Yesterday I Learned … VIII


Yesterday I learned that the makers of South Park predicted that with the advent of AI a college degree in Geology might prove pointless sooner than we think. Being a paid Geologist, as with many studies in informational pursuits, will be relegated to the ash heap of history if AI proves a greater information resource than men and women pursuing answers to geological questions. “It might damage the human element of the profession as a catalog of facts,” supporters say, “but what about new discoveries and new information?” How does AI uncover new information in the field of Geology? Mathematics.

Today I learned that we discovered a planet called Neptune almost solely using mathematics. The planet Neptune is so dim that it cannot be viewed with the naked eye, so based almost solely on mathematical principles, some French guy predicted that a planet had to be acting on Uranus with a perturbing, or unsettling, force in a manner Saturn and the Sun were not. Using Isaac Newton’s laws of gravity and motion as a guide, this French guy theorized that Uranus’ orbits and movements were so irregular that there had to be a planet right … there, causing it. The ellipses in that sentence was filled with mathematical calculations and theories. That French guy was a fraction of a degree off.

I also learned that Artificial Intelligence (A.I.) has recently progressed to something called Artificial General Intelligence (A.G.I.). The difference between the two is math. Most of the research to this point has led to progressions in A.I.’s ability to solve and resolve linguistic problems. The progression into math, or more general intelligence, has excited some and put the fears in a whole lot more.

Tomorrow we’ll learn that no matter what incarnation A.I. takes, it will always require some sort of human input. We fear the extent of A.I.’s capabilities now, but we feared the extent of the internet, yesterday, and the capabilities and unforeseen consequences of fire yesteryear. The gods punished Prometheus for introducing humans to fire. Some suggest the gods feared the progression of the human, others say that that the gods feared for the human race. They didn’t think the humans were capable of understanding the consequences of playing with fire.  

Yesterday I learned that nothing is original, particularly in the arts. “What has been will be again, what has been done will be done again; there is nothing new under the Sun.” Ecclesiastes 1:9. So, give up on the ‘O’ word, original, they say, and strive for the ‘U’ word, unique. Today I learned that Kilmister, AKA Lemmy Kilmister, AKA Lemmy, the lead singer of Hawkwind and Motorhead passed away. Listen to his music, watch an interview with him, or read about the man. If he’s not one of the most original artists you’ve ever heard, then you know this genre far better than me. If we don’t view Lemmy as an original tomorrow, I think we’ll at least acknowledge that he definitely gave new meaning to the Oscar Wilde quote, “Be yourself, everyone else is taken.”

Yesterday I learned that “The death of a language occurs when young people, progressively refuse to speak it.” That’s so obvious that it’s hardly worth writing, but why would young people stop speaking their native tongue?” Steven Pinker writes about this as if it’s a bad thing, which it kind of is, when one puts it in the frame of a death of a language basically killing all links to a culture and the subsequent death of traditions and folklore of said culture. Today I learned that even though the Russian language is not even close to a fear of extinction, Russian parents prefer that their children learn English. They try to teach it in their home and they want it taught in their kids’ schools. These parents pursue this, according to the report, because they want more for their children. They want their children to speak a more universal language to hopefully open up more economic opportunities for them. This could include their children working in the service industry, the tourist industry, or some other industry that they hope will lead to their children an easier life than the one they had to endure. We can’t help but guess that their greatest hope/dream is that their children might find an opportunity that helps them escape Russia. Whatever the case is, they believe that their children continuing to speak something nothing but the “mother tongue” might limit their opportunities in life the way it did theirs. Tomorrow, we will see that most young people are self-serving. They might love their culture as it pertains to their love of family and the essence of their being, and they might want to continue the history and traditions of their culture, but if it does nothing more than romanticize the past, most young people will not carry the torch if it comes at the expense of what they perceive to be a path to personal gains, their personal happiness, or the intra-or-inter-personal connections they develop in life.

