Found a new creature? Name it after a rock star...

Those of you who follow along here know that I write a lot about music here, and a pretty fair amount about science.
Cruising the Internet today, I stumbled across a story that touches on both topics.

It seems that the fossils of a previously unknown species have been found at a remote site in Egypt. An article at Science Daily says that the animal was about the size of a small deer. The fossils found included fragments of jawbones that had a series of small holes on each side of its jaws that held nerves providing feeling to its chin and lower lip. The large number of nerves probably involved led to the conclusion that the animal had a sensitive snout and mobile lower lip that were likely used to forage along moist river banks. The area where the fossils were found is now desert, but evidence suggests that at the time the animal lived there, 19 million years ago or so, it was a lush tropical delta.

Because the animal looks to have had large, mobile lips, the discoverers of the fossils named the new species Jaggermeryx naida, which means "Jagger's water nymph", after Rolling Stones vocalist Mick Jagger. Needless to say, Ellen Miller and Gregg Gunnell, co-authors of the report and who named the species, are big Rolling Stones fans.

However, I have not been able to find out what Jagger thinks about having an animal that was described as probably looking like "a cross between a slender hippo and a long-legged pig" that lived in a swamp named after him.

Being the curious person that I am, I started wondering if there were any other animal species, living or extinct, named after musical celebrities. It didn't take much Googling to find that the answer to this question is, "Well, of course," according to at article at Music Times It turns out that there is a large iguana-like creature named Barbaturex morrisoni, after Jim Morrison who was after all the self-proclaimed Lizard King. By "large", I mean that B. morrisoni was about six feet long and around 60 pounds. I suspect that Morrison would have loved that.



U2 singer Bono has a spider named after him. Aptostichus bonoi. A. bonoi lives only in one part of Joshua Tree National Park, in Southern California, and so presumably the spider was named after the singer in honor of the fact that U2's best-known album was called "The Joshua Tree". Another species of spider from the same genus, this one living in several counties in Northern California, was named Aptostichus barackobamai in honor of US President Barack Obama, incidentally.



Bono isn't the only musician who has a spider named after him. In fact, Lou Reed has an entire genus of spiders named after him, Loureedia, although it must be noted that this genus is made up of only one known species, Loureedia annulipes. It is a velvet spider that lives underground, so the naming makes sense. David Bowie also has a spider, Heteropoda davidbowie, named after him. Bowie's spider namesake has been described as "large, yellow, and hairy." Singer and songwriter Neil Young is another musician who has a spider, Myrmekiaphila neilyoungi, which is found mostly in Alabama, named after him.







A species of wood roach, a type of cockroach, is named Cryptocercus garciai after Grateful Dead icon Jerry Garcia. Think about it.

The thing is, the recent fossil named after Mick Jagger isn't the only fossil that was named in his honor. There is a trilobite called Aegrotocatellus jaggeri, after him. At the same time the other half of the Glimmer Twins, Keith Richards, also had a trilobite named in his honor, Perirehadulus richardsi. Yet another trilobite was named for the Rolling Stones as a group, Aegrotocatellus nankerpheigorum, which only makes sense if you know that Nanker Phelge was the pseudonym used for several songs that were written by the entire band between 1963 and 1965. Probably the best known of these songs is "Play With Fire", from early 1965. Jagger also has a snail named after him.



An isopod, Cirolana mercuryi, found on coral reefs offshore from Zanzibar, was named after Queen lead singer Freddie Mercury, who was born in Zanzibar (which is now Tanzania). Isopods are crustaceans that can live in the sea, in fresh water, or on land. Bob Marley also has a crustacean, Gnathia marleyi, named after him.



Among others in the music world who have living organisms named after them is Frank Zappa, who has at least a snail, a jellyfish, and a bacterium named after him. The man who named the jelly fish after Zappa admitted that he did it in hopes that he would be able to meet the musician.

