Hey, Mom! The Explanation.

Here's the permanent dedicated link to my first Hey, Mom! post and the explanation of the feature it contains.

Thursday, April 28, 2016

Hey, Mom! Talking to My Mother #296 - Calculus Final Today

Satchel 1208.25
Hey, Mom! Talking to My Mother #296 - Calculus Final Today

Hi Mom,

It seems a bit dis ingenuous for me to write "Calculus Final Today" when it was yesterday and it's over, and now it's Friday evening, and I am just now getting to posting this, though the date and time stamp will read as Thursday April 28th at 10:10 a.m. Pacific Time.

I was going to do a whole series of photos, but maybe one (okay, two) is/are enough.

And who doesn't love PUPPIES?

These are pictures of Satchel from when she was only a few weeks old (six-ish) and when she had only been our puppy two or three days,

She was so little.

Anyway, since I am writing this after the fact, the Calculus final went all right. I think I did about how I expected to do. Then, I went to see Batman vs. Superman. More on that movie later.

Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

Talk to you tomorrow, Mom.

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- Days ago = 298 days ago


- Bloggery committed by chris tower - 1604.28 - 10:10


NOTE on time: When I post late, I had been posting at 7:10 a.m. because Google is on Pacific Time, and so this is really 10:10 EDT. However, it still shows up on the blog in Pacific time. So, I am going to start posting at 10:10 a.m. Pacific time, intending this to be 10:10 Eastern time. I know this only matters to me, and to you, Mom. But I am not going back and changing all the 7:10 a.m. times. But I will run this note for a while. Mom, you know that I am posting at 10:10 a.m. often because this is the time of your death.

Satchel 1208.26

Wednesday, April 27, 2016

Hey, Mom! Talking to My Mother #295 - Judgment Day - studying for finals day three

http://xkcd.com/1626/
Hey, Mom! Talking to My Mother #295 - Judgment Day - studying for finals day three

Hi Mom,

Still studying for finals, so this week will be short conversations as they would be on the phone, as they are with the Big Guy.

I think I did all right on my Java final. Afterwards, I went and spoke with Trenary and got some feedback on last year's 2240 final, finally. This is something I tried to do when you were dying, so it was long overdue.

So, some cartoons to share with you today. I was going to share just one, but then I decided to share three as it's day three of finals week. And three is a magic number.

Visiting http://xkcd.com/ is well worth anyone's time. Please support a great comics site.

http://xkcd.com/1655/

http://xkcd.com/1633/
Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

Talk to you tomorrow, Mom.


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- Days ago = 297 days ago


- Bloggery committed by chris tower - 1604.27 - 8:30

Tuesday, April 26, 2016

Hey, Mom! Talking to My Mother #294 - JAVA JAVA JAVA JAVA JAVA JAVA and JAVA ^n



Hey, Mom! Talking to My Mother #294 - JAVA JAVA JAVA JAVA JAVA JAVA and JAVA ^n

Hi Mom, I have waded all the way to the deep end of the pool, and the water is up to the bottom of my nose as I study for my Java coding final exam, which is at 17:00 today.

I was going to write about my adventures with recursion, polymorphism, and big O notation, but the water is too deep, and I must study.

Calculus final is Thursday, so tomorrow may be a "deep in Calculus studying" item.

Thanks for your patience, Mom. I feel you with me, guiding me, supporting me.

Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

Talk to you tomorrow, Mom.


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- Days ago = 296 days ago


- Bloggery committed by chris tower - 1604.26 - 10:10


NOTE on time: When I post late, I had been posting at 7:10 a.m. because Google is on Pacific Time, and so this is really 10:10 EDT. However, it still shows up on the blog in Pacific time. So, I am going to start posting at 10:10 a.m. Pacific time, intending this to be 10:10 Eastern time. I know this
only matters to me, and to you, Mom. But I am not going back and changing all the 7:10 a.m. times. But I will run this note for a while. Mom, you know that I am posting at 10:10 a.m. often because this is the time of your death.

