which arrests attention at the outset proves upon closer examination to be its undoing.
The "essence/accident" distinction upon which the argument centrally relies, in spite of its lengthy history and stellar pedigree — in addition to the prominent place it has occupied for centuries within the Christian consciousness, it was first propounded by Plato and Aristotle — is confronted with challenges that it may be powerless to fully surmount. Now is neither the time nor place to unpack all of these difficulties, so I will mention only two of them.
First of all, it is important to recognize that the "essence/accident" distinction presupposes a particular conception of identity that casts just as large a shadow over the history of Western thought as the distinction itself. According to this traditional notion of identity, any given thing is what it is by virtue of retaining the same exact properties over the span of its life. In other words, "identity" equals sameness. So, for instance, in response to the question, "What makes this man the same man today as he was yesterday or last week?" the apologist for this traditional idea of identity will attempt to seize hold of an allegedly immutable property or set of properties possessed by the man under discussion that underlie or sustain the other changes that he experiences over time. "Sameness of soul" is the candidate that has most commonly been submitted for this ostensibly changeless criterion by which a person's identity can be established, but some, like the seventeenth century English philosopher, John Locke, suggested "sameness of memories" as another.
Yet neither of these criteria succeeds in fulfilling the task that's been set for them. Regarding the first, the question remains: "What makes this soul the same soul at one time as at another?" Locke's understanding of personal identity scarcely fares any better, for memories are just as fleeting as anything else in our acquaintance. Furthermore, it engenders insoluble paradoxes like the following. A person is the same person at 50 as he was at 20 because the memories of the one are continuous with those of the other. But at 80 this person may have few if any of the memories of the 20-year old but some of the memories of the 50-year old. So, the 20-year old and the 50-year old are the same person, and the 50-year old and the 80-year old are the same person, but the 80-year old and the 20-year old are not the same person. This means that the 50-year old is the same person as two people which, in turn, means that he both is and isn't identical to either of them!
To complicate matters, various other visions of identity, both of the personal and non-personal sorts, have been submitted over time.
Yet even if we accept this distinction between "essence and accident," we may soon discover that it proves too much. If it is impossible for homosexual intercourse to be marital (and, hence, licit) because it is essentially opposed to reproduction, then it is impossible for all sexual expression between married heterosexual couples beyond conventional intercourse to be marital (and, hence, licit), for only the latter is essentially procreative: mutual masturbation, oral sex, and anal sex, are no less or more immoral when performed by married heterosexuals than when engaged in by homosexuals or, for that matter, prostitutes, porn stars, or anyone else. Contraceptives, then, are also impermissible, for by design they frustrate the end of procreation toward which sexual intercourse is oriented.
This is, in fact, the official Roman Catholic position. There is nothing illogical about it, and on its face it may even seem sound; the point, though, is that there are relatively few people, including Catholics themselves, who endorse it.
But there is another point: once we plunge beneath its face, the suspicion grows that the strength of this position's claims is considerably weaker than the confidence with which they are made. Admitting that sexual intercourse is inherently or essentially oriented toward the end of procreation, why should we accept either that it is the only permissible expression of sexuality or that only when it transpires between married couples is it lawful? The mouth is inherently oriented toward the end of consuming food and drink, we may argue, but this certainly hasn't led anyone to conclude that using it for the purposes of kissing or of eating and drinking when there are no hunger pains to satiate or thirst to quench is morally objectionable. That nature has endowed any of our faculties with specific purposes doesn't mean that morality requires of us that we always employ those faculties just for those purposes. With respect to every area except for that of sexual morality, we seem to recognize this. What, then, accounts for this sole exception?
So, that homosexual activity precludes procreation does not, as far as I can determine, suffice to substantiate the verdict that it precludes a marital union.
The concern that "gay marriage" will discourage heterosexuals from marrying is doubtless a legitimate one, for there is no precedent in all of human history for us to consult while introducing a change of this magnitude in our marital arrangements. Whether the deleterious consequences dreaded will actually materialize, though, no one can know, but given the enormity of the change proposed, the burden is on its advocates to allay their opponents' fears.
That being said, this argument against "gay marriage" fails at least as badly, and quite possibly much worse, than the argument from reproduction. If "gay marriage" has any adverse bearing on heterosexual conduct vis-a-vis marriage, it will be at worst negligible relative to the influence over it exerted by a host of cultural phenomena that have little to nothing to do with homosexuality, practices that even the most ardent defenders of marriage and "family values" don't wish to prohibit.
The allowance of divorce under any set of conditions potentially imperils the sanctity that generations have ascribed to marriage, and the ease with which our laws permit couples to dissolve their marital bonds can't but weaken this institution reducing it to a mere partnership of mutual convenience. While the case against "no fault" divorce has been powerfully made, few Americans today would want to proscribe divorce per se, and most have no difficulty envisioning some kinds of circumstances under which divorce is the only viable option.
The hyper-sexualized nature of all manner of media in our popular culture has immeasurably undermined marriage. From magazines to "romance" novels, from television to film to music, there isn't a single medium that hasn't been "sexualized." Even television news agencies have failed to escape this, as just a casual glance at any of the legions of unfailingly thin and attractive female journalists and commentators readily confirms. "Romantic" films and soap opera dramas promote the notion that unless two people share the intoxicating feeling of being "head over heels" in love, there is something impure and even immoral about their so much as considering marriage, and unless spouses satisfy one another's every desire, they ought to divorce.
The pervasiveness of non-marital co-habitation between sexual partners can also be plausibly interpreted as having left a less than beneficial impression on marriage, but again, few people would be willing to demand that the law be hostile to this arrangement. And, of course, in allowing non-marital co-habitation of sexual partners, we collectively sanction non-marital sex.
