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An Edible/Audible Tribute to Eric Clapton

Today is Eric Clapton's birthday, and since he's been in enough bands to get into the Rock and Roll Hall of Fame thrice, he merit's his own installment of Edible/Audible, the game for foodies and music lovers with bizarre forms of synesthesia. And to tie it together, they all need a common ingredient. I have decided that by virtue of its versatility, the peanut will be Eric Clapton. Let's see where this one goes.

The Yardbirds - Cracker Jack
Not just about the peanuts, also the big break for caramelized things. First packaged snack. Crispy and crunchy sound, now has a very old-school feel about it.

Cream - Curry with Peanut Sauce
If this is made right, the sheer volume of capsaicin will have your senses and your GI tract tripping for hours.

Blind Faith - Payday Bars
An underrated candy that should get more credit for what it is - a hard rocking salty blues band with a caramel center.

Derek & the Dominos - Peanut Butter, Banana, and Bacon Sandwich
Comfort food made up of an all-star lineup for when the love of your life loves the one person in the world who's cooler than you. Something we can all relate to. Also, the most likely food to have parts of it, namely the cholesterol-loaded piano coda, written by a schizophrenic.

Solo Career - Spoonful of Peanut Butter
Stays in your mouth for five minutes when you only really want it to last for about three.

My Springsteen Moment (The Tacoma Aroma)

You don't have to go to Jersey to get a quintessentially Springsteen moment. You can apparently find it in Tacoma, at Point Defiance State Park.

I think I've made my peace with Springsteen and all associated fandom. The factoid about music history that generally gets tossed around when discussing Springsteen is that by writing lyrics that people could relate to he saved rock from extravagant songwriting and lyrics about wizards and dragons. There is a problem with this. I don't relate to people, and sometimes, I don't even like people. And I like fifteen minute suites primarily in 7/8 about wizards with screaming guitar riffs, oftentimes way more than I like hearing about actual people and their actual lives.

But, in my education that is preparing me for a long and distinguished career in the unemployment line (subject matter that was definitely covered by Styx and not necessarily Springsteen, even though the former is seen as indulgent pretentious and the other is seen as real and authentic music for unemployed people) I just finished taking a class called "The Music of Literature and the Literature of Music," where we spent an excessive amount of time writing poems about the death of John Bonham. The consensus, of course was: "it made us all very sad." And although, like any discussion about music with people who have never been good at making music usually goes, we focused mostly on what the music sounds like instead of how it sounds - in spite of this - I was able to get past the philistine opinions of Mainstream (Mainstreet?) America and realize that maybe, at some level, he's a legitimate musician who made some pretty good music, separate from whatever cultural, anti-intellectual trends he might represent. (Because of course, if I simply discredited his music for this reason, for what it represents, I would be going against my one rule of rock appreciation.) And if the Gaslight Anthem likes him, he can't really be bad at all.

But I made my peace not in Jersey but in Tacoma. Tacoma is Oakland of Seattle, the retarded stepsister of a cosmopolitan city, filled with cranes, overshadowed by its more glamorous neighbor. I've been here almost a week, and I'm starting to wonder if it's ever sunny for more than a few hours. Point Defiance State Park is located at the north end, and in addition to a scenic drive where you can look out at the sound, there is a depressing gravel parking lot next to some batting cages and a go-kart track. They also have a cheaply constructed nine hole miniature golf course, obviously made in the proprietor's garage. For two bucks you get to play the nine holes twice, and my friends and I decided we couldn't refuse a deal like that. So we played, with the evening overcast sky slowly darkening and a couple large Filipino families using the batting cages. And over a pair of tinny speakers they were blasting a local classic rock station, and what else comes on but Born to Run. I don't really like the song. His voice sounds like the dick of a fifty something who has taken just enough Viagra to get it at half-mast, and the piano sounds schmaltzier than Billy Joel's overplayed greatest hit named after the same instrument. But as I looked out at the empty gravel parking lot and this little patch of land that passed for entertainment, I realized this is exactly what it felt like to be Bruce Springsteen.

If only I really had been born to run, maybe I wouldn't be in this mess. But more on that later.

Ten Albums Living in Another Album's Shadow

Because I like to listify things to constantly prove that I know -ish about music, here are ten albums that had to play second fiddle to something else. One can only speculate how things would have been different...
1) Paul Simon – Rhythm of the Saints
Unfortunately had to come right after Graceland, using Brazilian musicians instead of Ladysmith Black Mambazo. It might not have the hooks of Graceland, but he's had more time to perfect his songwriting craft.
Born At The Right Time by Paul Simon on Grooveshark

2) Michael Jackson – Off the Wall
This album had the unfortunate fate of being just another album by the artist who had the best selling album of all time. Tough break.
Wanna Rock With You by Michael Jackson on Grooveshark

