31/3/25 – 6/4/25 – Tariffs

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Like I imagine some of you have been doing, I have been watching presentations on the current hot news topic – Donald Trump’s tariffs. There remains opposed reactions to the tariffs which I would like to discuss below:

Two presentations in particular: UnHerd’s – Tariff Wars – What Happens Next and Ben Shapiro’s – Trump’s Tariff War Continues… both spell impending doom and gloom at Trump’s radical implementation of a global net of tariffs which mark the end of the globalisation era which has existed since the early 1990’s and has the world teetering on a 2008 style recession or worse. They seem to disdain the arrogance of Trump putting the whole world in this state of despair by trying to reverse 50 years of trade history and supply chains with the stroke of his pen.
Shapiro, sympathetic to free-market conservatism, suggests that consumers will bear the brunt, costs will rise, and retaliatory tariffs could stifle small businesses already strangled by post-pandemic inflation.
The UnHerd economic ‘experts’ conclude that for Europe, Australia and Canada to avoid recession they should introduce fiscal stimuli and ignore the US on trade and forge new alliances, most notably between themselves and China.

At the other end of the spectrum is the biologist couple – Brett Weinstein and Heather Heying’s latest Darkhorse podcast – There’s a New Tariff In Town. While both admit they are far from ‘experts’ on economics, they apparently welcome Donald Trump’s broad sweeping Tariffs because they mark what could be a significant shift in power away from the high falluting ‘Wallstreet’ crowd towards the overlooked ‘working-class’. So they see the tariffs not as economic suicide, but as a recalibration of national sovereignty and a potential economic renaissance for the U.S. working class. There are said to be about 10 million skilled people in the US that are currently not working, but want to. Their arguments unsurprisingly have an evolutionary logic: systems that depend on global fragility are less adaptive than those with redundancy and local capacity.

So who is right? Could they both be right?
Perhaps. The tariffs could destabilise global markets and inflate prices in the short term – especially if retaliatory measures kick in and inflation worsens, but with long-term cultural and labor recalibration such policies might reanimate the productive core of the U.S. economy, but at what cost to the rest of the World?

That is all. Thank you for reading.

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Posted in News, politics

The Devil’s Been Busy (1990) – Traveling Wilburys

The Devil’s Been Busy might be one of the lesser known Traveling WIlbury tracks, but I’m a big fan of it – just as I am of nearly everything they released. The subject matter is both clever and unsettling. The song puts a a spin on the title phrase, using the devil as a stand-in for all the reckless things humans do – especially to the planet.

The first half points a finger at those dumping toxic waste and poisoning the environment, all while folks above ground carry on playing golf, blissfully unaware of the damage beneath their feet. Then the song shifts gears, turning the lens inward to look at human nature itself – our tendency toward violence, cruelty, and looking the other way. The Devil’s Been Busy is a social critique (how the devil’s work is often done through everyday injustice), but dressed in jangly guitars and Wilbury wit.

The Devil’s Been Busy comes from the group’s second and final studio album Volume 3. Yes, they skipped Volume 2. Jeff Lynne said “That was George’s idea’. – ‘Let’s confuse the buggers‘. After Roy Orbison’s passing, the group gathered at a private house they dubbed “Camp Wilbury“, in Bel Air, Los Angeles. The remaining 4 members adopted new pseudonyms for Vol. 3 – Spike (George Harrison), Clayton (Jeff Lynne), Muddy (Tom Petty) and Boo (Bob Dylan).

Below the studio release (at the end of this post) is a fascinating little ‘official’ piece about the song’s making. Thought I’d seen just about all the George Harrison and Traveling Wilbury videos. Really great stuff here!