Monday, April 25, 2016

Hey, Mom! Talking to My Mother #293 - Musical Monday - music for 1604.25

Mom - Choir - March 1999

"Music “says” things about the world, but in specifically musical terms. Any attempt to reproduce these musical statements “in our own words” is necessarily doomed to failure. We cannot isolate the truth contained in a piece of music; for it is a beauty-truth and inseparable from its partner. The best we can do is to indicate in the most general terms the nature of the musical beauty-truth under consideration and to refer curious truth-seekers to the original."
- Huxley

Hey, Mom! Talking to My Mother #293 - Musical Monday - music for 1604.25

Hi Mom, Back again with another Musical Monday and a return to the Brain Pickings article about this Aldous Huxley book so obscure, rare, and expensive that my university library does not own it.

I have some great selections today, some of which were chosen from a list of songs selected by Brian Eno as powerful for singing and healing. More on this issue next week.

I have the new Eno song, a cover of "I'm Set Free" by VU and then the Velevet Underground original.
After some of those good singing songs and a Beethoven clip featured in the Brain Pickings article, then three for Prince who died last week, ending with "Nothing Compares 2 U" in the original Sinead O'Connor video with the song written by Prince.

But first some key quotes by Huxley shared in this Brain Pickings article linked next.
Mom - Choir robe - March 1999

Aldous Huxley on the Transcendent Power of Music and Why It Sings to Our Souls

"From pure sensation to the intuition of beauty, from pleasure and pain to love and the mystical ecstasy and death — all the things that are fundamental, all the things that, to the human spirit, are most profoundly significant, can only be experienced, not expressed. The rest is always and everywhere silence.
"After silence that which comes nearest to expressing the inexpressible is music." - Huxley

"Silence is an integral part of all good music. Compared with Beethoven’s or Mozart’s, the ceaseless torrent of Wagner’s music is very poor in silence. Perhaps that is one of the reasons why it seems so much less significant than theirs. It “says” less because it is always speaking.

"In a different mode, or another plane of being, music is the equivalent of some of man’s most significant and most inexpressible experiences. By mysterious analogy it evokes in the mind of the listener, sometimes the phantom of these experiences, sometimes even the experiences themselves in their full force of life — it is a question of intensity; the phantom is dim, the reality, near and burning. Music may call up either; it is chance or providence which decides. The intermittences of the heart are subject to no known law.

"Listening to expressive music, we have, not of course the artist’s original experience (which is quite beyond us, for grapes do not grow on thistles), but the best experience in its kind of which our nature is capable — a better and completer experience than in fact we ever had before listening to the music." - Huxley

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BRIAN ENO - "FICKLE SUN (iii) I'M SET FREE" - from The Ship album, out tomorrow




"I'm Set Free" - THE VELVET UNDERGROUND




"Love Hurts" - Emmylou Harris and Gram Parsons



"Bring it on Home" - Sam Cooke




BEETHOVEN from MISSA SOLEMNIS: BENEDICTUS




PRINCE - "LET'S GO CRAZY" from PURPLE RAIN - live Super Bowl - 2007




Prince and Lenny Kravitz cover "American Woman" - live - 2015?



ORIGINAL VIDEO - "Nothing Compares 2 You" - Sinead O'Connor - written by Prince




RIP Prince. :-(

Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

Talk to you tomorrow, Mom.

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- Days ago = 295 days ago

- Bloggery committed by chris tower - 1604.25 - 8:23

The Daily Bowie #65 - "Up the Hill Backwards"


The Daily Bowie #65 - "Up the Hill Backwards"

This is a fitting song today as I head into exam week.

Down and dirty today without a lot of preamble.

"More idols than realities"

DAVID BOWIE

"UP THE HILL BACKWARDS"

SCARY MONSTERS (AND SUPER CREEPS)

FROM PUSHING AHEAD OF THE DAME: "UP THE HILL BACKWARDS"

“Up the Hill Backwards” is a cryptic anti-self-help manual (Bowie mocks the quintessential ’70s life guide I’m OK,  You’re OK in the lyric), its central message suggesting a late Dylan line: I was born here and I’ll die here/against my will. Accept that you have no control, that the course that life takes has little, if anything, to do with you, and gain some hard comfort. Whatever you believe, the earth keeps on turning, the witnesses of its endless cycles keep dying off.