Henry Rollins has a jellyfish named after him, while Carole King and James Taylor both have stoneflies named after them. Both Johnny Rotten and Sid Vicious, both Paul Simon and Art Garfunkel, John Lennon, Paul McCartney, and Ringo Starr all have trilobites named after them. There are a lot of species of trilobites. Each one of The Ramones also has a trilobite named after him.
Sting has a Columbian tree frog, Hyla stingi, named after him. Masiakasaurus knopfleri, a small theropod dinosaur (although small is a relative thing; M. knopfleri was around 5.9 to 6.6 feet in length), in named after Dire Straits sing, songwriter, and guitarist Mark Knopfler.

This is by no means an exhaustive list of musical celebrities who have had organisms named after them. So far as I could tell from my research, only one person who named a species after a musician admitted that they did so to meet the musician. The thing I'm left wondering is, how many others chose to name a plant or an animal for a musician also really did it so they could meet that musician. I'd be willing to bet that the number is more than one.

I wish I could attach some music for each of the artists included in this post, but that would make it way, way too long to be manageable. But you get the idea. There are music fans everywhere, even in the world of science, and the people who get to name newly discovered species have a habit of naming their discoveries after the singers and musicians that they love.

Music Sunday: The White Album Edition

I've been spending time lately reading a biography of John Lennon ("Lennon: The Man, the Myth, the Music - The Definitive Life", by Tim Riley [2011, Hyperion; 765 pages]). One of the interesting things about the book is that Riley goes into considerable detail regarding the recording process for each album The Beatles recorded. Last night, I reached the part of the book where he writes about the recording of "The Beatles", usually called the White Album.

I have interesting memories of the time the White Album came out. It was 1968, and I was in junior high. I had a quite permissive gym teacher, and she allowed us to bring records from home and play them during PE class whenever we had class in the gym (which seemed like it was most of the time), and one of my friends in the class always brought the White Album, and we listened to it a lot. But I've always had a sort of love/hate relationship with that album - I love some of the songs, and I really dislike some of the others. The less said about the songs I don't like, the better, but I thought it would be a good idea to share some of the songs I really like from the album for today's Music Sunday.

The White Album was the ninth studio album the band produced, and things were beginning to fray a bit at the edges. The members of the band were not necessarily getting along very well; in fact Ringo Starr left for awhile, there was a certain amount of bickering over what would and would not be included on the album, and many of the songs did not include participation by all the members of the band. Additionally, producer George Martin took a vacation during the middle of recording, leaving a young and inexperienced record company employee with a note to "feel free to attend" the band's recording sessions if he wanted to. That turned out not to be a bad thing, however, and in the end Lennon insisted that the young producer get a credit on the album.

Critical reaction was mixed when the White Album first came out. Some critics were not happy with the band's use of satire and parody in the songs, while others pointed out where Lennon's and McCartney's songwriting had improved and approved of their "back to basics" approach rather than the technical pyrotechnics they used on "Sgt. Pepper's Lonely Hearts Club Band". The band took it's lumps politically, from both ends of the political spectrum. The right wing accused the band of being "pro-Soviet" because of their inclusion of "Back in the USSR", while the left derided "Revolution 1" as a "betrayal", although by the time the band recorded the single version of the song, Lennon seemed to have altered his position about using violence as a tactic and changed the lyric to say "but when you talk about destruction you can count me out" with an addition of "in" at the end of the line after "out". In an interview with Rolling Stone magazine much later, Lennon explained that while his own personal preference was to not use violence, in some cases he didn't really know what he'd do.

Personally, I like the single version of "Revolution" to "Revolution 1" on the album. The album version is slower, sort of lazy and loopy and not really sounding like anyone wants to get up long enough to revolt against anything:



The single version, however, is faster, more energetic, and sounds like the band might actually be planning to participate in a revolution of some kind, even though they're still not sure if they want it to be a violent revolt:



I believe, but am not absolutely sure, that the clip above is the promotional clip recorded by the band in September 1968 and seen first in the United States on "The Smothers Brothers Comedy Hour" on October 13, 1968.

