From the NY Times, an article concerning the abuse of caffeine, calling for accurate labeling of energy-drinks as to actual caffeine content. An excerpt:
"Dr. Griffiths notes that caffeine intoxication is a recognized clinical syndrome included in the Diagnostic and Statistical Manual of Mental Disorders and the World Health Organization’s International Classification of Diseases. It is marked by nervousness, anxiety, restlessness, insomnia, gastrointestinal upset, tremors, rapid heartbeats, restlessness and pacing, and in rare cases, even death."
"Introduced to Scotland by Welsh Druids
in the 9th Century, elderberry ale was part of
the Celtic Autumn festivals where the ale
was passed round the people of the village.
This recipe was taken from a 16th
Century record of domestic drinking in the
Scottish Highlands. In medeaval times
elderberries were used in various
concoctions and are known to be high in
fruit tannins and oils. It is a rich black ale
with fruit aroma, soft texture, roasted
grain and red wine flavour, with a gentle
finish.
Brewed and bottled by Heather Ale Ltd.
Williams Bros Brewing Co.
Scotland UK. www.heatherale.co.uk"
To that I will add that it is indeed rich in flavor, with wine and fruit overtones. I enjoyed the flavor very much. My only disappointment was that there was little to no head to speak of, and, while tasty, this brew was rather flat. What you see in the photo above was pretty much all the head there was. I cannot be certain whether this ale is meant to be this way, or if I simply received a bad bottle from a flat batch.
Ebulum Elderberry Black Ale is 6.5% alcohol by volume, and cost me $2.79 for an 11.2 fluid ounce bottle from my local ale supplier.
If Found, Please Feed Roasted Pork and Place in Incubator.
Moby has been one of the most popular proponents of club / electronica for several years now, although I'll admit I've never been quite sure why. Aside from a couple of excellent tracks and a handful of recognizable commercial beds, his brand of music has always struck me as particularly fey. Ecstasy will do a lot for your listening pleasure, however, and one thing's for sure -- there is nothing in his oeuvre that could in the least bit offend anyone, being utterly innocuous as it is. Like a bowl of vanilla ice cream with marshmallow topping, Moby music eases by with nary a lump or an audio double-take.
This preconception notwithstanding, I sat down to absorb "Last Night" with my ears as open as they could be. I'll offer a running commentary on a handful of tracks.
Ooh Yeah: If you have ever felt the desire to hear a classic Abba disco track with all of the interesting parts removed, and slowed down to a nearly unbearable tempo, then this will be "right up your alley." I imagine the title comes from the fact that a sampled "oohyeaH" is heard consistently, unerringly at the beginning of every four beats. Just a guess. The strongest part of the track is the female vocal harmonies, which are kept timidly buried in the mix, as if Mr. Moby is afraid to make any one part stand out too much.
Okay, that's enough of that - the above-mentioned description holds true for pretty much the rest of the album: one endlessly repeated vocal sample, buried in the mix behind limp disco beats and soft house chords. That's the formula. Nothing interesting in the way of harmony, timbre, or rhythm. Move along, people - nothing to hear here.
Ironically, Moby takes a public stance against the use of drugs. I say ironically, because I think the only way I could be brought to enjoy this music is stoned beyond my cortex. And even then. . .
Overall, after giving "Last Night" the old college try for a few listenings, I would describe it this way: tired, bland, uninspired, and frustratingly unwilling to take a musical stand at any point along the way.
In the Apollonian / Dionysian continuum, music works best at one extreme or the other, unless we're talking about that rare artistic genius who can meld both elements with equal creative aplomb. "Last Night" sits oh so comfortably in some sort of detritus filter, smack dab in the middle of Blah-ville. If it were a book, it would be a competently written plumber's manual.
My advice: save your money for the plumber's manual.
How Animals Identify Each Other: Insights Into How The Nervous System Processes Sensory Information
ScienceDaily -- The Stowers Institute's Yu Lab has published the results of large-scale imaging experiments examining how social signals are represented in the sensory system. Working with a newly-developed line of transgenic mice that expresses the genetic calcium indicator G-CaMP2, the team monitored neural activity in the vomeronasal organ (VNO), a sensory organ found in many vertebrate animals that detects pheromones.