In fact, if we as a society were willing to uphold the sanctity of marriage at all costs, then either formally or informally, we would demand of all adults that they be married, for only through such measures could we hope to discourage the sexual promiscuousness that attends the life of so many singles. But not only do we refuse to stigmatize such conduct, in many ways — especially through our media — we (at least implicitly) encourage it.
Inasmuch as marriage is an institution, it is a practice, an activity, or a tradition, as it were. And the identity of any tradition, like the identity of any entity, for that matter, is located in the continuity of its parts. Again, not unlike anything else within our acquaintance, and contrary to the notion of "tradition" that rationalists of various sorts have spared no expense in ensconcing in the modern consciousness, far from being static, inherent in tradition is a dynamism that permits it to accommodate the unexpected changes that ever fluctuating circumstances inevitably throw up. But while the flexibility of tradition is among its greatest virtues, and while it permits the absorption of an expansive array of alterations, there are some changes that anticipate its ruination, for there are some ideas and practices that signal a radical departure from the continuity from which any given tradition derives its identity.
Take the Christian tradition as an example. Over its 2,000-year history, this tradition has continually undergone modifications. Indeed, it is a testimony to its viability as a tradition that it has managed to flourish under such a broad range of disparate circumstances for so long. Yet although it is impossible to provide exhaustive lists of those changes that Christianity can assimilate and those that it cannot, and although even less comprehensive judgments regarding this matter can and have proven to be incorrect, few would disagree that any line of thought that denied a unique role to Jesus in the economy of human salvation has no place within Christian thought. For that matter, the idea that there is no cosmic salvation, or the idea that there is no God, are alike incompatible with Christianity. That is, Christianity cannot assimilate them. No one is going to confuse Confucianism, Buddhism, Islam, or even Judaism with Christianity.
Professional boxing is another illustration of a tradition that, though capable of encompassing a variety of changes while preserving its identity, is clearly not capable of absorbing some without ceasing to be the tradition that it is. From the days of limitless rounds and bare knuckles fighting in which it originated, boxing has remained essentially one and the same sport in spite of having long since prohibited both. Numerous other changes constitute the history of boxing. No longer are there but three standard weight divisions, one single heavyweight championship belt, 15-round contests, and within just the past generation or so, the boxing ring saw the addition of a fourth rope. And I haven't even mentioned the increase in size of the fighters over the years, a change made possible by the dramatic changes in the ways in which boxers are trained.
But while boxing can absorb these changes while remaining one and the same sport, if it were to permit groups of men to rumble in the ring, or men to swing on one another with baseball bats, it would cease to exist, for these are radical changes that, as such, extinguish the identity of the entity to which they occur. Yet the permitting of men and women to battle one another would be no less radical an alteration, for everyone recognizes that, on average, men are physically much larger and stronger than women. The sport of boxing would see its demise if men were allowed to "box" women.
Just as the identity of boxing precludes the accommodation of gender-inclusive bouts, so too does the institution of marriage preclude the accommodation of gender-exclusive unions. To put it another way, the continuity upon which rests the very identity of marriage would be irreparably ruptured if homosexual unions are given the name "marriage," for throughout its extended and storied life, besides the notion of a lifelong commitment that the concept of marriage has been understood as implying, there has been but one other idea that has been the thread uniting the variety of changes that the institution has undergone, and this is the idea that marriage is a heterosexual union.
Requirements to the effect that spouses be unrelated, in love, of the same race, religion, political or economic class, and adults, or that the marital union be monogamous or polygamous, have at various times and places been absent. But at no juncture throughout its millennia-old history has marriage ever been regarded as anything but a sexually diverse practice.
Thus, "homosexual marriage" is a contradiction in terms, for marriage is a tradition or practice that cannot accommodate a change of the magnitude for which proponents of "gay marriage" argue without losing its identity.
That apologists for "gay marriage" believe that by the stroke of a pen, the government can, in essence, "marry" homosexuals, proves the extent to which their thought is dominated by the presuppositions of Enlightenment Rationalism. It is has always been a characteristically Rationalist belief that laws are worth neither more nor less than the paper they are written on. That is, laws are the products of legislators alone, and owe nothing to the customs, affections, sensibilities, habits, and traditions of the peoples who order their lives in accordance with them.
For that matter, opponents of "gay marriage" who decry efforts to "redefine marriage" are similarly rationalistic, for no one can redefine an age-old practice by simply and solely willing to do so via a change in a written law. If a boxing commission today decided to permit gender-inclusive matches, or the use of weapons in the ring, this would no more constitute a genuine "redefinition" of boxing than would our government's decision to regard homosexual relationships as marital constitute a "redefinition" of marriage, for the proposed changes in both instances are incapable of being accommodated by the practices to which they would be added.
The rules and sensibilities of which every tradition is constituted transcend the preferences, tastes, and convictions of their individual adherents. Take a language, for example. A language is a practice or tradition that, as such, is a composition of a richly complex system of rules that, though neither fixed nor finished, and while originating in the utterances of the individuals who speak it, has since transcended their several wishes by achieving a kind of objectivity in motion. Many a change can a natural language assimilate, but it is crucial to recognize that all such changes are gradual and spontaneous, not abrupt and deliberate. Also, such changes arise inadvertently through the mundane, daily, and, hence, un-coordinated interactions of millions of human beings who are unaware of their occurrence; such changes are not imposed upon this largely self-regulating order by third-party elites. Finally, though natural languages, not unlike anything else with which we are familiar, are in a condition of constant flux, there are some changes that no given language can incorporate without impairing its distinctive character.
The definitive case against "gay marriage" is that the practice of marriage can no more accommodate homosexual unions than can the English language accommodate words in Swahili — irrespective of whether the government decides to refer to them by the name "marriage."