"Blackbird" is an example of how the members of the band were, in some cases doing their own things on the White Album. This song is just McCartney, his guitar, and an overdub of birdsong:



I like this version of "Blackbird", of course, but one of the loveliest things I have ever heard is a live a capella version by Crosby, Stills and Nash when I saw them in concert once.

One of the simplest songs on the White Album is "Mother Nature's Son", another McCartney composition. He has been quoted as saying that it was inspired by the time he spent in India with the other Beatles:



Something that always takes me by surprise is that "Helter Skelter" is also a McCartney composition, and that it is considered to be an early manifestation of heavy metal music. Well, yes, it sounds like it. But, from McCartney? That's surprising to me for some reason:



Personally, I've always been fond of this cover of "Helter Skelter", by U2, which appears at the beginning of their concert film, "Rattle and Hum":



Much quieter is George Harrison's "While My Guitar Gently Weeps". This song is notable in that it isn't any one of the Beatles who plays lead guitar on the song, but by Eric Clapton:

Music Sunday: The St. Patrick's Day Edition

Music Sunday. Yeah, it's supposed to be Music Sunday today.

It's also Saint Patrick's Day. And a beautiful Saint Pat's day it is here in Central California. Alas, the wind is blowing the pollen around and I've got the mother of all allergy headaches, complete with sneezing, and so I'm in much of a mood to do anything.

However, I like me some Irish musicians, and so I'm going to leave a couple of clips of songs from musicians from that part of the world.

Gary Moore left us awhile back, alas, but he left us with some fantastic music. The first of his songs that I ever heard, and still my favorite, is "Over the Hills and Far Away" (not to be confused with a different song by the same name by Led Zeppelin), here from a live performance in Stockholm in 1987, the year the song came out:



One more from Gary Moore, "Still Got the Blues". No other words are necessary, except that this is a great song:



Another song from an Irish musician that I've always loved is "Moondance", by Van Morrison. I'm not crazy about all of his work, but this song just has that something that makes it perfect, at least to my ears. It's hard to believe that this song has been around for 43 years now:



And, of course, Ireland has also given us the World's Greatest Rock'n'Roll Band.

Yes, I know. Some people criticize U2 for being too political, or for being political at all. But, you know, I'm not sure how one grows up in Ireland without becoming political. And, yes, some of U2's songs are very political. That doesn't make them not good songs. For example, there's "Bullet the Blue Sky", which is very political. And also a kick-ass rock'n'roll song. As far as I'm concerned, it doesn't get heard enough. Here it is, from a live performance at Slane Castle in Ireland:



I've also heard people criticize U2 because they put religion in their music. And, under other circumstances, I might be uncomfortable with religion in their music. But, I've never heard any dogmatic religion in their music. Like this song, "I Still Haven't Found What I'm Looking For". This is the religion of the search, not the religion of having all the answers. And that's okay with me:

Music Sunday: The Musicians Talk Edition

To be honest, I'm not really feeling the music thing this week. So, this week, Music Sunday is going to be a little bit different. There may or may not be any actual music. What there will be are musicians talking, and not necessarily even talking about music. What they say might or might not make any sense, might not feel relevant. But this week, I'm dedicating Music Sunday to remembering that musicians can talk, too.

I'm not going to provide any commentary on these clips. I'm just going to leave them here, to speak for themselves.

First up is Arlo Guthrie, talking about the Sixties with Tom Brokaw:



I found this portion of an interview with John Lennon, by Tom Snyder on "Tomorrow", from 1975, where Lennon shows his serious, thoughtful, intelligent side. The conversation is about drugs in the music business and Lennon's then-ongoing immigration case:



In fact, Tom Snyder interviewed a lot of people in the music industry on "Tomorrow". This short interview, plus two songs, comes from what was probably U2's first appearance on national television in the US, in 1981. The interview is short, and isn't especially serious, but it was more than most bands, and especially most new bands, got on late-night television in those days:



This next clip isn't an interview, but an excerpt from an MTV show where Marilyn Manson steps in as a guest instructor in a class at Temple University. I'm not a huge Marilyn Manson fan, but I think the value of this clip is that, whether you agree or disagree with what he says here, it's pretty obvious that he has put some thought into what he shares with the class:

Music Monday (this week only): The Some of My Favorites, Plus Video Discoveries Edition

So, Sunday was a little busy for me this week. I had something all planned for Music Sunday, a little celebration of Bruce Springsteen's birthday. That's a little redundant now, since his birthday has passed, but in a slightly tardy recognition of the day, here is "Born to Run", which will probably always be my favorite Springsteen song.