The findings, which shed light on how animals identify one another, were published in the April 25 issue of Science.
The team's discovery shows that neurons encode information about the identity of animals in very specific ways. Information about gender is encoded by a small population of cells dedicated to detecting sex-specific cues in the urine. Additionally, many of these pheromone cues are regulated by the hormonal status of the animals -- conveying their reproductive status.
In contrast, information about the genetic background and pedigree of an animal is encoded by the combinatorial activation of cells. Such combinatorial activation is unique for each individual, so each animal can be recognized by the signature pheromones they carry.
"We are interested in understanding how the nervous system processes sensory information to generate meaningful perception and behavioral output," said Jie He, Ph.D., Postdoctoral Research Associate and first author on the paper. "In order to understand the process, we examined the mouse vomeronasal system because we knew it processed pheromone information in a robust and stereotyped way. In doing so, we established that vomeronasal neurons are capable of recognizing gender, identifying individuals, and detecting the physiological status of the animal."
This is believed to be the first study of VNO activation by natural pheromones at the systems level. It reveals an extraordinary richness of pheromone cues and some striking features of pheromone representation in the VNO.
"Our study shows that a dedicated neural circuit is likely involved in processing important social information such as gender," said Ron Yu, Ph.D., Assistant Investigator and senior author on the paper. "Although the importance of pheromones in social communication has been recognized for decades, we knew little about the nature of these signals at the sensory level. This work addresses this issue and provides insight into how social information is processed in the nervous system."
Although, as a species, human beings no longer rely on pheromones in social communications, the functioning of the nervous system follows principles similar to those revealed by the Yu Lab's mouse studies. The neural circuitry in the human brain underlies complex human behaviors. Proper formation of the neural circuitry and seamless processing of sensory information are essential for mental health.
Alterations in either can lead to devastating psychiatric and neurological diseases such as schizophrenia, autism, Parkinson's disease, and Alzheimer's disease. Using animal models to dissect the neural circuitry and to reveal the molecular and cellular mechanism behind these important functions of the brain may lead to a better understanding of how the brain works and to possible treatments for neurological diseases.
"Neptune" -- My introduction to The Duke Spirit -- was recommended to me, and I am thankful for that. After 35 years of voracious music consumption, it is still so rewarding to find something new by creative and inspired musicians - and that is certainly an apt description of the members of this pop/rock group from the U.K.
Without a doubt, the standout feature of The Duke Spirit is the singing of Liela Moss -- rich, deep and full-bodied. Sexy. She has a great instrument and she knows how to use it. I hear slight shades of Janis Joplin, Siouxie Sioux, heavier amounts of early Grace Slick, and, here and there, touches of Hope Sandoval. From the band, I hear some very early Rolling Stones and Kinks, Stax/Volt, and Motown - all well blended with a mix of the major developments in English pop music over the last 30 years. Oh - and a healthy fascination with Sonic Youth.
I hear yet another great British band that knows more about the history of American music than most Americans. This is Rock n Roll -- with a rhythm section that kicks it right on every time.
Equal parts driving and seductive, "Neptune" provides a solid listening experience with nary a clunker in the lot.
The songs are all original, and show a mature sense of song craft, featuring rich and powerful arrangements. These are musicians who know how to interpret their own material. It takes a firm grasp of the musical arts to decide where and when to use a Rock n Roll Flugelhorn.
"Neptune" is a real treat - I am very much impressed - and I recommend it whole-heartedly.
Members:
Olly Betts - Percussion, Piano, Drums, Glockenspiel, Backing Vocals
Toby Butler - Bass, Guitar, Backing Vocals, Horn Arrangements, Vox Organ
Luke Ford - Guitar, Vocals
Dan Higgins - Guitar, Autoharp, Hammond Organ, Backing Vocals, Omnichord
Liela Moss - Vocals, Organ, Harmonica, Percussion, Piano
"I am no fan of books. And chances are, if you're reading this, you and I share a healthy skepticism about the printed word. Well, I want you to know that this is the first book I've ever written, and I hope it's the first book you've ever read. Don't make a habit of it."