GAY ADOPTION? No way Jose ... a snippet re the secular case against



The most important issue is the welfare of the child. Social science research has repeatedly demonstrated the vital importance of both a father and a mother for the healthy development of children and the serious risks that they face if they are raised without a mother or a father. Mothers and fathers bring unique gifts that are essential to the health of a child.
Among the many distinctive talents that mothers bring to the parenting enterprise, three stand out: their capacity to breastfeed, their ability to understand infants and children, and their ability to offer nurture and comfort. Social science studies confirm this. Numerous reports indicate that infants and toddlers prefer mothers to fathers when they are hungry, afraid or sick. Mothers tend to be more soothing. Mothers are more responsive to the distinctive cries of infants; they are better able than fathers, for instance, to distinguish between a cry of hunger and a cry of pain. They are also better than fathers at detecting the emotions of their children by looking at their faces, postures, and gestures.                                                                     

Children who were deprived of maternal care during extended periods in their early lives “lacked feeling, had superficial relationships, and exhibited hostile or antisocial tendencies” as they developed into adulthood. Clinical experience suggests that deliberately depriving a child of its mother, motherlessness, causes severe damage because mothers are crucial in establishing a child’s ability to trust and to feel safe in relationships. All cultures recognize the essential role of the mother.

Fathers also have distinctive talents. Fathers excel when it comes to providing discipline, play, and challenging children to embrace life’s challenges. They also provide essential role models for boys. Their presence in the home protects a child from fear and strengthens a child’s ability to feel safe. The extensive research on the serious psychological, academic and social problems among youth raised in fatherless families demonstrates the importance of the presence of the father in the home for healthy child development.

There are strong indications that children raised by same sex couples fare less well than children raised in stable homes with a mother and a father.
In 1996 a well-designed study of 174 primary school children in Australia — 58 children in married families, 58 in families headed by cohabitating heterosexuals and 58 in home with homosexual unions – suggested that married couples offered the best environment for a child’s social and education environment. Cohabiting couples were second best and homosexual couples came last.

The results of a 2009 study of women in New York, Boston, and San Francisco are similar. Researchers interviewed 68 women with gay or bisexual fathers and 68 women with heterosexual fathers. The women (average age 29 in both groups) with gay or bisexual fathers had difficulty with adult attachment issues in three areas: they were less comfortable with closeness and intimacy; they were less able to trust and depend on others; and they experienced more anxiety in relationships compared to the women raised by heterosexual fathers.

The rights and needs of children to a mother and a father should be protected by the state. Adults do not have a right to deprive children of a father or a mother.

RC adoption group loses gay couples appeal

http://www.christian.org.uk/news/rc-adoption-group-loses-gay-couples-appeal/

Saturday 28 January 2012

Der Abschied ... Gustav Mahler

File:Photo of Gustav Mahler by Moritz Nähr 01.jpg
Gustav Mahler
The final movement Das Lied von der Erde, "The Farewell", is nearly as long as the previous five movements combined. Its text is drawn from two different poems, both involving the theme of leave-taking.
"The sun sinks beyond the hills, evening descends into the valleys with its cooling shade. See, like a silver boat the moon sails up into the lake of the sky. I sense a soft wind blowing beyond the dark fir-trees. The brook sings melodiously through the dark. The flowers grow pale in the twilight. The earth breathes a deep draught of rest and sleep. All longing now will dream: tired people go homewards, so that they can learn forgotten joy and youth again in sleep! Birds sit motionless on their branches. The world is slumbering! It grows cool in the shade of my fir-trees. I stand and await my friend, I wait for him for our last farewell. O friend, I long to share the beauty of this evening at your side. Where do you linger? Long you leave me alone! I wander here and there with my lyre on soft grassy paths. O Beauty! O endless love-life-drunken world!
He dismounted from the horse and handed to him the drink of farewell. He asked him where he was bound and why it must be so. He spoke, and his voice was muffled: 'You, my friend, Fortune was not kind to me in this world! Where do I go? I am departing, I wander in the mountains. I am seeking rest for my lonely heart. I am making my way to my home, my abode. I shall never stray far away. My heart is still and awaits its moment.'
The beloved Earth blooms forth everywhere in Spring, and becomes green anew! Everywhere and endlessly blue shines the horizon! Endless... endless..."
(The last lines were added by Mahler himself.) The singer repeats the final word like a mantra, accompanied by a sparse mix of strings, mandolin, harps, and celesta, until the music fades into silence, the final chord "imprinted on the atmosphere" as Benjamin Britten put it.The last movement is very difficult to conduct because of its cadenza writing for voice and solo instruments, which often flows over the barlines, "Ohne Rücksicht auf das Tempo" (Without regard for the tempo) according to Mahler's own direction. Bruno Walter related that Mahler showed him the score of this movement and asked, "Do you know how to conduct this? Because I certainly don't." Mahler also hesitated to put the piece before the public because of its relentless negativity, unusual even for him. "Won't people go home and shoot themselves?" he asked.
                               Gustav Mahler by Auguste Rodin

The Burghers of Calais ... Auguste Rodin's masterpiece


photo

The Burghers of Calais

The Burghers of Calais by Auguste Rodin. Magnificent! One of my all time favourite sculptures. One day I intend to sculpt a monumental work entitled 'The Burghers of Uxbridge'.


The Burghers of Calais, commemorating an episode during the Hundred Years' War between England and France, is probably the best and certainly the most successful of Rodin's public monuments. Rodin closely followed the account of the French chronicler Jean Froissart (1333 or 1337–after 1400) stating that six of the principal citizens of Calais were ordered to come out of their besieged city with head and feet bare, ropes around their necks, and the keys of the town and the caste in their hands. They were brought before the English king Edward III (1312–1377), who ordered their beheading. Rodin has portrayed them at the moment of departure from their city led by Eustache de Saint-Pierre, the bearded man in the middle of the group. At his side, Jean d'Aire carries a giant-sized key. Their oversized feet are bare, many have ropes around their necks, and all are in various states of despair, expecting imminent death and unaware that their lives will ultimately be saved by the intercession of the English queen Philippa. The arrangement of the group, with its unorthodox massing and subtle internal rhythms, was not easily settled, and the completed monument, cast in bronze by the Le Blanc-Barbedienne foundry, was not unveiled in Calais until 1895. The Metropolitan Museum's bronze is a lost-wax casting made from the plaster model in the Musée Rodin in Paris.

Buddy Holly - The Apartment Tapes




















Buddy Holly - The Apartment Tapes
Buddy Holly, Learning the Game.
Buddy Holly, Peggy Sue Got Married.
Buddy Holly, Love is Strange.
Buddy Holly, Dearest.
Buddy Holly, Slippin' and Slidin'.

AND MORE...





