With Velvet Underground background. I can’t really watch it myself right now using dial up, but Walter Olson recommended it and I know the song, so I believe it must be amusing.

Not a Obama fan?

The Independent reports on a less-than-warm White House appearance last February.

Most of his contemporaries have mellowed with age, but as he approaches his 70th birthday, Bob Dylan remains splendidly reluctant to embrace efforts to turn him into part of the fusty establishment he once railed against.

That, at least, is the experience of President Barack Obama, who has revealed that he was given what amounts to the bum’s rush by the musician when he visited the White House to perform at a concert celebrating the leaders of the Civil Rights movement.

Dylan, 69, was “sceptical” about performing his protest song “The Times They Are A-Changin” to the assembled dignitaries at February’s event. And while most musicians who perform for the most powerful man in the world ask for a “meet and greet” during their visit, Mr Obama told Rolling Stone magazine that Dylan refused to even speak with him. “He wouldn’t come to the rehearsal; usually, all these guys are practising before the set in the evening. He didn’t want to take a picture with me; usually all the talent is dying to take a picture with me and Michelle before the show, but he didn’t show up to that.”

After performing, it was the same story. “He finishes the song, steps off the stage – I’m sitting right in the front row – comes up, shakes my hand, sort of tips his head, gives me just a little grin and then leaves. And that was it. He left. That was our only interaction with him.”

Mr Obama nonetheless described the experience as “a real treat,” adding: “That’s how you want Bob Dylan, right? You don’t want him to be all cheesin’ and grinnin’ with you. You want him to be a little sceptical about the whole enterprise.”

Frostie, a Bare-eye Cockatoo, also known as a Little Corella (Cacatua sanguinea), dances to Ray Charles’s version of Twist & Shout.

Hat tip to Jose Guardia.

In this 3:01 WALB-TV (Albany, GA) video reporting on Tea Party protests in South Georgia, we find at 2:41 former Velvet Underground drummer Maureen “Moe” Tucker denouncing the advance of socialism and excessive federal spending.

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Velvet Underground — Beginning to See the Light (1969) 4:43 video

Some people work very hard
but still they never get it right.
Well I’m beginning to see the light.

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Hat tip to John Brewer.

4:49 video

Van Halen performs Jump

British DJ Steve Penk put on the Van Halen hit Jump (3:48 video) after the M60 was shut down while police attempted to talk down a suicidal woman.

The Daily Mail reports that mental heath charities were not amused. The intended suicide did jump from the 30′ highway overpass, but sustained only minor injuries. Penk remains unrepentant.

A musical tribute from Creedence (with malice) to our democrat rulers via Moe Lane.

2:16 video

Mormon cricket, Anabrus simplex

Fortunately for residents of the remote Nevada village, Mormon crickets don’t, reports the Wall Street Journal.

The residents of this tiny town, anticipating an imminent attack, will be ready with a perimeter defense. They’ll position their best weapons at regular intervals, faced out toward the desert to repel the assault.

Then they’ll turn up the volume.

Rock music blaring from boomboxes has proved one of the best defenses against an annual invasion of Mormon crickets. The huge flightless insects are a fearsome sight as they advance across the desert in armies of millions that march over, under or into anything in their way.

But the crickets don’t much fancy Led Zeppelin or the Rolling Stones, the townspeople figured out three years ago. So next month, Tuscarorans are preparing once again to get out their extension cords, array their stereos in a quarter-circle and tune them to rock station KHIX, full blast, from dawn to dusk. …

[Mormon] crickets are a serious matter. The critters hatch in April in the barren soil of northern Nevada, western Utah and other parts of the Great Basin, quickly growing into blood-red, ravenous insects more than 2 inches long.

Then they march. In columns that in peak years can be two miles long and a mile across, swarms move across the badlands in search of food. Starting in about May, they march through August or so, before stopping to lay eggs for next year and die.

In between, they make an awful mess. They destroy crops and lots of the other leafy vegetation. They crawl all over houses, and some get inside. “You’ll wake up and there’ll be one sitting on your forehead, looking at you,” says Ms. Moore.