[Verse 1, Tom Petty]
While you’re strolling down the fairway
Showing no remorse
Glowing from the poisons
They’ve sprayed on your golf course
While you’re busy sinking birdies
And keeping your scorecard

[Chorus, All]
The devil’s been busy in your backyard

[Verse 2, George Harrison]
Steaming down the highway
With your trucks of toxic waste
Where you gonna hide it
Maybe outer space?
You don’t know what you’re doing
Or what you have to guard

[Chorus, All]
The devil’s been busy in your backyard

[Bridge, Bob Dylan]
Sometimes you think you’re crazy
But you know you’re only mad
Sometimes you’re better off not knowing
How much you’ve been had

[Verse 3, Bob Dylan]
You see your second cousin
Wasted in a fight
You say he had it coming
He couldn’t do it right
You’re in a western movie
Playing the part

[Chorus, All]
The devil’s been busy in your backyard

[Sitar Solo]

[Bridge, Bob Dylan]
Sometimes they say you’re wicked
But you know that can’t be bad
Sometimes you’re better off not knowing
It’ll only make you sad

[Verse 4, Jeff Lynne]
They’re coming down piccadilly
Dripping at the dosh
Arresting Sticky Willy
Clubbing him with their cosh
They just might not have noticed
They’ve been hitting him so hard

[Outro, All]
The devil’s been busy in your backyard
The devil’s been busy in your backyard
The devil’s been busy in your backyard

References:
1. Traveling Wilburys Vol. 3 – Wikipedia

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The Desert Babbler (2013) – Iron & Wine

Today’s featured track The Desert Babbler was recommended to me in my last post on Iron & WineFlightless Bird, American Mouth. Samuel Ervin Beam (born July 26, 1974), better known by his stage name Iron & Wine, is an American singer-songwriter.
Despite the thorny lyrics, the vocals and gorgeous melodies exude a warm and spacious sound. It’s said this album was a shift from the stark acoustic style of Iron & Wine’s earlier work which Sam felt contained an “anxious tension” he wanted to move away from. The Desert Babbler has a lush and soulful, jazz-tinged polish. I found myself getting carried away and humming along to the women’s catchy yet soothing background harmonies.

The following was extracted from the Wikipedia article below:
The Desert Babbler comes from his fifth full-length studio album released in 2013. The album’s title is taken from the lyrics of “Grace for Saints and Ramblers” and the cover (see image inset) is taken from photographer Barbara Crane’s series “Private Views.” The album debuted at No. 26 on Billboard 200.

He has released six studio albums, several EPs and singles, as well as a few download-only releases, which include a live album (a recording of his 2005 Bonnaroo performance). He occasionally tours with a full band. The name Iron & Wine is taken from a dietary supplement named “Beef, Iron & Wine” that he found in a general store while shooting a film.

[Verse 1]
It’s New Year’s Eve
California’s gonna kill you soon
The Barstow boys
Buckeyes in the shadow of the moon

Black houses in the hills and roadside hearts
Dying for a place to fall apart
Who knew that you could learn to live without?
Mother Mary’s lyin’ in your mouth now

[Chorus 1]
Back home, the kitchen’s warm with Christmas wine
And every girl has got an axe to grind
You live to look for heaven, but you’re far
From the hard light tonight

[Verse 2]
So quietly we’ve lost another year
The desert put a babbler in your ear
Mean fireweed and I miss you again
Barstow boys are spit into the wind now

[Chorus 2]
Back home, the hammer always has to fall
Crosses barely hanging on the wall
Someday I know you’ll never leave me
But we’re far from the hard light tonight

References:
1. Iron & Wine – Wikipedia
2. Ghost on Ghost – Wikipedia

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Hymn for the Carnies (2007) – My Friend the Chocolate Cake

The Carnie’s show is in town..
With its neon blinding shining lights
It’s got a one-legged stripper, a drunken clown…

The bloke who works the fancy dodgems
He jumps with grace from car to car

The electricity sparks the flame when the hanging wire touches wire

The view on top this ferris wheel
is the best view in all of town

Hymn for the Carnies is the second song to feature here from My Friend the Chocolate Cake’s sixth studio album Home Improvements released in 2007. A Carnie, also spelt ‘carny’ is an informal term used for a travelling carnival employee.

It is a beautiful song and set to a moving video below with the laughing clowns’ attendant at Circus Oz. You get the sense of how one’s time will be spent as a circus employee. Then suddenly out of the dark, a lady approaches with her child. This song is a nice couplet to Springsteen’s Wild Billy’s Circus Story, but the Cake’s version is a bit of a come down from the ‘live wire’ act and that’s just how it goes.
Anyone who is familiar with my blog will know what a huge fan I am of this Melbourne band and founder David Bridie. They have featured here a bucket load, so I would point you to my numerous posts on them for more information.