That’s what the four verses suggest; the refrain denies them. “Up the hill backwards—it’ll be alright” seems like a booster—keep on keeping on—but it’s a dark form of encouragement. There’s a poem for children that begins, “He walked up the hill backwards/So as not to see how high it was.” That’s how we make do, stumbling blindly towards a future that we can’t (or won’t) imagine, our eyes trained on the ground that we’ve already crossed. Up the hill backwards! A pep talk that tells us to blind ourselves.

The lyric is chanted/sung by Bowie, Tony Visconti and Lynn Maitland, Bowie’s voice submerged in the collective. It’s the first time in his recorded life that Bowie’s truly shared the vocal spotlight; his voice is a flavor, rather than dominating the mix (the vocal sound is close to the David Byrne-Tina Weymouth chorus in the Talking Heads’ “The Good Thing”). Bowie said he intended “Backwards” to be “very MOR voiced,” so as to sound like the “epitome of indifference,” and never more so than in its first verse:

The vacuum created by the arrival of freedom
And the possibilities it seems to offer,
It’s got nothing to do with you, if one can grasp it.



"Up the Hill Backwards" - SCARY MONSTERS (and Super Creeps) - 1980




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"Up The Hill Backwards"

The vacuum created 
by the arrival of freedom
And the possibilities it seems to offer
It's got nothing to do with you,
if one can grasp it 
It's got nothing to do with you, 
if one can grasp it

A series of shocks - sneakers fall apart
Earth keeps on rolling 
witnesses falling
It's got nothing to do with you,
if one can grasp it
It's got nothing to do with you,
if one can grasp it

Yeah, yeah, yeah 
up the hill backwards
It'll be alright ooo-ooo

While we sleep they go to work
We're legally crippled
it's the death of love
It's got nothing to do with you,
if one can grasp it
It's got nothing to do with you, 
if one can grasp it