They swarm on roads, where cars turn them into slicks that can cause accidents. So many dead ones piled up on a highway last year that Elko County, Nev., called in snowplows to scrape them off.

Squashed and dying crickets give off a sickening smell. “For us, it’s mostly the yuck factor,” says Ron Arthaud, a painter here.

Many springs, the infestation is negligible. But every few years, far bigger swarms hatch. From 2003 to 2006, armies of crickets went forth. They smothered the county seat, Elko, causing pandemonium as residents fled indoors. Realtor Jim Winer couldn’t, because he had to show homes. “I carried a little broom in my car,” he says, “and when I got out, I would sweep a path through the bugs to the house.”

Every half-century or so, plaguelike numbers hatch. The critters got their name in the 19th century after a throng of them ravaged the crops of a Mormon settlement. But “I don’t think they care about Mormons or Baptists,” says Lynn Forsberg, who runs Elko County’s public-works program. “I don’t think they care about anything.”

Including one another. Mormon crickets are programmed to march. Any cricket that falls by the wayside is eaten by others, ensuring that at least some cross the hot, barren stretches well-fed.

Following an unseasonably warm winter, some in Elko County fear a big crop this year.

Migrating crickets can be a road hazard

Jason Brown, Chairman of the Mathematics Department at Dalhousie University, applies math to solving a musical mystery.

Wall Street Journal

It is here, in a cluttered mathematician’s office, under blackboards jammed with equations and functional analysis, that one of Western culture’s greatest mysteries has finally been solved: Why has no one been able to replicate the first chord in The Beatles’ pop hit “A Hard Day’s Night”? …

Mr. Brown realized he could use a discrete Fourier transform, a mathematical technique for breaking up complicated signals into simpler functions and known as DFT. He used digital equipment to show the chord as a series of numbers, tens of thousands per second, and then applied a DFT to convert the chord into dozens of simpler functions, each representing a single sound frequency.

Mr. Brown knew there is no such thing as a pure tone: Each instrument emits one sound for the note played and then sounds that are multiples of that note’s frequency, as the string vibrates back on itself. Of his dozens of frequencies, some were background noise and some–the ones he wanted to ferret out–were the notes the Beatles struck.

The professor started making deductions. The loudest notes were likely Mr. McCartney’s bass. The lowest had to be the original note played, since a string can generate waves along half or a third of its length, but not twice its length. But no matter how he divvied up the notes, something didn’t fit.

It is well-documented that Mr. Harrison played a 12-string guitar for the recording of “A Hard Day’s Night.” For every guitar note played, there had to be another one octave higher, since his guitar strings were pressed down in pairs.

But three frequencies for an F note were left, none of which were an octave apart. Even if Mr. Brown assumed Mr. Lennon played one F note on his six-string guitar, Mr. Brown still had two unexplained frequencies.

After weeks of staring at six-decimal-place amplitude values, Mr. Brown suddenly remembered how, as a child, he used to stick his head inside his parents’ grand piano to see how it worked. He ran to a nearby music shop, and poked his head inside the Yamahas there.

Sure enough, there were three strings under the F key, corresponding to the three sets of harmonics he had seen. Buried under the iconic guitar chord was a piano note.

Other problems have since yielded to Mr. Brown’s mathematics. Fans have always marveled at Mr. Harrison’s guitar solo in “A Hard Day’s Night,” a rapid-fire sequence of 1/16th notes, accompanied on piano, that seemed to require superhuman dexterity.

Mr. Brown noticed that a piano is strung differently in its lower octaves, with two strings, rather than three, under each hammer. He saw only two frequencies for each piano note in the guitar solo, suggesting that the solo had been played one octave lower than the recorded version sounded. It had also been played at half-speed, he concluded, then sped up on tape to make the released version sound as if had been played faster and at a higher octave.

2:33 video

What was the #1 song on …

– the day you were born?

– the day you graduated from high school?

– the day you were married?

– the day your child was born?

– the approximate date you were conceived?

web-site link

Hat tip to David L. Larkin.

Praise for Times Past with Rock & Roll

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