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Y is for Yellow

Yellow helps with decision making as it relates to clarity of thought and ideas, although it can often be impulsive.

When I graduated from library school in 1992, I discovered that the Academic Degree color for library science was yellow, specifically lemon yellow. I felt rather ambivalent about that.

I knew that in color psychology, “yellow is the color of the mind and the intellect. It is optimistic and cheerful. However, it can also suggest impatience, criticism, and cowardice.”

“The word ‘yellow’ comes from the Old English geolu, geolwe (oblique case), meaning ‘yellow, yellowish’, derived from the Proto-Germanic word gelwaz ‘yellow’. It has the same Indo-European base, gʰel-, as the word yell; gʰel- means both bright and gleaming, and to cry out. Yellow is a color which cries out for attention.”

More about yellow:

“Yellow is the great communicator and loves to talk. Yellow is the color of the networker and the journalist, all working and communicating on a mental level.

Yellow is the scientist, constantly analyzing, looking at both sides before making a decision; methodical and decisive. Yellow is the entertainer, the comic, the clown.

“Yellow helps with decision making as it relates to clarity of thought and ideas, although it can often be impulsive. Yellow helps us focus, study and recall information, useful during exam time.

“The color yellow can be anxiety-producing as it is fast-moving and can cause us to feel agitated.

“Yellow has a tendency to make you more mentally analytical and critical – this includes being self-critical as well as critical of others.

A lot of this rings true – communicative, analytical, impulsive, self-critical.

And this:

“Lurking in the background is the dark side of yellow: cowardice, betrayal, egoism, and madness. Furthermore, yellow is the color of caution and physical illness (jaundice, malaria, and pestilence).”

Still:

“Yellow is the lightest and brightest color on the Basic Color Wheel and in the full spectrum of light. Even some blind people can detect yellow. This is why it’s often used for ambulances and emergency vehicles.”

Here are some songs featuring the color yellow:

Yellow Moon – Neville Brothers

Yellow Submarine – The Beatles

Mellow, Yellow – Donovan

ABC Wednesday – Round 16

Clones and other technology; and music

I didn’t think much of the Monkees, the original Prefab Four.

More of those Ask Roger Anything answers.

My colleague Ed asked:

So, if the technology existed (it will sooner or later) that would do the following 2 things:
1) As soon as you are born a clone would be created with your DNA. This clone would grow in a chamber inanimate until it is needed when you die.
2) From the moment of birth everything that ever happens in your life will be uploaded in real time to storage.

Premise one: You step off of the curb to cross the street and are struck and killed by a bus. At the exact moment of impact you real-time data is downloaded to your growing clones brain and the clone is activated. The clone sits up exacerbated and screams “Oh My God” in regard and reaction to the last memory recorded just a millisecond ago and then relaxes and realizes what happened and that he has just been killed but also been reanimated. Every single memory and experience from life in his previous body intact. Two main questions (this is from a scientific and logic perspective)

Q:1 – Is that clone really you? Has your life been extended?

Q:2 (slightly different scenario) What if you stepped off and jumped back on the sidewalk just in time and didn’t get hit and killed, BUT the process still ran at that exact moment to activate your clone as detailed above) Now, is that you? Or are you you?
I ask this because it seems to me that all of our thoughts and ideas on how to really extend life to the point of negligible immortality believe it to be your mind and memories alone that make you, you. I believe my Q:2 with scenario 2 disproves that idea. There has to be more to it.

Hey Rog, you said to ask a question – I did 🙂

I say no, and certainly no. Because the YOU, in scenario #1, never recovers from that bus accident. You are always You. The other you might be You 2.0.

Incidentally, in Things Movies and TV Always Get Wrong About Human Cloning, item #5, Exact Duplicates notes- “If you look at twins in the real world, even identical twins who share the exact same DNA, they are never exactly the same. That’s because genetics are only part of what makes someone unique. Things like nutrition, environment, parenting, physical injury (or lack thereof), and personal choice can change someone’s appearance drastically.”

So I reject the premise of the question. But I am fascinated by the notion of clones.

It seems that I evoke the notion of wishing I had a clone under two very divergent scenarios. 1) I’d like the clone to do the boring, tedious task, such as mowing the lawn, so that the Real Me can ride the bike with the daughter. 2) I want to do two pleasurable things simultaneously, such as, at 9:30 Sunday morning, both attend choir rehearsal AND the adult education class; in this case, I obviously want to experience BOTH events.
***
The distinguished SamuraiFrog wonders:

What obsolete technology do you still like to use and will never get rid of?

Never say never, I suppose, but, in all likelihood:

Books, including quite a few reference books on music, movies, and TV, because I can find the info nearly as fast as online, assuming I can get it on a webpage at all.

A watch. The argument I have actually been given: “Why have a device that does only one thing?” Because I don’t need to DO but one thing in that moment, and that’s to get the time, literally with the flick of my wrist.

A record player. I still have over 1500 LPs, and some of the music is NOT available in other forms.

