Came home from the office, clomped up the stairs, said “Burglar.”

“OKAY BURGLAR” said daughter upstairs.

This is my standard greeting, and has been for a long time.


I don’t know if I should show that to my daughter or let her find it out someday for herself. Like me discovering why my dad said “Ish Kabibble.”

It’s a parent’s job to light fuses of varying length, attached to payloads of varying explosive power.

It was cold today. The sun did not shine. The rain was brief but lost interest, and wandered off.

The oddest effect of all this - something I’ve never really experienced before - is a complete disorientation about where, exactly, we are in the year. It can’t be June. It’s too late for April. It seems like May is coming next. I don’t know how people in the Pacific Northwest stand this; perhaps if you grow up like this, you’re used to it, but I’m disconnected from everything that allows you to intuit the flow of the days. It’s like we’re floating in a grey seat. Upside down.

But! Friday. A busy one ahead. I have to do an interview for the My Minnesota feature with a guy I knew back in the pre-Internet BBS “scene,” such as it was. We were “chatting” in “forums” with people who had “nicks.” There was Jimbo, who ran the thing, and Avatar, and all sorts of folk who drifted in and stayed and drifted away. Then the internet made them go away, although by then I’d drifted off to AOL for my computational needs. I also stopped contributing to boards, because there was something about AOL boards that wasn’t any fun. I remember getting into an argument with an Ayn Rand fan, though. He believed that the books were great literature regardless of the opinions and ideas they contained, and I rewrote some passages of the book to express the exact opposite ideas, but using the same style and terms.

He did not agree with me. Yes, that was the internet in its infancy. Arguing with anonymous Rand enthusiasts about libertarianism.

How far we’ve come!

Additional Trek note: I watched “The Search for Spock,” which is regarded as a let-down from the heights of Khan. It feels cheaper. It’s marred - through no fault of its own - by the casting of Christopher Lloyd, who we can’t separate from Doc Brown in “Back to the Future” (not the best movie ever made in the 80s, but possibly the most perfect) but who turns in a grand performance as a Klingon. For that matter, the movie invents Klingons as they’d be understood for the next, oh, 30 years. The Conveniently Up-Thrusting Rocks in the fight sequence still seem cheesy, and the planet certainly goes to hell with great speed, but it’s better than I remembered. Kills off a character in a scene that’s ignoble and almost offhand, which makes it less Dramatic than a protracted death scene with final statements - tell my father I’m glad to be <gurgle> his . . . son.

Other notes of the day: I . . .

. . . have nothing. Sorry. Except for what follows below the fold.





Now, the Cues! Do I have to explain? Fine; if you're just joining the Listen project, it includes a selection of music cues gleaned from "The Couple Next Door." Library music the producers dropped in to get them in and out of scenes. It's the background soundtrack for mid-century life. Many more can be found here.


From a manic episode in which Brownie the dog encounters a skunk.




From the same: this music was used in another scene of chaos, but in that case they came into it in the middle. This appears to be the start of the cue. It’s great crazy stuff.




More of that bassoony pomposity; this is the end of that cue.




The start of a cue heard elsewhere; it’s affectionately mocking music, the set-up for a character who doesn’t really need a comeuppance but will entertain you when he hits the banana peel.




The only one that sounds unused heretofore. It's the act of moving with slight difficulty against putting up strenuous, but not entirely effective, resistance. There's a little Vaughn Williams in here.




Another piece of something heard before; I like where the oboe seems to want to take the :10 seconds or so; makes me think of Ravel's "Introduction and Allegro" for some reason.




Now, another show! Guess the composer . It’s what his music would sound like if he'd written chamber music.

Come to think of it, he did, and this is that. It’s from “Crime Classics,” the scoring of which he probably did not regard as the highlight of his career. The show was small in scale, and rather odd - a dry mordant narrator recounted the details of famous True Crimes through history, and while the cases were true, great license was taken.




Here’s something that made me sit up when I first heard it, because it reminded me of something.




And that something is this: the harp glissando. It’s from his last score, Taxi Driver.




Here we have every Bernard Herrman score mixed with Twilight Zone (to which he also contributed) and early Star Trek music (to which he did not contribute, but was certainly an influence.)




Finally, some more by-the-numbers Herrmann; this could have been used for the opening scenes of another score he did: Citizen Kane.




Now less oily! Really!





A column at (scroll down to the columnist section) and other things here and there! Have a grand weekend, and I'll see you around.



blog comments powered by Disqus