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Originally published in the Morning Star, July 25, 2021, pg. 10 ALBION HISTORICAL NOTEBOOK By Frank Passic

First, a moment of downtown, showing the water tower on the urban horizon:

One of Albion’s tallest structures is our 1961-erected water tower, located in Crowell Park. This Park dates back to Albion’s original 1836 plat map, when it was known as Washington Square, named after U.S. President George Washington. President Washington is featured on our U.S. quarter, you know. In 1912 there was a local effort to recognize “Albion’s Greatest Benefactor,” Jesse Crowell (1797-1872) who helped form the Albion Company which laid the plat for our village in the 1836, brought the Post Office here, gave land for Albion College and Riverside Cemetery, and other endeavors.

The Albion Recorder reported in its weekly edition dated August 1, 1912: “Washington Park is now Crowell Park. The Park on Baptist Hill surrounding the city water tower, which has been known as Washington Park for a number of years past, will in the future to be known as Crowell Park, the common council passing a resolution to that effect at their meeting last evening. This is only one of a number of things being consummated of late to perpetuate the name of Jesse Crowell, Albion’s revered pioneer and one-time leading citizen whose memory cannot be kept too fresh in the minds of Albion citizens on account of the great number of acts he performed for the public good, in this community, the performance of some of which caused him to die almost in poverty. He presented the land at present included in the park which will in the future bear his name.”

From our Historical Notebook this week we present a World War II-era postcard photo of Crowell Park. In the distance is the water standpipe which stood there from 1889 until it was dismantled on February 26, 1962 after our present water tower was erected and began operating. On the left is a circular flower bed which used to be much more elaborate. In the early 20th century this was a goldfish pond with flowing water, and surrounded by rocks. The “Albion Mills 1845” marker was in front of that pond. A drinking fountain was located in the center of the park.


Short Prose Dream

Chaos and disorder * confusion, disorder, upset. Chaos and confusion * pandemonium. Robotic. Motorized. More items… Don’t keep it to yourself… Then she vanished altogether like a vision. In dependency, the essential aim of the group is to attain security through, and have its members protected by, one individual.

About leaving the earth; this becomes just part of the normal situation. They inflamed the passions of men, and caused them to commit the most unheard-of excesses. They laid their ban on those who enjoyed the most prosperous health, condemned them to peak and pine, wasted them into a melancholy atrophy, and finally consigned them to a premature grave. gale, hurricane, tempest, tornado, cyclone, squall, wind, blizzard. What is another word for storm?

In the beginning a man depended for his subsistence entirely upon his own efforts, or upon those of his immediate relations and friends. With the appearance, he also acquires the fierceness and howling of the wolf; roaming the woods, he tends to pieces everything that comes in his way. A storm lay behind those cold eyes. Then they went further on their way right across a deep dark valley.

“What are we to do?” he asked. “Come, come, be brave, be a man–speak out, there’s a good lad!” the corruption of taste is a portion or a pendant of the dollar-manufacture. A violent disturbance of the atmosphere with strong winds and usually rain, thunder, lightning, or snow.

Similar tempest squall gale hurricane tornado cyclone typhoon superstorm thunderstorm cloudburst downpour rainstorm hailstorm deluge monsoon tropical storm electrical storm snowstorm blizzard dust storm dust devil williwaw ice storm windstorm buran a heavy discharge of missiles or blows.
Synonyms * ‘the … They laid their ban on those who enjoyed the most prosperous health, condemned them to peak and pine, wasted them into a melancholy atrophy, and finally consigned them to a premature grave. They breathed a new and unblest life into beings in whom existence had long been extinct, and by their hateful and resistless power caused the sepulchres to give up their dead. Synonyms storm year’. Synonyms. Was this designed long before our birth was adopted by many scholars? Glory is sad, my mentor promised impossibilities and was not as reliable as other creatures.

When they were searched for the next day they could nowhere be found: only the boat drifting to the shore, unharmed and unstressed. When the deed was done the sheltie was brought back to its tether as mysteriously as it had been taken away. Storm noun . A violent disturbance of the atmosphere with strong winds and usually rain, thunder, lightning, or snow. Thus far then we see whole or partial disguise as animals used to secure food and clothing when acting as decoys to lure animals; and in dancing. And then it laughed a weird and terrible laughter that froze the blood.

The plane landed in a float, in the water near an anonymous desert.

“Come, come, be brave, be a man–speak out, there’s a good lad!”