Something I've tried to avoid here most of the time is simply inflicting my own favorite songs on you. However, if you're a music lover of any kind, you will know that there are days when you just want to hear what you want to hear. This is that kind of day for me. Despite the fact that autumn is here in the Northern Hemisphere, the high temperatures are still in the 90s F, which displeases me a great deal. Additionally, my job search isn't going well, my allergies are still in full rage, and I'm in a generally cranky mood. So, today I've been in search of my favorite music.

First of all, not because it is my absolute favorite song in the world but because I think it is apropos of the current political, economic, and social climate, and because it is a brilliantly written song, here is John Lennon's "Working Class Hero". It is certainly, in all its rawness, my favorite Lennon song.



Perhaps my favorite song of all, if I had to name one, is this one, "Desperado", by The Eagles. As sad a song as it is, I love it's call to the loners and the lonely to let someone in, to let themselves be loved, and it's recognition that it is probably much more difficult to be loved than to love.



Gordon Lightfoot is one of my favorite singers and songwriters, and this is not only the first song of his I ever heard, but my favorite among many favorites of his work, "Don Quixote":



While I was looking for that song, I happened on this video, that I've never seen before and did not know existed, a 1969 duet of Lightfoot's song "For Lovin' Me", performed with Johnny Cash. The quality of the sound and video aren't wonderful, but the song and the performance both are:



Going from favorite songs to favorite bands, I had to include something from U2. The problem here is that there is no way I could begin to pick out a "favorite" U2 song. While I was looking, however, I stumbled on something else I didn't know existed, a video for the song "Electrical Storm", a collaboration between the band and Anton Corbjin. Corbjin's filmmaking is often surreal, and so is this. But, it is so striking that I could just could not stop watching:



But, although I can't choose one U2 song as a favorite, one of the songs on that list has to be "One". There are at least three "official" videos for "One". This is by far my favorite and, I think, the most remarkable of the three:



And with that, I'll close this Monday Edition of Music Sunday. I hope to be back to the regular schedule next week.

Music Sunday: The Protest Something Edition

Since summer is almost over and since this is an election year, with the Democratic and Republican nominating conventions coming up soon, and especially with the rhetoric from both sides of the political divide heating up to unprecedented proportions, I thought this would be the perfect time to share a slightly different genre of music - the protest song.

I suppose people of my generation think first of the protest music of the 1960s when the topic of protest songs comes up, but protest songs have been around for a lot longer than that. Just in the United States, protest music has a long history that goes back to the Revolutionary War, while the genre exploded during the Civil War. Since I have limited space here, however, I'll limit myself to songs from the 20th century and forward. And even with that limitation, there won't be room to share more than a few of the many songs protesting many things.

First, from the 1930s, there is "Strange Fruit", made popular by Billie Holiday. The lyrics for the song came from a poem published in 1936 by Abel Meeropol, who also sometimes wrote as Lewis Allen, that protested the lynchings then occurring with disturbing regularity:



In 1940, Woody Guthrie wrote "This Land is Your Land" as an answer to "God Bless America" and in protest of the way the working people of the United States were treated by the capitalist owners of big business in a country and at a time when th captains of industry were revered and worshiped. It was read then as socialist in sentiment, and it was. Later it was reinterpreted (and maybe tamed) by those who chose to take the song as more environmental in nature. But, it is difficult to mistake the meaning of the man who carried a guitar that had the message "This machine kills Fascists" glued to its body. This version does not include all the lyrics to the song, but is the only one I could find that would work:



Even if "This Land is Your Land" isn't one of them, there have been many songs directed at protesting what has happened to the Earth's environment. One of the best of those songs, at least in my opinion, was Marvin Gaye's "Mercy Mercy Me (The Ecology)", recorded in 1971:



In the sixties and seventies, however, most protest songs centered on war, particularly the war in Vietnam. Some of these songs came from unexpected places. For example, the song "Unknown Soldier", by The Doors. This is a live performance of the song, at the Hollywood Bowl:



Other songs protesting Vietnam in particular and war in general, were not so unexpected. John Lennon and Yoko Ono and a few of their friends recorded "Give Peace A Chance in a hotel room in Montreal on June 1, 1969:



Some songs, on the other hand, protest the protest. As Bono has said of U2's song "Sunday Bloody Sunday", about the Troubles in Northern Ireland, "This is not a rebel song". That is reiterated, and reiterated very graphically, specifically and emphatically, in the middle of this performance, a live version of the song from the movie "Rattle and Hum":



And then there is probably the ultimate "protest-the-protest" song, Merle Haggard's "Okie from Muskogee", from 1969 and released just a few months after "Give Peace A Chance". There has been some opinion that the song was a satire, but being half-Okie myself, I see it as a heartfelt statement of the feelings of many people at the time, who were genuinely confused and upset by what they saw going on around them. And there's nothing wrong with that - protest songs can protest whatever the writers of the songs want them to protest:

Music Sunday: Music Plus Book Review Edition

I grew up listening to rock music. I also spent a lot of that time reading the writing of Robert Hilburn, the legendary music critic for the Los Angeles Times. So, when I discovered that Hilburn had written a memoir, Corn Flakes with John Lennon and Other Tales From a Rock’n’Roll Life (Rodale, 2009; 280 pages), I had to read it.

I’m glad I did.

Hilburn, who wrote his first story as a freelancer for the Times in 1966 and was hired as full-time pop music critic and editor in 1970, is a fabulous writer. He spent his career at one of the epicenters of the music industry, and he writes about his adventures with grace and wit and a great deal of insight. As part of his job, he met and interviewed and reviewed the biggest and most legendary names in music, and became friends with not a few of them. These friendships did not stop Hilburn from calling these performers on the missteps in their recordings and in performance, although he writes about being worried that his relationships with these artists could be seen as a conflict or interest or result in bias toward them.

Hilburn also writes about his questions concerning continuing to write about music aimed mostly at teenagers and young adults as he aged, addressing his doubts in the context of covering musicians who kept making music, sometimes relevant, sometimes not so much, as they aged. I found this interesting as a person of a certain age who still loves rock music but finds fewer and fewer new artists whose work I can relate to as I get older. Hilburn quotes Paul McCartney on the subject, recalls that at one point Mick Jagger said that he couldn't envision still singing “Satisfaction” at the age of thirty but has continued singing it much longer than that, and celebrates the fact that Johnny Cash’s work remained relevant until the end of his life.

Then there are the stories. Hilburn recalls being the person John Lennon would call to spend an evening with during Lennon's year-and-a-half long “lost weekend”, spent primarily in Los Angeles, when he needed to remain relatively sober to get up for an early meeting the next day. He relates serious and deep discussions he had about the music with Bruce Springsteen. He talks about the difficulties inherent in interviewing people like Bob Dylan and Neil Young. He explores his ability to connect with musicians much younger than himself, such as Kurt Cobain, and from very different backgrounds, such as Ice Cube. He describes hanging out with the members of U2 in and out of the recording studio.

In the course of all this, Hilburn pulls no punches in writing about artists he admires and those he finds, following Bob Dylan’s three categories of musicians, “superficial”, which in Hilburn’s eyes includes some very big name acts and musicians. But Hilburn spends much less time on the superficial than he does on the natural performers and the supernatural performers, Dylan’s two other categories.

I’ll leave you to read the book to discover how various performers Hilburn discusses fit into which category. If you think this is my way of making you read the book rather than giving away the good parts, you’re absolutely correct. Every music lover should read Corn Flakes with John Lennon.