Buddy Holly - The Apartment Tapes

  In December 1958, Buddy Holly bought an Ampex tape recorder from Norman Petty. Buddy Holly used this tape recorder in his New York City apartment to record rough takes of new songs that he was writing. In February 1959, as we all know, Buddy Holly died in a plane crash along with Ritchie Valens and J.P. "Big Bopper" Richardson. Many people believe that "It Doesn't Matter Anymore" and "True Love Ways" were Buddy Holly's last songs.
  After his death, Buddy Holly's tape recorder was located in his apartment building. On this tape, there were 14 full songs that Buddy Holly recorded. The songs were, in general, very clear and very personal. Most were just Buddy Holly and his acoustic guitar. These songs were truly Buddy Holly's last songs.
  The original tapes were given to two producers, Jack Hansen and Norman Petty. Both producers used the recordings and overdubbed them with a full band so the songs would be more radio-friendly. These versions of the songs were released to the public, and some of the songs even became hits. But the original raw recordings Buddy Holly made in his apartment never saw an official release.

  It is very hard to find the original, raw, recordings of the tapes. They can be found on various fan-made bootleg CDs. To the general public, however, the songs are vastly unknown. When I originally found out about these recordings, I immediately started looking for them. It surprised me how long it took to actually find the original recordings that Buddy Holly recorded himself. Once I finally found the recordings online, I decided to make this website so other Buddy Holly fans can gain easy access to what I think are Holly's best recordings. Share these with your friends, and download them all you want. These songs should not be hidden from the public for as long as they have been.

As far as I have researched, what I have included on this website are the complete tapes. If this is not complete, you see an error, or you have additional input that you feel I should add to this website, feel free to email me at "weirdedsel {at} gmail [dot] com".



The Apartment Tapes:

You can click on each song individually, or download all of them at once in a .zip file by clicking here.

1. That's What They Say (version 1) [Recorded Dec. 3, 1958] 0:35
    Note: Buddy stops half way through the song.
2. That's What They Say (version 2) [Recorded Dec. 3, 1958] 1:15
3. What To Do [Recorded Dec. 3, 1958] 1:56
4. Peggy Sue Got Married [Recorded Dec. 5, 1958] 1:49
5. That Makes It Tough [Recorded Dec. 8, 1958] 2:16
6. Crying, Waiting, Hoping [Recorded Dec. 14, 1958] 1:51
7. Learning The Game [Recorded Dec. 17, 1958] 1:33
The following were recorded sometime between Jan. 1-19, 1959
8. Wait Till The Sun Shines Nellie 1:15
9. Slippin' And Slidin' (version 1) 3:09
    Note: You can hear lots of ambient noise in this one. Sounds like someone is putting plates away in the kitchen.
10. Slippin' And Slidin' (version 2) 3:11
    Note: Bad recording quality on this one, but audible. Buddy is using his electric guitar instead of his acoustic. At 1:01 something sounds like it drops and Buddy stops, but then continues to play.
11. Slippin' And Slidin' (version 3) 3:34
    Note: Good quality on this track. You can still hear the clinks of plates in the background.
12. Slippin' And Slidin' (version 4) 1:26
    Note: A much faster version than the others.
13. Drown In My Own Tears 0:20
    Note: This track is in fragments. It wasn't recorded properly.
14. Maria Elena 3:44
    Note: This is all ambient noise of the apartment. You have to turn the volume up to hear a lot of it. Most of it is Buddy's wife, Maria Elena, talking. Buddy and Maria are just playing around with the recorder.
15. Dearest (version 1) 1:14
    Note: Acoustic Guitar
16. Dearest (version 2) 1:53
    Note: Electric Guitar
17. Love Is Strange 1:42
18. Smokey Joe's Cafe (version 1) 2:13
19. Smokey Joe's Cafe (version 2) 2:29
    Note: Bad quality recording. Buddy talks to someone at the end.
20. Buddy's Guitar 1:22
    Note: Instrumenal
21. Slippin' And Slidin' (half-speed version 1) 1:35
    Note: Buddy purposely recorded these last three tracks at half-speed.
22. Slippin' And Slidin' (half-speed version 2) 1:35
23. Slippin' And Slidin' (half-speed version 3) 1:47

Extras:
You're The One [Recorded Dec. 27, 1958 at KLLL Radio] 1:33
    Note: Buddy visited his hometown in Lubbock, TX for Christmas. He stopped by KLLL Radio. At the studio, someone bet Buddy to write a song in 30 minutes. Buddy accepted the bet and came back with this song. The radio station had their own tape recorder, and had Buddy record his new song. This song is not on Buddy's Apartment Tapes, but I include it here because it was written and recorded around the same time.

Buddy Holly's Promo For Winter Dance Party 1959
    Note: This is an advertisement read by Buddy Holly for the Winter Dance Party Tour in 1959. This is said to be his last recording.

Newscast About Plane Crash
    Note: Here is a radio newscast of the plane crash.

I will upload more interesting, unreleased, Buddy Holly sound files in the future if I find them.

If links do not work, or are slow, there is a mirror to this website located at http://www.rascalshow.com/buddy/buddy.html


Last Update: Feb. 3, 2009

Friday 27 January 2012

Rondanini Pieta by Michelangelo ... his finest work?

Michelangelo's Rondanini Pieta

Detail of Michelangelo's Rondanini Pieta

Rondanini Pieta by Michelangelo


Named for the Roman palace where it long stood, the Rondanini Pietà is the sculpture on which Michelangelo was working only six days prior to his death on February 18, 1564.
When Michelangelo began this final pietà in 1556, he chose to work from a piece he had begun but abandoned nearly ten years earlier. In the early stages of the Rondanini Pietà, Mary was holding up the slender Christ with her outstretched arms as if offering his spirit, but with time and through nearly three different stages, Christ sank down, now emerging from Mary's breast and exaggerated in his slender form. Finally, Michelangelo drew the heads of the two figures closer and closer together, dissolving the barrier between mother and son.