A landline phone (probably). This is more a function of not knowing where my cellphone is or forgetting to charge it, for days at a time, and not particularly caring that much about the loss.
***
Amy, the Sharp Little Pencil:

OK, you asked, so now I am asking… er…

Who is your absolute, alltime, stuck-on-a-desert-island-with-one-CD favorite singer?

You are a cruel woman.

I was thinking about Ray Charles, but I ended up picking Nat King Cole. I have this album of early Ray Charles, titled “the Early Ray Charles,” and he sounded amazingly like Nat; BTW, that album got me in a bit of trouble.

My late mother had a bunch of Nat 78s; I’m sure she had a crush. In his own way, he was a television pioneer. That he died young because of cigarettes broke my heart.

LISTEN to The very best of Nat King Cole.
***
Jaquandor ponders:

If John and George were still alive, would the Beatles reunion have already taken place? If so, where and when?

Almost certainly. After John’s five-year self-imposed musical exile to help raise his second son, Sean, he’d want to see how his music was received. And it would have done fine, not as well as Double Fantasy did as a result of his death, unless, of course, he went on the road, which he seemed to be planning to do.

Then Milk and Honey would have been released (ditto), and he’d figure that he didn’t need to prove anything. He might show up on a Ringo album, or have George guest on one of his. Eventually, they’d all get together. It might be a small gig in Liverpool, or a larger one in London, but probably something in New York City, the location that propelled Beatlemania.

LISTEN to some Beatles songs.
***
Arthur@AmeriNZ wants to know:

Pop Culture: Have there been any recording artists who you loved, then later in their career you though, “Hm, no, that’s just not any good.”

I’m hard-pressed to think of one. I think whoever they were met my needs at the time. Take the Chipmunks, who I thought were terribly funny, but find much less so now. Still, David Seville (Ross Bagdasarian, Sr.) gets mondo props for controlling speeds to create an effect.

Or, the opposite: Artists you formerly loathed and grew to appreciate or even like?

Would not go as far as loathe, but I didn’t think much of the Monkees, the original Prefab Four, who eventually DID play their own instruments and write their own songs.

They were also EXTREMELY successful. Their first album, in 1966, was #1 for 13 weeks, More of the Monkees for 18 weeks, Headquarters for one week – probably because the Beatles’ Sgt. Pepper then came out and dominated for 15 weeks. But then Pisces, Aquarius, Capricorn, and Jones, Ltd. ended 1967 on top for five weeks.

In 1966, the Beatles had the #1 album in the US for 18 weeks, the Monkees for 7; in 1967, the Beatles – 15 weeks, the Monkees – 30.

LISTEN to The Monkees The Singles Collection

Musical Flashback Saturday: Elenore

“Elenore was a parody of ‘Happy Together.’ It was never intended to be a straight-forward song.”

The Turtles is an American rock band that out of California. The group had some success, notably “It Ain’t Me Babe”, a Bob Dylan cover, in the Billboard Top Ten in the summer of 1965, and “You Baby”, that went Top 20 early in 1966.

Of course the big hit was Happy Together [LISTEN], #1 for three weeks in 1967 in the US Continue reading “Musical Flashback Saturday: Elenore”

Carly Simon is 70

Mockingbird also charted in Canada , New Zealand, the UK.

Long before I knew the name Carly Simon, I was listening to the folk music of the Simon Sisters, especially Winkin’, Blinkin’, And Nod, which managed to get to #73 on the pop charts back in 1964. Here’s Winkin’, live, from 1968, with middle sister Lucy; Carly was the youngest girl. Listen to The Simon Sisters sing for Children.

The three Simon sisters, including opera singer Joanna, the oldest, are all accomplished singers, influenced heavily by their parents. Their father was the co-founder of the book publishing house Simon & Schuster. Watch this piece about the sisters from the early 1980s.

From Wikipedia: “For her 1988 hit ‘Let the River Run’, from the film Working Girl, Simon became the first artist in history to win a Grammy Award, an Academy Award, and a Golden Globe Award for a song both written and performed entirely by a single artist. She was inducted into the Songwriters Hall of Fame in 1994, inducted into the Grammy Hall of Fame for ‘You’re So Vain’ in 2004, and awarded the ASCAP Founders Award in 2012.”

The folks at the Grammys named her best new artist of 1972, a choice that has proved sage over time. She beat out Bill Withers; Chase; Emerson, Lake & Palmer; and Hamilton, Joe Frank & Reynolds.

10. Better Not Tell Her. My favorite Carly Simon album is Have You Seen Me Lately?, which only got to #60 on the Billboard charts in 1990. This song, despite the video, did not chart at all.

9. Nobody Does It Better (#2 for three weeks in 1977). One of the two or three best James Bond songs, this from The Spy Who Loved Me. It was kept out of the top slot by You Light Up My Life, which was #1 for TEN weeks.

8. Legend in Your Own Time (#50 in 1972). Reportedly about Cat Stevens, who she dated for a time, I always it took as a sarcastic dig of a “legend in your own mind.” Yet it seems sweetly delivered.