Because it is Music Sunday, I’m going to end this review with three of the artists and performances mentioned by Hilburn in the course of his book.

One of the musicians that Hilburn had a friendship with was Johnny Cash. He calls Cash's cover of "Hurt" "stirring" (p. 194):



Another artist Hilburn has high praise for is Bruce Springsteen, whose "Brilliant Disguise" Hilburn described as "a chilling reflection about commitment" (p. 148):



Hilburn said that U2's album, "The Unforgettable Fire" "confused" him, but he called two of the songs on the album, "Pride (In the Name of Love)" and "Bad", "brilliant" (p. 141). Just last week, I shared the band's performance of "Bad" at Live Aid, so here is "Pride":

Music Sunday: Live Aid Anniversary Edition

Twenty-seven years ago last Friday, Live Aid was unleashed on the world. I remember that day; I spent it sitting in front of the television watching the coverage on MTV. I saw nearly the whole broadcast. I might have napped a couple of times during the day, but I got up early and stayed until the end. It was an amazing, interesting day.

Oh, not all of the performance were wonderful, to be sure. But even some of the not-so-good performances were fun to watch, and it was all in a good cause, to raise money and awareness regarding victims of famine in Ethiopia. The whole thing was organized by Bob Geldof, who had earlier organized the Band Aid benefit single, "Do They Know It's Christmas?", and Midge Ure, and they did an amazing job considering the logistics of putting together two all-star concerts that would take place simultaneously in two hemispheres. And, yes, there were criticisms later about the money-raising aspects of the show, and accusations (some of them long after the fact) that not all the money went where it was supposed to go. Be that as it may, it was a remarkable day of music, put together and pulled off much more successfully than anyone could have expected.

One of the most vivid memories I have of the day is the performance by U2. I had probably heard of the band before that day, but I wasn't really aware of them. Looking back, though, I think one of the most remarkable aspects of their performance is being able to see the beginnings of Bono's ability to hold a huge audience in the palm of his hand, especially here, as he sang "Bad", which has come to be one of my favorite U2 songs.



And, yes, he really can do that palm of the hand thing. I saw U2 on its Oakland, California, stop during its Zoo TV tour in1992, and witnessed this live and in person.

However, at Live Aid, Bono was still an amateur in the art of holding a big audience. Later that afternoon, also at the London venue of the concert, Freddie Mercury and Queen held the master class in uniting an audience into one entity and turning them to the band's purpose. The performance has been cited widely as the best live rock performance ever, and I'm inclined to agree. No, really. Just watch. It's remarkable:



There have been attempts since to recreate the success of Live Aid, mostly to lesser success. I think it can be compared to Woodstock in that respect. The 1969 Woodstock Music and Art Fair, for all of its problems, was a once in a lifetime event, and attempts to recreate it (notably the Rolling Stones' disastrous free concert at Altamont Speedway and the efforts to hold sequels to the original Woodstock in 1979, 1989, and 1994) were clearly not in a class with the original.

Speaking of Woodstock, Crosby Stills, and Nash, who appeared at Woodstock in 1969 (in one of their first live performances), appeared at the Philadelphia venue of Live Aid, singing "Suite: Judy Blue Eyes", among other songs:



Their performance that day isn't their best ever, vocally speaking, but as someone who remembers the original Woodstock (and spent the weekend wishing I was there, despite the rain and mud and logistical problems), I appreciate the link between the two events. And, having seen CSN perform live, I can attest to the fact that when they are on vocally, the results are beautiful.

The Who also performed at both Woodstock and Live Aid, but with a slightly different line-up since, by the time of Live Aid, Keith Moon had already died.



Also performing at both Live Aid and Woodstock were Joan Baez, Carlos Santana and Neil Young, who performed as part of Crosby, Stills, Nash, and Young at Woodstock. Baez even managed to invoke Woodstock as part of her performance:



I'm not sure if Live Aid really was that generation's Woodstock, as Baez called it, but it was a remarkable musical event.