And so begins, "I Am America (And So Can You)," by Stephen Colbert, of the Comedy Channel's "Colbert Report." If you are unfamiliar with Mr. Colbert's show, or if you have a difficult time processing extreme irony, then this book will be of little value to you.
On the other hand, If you are familiar - perhaps too familiar - with Mr. Colbert's week-nightly performance as a hyper-surreal Bill O'Reilly/Sean Hannity-type conservative pundit, then you will want to check out his book. Colbert uses the medium effectively, and there are bits of humor that could only work in print: graphs, charts, stickers, coupons, illustrations, photos, and marginal asides abound. In Colbert's brand of meta-humor, the very concept of the "Book" becomes a target of satire, and I will give major Kudos for the creativity involved.
But I will also point out one caveat: the persona that Stephen Colbert has developed for his "act" is ESSENTIAL for an accurate reading of this book. I do not think that this book will work for most readers who cannot see and hear Mr. Colbert performing this book in their minds as they read. In that sense, it is only for the true fan.
I have not yet heard the audio CD version, but I will go out on a limb and speculate that perhaps that may be the best way to enjoy this material. Or - you could make Stephen really happy, get the audio version, and use it to follow along with the print copy that you've also purchased.
According to the credits, the audio version is read partly by Stephen Colbert, but also contains segments which are read by the other writers involved. You could look at it as a down-side that Colbert doesn't read it all himself, until you look at the other people involved: Paul Dinello, Kevin Dorff, Greg Hollimon, Evie McGee, David Pasquesi, Amy Sedaris, Allison Silverman, Bryan Stack, and Jon Stewart. With this line-up of comedic talent, the audio book does indeed have entertainment potential.
In short, if you love the whole Colbert thing, then you should check out "I Am America." But, if you're willing to go that far with your credit card, then you might just want to go for the audio version.
In any case, I'll leave you with one final testimony:
"A great read! I laughed, I cried, I lost 15 pounds! I cannot recommend this book highly enough!" -- Stephen Colbert --
"Everything appears to be ready - are you ready?. . . is everybody ready?. . . I think I better fasten up my trousers so they don't fall down - you don't want my trousers to fall down now do ya?. . . . . . paint it black..paint it black....paint it black you Devil. . . . . . Charlie's good tonight innit he? . . . . . . We're gonna do one more, and we gotta go. . . The Greatest Rock n Roll Band in the World -- The Rolling Stones -- The Rolling Stones !"
By the time I was 12 years old, I was a full-on believer in Rock n Roll, and I had my first guitar -- a little acoustic number that my Dad had found for sale somewhere. I don't remember the make or the model - I think it was a fairly no-name type of affair. A school friend of mine had gotten one about the same time, and we started hanging out on the weekends, trying to teach ourselves how to play. He figured out a thing here and showed me, and I figured out a thing there and showed him. We both know older kids who played and we got tips and lessons that way. In retrospect, a lot of what we thought we had "figured out" was way off in terms of melody, but we had a good sense of relative pitch and good rhythm -- I have always had a good sense of rhythm.
Mostly how we learned was to do what most every other self-taught musician does - play along with records. We each had our favorites. He was fond of Black Sabbath as I recall, and I tried to cop a lot of AC/DC and Led Zeppelin, the Who, the Beatles, and whatever was on the radio. For a period of about 2 years, the majority of my lessons came from my turntable in the form of "Get Yer Ya-Ya's Out - The Rolling Stones in Concert."
Released in the fall of 1970, GYYYO has long been considered one of the best live albums ever - certainly the best live album by the Rolling Stones. It is drenched in Rhythm and Blues, features the excellent lead guitar playing of Mick Taylor, some of Jagger's best singing, and nary a beat is dropped by the duo of Watts and Wyman. This live recording represents the Stones at their absolute peak of potency -- they were coming off the "Beggar's Banquet" and "Let it Bleed" albums, and a few days after these concerts, they entered the studio at Muscle Shoals and put down the first tracks of "Sticky Fingers."