The speed of a car traveling north on a major freeway and the speed a rocket launching into space can both be measured using velocity. The purring and humming increased, and the car seemed to leap forward. Revolutions, non governments, un-rest, non government, un-rests, mob rules, disregard, … Chaos. disarray, jumble, turmoil, tumult. Suddenly he awoke, and something cried. + words for ‘storm’ – reverse words for “storm” … As you’ve probably noticed, words for “storm” are listed above. According to the algorithm that drives this word similarity engine, the top … The speed of a car traveling north on a major freeway and the speed a rocket launching into space can both be measured using velocity. The purring and humming increased, and the car seemed to leap forward.

It was on the road now, and, once assured that the steering apparatus was working well, he suddenly turned at much more speed. A direct assault by troops on a fortified place. Similar assault attack onslaught offensive charge raid foray sortie rush descent incursion thrust push blitz blitzkrieg aggression onset verb . State of noisy and confused activity * to shout (something) angrily storm noun. They are not peculiar ones these, they are very many of them, they are a kind of them, they are natural ones for any one to be knowing, there are many kinds of this kind of them. There are very many of one kind of them and they are not all the same, certainly not all the same. “If i’m to be made a show off,” growled the cross old man, “i shall charge admission the same as any other show. Think it’s worth a quarter to see a man with a broken back?” and it is said and the quotation is reasoning. It gives the whole preceding.

The Mental Health Association of Portland

Here are the four enduring projects of the Mental Health Association of Portland:

Law & Mental Health Conference
The 2021 Law & Mental Health Conference was July 19 & 20 – on the Impact of Alcohol on State and Local Governments

Public Housing Conference: COVID 19 and Homelessness
The Public Housing Conference was virtual and online during the month of December 2020, tightly focused on Homelessness and COVID with five municipal case studies – Phoenix, Las Vegas, Portland, Los Angeles. The Conference in 2020 included four municipal case studies on COVID 19 and Homelessness within the Ninth Circuit Court. Municipalities studied were Phoenix, Las Vegas, Los Angeles, and Portland. Each city is within the Ninth Circuit Court’s ruling Martin v. Boise. The audience for the 2020 Oregon Housing Conference are national, knowledgeable, and keenly interested in what’s going right with COVID 19 – and what went wrong. We estimate the conference will be attended by 500 persons – clinicians and healthcare directors, housing developers and administrators, policy-makers, community leaders, law enforcement, and funders.

Mental Health Alliance
Organizations and individuals who represent the interests of people with mental illness and have long participated in efforts to reduce police use of force used against people with mental illness joined together as a friend of the court in US DOJ v. City of Portland. Organizational members of the Alliance include Portland Interfaith Clergy Resistance, Disability Rights Oregon, the Mental Health Association of Portland, and the Oregon Justice Resource Center. Supporters of the Mental Health Alliance meet regularly to hear from invited guests, discuss the organization’s advocacy and legal agenda, and prepare testimony for city, county, state, and Federal venues. To attend a meeting, send a message to

Alternative Mobile Services Association
Supporting Street-Level Alternatives to Police and Hospitalization

The Alternative Mobile Services Association is an emerging group of professionals and peers with the purpose of researching, assessing, and identifying best practice models of mobile response services that support or are alternatives to traditional 911 emergency response, police services, and unnecessary hospitalization. Additionally, the association seeks to promote networking and cooperation among providers, jurisdictions and allied stakeholders interested in alternatives to conventional policing.

The Alternative Mobile Services Association supports street-level alternatives to police.

What are Alternative Mobile Services?

Mobile services encompass a variety of responses to the immediate needs and crisis situations in the community. Mobile services can include street outreach vans that provide supplies and support to the homeless, mental health agencies that provide in-person mobile response to clients in suicidal crisis (either immediately or within 24 hours), police programs that pair a clinician with a police officer to respond to mental health related calls, and hospital-based outreach programs which provide services in their community. A mobile service is simply any service that works with high-needs populations and meets them where they’re at, in their own space, to get them the help they need in a moment of need or distress.

Alternatives to Police
The Law & Mental Health Conference brings together expert speakers with legal, clinical, and lived experience to discuss the conflict between law and mental illness. The Law & Mental Health Conference is designed for attorneys and law enforcement, public and private clinicians; public healthcare and hospital administrators, social workers, policy designers and legislators, and organizations and individuals involved with the care and welfare of people with mental illness, addiction, and alcoholism.

The 2022 Law & Mental Health Conference will be held in cooperation with the Alternative Mobile Services Association on Alternatives to Police – February 1 & 2, 2021 – digital and online to save both time and money.