The band’s heady compositions swing between celebratory, gypsy-like romps and introspective ballads, with Bridie’s lyrics and voice often the icing on the Cake. His voice in Hymn for the Carnies carries a pensive and evocative tone, weaving nostalgia as he brings the circus to life. The song immerses the listener in the atmosphere and characters of the carnival. It’s one of those songs I never tire of hearing. It’s unfortunate that the lyrics are not available for this song.

My Friend the Chocolate Cake were formed initially as an acoustic side project in 1989 by David Bridie on vocals, piano, harmonium and keyboards and Helen Mountfort on cello and backing vocals. Bridie and Mountfort were members of an ambient, world music ensemble Not Drowning, Waving who have featured here as well. My Friend the Chocolate Cake took their name from a song title by an obscure Sydney band, Ya Ya Choral. Bridie admitted that one reason they chose an all-acoustic act was so they did not have to carry around amplifiers.

References:
1. Sydney Morning Herald – My Friend the Chocolate Cake
2. My Friend The Chocolate Cake – Wikipedia

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Testament of Youth (2014) – James Kent (Friday’s Finest)

Winifred Holtby: All of us are surrounded by ghosts. Now we need to learn how to live with them.

Storyline:
Testament of Youth (2014) is based on the memoir of Vera Brittain, a young woman who defies societal expectations to attend Oxford University just as World War I breaks out. As the war engulfs Europe, Vera’s life is upended when the men she loves – her brother, fiancé, and closest friends – enlist to fight.

Testament of Youth (2014), which I have now seen twice, is a poignant and beautifully shot film that explores not only the harrowing toll of war but also the often-overlooked suffering of those left behind. While many war films focus on the chaos of the battlefield and the physical trauma endured by soldiers, Testament of Youth offers a portrait of war through the eyes of those who bear its emotional burdens.
Through the journey of Vera Brittain (based on her 1933 memoir which became an instant bestseller and was heralded as the voice of a generation), we witness the anguish of families, lovers, and friends who wait in hope and fear, as well as the quiet heroism of those contributing to the war effort, such as volunteer nurses. The devastation of war extends far beyond the trenches, a reality that Testament of Youth conveys with poetic beauty and profound emotional depth.

Vera Brittain: Please don’t keep things back from me, Roland, with an idea of sparing my feelings. I shall never be afraid to confront the real. The imagined holds far greater terror for me.

As this quote suggests, Testament of Youth portrays Vera Brittain’s audacious quest for authenticity and truth amid the chaos of war. The film stands as a powerful testament to her relentless determination to confront the painful reality of conflict, refusing to view the war through a sanitized or sentimental lens.
A pivotal moment in Testament of Youth occurs when Vera becomes disillusioned, convinced that the comforting narratives she has been told are meant to ease her suffering rather than reflect the harsh reality. Her determination to cut through the veil of convenient falsehoods and confront the unspoken truth of her profound loss is both brazen and deeply heartbreaking. As viewers, we come to appreciate that what is presented to us will neither be glossed over nor softened for comfort.

I would like to highlight four performances I was taken by, and readers may be familiar with two of the main protagonists, namely Alicia Vikander and Taron Egerton. Alicia, who you may remember from her breakout performance as the A.I doll in Ex Machina appears in nearly every scene here as Vera Brittain. She more than aptly carries this film on her youthful shoulders as the appealing and intellectual Vera. Taron Egerton who plays Vera’s brother Edward, who most will know from his role as Elton John in Rocketman is exceptionally good here in his film debut. He’s instantly likeable and his bond with his sister is so strong and and her world is torn apart when he signs up to fight. In fact I didn’t even recognise Taron until researching this movie: he’s almost chameleon as he envelops a role as he did here here and as Eddie in Eddie the Eagle.
The two other standouts in more minor roles:
Colin Morgan plays Victor Richardson who is in love with Vera (unreciprocated) and even subterfuges it with a made-up love interest so as Vera is not burdened by his ‘real-love’ for her.
Alexandra Roach as Winifred Holtby, another student at the college, helps Vera cope with her trauma.