Yesterday I learned that one of the last individuals I’d ever expect became a drug addict. If we all sat in a room, with all those we all know and love, and someone asked who’s the least likely to become a drug addict, he probably would’ve been the last one everyone selected. When I found out he became a drug addict, I had so many questions that I couldn’t think of one. To say I was disappointed doesn’t even crack that shell. He was the apex of stability, and all that, until he hurt his back, bad, and he didn’t want to undergo surgery. He preferred to treat his near-crippling pain with painkillers. If you’ve ever been ground-bound with back pain, and it hurts to breathe, you probably have an idea what he was going through. The meds made him feel better, temporarily, and he wanted more of those “temporary” moments, until he got addicted to them. Did it alter his brain chemistry, or did he fear the return of the backpain? Regardless, he became an addict. 

Today I learned that some consider that addiction a disease. Even though the least likely I would expect became one, I cannot grasp that concept. I do not suggest those who state that are lying, excusing the behavior, or have any other ulterior motives. I also leave ample space for the idea that I don’t know what I’m talking about, because prior to this moment, I never knew anyone who suffered from any form of a drug addictions. I just don’t understand how the decision and resultant decisions to continue to take drugs can be classified a disease. Before we try a hard drug, for the first time, we know most of the stories about the harm we could do to our body, and every time thereafter, we know we’re doing greater damage. We also know that we fall prey to various addictions easily, and we know (or I know) that we could become personally, psychologically, and physiologically addicted. As John Lennon once said, “Cocaine was the first drug I ever tried where the moment after I tried it, I wondered how much more of it I could get.” 

Tomorrow, I think we’ll reread Psychology Today’s article that suggests, “There is significant evidence that addiction is a complex, cultural, social, and psychological phenomenon, as much as it is a biological phenomenon … that baffles physicians and philosophers.” Some recreational drugs provide a shot of dopamine that can lead to a restructuring of the brain. Among the many things various deleterious recreational drugs do to the brain, one thing they provide is short-term, artificial fun. They can make a trip to the grocery store fun. They, along with alcohol, can make a good time great. I have little in the way of personal experience with recreational drugs. I was never an addict, but I was a binge-drinker. As a binge drinker, I never understood responsible drinking. “You want to go out, after such a rough week at work, and drink one or two drinks and go home? That’s the exact opposite of what I want to do.” Most addictions, in my opinion, are an addiction to something else, something different than what I’m experiencing in my otherwise uninteresting and unfulfilling life. They’re an escape from the hum drum of life. Very few addicts of anything say, “I do it, because it’s fun, and I like having fun. I know sobriety, and I know it well. It’s boring.” If we had the self-control to do it just once, and no one was affected by it, we could claim no harm, no foul, but how many people have such self-control? Have you ever heard the term chasing the dragon, chasing that first high. It’s way above my pay grade to try to understand if addiction is a disease, but after seeing what happened to a friend I deemed far more capable than me, I walk away with the notion that we’re all susceptible to various forms of addiction, because, as another friend of mine once said:

“We’re all chemical.” I had no idea when she said that, but my friend was a Neurology student who specialized in Neurochemistry. *She also said it so long ago that her assessments may have aged, my remembrances of what she said could be faulty and incomplete, and I might exaggerate certain points that she hit, but this is what I remember about what she said. “We can debate the particulars of this very complex subject, and we do, and I can go into those particulars if you want, but it all boils down to that simple statement, we’re all chemical.” The two of us had a long shift before us, and I could’ve asked her for the details, but I asked her to give it to me in a nutshell. “You’ve heard the term brain chemistry, right? Those chemicals in our brain dictate mood. If your brain is not, naturally, producing enough green, you might be suffering from a chemical imbalance that affects your mood in a variety of ways both mild and severe. To relieve that malady, you seek a specialist who prescribes you a dose of green,” she said that trying hard to find colors we don’t associate with mood. “If, however, you’re not suffering from an imbalance, and you have plenty of green, and you then take a green pill, it can provide an excess of green that results in feelings of temporary euphoria. We’re all chemical. The problem with taking certain prescription and recreational drugs is that they introduce these colors, moods, and stimulants artificially. If you don’t need green, and you artificially introduce more green, you have an excess of green, and your brain stops producing green organically. The brain adjusts and sees that we’re all stocked up on green, red, yellow, or whatever color we’re talking about, so it stops producing it. As a result, the next time we take a green pill, the brain has already adjusted its production of the color, so we don’t experience an excess, and that excess produced the euphoria the first time. So, our inclination is to take more than we did the first time if we want that sense of euphoria. This is why they call it chasing the dragon, because you’re continually trying to up the dose to return to that initial feeling of euphoria. Every case is different, of course, and the amount of damage is different too, but when we stop taking the green pill, it can take a while for the brain to start producing green organically again, and that can lead to feelings of withdrawals.” 

*For anyone who is seeking a more comprehensive discussion on this topic, please visit: Psychology Today

Andrew Wood: What Could’ve Been


Andrew Wood was 24-years-old when he died. He died weeks before the release of his group Mother Love Bone’s debut album Apple. Reports say he started seriously playing music when he was 14, but we have to imagine that that music was probably a mess, but if he died at 24, imagine what he could’ve done by 34. I’m biased, but I can’t imagine how anyone could listen to Apple and not hear the potential he had for so much more. If rock musicians tend to peak between the ages of 27-30, Andrew Wood probably would’ve helped create three incredible albums. 

There were some meaningful songs on the albums, but for the most part, this album was fun and funny. Here are some of the lyrics that his bandmates called Andrewisms: 

Stargazer: “She dance around my, my pretty little cable car.”

This is Shangrila: “I look bad in shorts
But most of us do
Don’t let that bother me.”

This is Shangrila: “Said the sheriff, he come too
With his little boys in blue
They’ve been looking for me child.”

Capricorn Sister: “Chartreuse regalia and Purple Pie Pete (Purple Pie Pete)
You dance Electra and the night becomes day.”

Mr. Danny Boy: “With your long black kitty and your funky hair
Why did I leave you there?”

Holy Roller: “I got somethin’ to say to you people out there
You gotta listen to me people, you gotta listen to me
Yeah, the Lord’s comin’ down people
Yeah He’s gonna take you whole, He’s gonna eat you whole people
Like a big grizzly bar comin’ out of the closet and eat you whole
Ya see the Lord’s gonna come and get you people and you gotta beware
Because the Mother Love Bone camp knows what to do about it

You see I been around I seen a lotta long haired freaks in my day
But those boys in Mother Love Bone
I’ll tell you they know what’s right for you
You know they’re like malt-o-meal for you, they’re good for you
They’re like soup, they’re like nothing bad, let me tell you that much
I tell you people, the Lord’s comin’, and if you don’t believe, and if you don’t believe in what can happen to you today people

I’ll tell you people love rock awaits you people
Yeah lo and behold, lo and behold

I don’t know if Andrew Wood wrote all of these lyrics, or how much of the music he wrote, but I give him most of the credit for the creative lyrics of these songs. There seems to be a consistency in the lyrics that the same members of Mother Love Bone didn’t display in Pearl Jam. When someone writes that lyrics speak to them, we naturally assume that they found those lyrics meaningful, spiritually fulfilling, and life-altering. They didn’t accomplish anything close to that for me, but I enjoyed them as much as I’ve enjoyed any silly, sophomoric lyrics. Most of these lyrics could’ve been written another way, a more serious way that would lead critics and industry types to take Andrew Wood more seriously. My bet is Wood had more than his share of detractors, behind-the-scenes, who didn’t take him seriously, and my bet is that numerous industry types informed him that if they were going to invest serious money in his project, he had to take his role as primary lyricist more seriously. My bet is the industry people said, “What is this lyric, and what does that mean?” His defenders obviously said, “It’s silly. He writes about some serious topics in admittedly silly ways, but it’s who he is. It’s what we call his Andrewisms, and it’s something that separates him from all the other lyricists who take their role so seriously.” The thing that numerous artists like Andrew Wood, Frank Zappa, Freddie Mercury and many others prove is that even weird and silly expression can be great. Yet, as everyone knows, that is an uphill battle for most. Most immediately disregard the silly and weird as just that, and they will never listen, read, or in any other way appreciate what they consider a silly, weird artist. 