More idols than realities
I'm OK, you're so-so

Yeah, yeah, yeah - up the hill backwards
It'll be alright ooo-ooo

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THE DAILY BOWIE LIST
1601.20 - The Daily Bowie #0 - "Space Oddity" - SPACE ODDITY - 1969
1601.21 - The Daily Bowie #1 - "Ashes to Ashes" - SCARY MONSTERS - 1980
1601.22 - The Daily Bowie #2 - "Cat People" - LET'S DANCE - 1983
1601.23 - The Daily Bowie #3 - "Sons of the Silent Age" - HEROES - 1977
1601.24 - The Daily Bowie #4 - "Running Gun Blues" - THE MAN WHO SOLD THE WORLD - 1970
1601.25 - The Daily Bowie #5 - "Sound and Vision" - LOW - 1977
1601.26 - The Daily Bowie #6 - "Fill Your Heart" - HUNKY DORY - 1971
1601.27 - The Daily Bowie #7 - "We Are The Dead" - DIAMOND DOGS - 1974
1601.28 - The Daily Bowie #8 - "Yassassin" - LODGER - 1979
1601.29 - The Daily Bowie #9 - "Time" - ALADDIN SANE - 1973
1601.30 - The Daily Bowie #10 - "Where Are We Now?" - THE NEXT DAY -2013
1601.31 - The Daily Bowie #11 - "Sunday" - HEATHEN - 2002
1602.01 - The Daily Bowie #12 - "Loving the Alien" - TONIGHT - 1984
1602.02 - The Daily Bowie #13 - "The Loneliest Guy" - REALITY - 2003
1602.03 - The Daily Bowie #14 - "Young Americans" - YOUNG AMERICANS - 1975
1602.04 - The Daily Bowie #15 - "Thursday's Child" - 'HOURS...' - 1999
1602.05 - The Daily Bowie #16 - "Buddha of Suburbia" - THE BUDDHA OF SUBURBIA - 1993
1602.06 - The Daily Bowie #17 - "Please Mr. Gravedigger" - DAVID BOWIE - 1967
1602.07 - The Daily Bowie #18 - "Sorrow" - PINUPS - 1973
1602.08 - The Daily Bowie #19 - "Golden Years" - STATION TO STATION - 1976
1602.09 - The Daily Bowie #20 - "I'm Afraid of Americans" - EARTHLING - 1997
1602.10 - The Daily Bowie #21 - "Pallas Athena" - BLACK TIE WHITE NOISE - 1993
1602.11 - The Daily Bowie #22 - "Glass Spider" - NEVER LET ME DOWN - 1987
1602.12 - The Daily Bowie #23 - "The Heart's Filthy Lesson" - OUTSIDE - 1995
1602.13 - The Daily Bowie #24 - "Rock 'N' Roll Suicide" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
1602.14 - The Daily Bowie #25 - "Lazarus" - BLACKSTAR - 2016
1602.15 - The Daily Bowie #26 - "Tin Machine" - TIN MACHINE - 1989
1602.16 - The Daily Bowie #27 - "Baby Universal" - TIN MACHINE II - 1991
1602.17 - The Daily Bowie #28 - "Changes" - DAVID LIVE - 1974
1602.18 - The Daily Bowie #29 - "Fame" - STAGE - 1978
1602.19 - The Daily Bowie #30 - "SENSE OF DOUBT" - HEROES - 1977
1602.20 - The Daily Bowie #31 - "John, I'm Only Dancing" - CHANGESONEBOWIE - 1990
1602.21 - The Daily Bowie #32 - "London Bye Ta Ta" - BOWIE AT THE BEEB - 2000
1602.22 - The Daily Bowie #33 - "Real Cool World" - BLACK TIE WHITE NOISE - LIMITED ED - 2003
1602.23 - The Daily Bowie #34 - "Five Years" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
1602.24 - The Daily Bowie #35 - "Speed of Life" - LOW - 1977
1602.25 - The Daily Bowie #36 - "I'm Deranged" - OUTSIDE - 1995
1602.26 - The Daily Bowie #37 - "Fall Dog Bombs the Moon" - REALITY - 2003
1602.27 - The Daily Bowie #38 - "I Can't Give Everything Away" - BLACKSTAR - 2016
1602.28 - The Daily Bowie #39 - "Diamond Dogs" - DIAMOND DOGS - 1974
1602.29 - The Daily Bowie #40 - "The Laughing Gnome" - THE DERAM ANTHOLOGY 1966-1968 (r.1997)
1603.01 - The Daily Bowie #41 - "Fascination" - YOUNG AMERICANS - 1975
1603.02 - The Daily Bowie #42 - "Panic in Detroit" - ALADDIN SANE - 1973
1603.03 - The Daily Bowie #43 - "Modern Love" - LET'S DANCE - 1983
1603.04 - The Daily Bowie #44 - "Fashion" - SCARY MONSTERS - Deluxe - 1980
1603.05 - The Daily Bowie #45 - "Life On Mars" - HUNKY DORY - 1971
1603.06 - The Daily Bowie #46 - "London Boys" - THE DERAM ANTHOLOGY 1966-1968 (r.1997)
1603.07 - The Daily Bowie #47 - "Fantastic Voyage" - LODGER - 1979
1603.08 - The Daily Bowie #48 - "The Man Who Sold the World" - THE MAN WHO SOLD THE WORLD - 1970
1603.09 - The Daily Bowie #49 - "Stay" - STATION TO STATION - 1976
1603.10 - The Daily Bowie #50 - "Starman" - THE RISE AND FALL OF ZIGGY STARDUST AND THE SPIDERS FROM MARS - 1972
1603.11 - The Daily Bowie #51 - "Crystal Japan" - SCARY MONSTERS - Deluxe - 1980
1603.12 - The Daily Bowie #52 - "An Occasional dream" - SPACE ODDITY - 1969
- FOUR DAY BREAK
1603.17 - The Daily Bowie #53 - "Miracle Goodnight" - BLACK TIE WHITE NOISE - 1993
- TWO DAY BREAK
1603.20 - The Daily Bowie #54 - "5:15 The Angels Have Gone" - HEATHEN - 2002
1603.22 - The Daily Bowie #55 - "Queen Bitch" - HUNKY DORY - 1971
- SEVEN DAY BREAK
1603.29 - The Daily Bowie #56 - "Criminal World" - LET'S DANCE - 1983
- ONE DAY BREAK
1603.31 - The Daily Bowie #57 - "Move On" - LODGER - 1979
1604.01 - The Daily Bowie #58 - "Rebel Rebel" - DIAMOND DOGS - 1974
- TEN DAY BREAK
1604.11 - The Daily Bowie #59 - "Telling Lies" - EARTHLING - 1997
1604.12 - The Daily Bowie #60 - "The Stars (Are Out Tonight)" - THE NEXT DAY -2013
- THREE DAY BREAK
1604.15 - The Daily Bowie #61 - "Jean Genie" - ALADDIN SANE -1973
- SEVEN DAY BREAK
1604.22 - The Daily Bowie #62 - "The Dreamers" - HOURS - 1999
1604.23 - The Daily Bowie #63 - "Breaking Glass" - LOW - 1977 - and STAGE - 1978
1604.24 - The Daily Bowie #64 - "Tonight" - TONIGHT - 1984
1604.25 - The Daily Bowie #65 - "Up the Hill Backwards" - SCARY MONSTERS - 1980