References:
1. Testament of Youth (film) – Wikipedia
2. Testament of Youth – Wikipedia

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Posted in Movies and TV

The Captain (1999) – Kasey Chambers

The music of Australian country music artist – Kasey Chambers has featured here so often and finally we arrive in the alphabetical listing to one of her most cherished and beloved songs – The Captain. It is the title track of her solo debut album released in May 1999. Kasey says that The Captain is still her favourite song to play. If my memory serves me correctly from an interview I saw with her, the inspiration for the song came from a family trip to Norfolk Island (1,412 km east of Australia).
A high-spirited tourist bus driver took them on a tour of the island, and due to his enthusiasm and storytelling, she was inspired to write the song in dedication to him while also reflecting on herself, insecurities, and early career. It’s as though she just surrendered to his zest for life and to take her on his journey in spite of her own hardships – ‘And you can carry me away if you want to‘.

‘Cause you’re the Captain, I am no-one
I tend to feel as though I owe one to you

Kasey Chambers was born on the 4 June 1976 in Mount Gambier, Queensland. From July 1976 the Chambers family travelled around the Nullarbor Plain, where the parents hunted foxes and rabbits for pelts during seven or eight months a year, spanning nine years. Prior to launching her solo career in 1998, Chambers performed with her parents and her older brother in family country group Dead Ringer Band for 12 years. If you would like more information about her background and family, I point you to this engaging video – At home with country superstar Kasey Chambers from 60 Minutes Australia.

Kasey’s break-out album was her follow-up Barricades and Brickwalls which was my first foray into her music and remains one of my favourite Australian albums. After the release of that No. 1 album she instantly became a household name and was on the tip of everyone’s tongue especially in the Country music industry. Specifically, the third single from the album (Am I) Not Pretty Enough rocketed her to fame overnight and was also the first music I had ever heard from her. The immediacy to which that song floored me I’ll never forget, which I discussed in my aforementioned linked post. I think that same day I picked up her album.

Both The Captain and (Am I) Not Pretty Enough explore themes of vulnerability and longing for acceptance, with the former depicting a yearning for guidance and recognition and the latter expressing insecurities about self-worth. In fact Not Pretty Enough was Kasey’s protest song about the commercial radio stations’ reluctance to play her stuff. Ironically it would be her big commercial breakthrough.
I came to learn of the Captain only after devouring Barricades and Brickwalls, but such was my adoration for that song as well as her second album, I wondered why The Captain had not been the tipping point into fame and fortune. Although the song did win Chambers an ARIA Award for Best Female Artist and was nominated for Single of the Year but it must have flown under my radar.

The Captain became more widely known when it featured on Season 3 episode of The Sopranos, He Is Risen which originally aired on April 15, 2001. Kasey reflects back on the impact of her song featuring in The Sopranos as well as other aspects in this interview celebrating 20 years of The Captain.
Please enjoy and thank you for reading.

[Verse 1]
Well, I don’t have as many friends because
I’m not as pretty as I was
I’ve kicked myself at times because I’ve lied
So I will have to learn to stand my ground
I’ll tell ’em I won’t be around
I’ll move on over to your town and hide

[Chorus]
And you be the Captain, and I’ll be no-one
And you can carry me away if you want to
And you can lay low just like your father
And if I tread upon your feet, you just say so
‘Cause you’re the Captain, I am no-one
I tend to feel as though I owe one to you
To you

[Verse 2]
Well I have handed all my efforts in
I searched here for my second wind
“Is there somewhere here to let me in?”, I asked
So I slammed the doors they slammed at me
I found the place I’m meant to be
I figured out my destiny at last

[Chorus]

[Bridge]

References:
1. The Captain (Kasey Chambers song) – Kasey Chambers

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Night (1975) – Bruce Springsteen

Night might not be the most celebrated track on Born to Run, but it embodies the raw energy and unrelenting spirit that define Bruce Springsteen’s breakout album. While many of the songs on Born to Run are wrapped in sweeping, cinematic storytelling, Night strips things down to rock ‘n’ roll essentials.
I was so in awe of the Born to Run record, I wrote a lyrics booklet in my youth of the whole album complete with a little nice string to thread the pages together. Lyrics weren’t so accessible back then like they are today, so I transcribed what I thought he sung as if I was doing something unprecedented. I felt like a devoted scribe of a great musical sermon.