                        
MICHELANGELO


The other Michelangelo pietas:


Michelangelo Pieta Firenze.jpg                                                                                The Deposition (also called the Florence Pietà, the Pietà del Duomo or The Lamentation over the Dead Christ)

                                                                                    The Pietà (1498–1499) is a masterpiece of Renaissance sculpture by Michelangelo Buonarroti, housed in St. Peter's Basilica in Vatican City



The Principle of Double Effect

                                       Saint Thomas Aquinas 1225  –  7th March 1274


Anyone familiar with Gene's philosophical stance on ethical issues will be aware that he regularly has recourse to the Principle of Double Effect. This principle in ethics was formulated by Saint Thomas Aquinas in his discussion of the permissibility of self-defence in the Summa Theologica (II-II, Qu. 64, Art.7). Killing one's assailant is justified, he argues, provided one does not intend to kill him. Aquinas observes that “Nothing hinders one act from having two effects, only one of which is intended, while the other is beside the intention. … Accordingly, the act of self-defense may have two effects: one, the saving of one's life; the other, the slaying of the aggressor.”  

Maybe it would be useful to see the Principle of Double Effect encapsulated here.

The New Catholic Encyclopedia provides four conditions for the application of the principle of double effect:
  1. The act itself must be morally good or at least indifferent.
  2. The agent may not positively will the bad effect but may permit it. If he could attain the good effect without the bad effect he should do so. The bad effect is sometimes said to be indirectly voluntary.
  3. The good effect must flow from the action at least as immediately (in the order of causality, though not necessarily in the order of time) as the bad effect. In other words the good effect must be produced directly by the action, not by the bad effect. Otherwise the agent would be using a bad means to a good end, which is never allowed.
  4. The good effect must be sufficiently desirable to compensate for the allowing of the bad effect.

Monday 23 January 2012

Desert Island Discs ... updated 23rd January 2012

Desert Island Discs


My choices of today (tomorrow they would be totally different) would be:

1. Down by the Green Bushes     John McCormack
http://www.youtube.com/watch?v=vK3WwrKb1iI
2. The Swan of Tuonela…  Sibelius
http://www.youtube.com/watch?v=zfBTiv3WGU0
3. In Dreams    Roy Orbison
http://www.youtube.com/watch?v=uMuOBzBs4kU
4. Learning the Game    Keith Richards
http://www.youtube.com/watch?v=xOkMAkNw7GA
5  In Paradisum… Gabriel Fauré Requiem
http://www.youtube.com/watch?v=zuQXGA_BwY4
6. Alive but Dead   Del Shannon
http://www.youtube.com/watch?v=FiW6u6zCbPw
7. Can You Please Crawl Out Your Window? (Unreleased Version) Bob Dylan
http://www.youtube.com/watch?v=kDkEhAyDLgA&feature=related
8. Crucifixus from Mass in B Minor by Bach
http://www.youtube.com/watch?v=1aM8uajmUTI

Book: Ulysses … James Joyce

Luxury: An endless supply of razors and shaving gel.



Sunday 22 January 2012

The best ever version of HANDYMAN?

The best ever version of HANDYMAN?

http://www.youtube.com/watch?v=uVyBRdBVCiU   Jimmy Jones

http://www.youtube.com/watch?v=udkQiUPKWqA  James Taylor

http://www.youtube.com/watch?v=HSrDf86hxeo      Del Shannon


No contest - Del wins by a mile. Actually, they are all pretty excellent.



JAMES TAYLOR


JIMMY JONES


DEL SHANNON

THE STRANGER by Albert Camus... The greatest opening to any modern novel

ALBERT CAMUS

The greatest opening to any modern novel...

THE STRANGER

Albert Camus


CHAPTER I


Mother died today. Or, maybe, yesterday; I can’t be sure. The telegram from the Home says: YOUR MOTHER PASSED AWAY. FUNERAL TOMORROW. DEEP SYMPATHY. Which leaves the matter doubtful; it could have been yesterday.

The Home for Aged Persons is at Marengo, some fifty miles from Algiers. With the two o’clock bus I should get there well before nightfall. Then I can spend the night there, keeping the usual vigil beside the body, and be back here by tomorrow evening. I have fixed up with my employer for two days’ leave; obviously, under the circumstances, he couldn’t refuse. Still, I had an idea he looked annoyed, and I said, without thinking: "Sorry, sir, but it’s not my fault, you know."

Afterwards it struck me I needn’t have said that. I had no reason to excuse myself; it was up to him to express his sympathy and so forth. Probably he will do so the day after tomorrow, when he sees me in black. For the present, it’s almost as if Mother weren’t really dead. The funeral will bring it home to me, put an official seal on it, so to speak. ...

I took the two-o’clock bus. It was a blazing hot afternoon. I’d lunched, as usual, at Céleste’s restaurant. Everyone was most kind, and Céleste said to me, "There’s no one like a mother." When I left they came with me to the door. It was something of a rush, getting away, as at the last moment I had to call in at Emmanuel’s place to borrow his black tie and mourning band. He lost his uncle a few months ago.

I had to run to catch the bus. I suppose it was my hurrying like that, what with the glare off the road and from the sky, the reek of gasoline, and the jolts, that made me feel so drowsy. Anyhow, I slept most of the way. When I woke I was leaning against a soldier; he grinned and asked me if I’d come from a long way off, and I just nodded, to cut things short. I wasn’t in a mood for talking...

Friday 20 January 2012

Bobby Fuller ... I Fought The Law (much superior to The Clash)



http://www.youtube.com/watch?v=OgtQj8O92eI

http://www.youtube.com/watch?v=F6rOBS821bw


Bobby Fuller by Kevin Hassell

Update October 2008
I am in deep gratitude to Aaron Poehler, who was kind enough to let me use information from his page dedicated to Bobby Fuller.
Bobby Fuller was a budding musician from Texas, just like his idol Buddy Holly. Many of his tunes were cut at the NorJaVak Studios in Clovis, New Mexico, where Buddy and the Crickets had recorded some of their music, including Peggy Sue, and That’ll Be the Day. The song that ended up putting The Bobby Fuller Four on the charts, was a cover of a Cricket’s song, I Fought the Law. This version was released in 1965, and was a huge hit for the group. In 1966, the group’s first album was released, titled I Fought the Law.
In July of 1966, Bobby was in Los Angeles. He was preparing for his next project, and in the process of lining up musicians. One of his band members, Jim Reese, had just been drafted to Vietnam, and was going to sell his Jaguar XKE to Bobby. Bobby spent July 17th hanging out and having a good time with his new found musicians, and there was a meeting scheduled for the next day at Del-Fi Records.