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Rest in peace, David. We miss you.

- Bloggery committed by chris tower - 1604.25 - time

NOTE ON WHY THE DAILY BOWIE IS NO LONGER DAILY: For 53 days, I completed daily Bowie posts. My schedule is too demanding to make a post every day, so this will now be a feature that is called The Daily Bowie, but it will not be daily. I will post as I can. I will post often. But if I miss a day, I will skip it. Otherwise, I get in the position of making five Bowie posts all in one day, and that's a lot of Bowie for people to swallow all at once... (yeah, leaving that badly phrased, innuendo packed statement. I bet Bowie would have laughed at it).


Sunday, April 24, 2016

Hey, Mom! Talking to My Mother #292 - Dreams - part Five - the flight speed of grief

Spring 1971
Hey, Mom! Talking to My Mother #292 - Dreams - part Five
- the flight speed of grief

1604.09

Often, I have had the dream about arriving at the theatre and not knowing my lines but having to go on stage and perform, or showing up at the theatre to find out I was in a show that I did not even know I was in. In recent years, this dream has taken a new form in that instead of being a failure and unable to perform, I am able to improvise.

This time you are in the audience, Mom.

This dream changed up the improvisation scheme. I am at a theatre and learn that I am playing Thomas Jefferson in a straight play of 1776. I improvise an entire scene with two women characters. Then I am trying to get ready for the next scene, asking people what my character wants in the scene, what is his motivation. I ask to be given one line from the script, so I can extrapolate from that line. I know I have no chance to learn the entire script, but I can surely learn one line. I am not getting a lot of cooperation from people and not being told the information I need.

Later, in the dream, I have left the theatre during intermission with another cast member to get some food, but we are delayed in returning and afraid we may miss the start of the second half.

In part, this dream is about me conquering fears. Like all the dreams I have in this sequence, unlike the previous dreams, instead of failing, I am able to improvise and succeed, though there is still the shadow of potential failure in not getting the information I need and not returning to the theatre in time. But unlike past dreams in which I simply improvised, this dream was about preparation. It definitely keyed into my recent efforts with preparing for success and analyzing how best to prepare to succeed.

I did succeed in the dream. It felt like a positive dream, despite the shadow of potential failure.

1604.11

This dream was very convoluted, but the heart of it was anxiety and loss of freedom. I was in angst over having committed some crime with a group of friends. We were on the run for some time, but then we were caught and awaiting arraignment. My biggest worry in awaiting the first moment in court was what T-shirt to wear.

The dream started as we waited to change clothes and get the car at the Frayers house if my friends lived on a lake. In any case, me and one of my friends, were sitting on a hill watching the sun rise over the lake when the Frayers came home and we had to explain that we would be leaving soon. I think I was sitting next to my friend Laura, but actually the friends were never identifed in my dream.