Night erupts right from the start – Max Weinberg’s drumming pounds like the ignition of a high-powered engine, revving for takeoff. From there, the music barrels forward, fueled by the roaring guitars and Clarence Clemons’ soaring saxophone, mirroring the rush of a working-class escape into the neon-lit darkness. Springsteen’s lyrics, brimming with blue-collar urgency, capture the restless anticipation of breaking free from the daily grind, if only for a few fleeting nighttime hours.

Much like its title, Night doesn’t just describe an evening – it embodies the electrifying pulse of it. The song hurtles forward with a momentum that feels like a long-awaited joyride, headlights flashing, and adrenaline surging. In that sense, Night might be more theatrical than it first appears – just not in the sweeping grandeur of Jungleland, but in the feverish, pedal-to-the-metal rush of a life that refuses to stand still.

The following was extracted from the Wikipedia article below:
The song was not immediately played during the 1975 portions of the Born to Run Tour, but later became a frequent set-opener, especially during the 1976 and 1977 legs. It was still sometimes being used as an opening song decades later during the 2007–2008 Magic Tour.

For the protagonist, the only freedom and joy comes when he is on the highway, and he lives for the nights and weekends when he can escape work. Like a couple of other songs on Born to Run, “Tenth Avenue Freeze-Out” and “She’s the One“, the story of the relationship is told in a flashback.

[Verse 1]
You get up every morning at the sound of the bell
You get to work late and the boss man’s giving you hell
‘Til you’re out on a midnight run
Losing your heart to a beautiful one, and it feels right
As you lock up the house, turn out the lights
And step out into the night

[Chorus 1]
And the world is busting at its seams
And you’re just a prisoner of your dreams, holding on for your life
‘Cause you work all day
To blow ’em away in the night

[Verse 2]
The rat traps filled with soul crusaders
The circuit’s lined and jammed with chromed invaders
And she’s so pretty that you’re lost in the stars
As you jockey your way through the cars and sit at the light
As it changes to green, with your faith in your machine
Off you scream into the night

[Chorus 2]
And you’re in love with all the wonder it brings
And every muscle in your body sings as the highway ignites
You work nine to five
And somehow you survive ’til the night

[Bridge]
Well, all day they’re busting you up on the outside
But tonight you’re gonna break on through to the inside
And it’ll be right, it’ll be right
And it’ll be tonight

[Chorus 3]
And you know she will be waiting there
And you’ll find her somehow, you swear, somewhere tonight
You run sad and free
Until all you can see is the night

References:
1. Night (Bruce Springsteen song) – Wikipedia

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24/3/25 – 30/3/25 – Trump and Musk, Radiohead & The Godfather

news on the march

Welcome to Monday’s News on the March – The week that was in my digital world.

Claire Lehmann: The threat to free speech from the Right
Video Interview by Freddie Sayers at UnHerd

This interview is such a salient and informative critique about Trump’s first 100 days in office (excluding economic policies ie tariffs). As someone who supported Trump’s reelection (albeit as an outsider) and given the chaos since his inauguration, I see this interview as a valuable opportunity to pause, take a deep breath, and reflect on the changes in his administration – particularly the legitimacy and due process (or lack thereof) behind his appointments, directives, and policies.

Both UnHerd and Quillette (which Claire Lehmann is founder) have long been critics of woke-culture and draconian policies and authoritarianism from the Left. As such they been labelled as far-right by some and not being as ‘independent’ as they might claim. Well here we have them discussing concerns regarding ‘undue process’ and authoritarianism in Trump’s presidency so far with particular focus on the legitimacy of Elon Musk’s appointment as DOGE leader and key adviser. This interview takes a while to get going, so if you want to get to the ‘nitty-gritty’, I point you to 9:30 and beyond.

Join Freddie Sayers on UnHerd as he sits down with Claire Lehmann, founder of Quillette, the Sydney-based magazine launched in 2015 that’s become a global force for reason and free expression. With Trump powering through his first 100 days and Right-wing populism surging across the West, the free speech landscape is shifting. Are journalism and open debate now under threat from the Right? Has the Left’s ‘woke’ orthodoxy given way to a new ‘woke Right’ menace?