Bobby never made the meeting, and never met up with Reese to finalize the car deal.
On the 18th, around 5 PM, the band went to Bobby’s apartment to see if he was there. His car wasn’t in the lot, and there was no one at his apartment. Bobby’s mother, who was visiting from El Paso, had stepped out to check the mail, and when she returned, she noticed that the car was back in the lot. She went to the car and opened the driver’s side door, and was immediately taken back by strong gas fumes. She noticed Bobby lying in the front seat, with the keys in the ignition and his hand on the keys. At first she thought he was asleep, but when she called out to him and he didn’t respond, she realized that he was dead. He was 23 years old.
   According to the official Los Angeles County Coroner’s Office autopsy report, "Deceased was found lying face down in front seat of car--a gas can, 1/3 full, cover open--windows were all rolled up & doors shut, not locked--keys not in ignition". The report also noted excessive bruising on his chest and shoulders, and attributed the cause of death to asphyxiation "due to inhalation of gasoline". Bobby had been drenched with the gasoline, and he was in a state of rigor mortis. His body appeared battered, and his right finger was broken, as if it had been bent back. The police attributed his death to suicide, with the report stating that there was "no evidence of foul play." So basically he beat himself up, broke his finger, and then drenched himself with gasoline. Oh yeah, that makes sense. The case remains closed and sealed under California law. Bobby was buried in Forest Lawn Cemetery, in Burbank.
OCTOBER 2008 Update:  New friend Vince Marzo sends this update:  I had a contact at the Los Angeles County Coroner's Office back in the 1980's. He supplied me with the complete file on Bobby Fuller. As you know,  Bobby Fuller's death was originally listed as a suicide. According to the documentation I have, there is a notation that states, " MODE CHANGED TO "ACCIDENT"  BY SUICIDE TEAM, Oct. 14, 1966". Although I believe that as much as the afore mentioned cause of suicide, this has been noted and amended on his death certificate. Anyway, it precludes the LAFD from having to investigate his death
Fascinating Vince.  Also this OFFICIAL autopsy report contradicts a few of the facts stated above:
No finger injury is noted on the report.  "Found dead in closed auto beside can containing gasoline.  All organs smell strongly of gasoline."  Also states that Fuller "was a musician from Texas, touring Hollywood.  Last seen approx 3am 7-18-66 by a friend Lloyd Esinger.  At that time they had a couple of beer (s), Fuller was in good spirits.  At approximately 5:15pm, Fuller's mother sent Lloyd Esinger down to car to find Fuller lying face down in the front seat of the car, and a gas can 1/3 full - cover open - windows were all rolled up and doors shot, not locked, keys not in the ignition.  Fuller has been despondent over job situation recently.
   To this day, questions still remain. The last person to possibly see Bobby alive was Lloyd Esinger, the manager of Bobby’s apartment complex. He stated that Bobby had stopped by his apartment around 3 AM on the day of his death, and they had a few beers. He said that Bobby seemed to be in good spirits. The band’s roadie, who was staying with Bobby along with his mother, said that sometime around one or two in the morning he received a phone call, and left and never came back. There were rumors of Bobby having gone to an LSD party and having died in a fall, with people at the party trying to make it look like a suicide. There was also suspicion that he was killed because of a life insurance policy, with Del-Fi listed as a beneficiary. There is reason to believe that the police didn’t do a thorough job in the investigation, reportedly never checking the gas can for fingerprints. Then there is the theory that he was possibly murdered to generate demand and sales for his recordings.
   When the TV show Unsolved Mysteries did a broadcast on Bobby’s murder, a woman who claimed to be at the acid party called in after the show. She either said that Bobby wasn’t there, or he was fine at the party. As of now, 46 years later, the case remains unsolved.

DION ... Wall Street Journal interview

The Eternal Teenager in Love



http://www.youtube.com/watch?v=awc2iZURXc4

http://www.youtube.com/watch?v=mQezUHU5sSY

http://www.youtube.com/watch?v=o-Xvgv92GBc&feature=fvsr

Weeks before the release of his latest CD, Dion DiMucci mourned the Jan. 1 death of his harmonizing Bronx homeboy Fred Milano. Together with Milano, Carlo Mastrangelo and Angelo D'Aleo, Dion and the Belmonts rose from neighborhood street corners to the top of the pop charts in the 1950s with songs like "I Wonder Why" and "A Teenager in Love." Now 72, Mr. DiMucci, who went on to solo stardom with "Runaround Sue," "The Wanderer" and "Ruby Baby" before releasing his final No. 1 hit, 1968's "Abraham, Martin and John," was inducted into the Rock and Roll Hall of Fame in 1989. He lives in Florida with his wife of 48 years. His latest CD, "Tank Full of Blues," comes out Tuesday.

[ARENA] 
Photo Bob Croslin for The Wall Street Journal  

From the Bronx: Dion DiMucci talks about Aretha Franklin, Bo Diddley, Mick Jagger, Buddy Holly, Bob Dylan and his own career.
The Wall Street Journal: You came up when rock 'n' roll was still dawning on America, after Elvis and before the Beatles. You rocked the "The Ed Sullivan Show" in a tuxedo. Did you feel torn between two worlds?

Dion: I was the first rock 'n' roller signed by Columbia Records. Aretha Franklin was starting there at the same time. They were giving Aretha and me Al Jolson tunes; I was singing "Mammy;" she did "Rock-a-bye Your Baby With a Dixie Melody"—they didn't know what we were about. From the beginning, before I recruited the Belmonts to record with me, [managers] told me to put the guitar down—leaders of groups don't play guitar. They wanted to give me a nightclub act and book me in the Copacabana. They wanted to put me with corny backing singers—Broadway-trained guys who were great singing "Oklahoma!" but didn't know from rock and roll. The show business era was — "Hey! How's everybody doin' tonight? Hope everybody's fine!" The rock and roll attitude was —we don't care how you feel about it; we're taking you on a trip. "Let's go!"
Your new album, "Tank Full of Blues," showcases your love for that music. When did you start filling your tank?

