moon traveller herald

Incredible footage of the Earth rising over the Moon captured by the Japanese lunar orbiter spacecraft Kaguya. Credit: JAXA / NHK pic.twitter.com/njJVX8BpC5 — Wonder of Science (@wonderofscience) April 25, 2020

At the Supermarket on Tremont dressed liked Zorro, the Shiek and the Invisible Man, how abby normal-  the new normal, how great the anxiety in the Campbell Soup can.                              - Jack Vaughan

Ma was in the hospital. In ICU. “Where’s my sweater?” she asked. They’d had to cut up her sweater when they took her in the ambulance. “It’s gone, Ma. They had to cut it off you.” I watched her as she thought about it, absorbed it. “Well, I got my use out of it” she said, or, “It did its job” – something like that. And I thought, how grateful she was, and how we have to be able to leave even things we are grateful for behind.

At the heart of Beat writing is the idea that spontaneity is crucial in expression. The method is best summarized in Jack Kerouac’s “Essentials of Spontaneous Prose” – featuring such an apothegm as “Be crazy dumbsaint of the mind” and “Blow as deep as you want to blow.” The immediate guide for Kerouac was jazz, most especially the bebop form led forward by Charlie Parker. But among the other influential jazz players there were many others that Kerouac followed. And among these was Lee Konitz, vaunted alto saxophonist who passed away last week at 92 in New York, from complications of Covid-19 and pneumonia. Although the brutal coronavirus caught up with him, Konitz was truly a survivor, one who followed his own beacon across a cavalcade of styles of jazz, continuing to play until very recently. His connection to Kerouac is enduringly important. Born in Chicago, Konitz as a lad was inspired by Benny Goodman. He went on to play with the Claude Thornhill orchestra, Stan...

Big eyed country girl (Sudanese Country Sister) She was a country girl and she came into the town She was a country girl and she came into the town one thing about the girl she cant keep her damper down. Just a big eyed country girl Bright lights in a thrall Just a big eyed country girl Bright lights in a thrall She cant wait for the walk sign She cant hear her mama call. She got up off the bus Threw her two bags down She got up off the bus Threw those plastic bags down She was an up country girl and a stranger in the town. She had the champagne eyes A splendiffaferic ass Champagne eyes And spendiffehpheric ass when she move like that Got to go to Sunday Mass. Can I just share a moment In your cool TV chair? Watch the Watergate hearings Sniff your rare country air. Watch the Watergate hearings And move on out of here. Let’s go back up the country Where we will not be known All I got to ask Take me with you when you go Big ...

The Moon - Protecting the Far Side. https://t.co/O6C8dgXsvl via @sciam — Jack Vaughan (@JackIVaughan) April 7, 2020

M urder most foul, as in the best it is; But this most foul, strange and unnatural. As meditation or the thoughts of love, May sweep to my revenge. William Shakespeare – Hamlet Act 1 Scene 5 | One thing I'd note this morning is: Yknow the litany of evocative songs he turns into a story is one thing - and NPR has a pretty cool list of all the associations - streaming from one image to another... but there is subtext on a couple of things that I could feel that I wanted to mention. He mentions: Robert Johnson's "Crossroads" and the old country piece "Deep Ellum Blues". Deep Ellum is mere blocks from the Dallas School Book Depository. And Robert Johnson recorded in Dallas in that general area. I think Dylan absorbed ghosts, and constantly studies literature, history, music and humans, and it continues to come out in his music. I spent a few days in Dallas a couple of times on business, family and pleasure. I got a tremendous sense of dread wh...