Radiohead: A Job That Slowly Kills You
Documentary at hund

This is the first time that UK English rock band Radiohead have featured on my blog. I had always been intrigued why their reputation procedes them for being such an influential and innovative band. I had heard and enjoyed their breakout hit Creep and read how their album OK Computer was hailed by some as one of the greatest of all time. So I wanted to know what it is I had been missing out on. Or at least get a sense of it. So this documentary – being my first foray into the group and its turbulent history was quite absorbing and compelling. It features excerpts of many songs from the group, which I need to explore further on my music exploration journey. May be there are Radiohead fans here who can point me to what they most like in their vast discography.

The Godfather – Commentary by Francis Ford Coppola
Audio commentary with visuals at M.B. Archives

It took me many years to appreciate the grandeur and magnificence of The Godfather movies (Part 1&2) despite having seen the first film at least 5 times. I saw Part 2 recently for the second time and I also found myself in wonder. Often after I have seen such movie marvels, I like to view the documentaries about their making which are on some occasions as fascinating as the movie experience itself. That was certainly true of another Coppola film – Apocalypse Now when I watched the accompanying documentary – Hearts of Darkness: A Filmmaker’s Apocalypse. Also the documentary of the making of Citizen Kane called – The Battle Over Citizen Kane is regarded like Hearts of Darkness as one of the greatest movie-making documentaries.
So this all leads us neatly to today’s featured Francis Ford Coppola commentary of his Godfather movie. I cannot begin to tell you just how many sweet little offerings for the curious cinefile are on the smorgasbord here including the following:
– an ‘extra’ reentering a shot to get a glimpse of Brando (and it staying in the movie),
– when Coppola was coerced to change the music at the wedding which his father had created,
– when he fired his assistant director preempting his own demise by the studio, and
– how the gruesome head of the horse scene came to be and differed significantly from Mario Puzo’s version. The list goes on…..Please enjoy.

That is all. Thank you for reading.

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Posted in Movies and TV, Music, News, politics

Million Dollar Bash (1967) – Bob Dylan & The Band

You’ll notice on the cover above that Dylan & The Band’s Million Dollar Bash is paired with Tears of Rage, which featured here just over a month ago. I almost let Million Dollar Bash slip through the cracks of my ‘music project’ – how that happened is anyone’s guess – but now I can finally breathe a sigh of relief.

The cheeky, lighthearted Million Dollar Bash was a staple during my kids’ early years. I figured its playful, irresistible charm would rub off on them the right way – priming them for the long Bob Dylan journey ahead (as if they had much say in the matter). In many ways, Million Dollar Bash reminds me of Dylan’s other humorous outburst, I Shall Be Free No. 10, from his 1964 album Another Side of Bob Dylan. Both songs showcase some of his wittiest wordplay and funniest lyricism – yet remain scantily known outside of Dylan circles. But one thing is for certain – this Million Dollar Bash is THE place to be; the place where it is happening, where the in-crowd is!

Million Dollar Bash was recorded in 1967 in the basement of a house in West Saugerties, New York – none other than the legendary “Big Pink,” home to Garth Hudson, Richard Manuel, and Robbie Robertson at the time. What began as informal jam sessions between Dylan and The Band soon blossomed into a wealth of original songs and reimagined covers. These recordings, later known as The Basement Tapes, were pieced together from those laid-back sessions and officially released on June 26, 1975. Dylan, particularly on Million Dollar Bash, sounds more playful and carefree here than on perhaps any other album in his catalogue.