Way back at Columbia, John Hammond [the legendary producer who helped launch the careers of greats from Billie Holiday and Count Basie to Bob Dylan and Bruce Springsteen] pulled me into his office. He had this big grin and said "Dion, you seem to have a flair for the blues." I left there with an armload of albums by Furry Lewis, Leroy Carr, Fred McDowell—and Robert Johnson. I never wanted to imitate those guys like Mick Jagger did—"I followed her to da stay-shun." I thought if I did that I'd get killed at the Brooklyn Fox where Howlin' Wolf and all the greats used to play. I met Bo Diddley at the Fox. He scowled at me and said "Where'd you learn to play blues like that?" I thought he was going to kill me. I said, "I listen to records." He said, "Me, too."
What did the Delta blues have to say to a 1960s pop idol?
That music comes direct from God. It's three chords you can use to express any human emotion. The funny thing is, I could sing about feeling lost and abandoned in a bar and they'd ask me to sing it again. You can sing about how you feel all day and get applause; but if you ever talked like that—oh man, my baby done left me and I feel lost and broken and abandoned and I can't stop crying—you'd get a fist right in your skull. Blues lets you sing about things you'd never say to a stranger. It feels good to sing about feeling bad.
You were a city kid who grew up in the Bronx; how did you get hooked on Hank Williams, a so-called hillbilly singer from Alabama?
I remember hearing Hank sing "Honky Tonk Blues" on the radio when I was 10 or 11. I'd never heard anything like it. I used to sit on the stoop with my guitar and sing "jambalaya crawfish pie file gumbo." I had no idea what I was singing. It was like I was speaking in tongues, but it felt good coming out of my mouth. I wanted to be Hank Williams when I was a kid. I borrowed my landlady's tape recorder and heard myself singing some of his songs. I found out — Nope, I ain't Hank.
You were the only headliner who survived the 1959 tour when Buddy Holly, Ritchie Valens and the Big Bopper were killed in a plane crash. Did you ever wonder why them and not you?

I was 19 years old and touring with those guys was the best thing that ever happened to me. Buddy and Ritchie and I, we all had the new Fender Stratocaster guitars; mine was all white; Buddy's had the sunburst body. We jammed every night on that bus. The heater kept breaking down in subzero weather. It was so cold on the bus Buddy's drummer got frostbite and had to leave the tour. Carlo of the Belmonts filled in for him. Buddy and the Bopper were from Texas; Ritchie was from L.A.—they didn't know cold like that. They wanted off that bus! Buddy chartered the plane; we flipped for the two other seats. The Bopper and I won the toss. But the price was $36 each. That was the exact amount of the monthly rent my parents argued over all my life. I couldn't justify spending a month's rent on a plane ride. Plus I could handle the cold. I told Ritchie, "You go." Then all of a sudden, they're gone. I remember sitting alone on the bus after and there was Buddy's guitar; I was in shock. I thought, what the hell is life about; why am I here and they're not? I was angry. It took me a long time to process that loss.
In your recent book ["Dion: The Wanderer Talks Truth," about his Christian faith] you say Feb. 3, 1959, wasn't the day the music died but the day it was born. What do you mean?

There's a line in Scripture that says a grain of wheat doesn't bear fruit until it dies and takes seed. Buddy Holly and the Crickets created the form—guitars, bass and drums—that every rock band after him, the Beatles, Stones and all the rest, followed. They wrote and performed their own songs like he did and his music is still being played today. And that tour, it gave seed to a new generation. Bobby Vee was a 16-year-old kid who filled in for Buddy at the next gig in Moorhead, Minn. We got to know each other and we always kept in touch after that. When Bob Dylan broke big, Bobby Vee told me that his piano player that night was Dylan, who was 18 and still known as Bob Zimmerman. [Mr. Dylan's spokesman said: "Bob says it's so."] He had been in the audience for one or two of the Winter Dance Party shows and now he was on the stage with Bobby Vee, standing in for Buddy Holly. Bobby told me Dylan played so loud he couldn't hear himself sing; he said you couldn't control the guy; it was like someone let him out of a cage.
That happened at the beginning of your career. A few weeks ago Fred Milano died of lung cancer. What were your first thoughts when you heard?
I was shocked, obviously, because it was so sudden. It was already in stage four when he found out there was anything wrong with him. It hit hard because a relationship like we had, it's ingrained in you. We knew each other from our teenage boyhoods; even though we weren't close and didn't talk in later years, what we went through together made us like family. He and the Belmonts—they were the very best. Freddie was almost like a genius with vocal harmony. I was humbled to sing with him and Carlo and Ange.
You guys came up singing on street corners and in subway cars. Most people are shy about singing happy birthday at a party; what made you guys different?
We weren't shy — we knew we were good! When I was 17 I got an offer to make a record. I recruited the Belmonts to back me. I remember the first time we rehearsed up in my parents' apartment; we put together "I Wonder Why." I was singing lead; Carlo was down low; Angelo was high; Freddie was filling in the middle. We were doing four different things at once — to be in the middle of that song while it was happening— it was like a rapture. When you're inside a song, you're not thinking, you're in the flow, you know exactly who you are and it feels like a gift—a blessing.
There's a line in "The Wanderer" which says. "When she asks me which one I love the best, I tear open my shirt and show her Rosie on my chest." Where did that come from?
There was a guy in my neighborhood named Jackie Burns; he was way ahead of his time and covered in tattoos. He was bigger than life, a guy who wore tank tops and swaggered around the neighborhood. He used to tattoo his girlfriends names on his shoulders; when he'd break up with one he'd cover the name with a tattoo of a panther and then tattoo the next girl's name on his other shoulder and cover that with a pair of dice. I was working with a song writer from the neighborhood—Ernie Maresca; I told Ernie this guy's a song. Ernie came up with that great line.
The real-life wanderer—you—settled down and married his teenage sweetheart, a girl named Sue. Only she wasn't the runaround—you were. You two will celebrate your 50th anniversary next year. Why did she stick around for a guy who liked to roam around?
I met Susan when she was 14 and I was about 16. We were both playing at the St. Martin's school Thanksgiving dance. I was singing with a band — Eddie the butcher on bass and Little Roach on drums—doing "Shake Rattle and Roll" and some Carl Perkins songs. She was singing "Lollipop" with Joan & Joan—Susan and two girls from the neighborhood named Joan. I saw her up there—"ooo lala lala lollipop"—and I was struck dumb in love. When I had some success I did a whole lot of stupid things; I thought I was really something special. I'm just lucky she didn't give up on me. We always loved each other; I just had to grow up a little.
You were friends with Frankie Lymon ["Why Do Fools Fall in Love?"], who was famously ripped off by music executives who exploited countless musicians over the years. Do you feel bitterness?