Prior to being caught, we left some cabin in a car to which we had to hook a trailer. In my dream, I have precise visuals about hooking up the trailer using a flat, magnetic hook up. We had several guns. Hand guns, but also large assault rifles, such as the M16A4 or the AK-102.

We drove the car and trailer all over, eventually into a large court house with big meeting rooms like Versailles, where we we feared we would surely be caught, but we were not.

Later, we were caught, and we were awaiting trial. I was worried that it would look bad that we had guns because we never used them, but I spent more time worrying about which shirt to wear. I wanted a shirt image that would evoke sympathy and could not possibly offend anyone.

I woke up before the trial actually happened or the anxiety resolved.

1604.13

I dreamed I was Superman. But in the dream I knew I was not Superman but that I was dreaming about being Superman. No cape. The jeans and t-shirt Superman look. I had been taking care of you Mom, and we were at the Boathouse restaurant in Traverse city, across the small cove of Bower's Harbor from where I always stay. But then I had to go to the Neahtawanta to get something. I started to run at super speed, but then stopped myself and chose to fly. But though my run started at a burst of super speed, my flight started very slowly, like a by a dolorous glide.

I just looked up what "dolorous" means because the word just popped into my head and I thought it meant slow, but it means sorrowful.

The flight was slow because it was a flight of grief.


1604.23

I dreamed that I was teaching a class in the basement of my home on West Gull Lake Drive in the big room we called the family room. A face to face class, not an online class. Students had to drive out from Kalamazoo to attend the class. It was our first class of the semester. There's more details that I have lost to this dream since I woke up, but it was obviously a variation on the anxiety dreams I often have about teaching in a new place or not being able to find the place I need to teach. This anxiety is solved in this dream as I am teaching out of my home. It's just another in a series of dreams in which I solve previous anxieties in the dream, like the first dream in this blog entry, which I have had often over the years about being unprepared for a performance that's about to start. I do not dream as often about being unprepared for classes. I dream more often about not being able to find my classes, which here is solved by holding the class in my house.

1604.24

Let me cut right to the heart of this dream, Mom. You told me not to leave you. This was at the end of the dream, so I am working backwards. Dad and I had gone to where I had attended kindergarten, which I know is in Traverse City, but in the dream, we were somewhere more pioneer-styled and possibly Amish. We were in this building and I saw a big interior wall that spanned two stories. It had a decorative wood lattice. I said, "I remember this wall." Then turning around I saw an opening in the second floor, a rectangular opening, wide and thing, so people could look down from a second floor. This is where our class room had been. I spotted some cut-out Christmas decorations in the room, long sequences of people or reindeer, probably at least ten feet wide or more, decorated with metallic spray paint. I wanted to investigate. Suddenly, you were there, Mom. You had not been there before. Dad has transferred you to another chair, and you were sliding out of it as you often did because your legs so stiff. You were all bundled up. You had a royal blue bandage around your head and covering one eye because you had some injury. As you know, this is not something that you actually ever wore. And we were going to go upstairs at the decorations, and you reached out with your good arm and hand, took hold of my forearm, and said "Don't leave me" several times. I hugged you, kissed you, and we rubbed noses, and I said "I will never leave you." This is where the dream ended.

Your entreaty to not leave you alone was so strong, a beseeching, pleading repetition, insistent, PRESENT. It's still lingering around me in a warm embrace as I write this. Not creepy or haunting. Loved. Love.

Apparently blurry photos are
a thing in our family... and in dreams...
Prior to that, Dad and I were driving. At one point, his car flew off the road. Or rather, the road ended, and the car kept going, as if it had come off a jump and had not landed yet. There was water below us, but I didn't know how deep. Would it be too deep for the car? I was very worried. But then Dad steered the car back to a different road, avoiding the water, and we continued on our way.

Even earlier in the dream, my dog Satchel was both dead and not dead. There was a living Satchel, but there was also a dead, at least for the moment, Satchel in many pieces. Liesel and I were cleaning the pieces and putting Satchel back together. I wanted to know if when we did this, if Satchel would be alive. Liesel said she did not know. I am missing details of this part because as we cleaned the pieces, Satchel was not there any more, not alive, but she had been just prior to the pieces cleaning part.