Well, that big dumb blonde with her wheel in the gorge
And Turtle, that friend of hers, with his checks all forged
And his cheeks in a chunk, and his cheese in the cash
They’re all gonna be there at that million dollar bash

Ooh, baby, ooh-ee
Ooh, baby, ooh-ee
It’s that million dollar bash

Everybody from right now to over there and back
The louder they come, the bigger they crack
Come now, sweet cream, don’t forget to flash
We’re all gonna meet at that million dollar bash

Well, I took my counselor out to the barn
Silly Nelly was there, she told him a yarn
Then along came Jones, emptied the trash
Everybody went down to that million dollar bash

Well, I’m hitting it too hard, my stones won’t take
I get up in the morning but it’s too early to wake
First it’s hello, goodbye then push and then crash
But we’re all gonna make it at that million dollar bash

Well, I looked at my watch, I looked at my wrist
I punched myself in the face with my fist
I took my potatoes down to be mashed
Then I made it on over to that million dollar bash

I enjoyed reading the interpretation of Million Dollar Bash by the author of Just a Song and thought it worth sharing here:

It seems like the spiritual summation of the entire affable affair. Dylan’s lyrics are as light-hearted as the tune is lovely. He sings as though he feels free for the first time in ages to revel in absurdity and humor just for the fun of it, as is only fitting for a song about the biggest party imaginable. But I see another side to the song that explains its curious and elusive poignancy. Over the course of two minutes and thirty-three seconds Dylan refers to no fewer than seven characters and two or three vaguely defined groups. He makes it clear that this isn’t just a big party it’s the biggest party to which “everybody from right now” is going. Near as I can tell, “Million Dollar Bash” is a little ditty about dying and heading off for a big party in the sky. It’s a song about resigning one’s self to fate, but enjoying the ride as you go and that’s what makes it so uplifting.

I suppose my theory is tenuous at best, but as such it reflects the key to Dylan’s staying power and that is his music’s tolerance for reinterpretation.

References:
1. Million Dollar Bash – Just a Song
2. Million Dollar Bash: the meaning of the lyrics and the music – Untold Dylan

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For Your Eyes Only (1981) – Sheena Easton

I took a nostalgia trip last night and revisited Live and Let Die – a James Bond movie I hadn’t seen in decades but was fond of as a child. Roger Moore was the Bond of my generation, so his films were the ones we grew up watching.

When I was seven, my father let me accompany him on a work road trip, and during that time, he took me to see the latest Bond film, For Your Eyes Only. It was the first movie I ever remember watching in a cinema, and the experience was absolutely thrilling. The film’s song in particular; and the subject of today’s post, still resonates strongly with me. From the opening ‘dream-like’ gentle pulsating sound, where the melody unfolds slowly and then Sheena’s voice enters with a warm vulnerability and mirrors a slow-burn romance. What’s not to like about it?

While For Your Eyes Only holds a special place in my heart for sentimental reasons, my all-time favourite Bond movie is Casino Royal (2006), with Daniel Craig’s portrayal and the story standing head and shoulders above the rest. I will be revisiting that one today since it has been such a long time between drinks – ‘shaken, not stirred’.

The following was mostly extracted from the Wikipedia article below:
Bill Conti composed For Your Eyes Only to be the title track for the 1981 James Bond movie. He originally wrote the song thinking about Donna Summer or Dusty Springfield, singers he thought “fit the Bond style“.
The US band Blondie had previously been asked to write the title song but it was rejected in favour of Conti’s by the Bond producers. (Blondie’s recording of a completely different song, also called “For Your Eyes Only”, appeared on their 1982 album The Hunter).
The song was then offered to Sheena Easton. Conti was initially unimpressed with Easton’s discography up to that point, but his opinion of her changed during production. Easton is the only artist (to date) to be seen singing the theme song to a Bond movie during its opening titles, as Maurice Binder liked Easton’s appearance and decided to add her to the credits.

For Your Eyes Only became a huge hit on radio, and it is the fourth-highest James Bond song ever to chart on the Billboard Hot 100, reaching No. 4 in October 1981.

I have forwarded the song with scenes from the movie for those wanting to relive a bit of the movie experience.

[Verse 1]
For your eyes only can see me through the night
For your eyes only, I never need to hide
You can see so much in me
So much in me that’s new
I never felt, until I looked at you

[Chorus]
For your eyes only, only for you
You see what no one else can see
Now I’m breaking free
For your eyes only, only for you
The love I know you need in me
The fantasy you freed in me
Only for you, only for you

[Verse 2]
For your eyes only, the nights are never cold
You really know me, that’s all I need to know
Maybe I’m an open book
Because I know you’re mine
But you won’t need to read between the lines

[Chorus]

References:
1. For Your Eyes Only (song) – Wikipedia

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Posted in Music, Reflections

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