Think: Useless and Trivial


@) If we could talk to the animals, my guess is that we’d find that, among others things, we’re the only being that finds flatulence and bowel movements funny.

“Why do you find them funny?” Dabbi the deer might ask.

“Because we find them disgusting,” we’d answer.

“What?”

“It’s complicated, but it’s further complicated by the fact that you don’t have a sense of humor.”

“I don’t have a sense of humor?” she asked. “I don’t? I’ll have you know that I share the same sense of humor with the rest of the human population. Our sense of humor generates ratings, box office sales, and album sales. You’re the freak of nature.”

&) We never call out dystopian productions from their all-too-near future predictions for being wrong. Young up-and-coming lyricists are forever in search of meaningful and important lyrics. They can’t write about Lord of the Rings anymore. Led Zeppelin been there done that. Silly Love Songs were Paul McCartney’s domain, and we can no longer write ‘baby’ lyrics, because the 70’s and 80’s bands drained that vestibule. The only avenue left is war, anti-war, and anti-military, but there hasn’t been a real war by first world countries in about 50 years. So, while all of the lyrics written in the interim are meaningful and important lyric, they’ve also been false, so far. “True, but they weren’t talking about today, they were talking the all-too-near future.” So, when do we say they’re wrong. “You don’t!”

$) So, how do young, inexperienced artists craft “meaningful and important” lyrics and dialogue when they know nothing about the real world? Is it more important to be meaningful and idealistic or knowledgeable and realistic?

#) If you’ve ever met a truly tough guy, you know they’ve already done it. They wear a “nothing left to prove” garb for the rest of their lives. We know how tough they are, when we meet the other guys, those who talk tough to show it.

*) If we ever catch up to Alien technology, will medical professionals finally learn that the key to physical and mental health lies in the anus?

^) Too much sports knowledge is trivial and useless. Watching sports on TV is supposed to be fun, but some of us get so tied up in good guys vs. bad guys that we forget this is basically a reality show. It’s the best one we’ve ever invented, but it’s still just a show. The next time we meet that guy who knows so much about sports that we’re slightly intimidated by his fact-based opinions, we should liberate him by saying, “Who cares?”

!) You’ll know you’re one of these guys if a lighthearted disagreement over useless and trivial information boils over into you deciding that you’re never speak to the other ever again. At that point, someone needs to step in and say, “Clark, no one cares. You think you’re right, and she thinks you’re wrong, but no one here really cares. We just want to go back to eating our turkey, watching football, and talking about Mary’s Jell-O. That’s all we want to do today.

?) What if she says that your favorite sports star is actually a pretty awful human being? We defend him, because we’re nerds who sit in an audience of millions, and he’s the good-looking, athlete who wouldn’t talk to us in high school. If we pick the right one (he who wins) we want everyone to know our vicarious association. “I’ve followed that guy since he was a five-star recruit. I know his high school stats and college stats by heart.”

“No one cares, Clark!”