For a kid learning to play guitar, "Ya-Ya's" is a blues-inspired garden of earthly delights. Heavy riffs in the lower registers on Jumpin' Jack Flash and Live With Me. Two shots at working out "that Chuck Berry thing," on Carol and Little Queenie. A very soulful lesson in arpeggiation on the Robert Johnson classic, Love in Vain. Bo Diddley lessons from Keith himself on Sympathy for the Devil, as well as monster chord mashing on Street Fighting Man. And the creme de la creme of rhythm workouts -- the ultimate live version of Midnight Rambler. After the breakdown section in Rambler, the band locks into a 6/8 triplet groove that builds in intensity on a slow grind, until finally busting out -- up-shifting the tempo into the original riff in 4/4 meter. I didn't know how to describe that moment when I was 12, but it knocked my socks off! It still does.
And if you were lucky enough to have had an older kid teach you the magic "blues scale," then GYYYO gave you an entire album to work out your solo technique. Remember - above all else, and throughout all of their various permutations - the Stones have always been about the blues. When I got older, I arrived at the source of this - "discovering" Muddy Waters, Robert Johnson, Howlin' Wolf, Little Walter, and many other blues men. The Rolling Stones got this great music from America, ingested it, made it their own, and then brought it back to us. "Get Yer Ya Ya's Out" bears the finest fruits of that endeavor.
Title: Get Yer Ya Ya's Out - The Rolling Stones in Concert
Release: September, 1970
Track Listing - Side One:
1. Jumpin' Jack Flash (3:13)
2. Carol (3:35)
3. Stray Cat Blues (3:35)
4. Love in Vain (4:50)
5. Midnight Rambler (8:32)
Side Two:
1. Sympathy for the Devil (5:45)
2. Live With Me (2:58)
3. Little Queenie (4:10)
4. Honky Tonk Women (3:00)
5. Street Fighting Man (3:47)
Well, it's Saturday -- that means Brain Day here at Alive in Concert. A weekly round-up of the top stories related to neurology, neuro- science, psychology, psychiatry, and brain studies will follow. Of course, if you're a "scient"-ologist, then you don't believe in any of this stuff, so - Tom, if you're reading this - now would be a good time to make yourself a sandwich.
First up -- as I sit here nursing my third cup of Kona blend, I feel it imperative to pass along one of this week's best stories. It confirms what we coffee imbibers have always known: that coffee really helps our heads.
Starbucks Can Save Your Brain
photo by thalamus - anno domini 2008
Go ahead, grab another cup of joe – it’s good for you! [BBC] We already knew drinking a little coffee cuts your risk of Alzheimers’. Now we may know why. According to new research, "coffee may cut the risk of dementia by blocking the damage cholesterol can inflict on the body."
Here’s how it works: There is a "blood brain barrier" surrounding the brain which protects the central nervous system, filtering harmful chemicals out of the blood. When you have high cholesterol, this barrier can get a little leaky. Scientists have found, however, that a daily dose of a little caffeine can protect that barrier from the destructive effects of cholesterol.
"Meet the Beatles" seems an ideal choice for our first classic album review. My introduction to rock n roll could not have been better if it had been hand-picked by God. Sure, everyone knows who the Beatles are, and everyone loves Sgt. Pepper and the White Album and Revolver. I love all of those albums too. But, MTB never fails to evoke an onrush of nostalgia that makes my big toe shoot right up in my shoe. Everything about this record is so polished. From the dark Bauhaus-ian cover shot to the four young toughs pictured on the back in their matching razor-sharp suits and square-toed, black leather, mod-kicker boots. These are not sensible shoes.
Knowing all of the history that we do, when we look at them now, we know that even though the oldest was only 23 at the time, The Beatles were already seasoned veterans, with years of relentless performing under their belts - at Liverpool's Cavern, and in der Kaiserkeller of Hamburg Germany. They had taught themselves chords and vocal harmony and here was their first album, comprised of 91.6% original material -- they were already accomplished songwriters (the exception being Meredith Wilson's "'Til There was You" - a great vehicle for the smooth croonings of young McCartney)!
Mostly, though, when I listen to this record, the one word that comes to mind is - Testosterone. The vocals are powerful - occasionally breaking into full-on banshee screams. Even the slow numbers seem to have a metronomic tightness and full force vocalization. For me the standout track is I Saw Her Standing There -- it just plain ROCKS! "One Two Three FOW-ER! Play that bass line at that tempo while singing those vocals - go ahead, I dare you. And the harmonies - on this track and the hit single I Wanna Hold Your Hand - nothing in pop music had ever sounded like that. Open fourths and fifths below the main melody - Mean. Exciting. Stimulating. Scores of teenage girls were impregnated just by listening to the thing. Seriously - look it up on Wikipedia.