7. Mockingbird (#5 in 1974). A duet with then-husband James Taylor, I like how they switch off harmony and lead vocals. From here: “It also charted in Canada (#3), New Zealand (#6), the UK (#34)… In recent years Taylor has performed ‘Mockingbird’ live with his daughter (by Simon) Sally Taylor and Simon has performed the song live with her and Taylor’s son Ben Taylor.” I could find only this live version.

6. You’re So Vain (#1 for three weeks in 1973). I actually never much cared WHO the song was about. It evidently is NOT about Mick Jagger (who sings on the song), Warren Beatty, James Taylor, Kris Kristofferson, Cat Stevens, or David Geffen, though she once said it was about Geffen. Here’s a strange 2011 video.

5. Haven’t Got Time for the Pain (#14 in 1974). At the end of this song is one of my favorite uses of strings.

4. Fisherman’s Song. This shows up on a recording for children and with Judy Collins and Lucy Simon on her 1990 album. Here’s Carly Simon talking with Joan Lunden, before singing it.

3. It’s Not Like Him. ALSO from Better Not Tell Her. Song of marital betrayal.

2. Anticipation (#13 in 1972). Almost ruined by its association with a Heinz catsup commercial, it still ends with the most hopeful line, “These are the good old days.”

1. That’s The Way I Always Heard It Should Be (#10 in 1971). I find this song unrelentingly sad, with ***
Carly Simon’s feet.

X is for Estelle Axton

I believe Estelle Axton ought to be in the Rock and Roll Hall of Fame.

Jim Stewart was inducted into the Rock and Roll Hall of Fame in 2002. Here’s part of his bio:

Jim Stewart and sister Estelle Axton were the co-founders of Memphis-based Stax Records. Stax and Motown were the two most important record labels in America in terms of bringing black music into the mainstream during the Sixties and Seventies.

Stax recorded some of the greatest acts in the history of soul music – Otis Redding, Wilson Pickett, Sam and Dave, Johnnie Taylor, Booker T. & the MG’s, Carla Thomas, and Eddie Floyd, among them.

If Motown was “the Sound of Young America,” then Stax/Volt was “Soulsville, U.S.A.” Between 1959 and 1975, Stax and its affiliated labels released 300 albums and 800 singles. Among the latter, 167 were bonafide hit singles.

Now here’s part of Estelle Axton’s 2004 obituary:

In late 1958, her younger brother, Jim, appealed for financial help to develop Satellite Records, which he had set up to issue recordings of local Memphis country and rockabilly artists.

Estelle convinced her husband [Everett Axton] that they should remortgage their house and, in February 1959, she joined Satellite as an equal partner, contributing $2,500 – at a time when Everett was earning just $18 a week. She kept her bank job, but took a keen interest in Satellite’s fortunes, enjoying pop music and working with young people.

By 1960, Jim and Estelle had found the Capitol Theatre, in a black Memphis neighbourhood, that they turned into a recording studio. To help defray the rent, she opened a record shop in the foyer, and left the bank to work there. She and Everett remortgaged for another $4,000 to refurbish the cinema…

The studio’s location meant a wealth of aspiring local black talent began dropping in, Estelle’s record shop encouraging them to hang out and play popular songs. “The shop was a workshop for Stax Records,” she explained. “When a record would hit on another label, we would discuss what made it sell.”

Also in 1960, Estelle’s son, saxophonist Charles “Packy” Axton, provided Satellite with its first million-seller when his group, the Mar-Keys, put out their debut single, Last Night. According to Estelle, her brother had not been interested in releasing the record until she pleaded, cried, and swore at him. Then he bet $100 that it would never be a hit. [It was.]

Satellite was forced to change its name after it was discovered that a Los Angeles label already owned the title. Taking the first two letters from Jim and Estelle’s surnames, Stax Records was born…

Over the years, many of Stax’s musicians recalled that it was Estelle who encouraged them, then forced her brother to sign them up. “You didn’t feel any back-off from her, no differentiation that you were black and she was white,” noted Isaac Hayes. “Being in a town where that attitude was plentiful, she just made you feel secure. She was like a mother to us all.”

From Jim and Estelle’s Memphis Music Hall of Fame induction page:

At Stax, Estelle ran the front of the house – the record store – and Jim ran the back – the studio. Many of the label’s stars first came in as her customers – Booker T. Jones, William Bell, and Albert King among many (in the early years, she also employed Steve Cropper). Her store would serve as both a respite from the studio, and perhaps more importantly, as a library and research facility for the songwriters and musicians.

From Wikipedia:

Estelle was the founder of the Memphis Songwriters Association in 1973. The Memphis Songwriters Association was formed in order to foster the education and advancement of local area songwriters. There was a focus on the development of the songwriting craft with the intentions of producing commercially viable songs and improving performance skills.

After her split from Stax, Axton went on to found the Fretone label, which launched Rick Dees’ 1977 novelty smash “Disco Duck.”

Clearly, Estelle Axton was the ears and heart, and soul of STAX in the 1960s, helping move the label from its rockabilly roots to become a soul powerhouse. In spite of Disco Duck, I believe Estelle Axton ought to be in the Rock and Roll Hall of Fame.

ABC Wednesday – Round 16