I didn't get hurt as bad as a lot of people. With "Runaround Sue" and "The Wanderer" I reaped next to nothing in terms of cash. I got lucky after that. I had a guaranteed contract for $100,000 a year from Columbia. But look at guys like Muddy Waters and Chuck Berry. Did they get beat? Yeah they did. And bad. Muddy ended up with nothing. But you got to factor in that they got 50-year careers doing something they love. The record companies, yeah, they weren't honest, and yeah, they didn't pay you right. I was angry when I got ripped off. But they gave me something that meant I didn't have to walk around destroying myself with anger. They took a shot on me. They gave me a career in music that allowed me to go around the world. I was blessed. I'm 72 now and I'm still singing and recording. The life I've had, the people I've known, the woman I love, the music I've made, the faith that fulfills me—it's all a grace and a gift.

Thursday 19 January 2012

Joe Walsh ... Life's Been Good


Joe Walsh

http://www.youtube.com/watch?v=BXWvKDSwvls

Life's Been Good
I have a mansion, forget the price.
Ain't never been there they tell me it's nice.
I live in hotels, tear out the walls.
I have accountants pay for it all.
They say I'm crazy, but I have a good time.
I'm just looking for clues at the scene of the crime.
Life's been good to me so far.
My Masarati does one-eighty-five.
I lost my license, now I don't drive.
I have a limo, ride in the back.
I lock the doors in case I'm attacked.
I'm makin' records, my fans they can't wait.
They write me letters, tell me I'm great.
So I got me an office, gold records on the wall.
Just leave a message, maybe I'll call.
Lucky I'm sane after all I've been through.
(Everybody say I'm cool......He's cool)
I can't complain but sometimes I still do.
Life's been good to me so far
(One really fantastic guitar solo that radio idiots too often cut up)
I go to parties, sometimes until 4.
I'ts hard to leave when you can't find the door.
It's tought to handle this fortune and fame.
Everybody's so different, I haven't changed.
They say I'm lazy but it takes all my time
(Everybody say oh, yeah.....OH,YEAH)
I keep on going guess I'll never know why.
Life's been good to me so far. (yeah,yeah,yeah)
[Really long fade ]

FRANKIE FORD ... SEA CRUISE


FRANKIE FORD

http://www.youtube.com/watch?v=VUSd_RYnxAY


SEA CRUISE

SOUND of ship's bell
and foghorn

Old man rhythm is in my shoes

No use t'sittin' and a'singin' the blues

So be my guest, you got nothin' to lose

Won't ya let me take you on a sea cruise?


Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Won't ya let me take you on a sea cruise?

Feel like jumpin' baby won't ya join me please

I don't like beggin' but I'm on bended knee

I got to get t'rockin get my hat off the rack

I got to boogie woogie like a knife in the back

So be my guest, you got nothin' to lose

Won't ya let me take you on a sea cruise?

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Won't ya let me take you on a sea cruise?

I got to get t'movin' baby I ain't lyin'

My heart is beatin' rhythm and it's right on time

So be my guest, you got nothin' to lose

Won't ya let me take you on a sea cruise?

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Won't ya let me take you on a sea cruise?

Feel like jumpin' baby won't ya join me please

I don't like beggin' but I'm on bended knee

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Oo-ee, oo-ee baby

Won't ya let me take you on a sea cruise?

Calling alumni St John's College, Oxford ... Calling alumni St Mary's College Strawberry Hill

I read Philosophy, Politics, Economics at St John's College, Oxford 1975 - 1978
Would be interested in hearing from fellow alumni...


St John's College, Oxford


The Eagle and Child, Oxford  ... many a happy pint in great company


The Lamb and Flag, Oxford  ... many a happy pint in great company

I read for my PGCE at St Mary's College, Strawberry Hill, Twickenham [Simms] 1979 -1980. Would be interested in hearing from fellow alumni...

                               St Mary's College, Strawberry Hill

Waldegrave Arms, Teddington  ... many a happy pint in great [Simms] company

Sadly the 'Waldy', a favourite haunt for Simms students, is no more. It was demolished in 2008.

Wednesday 18 January 2012

Joan Eardley ... a marvellous painter

                      Joan Eardley   ...  Catterline in Winter

               Joan Eardley   ...   Winter Sun

  Joan Eardley   ...   Flood Tide


The Scottish poet Edwin Morgan wrote this poem ten years ago in honour of Eardley and in response to her painting Flood Tide.
JOAN EARDLEY: FLOOD-TIDE
Edwin Morgan

 
Lonely people are drawn to the sea.
Not for this artist the surge and glitter of salons,
Clutch of a sherry or making polite conversation.
See her when she is free: –
Striding into the salty bluster of a cliff-top
In her paint-splashed corduroys,
Humming as she recalls the wild shy boys
She sketched in the city, allowing nature’s nations
Of grasses and wild shy flowers to stick
To the canvas they were blown against
By the mighty Catterline wind –
All becomes art, and as if it was incensed
By the painter’s brush the sea growls up
In a white flood.
The artist’s cup
Is overflowing with what she dares
To think is joy, caught unawares
As if on the wing. A solitary clover,
Unable to read WET PAINT, rolls over
Once, twice, and then it’s fixed,
Part of a field more human than the one
That took the gale and is now
As she is, beyond the sun.