Also featured is the Ringo-sung, head-pummeling I Wanna Be Your Man, which the lads had earlier given to the Rolling Stones for one of their first singles. The legend is that the two groups were hanging out and the Stones began talking about how they needed a single and they really weren't songwriters yet. So John and Paul sat down on the spot and whipped this little ditty out for Mick and the boys. If you can find the Stones' version, it's worth a listen for a piece of rock n roll history.
A big tip of my hat goes to the Smithereens who put out an album a few years back, entitled "Meet the Smithereens," wherein they cover the entire MTB album track by track. Obviously, MTB had the same effect on them that it did on me, and that makes us related somehow. They do a damn fine job with it too. Some of the fast rockin' tunes lack the same punch and tightness, but overall the Smithereens do a stand-up performance here. Plus, you gotta remember, the members of the Smithereens were probably all over twice as old as the Beatles were when they made the original - so give the old geezers a break!
Kids - do yourselves a favor - if you're not intimately familiar with this album, then go buy a copy today and give it a spin. It'll only take 26 minutes of your time and you won't be sorry. Get a CD or a set of mp3's if you must, but if you can find a vinyl recording in your mom's (or your grandmom's) record collection, then that is definitely the way to go. I can't explain this, but it just isn't the same without audible pops, crackles, and hiss. For maximum pleasure, play it as loud as possible and sing along at the top of your lungs. Maybe even give a banshee scream now and then.
Meet the Beatles
Released: January 1964
Track Listing:
Side One
1. I Want to Hold Your Hand
2. I Saw Her Standing There
3. This Boy
4. It Won't Be Long
5. All I've Got to Do
6. All my Loving
Side Two
1. Don't Bother Me
2. Little Child
3. Till There was You
4. Hold me Tight
5. I Wanna Be Your Man
6. Not a Second Time
This review is dedicated to the memory of my mother who passed away a few years ago. I miss her terribly and thank her for having hung on to a few old records from her youth. Peace.
we had a hi-fi set when i was growing up. it was one of those all in one units that they used to make - the size of a buffet table, with simulated wood-grain, and a heavy hinged top that opened to reveal a turntable and a receiver dial. i remember the tuner had a big bumpy silver knob and when you turned it a thin orange band went up and down the narrow rows of numbers - AM along one side and FM along another. It looked sort of like a thermometer where you controlled the temperature.
mostly, we listened to the radio. by "we" i mean my two older sisters who were the only people in the house truly interested in current pop music (i was just coming into my own). AM radio was king then - this would be in the years between 1971 and 1975.
a lot of my early memories are associated with music - sound always attracted me, especially the human voice. i clearly remember driving my sisters crazy one day requesting a song i wanted to hear. i was probably 6 years old and didn't know the artist or the title - i just knew it was the "water song with the crickets." I expected them to know exactly what i was talking about - they didn't. they thought i was insane. they always thought i was a weird kid, and maybe they were right.
years later, when i was able to piece this memory back together, i realized that the song had been "Uncle Albert /Admiral Halsey" by Paul McCartney. Go ahead - indulge yourself and listen to it - how long has it been? See if you can decipher the cryptic notions of a 6 year old.
Sooner or later i figured out that we had some "big" record albums stashed in a cabinet in my parent's room - the kind of records that have more than one song. i knew this because that's where i was dispatched one Christmas to get some holiday music. my mom had a collection of Christmas albums: Perry Como, Johnny Mathis, Burl Ives, Alvin and the Chipmunks, and The Royal Guardsmen who sang "Snoopy and the Red Baron" which was my favorite.
going to fetch these records a few times, i noticed that there were some other albums in there - not Christmas records - something else. these were records that my mom had had since she was a teenager. inevitably i was curious enough to want to hear them, and my mom didn't see any reason why not.
most times, the power inherent in an inanimate product and the power it can have over the imagination of a child is severely underestimated. i was about to experience an awakening i have never recovered from.