I will never leave you, Mom.

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Reflect and connect.

Have someone give you a kiss, and tell you that I love you.

Talk to you tomorrow, Mom.


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- Days ago = 294 days ago

- Bloggery committed by chris tower - 1604.24 - 10:10

The Daily Bowie #64 - "Tonight"

from Pepsi commercial
The Daily Bowie #64 - "Tonight"

"I am gonna love you till the end
I will love you till I reach the end
I will love her till I die
I will see you in the sky
Tonight..."

Seems like a fitting post the day I post about dreams in HEY MOM and am still trying to adjust to Prince and Bowie both dying in the same year.


MY DAILY BOWIE YOU TUBE PLAYLIST CHANNEL

DAVID BOWIE

TONIGHT

"TONIGHT"

Harsh words... I am not as harsh on either "Tonight" or Tonight (the album).

FROM PUSHING AHEAD OF THE DAME - "TONIGHT"

Bowie’s Tonight is essentially Pin Ups II: a record rushed out to capitalize on an uptick in Bowie’s stock, and it’s filled with uninspired cover songs (three Iggy Pop songs, Chuck Jackson’s “I Keep Forgettin'” and the Beach Boys’ “God Only Knows,” along with a handful of new originals).

He named the record after his reworking of “Tonight,” but even at the time, interviewed by Charles Shaar Murray, Bowie all but admitted that his remake was a travesty, a concession to common tastes. Calling the original “Tonight” “such an idiosyncratic thing of Jimmy’s that it seemed not part of my vocabulary,” Bowie said he had decided to “change[ ] the whole sentiment around,” he said, adding that he’d managed to preserve a “barren feeling” in his new version.

Bowie said he ditched the dead girl in the opening because he had wanted Tina Turner to sing it with him, and suggested to Murray that Turner might have balked on singing the full lyric (which was a bit insulting to Turner, who was of built of sterner stuff: she had just covered Paul Brady’s“Steel Claw”, which has lines like “sometimes I’m contemplating suicide” and opens with a “rich bitch lying by the swimming pool”).

Worse, the new “Tonight” manages to make Tina Turner superfluous. In the Pop original, Bowie and the Sales brothers flit in and out of the song like ghosts, howling over Pop’s baritone. But Bowie sings the remake with a soft, easy croon, leaving Turner no natural entry point, so she just winds up singing over him.

The rest of the remake is just dross. The original Pop recording is fervid and tense, the band holding it together seemingly by luck and sheer force of will, with Ricky Gardiner’s guitar runs appearing like small moments of grace. In the Bowie version, Gardiner’s guitar solo is replaced by a marimba reverie, a wretched brass section, known as the “Borneo Horns,” do what they can to worsen things and even Carlos Alomar, the sole holdover from the original record besides Bowie, is a whisper of his former self.

"Tonight" - TONIGHT - 1984





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"Tonight"

Everything will be alright tonight
Everything will be alright tonight

No one moves
No one talks
No one thinks
No one walks tonight

Everyone will be alright tonight
Everyone will be alright tonight

No one moves
No one talks
No one thinks
No one walks tonight
Tonight

I am gonna love you till the end
I will love you till I reach the end
I will love her till I die
I will see you in the sky
Tonight
Tonight

Everything will be alright tonight
Everything will be alright tonight

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Rest in peace, David. We miss you.

- Bloggery committed by chris tower - 1604.24 - 7:00

NOTE ON WHY THE DAILY BOWIE IS NO LONGER DAILY: For 53 days, I completed daily Bowie posts. My schedule is too demanding to make a post every day, so this will now be a feature that is called The Daily Bowie, but it will not be daily. I will post as I can. I will post often. But if I miss a day, I will skip it. Otherwise, I get in the position of making five Bowie posts all in one day, and that's a lot of Bowie for people to swallow all at once... (yeah, leaving that badly phrased, innuendo packed statement. I bet Bowie would have laughed at it).