%) To counter those who say, “Today’s music ain’t got the same soul,” I would like to introduce you to the noise coming out of Britain. black midi (lower case for whatever reason), Black Country, New Road (one band), Squid, and a band named Famous. These bands are genuinely creative and innovative souls coming out with music that might be as brilliant as the music of past decades, and my guess is they’re only going to get better. Other bands that are also making great noise are Thee Oh Osees (or Osees), and just about everything Ty Segall puts his name on. As with all innovative music, we shouldn’t expect the noise to grab in one blow, and we shouldn’t expect one song to deliver the knockout blow either. Although I think the music from black midi’s Welcome to Hell (not the 23-year-old’s definition of meaningful and important lyrics) might change your interiority by about the tenth listen.

Pitchfork has a few nuggets from black midi’s lead singer Gordie Greep to dispel the notion we have that he wants us to view him as deep, meaningful, and important.

“It’s just fun man,” Greep said. “We’re doing this this stupid thing and somehow making the semblance of a living.” This might be false modesty, as we can be sure he hopes we take his stupid stuff seriously.

Greep also drops a fascinating description of his writing style. “When you want to do something original…use something as a model or inspiration that you know you definitely can’t do,” Greep has said. “Your failure will be interesting.” He talks about Clint Eastwood’s failure to act like Marilyn Monroe, and Tom Waits attempt at the blues. He says they both failed by relative measures, but he says we found their attempts interesting. I found a similar attempt to write like James Joyce interesting.

So, he writes what he doesn’t know, just to see what falls out? What an interesting and perplexing method of writing. My guess, and I have a pretty decent track record in this regard, is that Gordie Greep (whether with black midi or not) is a craftsman who has a relatively bright future.

() I got off on Queen when I was younger. Queen almost single-handedly introduced me to the concept that different can be so beautiful in the right hands, and then I discovered David Bowie. Once I got passed Bowie’s pop songs, I thought he was the most experimental artist in the mainstream, until I discovered Mike Patton. Mike Patton did things I never heard before, and I thought he was the most adventurous artist I ever heard, and I still think that in many ways, but Omar Rodríguez-López (ORL) is just as adventurous in different ways.

Omar Rodríguez-López (ORL) is one of the most gifted artists and musicians on the scene today, and he has played some role, most often leading it in some creative manner, in over fifty albums. I purchased an At the Drive-In album, and I purchased a couple of Mars Volta albums, but for some reason they never appealed to me. If it hadn’t been for Ipecac Records releasing his solo recordings, I never would’ve discovered the genius (and I do not use that term lightly) behind the music of those previously mentioned bands.

AllMusic.com tries to succinctly capture this genius writing, “His multivalent body of work derives inspiration from punk rock, prog, metal, funk, traditional Latin music, blues, jazz, film music, and avant-garde composition.”

As with any mercurial genius, much of ORL’s solo albums will not appeal to most palettes, but the true music fan will probably go nuts over about twenty-four of the fifty albums. When I approached Omar Rodríguez-López music, I had no idea what to expect, but he violated those expectations in the most obscene manner possible. Such violations are not immediate, as they rarely are. My first love was Roman Lips. Anytime a friend invites me to listen to complicated, difficult music, I suggest he do so by starting their most accessible album. Roman Lips is probably the most accessible ORL album, followed by Blind Worms, Pious Swine. Beyond that, the ORL solo albums are impossible to categorize, list, or breakdown by category. Suffice it to say that I was wary that the genius behind At the Drive-In and Mars Volta would appeal to me. I was also wary of the Ipecac Recordings, as they release a lot of material that major recording studios won’t, and a number of their albums don’t appeal to me, but ORL.

As with all of the artists listed above, it’s difficult to believe that these individual artists, and Queen, are capable of such wide-ranging music. I love some of the more major, mainstream pop acts, but there is a comfortable thread that runs through most of them. Their fifth album might sound more advanced than their first in production value and matured writing, but we all know what kind of music they prefer. Listening to the albums put out by Bowie, Patton, and Omar Rodríguez-López, it’s hard to believe the same artist created all these incredible albums. ORL is definitely the most prolific of the three, and he’s not even fifty-years-old at the time of this article.