3) The Beatles – Beatles for Sale
This might not count, since it wasn’t overshadowed by one album, but gets lost in the shuffle caused by the discrepancy between US and UK discographies.
4) Bob Marley – Rastaman Vibration
The only track that got remembered off this followup to Natty Dread was Night Shift, which doesn’t get as much radio play as the rest of Marley’s singles catalog.
Jah Live by Bob Marley & The Wailers on Grooveshark

5) Pearl Jam – Ten
Nevermind got all the attention, but the songwriting and guitar work on Ten proves that Eddy Vedder and Company were the real Johann Seattle Bach.
Alive by Pearl Jam on Grooveshark

6) Sonny Rollins – Saxophone Colossus
For the album that essentially introduced calypso music to the North American mainland, this album doesn’t get nearly as many mentions as 1955′s Tenor Madness. Contains one of the greatest improvised solos in terms of motific development.
St. Thomas by Sonny Rollins on Grooveshark

7) The Animals – The Animals
Were it not for all the buzz surrounding “Meet the Beatles,” these guys would have been leading the charge of the British Invasion.
We Gotta Get Out of This Place by The Animals on Grooveshark

8) Bad Religion - The Empire Strikes First
This got eclipsed by its retarded cousin, American Idiot, which came out the same year and stole all the attention. This album, however, does a better job of protesting the Bush Regime protocol, and, as always, with Bad Religion, does it in as high-brow a manner for punk rock.
Let Them Eat War by Bad Religion on Grooveshark

9) Every album released in 1983
More casualties of Thriller Includes Synchronicity by the Police, U2′s War, and ZZ Top’s Eliminator. For some reason, it's just enough for people to remember that this was the year of Thriller.
Synchronicity II by The Police on Grooveshark

10) Steely Dan – The Royal Scam
Came right before double platinum Aja and critics darling Gaucho. Now remembered as having a song that was sampled in a Kanye B-Side.
Kid Charlemagne by Steely Dan on Grooveshark

The Neon Mango

Been churning out a few of these in the last two weeks. Not sure if this will get turned into anything longer but I think it can be enjoyed for what it is.

                There are three things she told me to never do. Otherwise Squak – she didn’t seem to mind that I called her that even though she insisted the rest of the crew called her Captain Lestrade – let me do what I wanted on her ship, the Neon Mango, although most of the time I was content to sit in my tube and read. My quarters were separate from the rest of the crew’s, right in the nose. Having the feeling of being in the front of the ship was worth the extra few rems per month my body absorbed. Besides, she said, I could afford to absorb more anyway. I never talked to anyone else except Squak and sometimes her life support technician, who seemed as aloof and absorbed in his work as I was.
                Of her three rules for me, the first was to never make eye contact with the navigation octopus. Apparently this made it aware of the location of its fleshy body. It needed to constantly believe, spatially anyway, that its body was the ship. She could have used an AI but she insisted that an octopus was better, something about it having millions of years to perfect its spatial awareness in three dimensions whereas we only had about a hundred years of making machines that could do this. She called him Gumby. Whenever I would float by his tank I always wondered what would happen if I did, just to mess with things. I don’t know how I would feel if I thought my body was the Neon Mango. But then again, had I been bred to be a navigation octopus, I probably wouldn’t care.
                The second was to never talk to the crew about the circumstances of my discovery. It wasn’t much of a problem since I didn’t talk to the crew ever. The extent of our interactions was awkward waves as we floated past each other in the corridors and even more awkward silences in the gravity spinner. We had to go in there once a week, even me, to keep our bone density from degrading. And although I was allowed to make eye contact with them, they usually didn’t like to hold it for long. That’s how I passed the time in the spinner. Keeping how I ended up here and why Squak kept me around a secret made me more intimidating, or at least more mysterious. All the rest of the crew knew was that they were about to be boarded by a Combine cruiser when it spontaneously exploded, and there I was, in the middle, my spacesuit unscathed, and calmly asking if I could come aboard.
                And the third and most important thing was to never, as long as I was on her ship, was to never make contact with my people. “There are lots of people, bad people, on Earth,” she would tell me, “that will get involved.” As if I didn’t know this for myself. As if that wasn’t why we had left in the first place, become the first people to leave the solar system.
                “Look Squak,” I would tell her, every time, “I’m here, and they’ve detonated a couple thousand nuclear warheads just to propel their ship going away from here a little faster.” I never made eye contact. I couldn’t. Physically, it was something I couldn’t do and I could tell it unnerved her. “I have no intention of contacting anyone. I like it here.” And I did. I liked my tube and the pudding canisters in the commissary. I liked having the run of the ship, I liked scavenging asteroids, I liked sabotaging the Combine’s mining equipment. I liked the big explosions.
                But one Ionian night I was alone on the bridge by myself. Squak was giving herself a neural scrub and I had relieved the co-pilot of duty, citing some nonexistent authority bestowed by Squak. I was drifting off myself when I heard a faint crackle, coming in on a tightbeamed channel.
                “Yacto… Yacto… Are you there Yacto… This is the Four Winds Bar…. Are you there Yacto…”