Early Bird registration for the conference will open September 15, 2021.


Ebony Morgan of CAHOOTS
Ebony Morgan is a nurse and the Program Coordinator of CAHOOTS Mobile Street Response in Eugene, Oregon.

CAHOOTS is a mobile crisis response team that receives calls diverted from emergency services. CAHOOTS works with people in crisis from mental health issues, addiction, and homelessness. Team members of CAHOOTS de-escalate crisis situations and provide trauma-informed, client-centered care. CAHOOTS has been in operation in Eugene for more than 30 years.


Ebony Morgan, RN – CAHOOTS Program Coordinator
Laurel Lisovskis, LCSW – CAHOOTS Clinical Supervision Coordinator
Eric Rafla-Yuan, MD American Psychiatric Association Jeanne Spurlock Congressional Fellow at U.S. House of Representatives
Taleed El-Sabawi, JD, PhD Assistant Professor of Law at Elon University School of Law & Scholar at O’Neill Institute for National and Global Health Law
Conference sessions will include presentations from currently operating mobile services and new services in the launching phase, with detailed information about data collection, contracting, staffing, integration with emergency services and law enforcement, innovation and inspiration.

Up to fourteen hours of continuing education credits will be available nationally through the National Association of Social Workers, for attorneys through the Oregon Bar Association, and for members of law enforcement through the Oregon Department of Public Safety and Standards Training.

Past Conference Speakers

2021 – Susan Cheever, David H. Jernigan PhD, Joel Ainsworth, Andrew Dyke, PhD, Linda L. Chezem, JD, Don Coyhis, Paul A. Gilbert PhD, Tiffany Hall, Bruce Lee Livingston, MPP, Mike Marshall, Nandita Murukutla, PhD, Rebecca Perl, Timothy S. Naimi MD, MPH, Alicia Sparks PhD, MPH, Mike Tobias, Cassandra Tourre, MPA

2020 – Ebony Clarke, LCSW, Alison Bort, JD, PhD, Joe Biel, Mellani Calvin, Faith Harper, PhD, Joseph Green, Suzie Kuerschner, MEd, Brian Lindstrom, John Mullin, Anne Larson, Emily Cooper, JD, Ivanova Smith, Thaddeus Betz, JD, Sgt. Amy King, Melissa Fisher, Bruce Miller, MD

2019 – Bob Joondeph JD, Sandra Luckow, Billy Williams JD, Kevin Rau, Janet L. Holland LCSW, Ellen Ganley, Karen Perdue, Emily Cooper JD, Kim Mosolf JD, Tina Bialas, MA QMHP, CADC III, Anne-Marie Bandfield MSW, Commander Tad Larson, Undersheriff Troy Clausen, Melissa Allison JD, Sarah Radcliffe JD, Professor Aliza Kaplan JD, Mike Marshall, Michelle R. Guyton PhD, ABPP, Alexander Millkey PsyD, Laurie Robertson, Jonathan Meyer JD, J.P. Anderson

2018 – Judge Ginger Lerner-Wren, Judge Pat Wolke, Tamara Sale MA, Leticia Sainz LPC, Bob Joondeph JD, Sarah Radcliffe JD, Eric Martin MAC, CADC III, PRC, CPS, Joan Ayala MSW, Sean Syrek PSS, Edward Jones JD, Judge Heather Karabeika, Judge Cindee Matayas, Sid Moore JD, Rabbi Ariel Stone, Jo Ann Hardesty, Mark Schorr LPC, Cynthia Fowler MD, Jeffrey Howe JD, Mandy Davis LCSW, PhD, Natasha Tracy, Octavio Choi MD, PhD, Sheriff Mike Reese, Chief Deputy Nicole Morrisey O’Donnell, Chief Ron Louie MPA, Chief Pete Kerns, Brian Lindstrom

2017 – Elyn Saks PhD, JD, Libby Stuyt MD, Judge Juliet Britton, Stephanie Maya Lopez MD, Harris Matarazzo JD, Craig Johnson JD, Elena Balduzzi PsyD, Lynn Jones, Alex Bassos JD, Ashlee Albies JD, Kristen Chambers JD, Rev. Dr. T. Allen Bethel, Sheriff Jason Myers, Walt Beglau JD, Ann-Marie Banfield MSW, Judge Kathie Steele, Micky Logan JD, Sarah Radcliffe JD, Bob Joondeph JD, Meg Kaveny LCSW, Brenton Gicker EMT, RN, Juliana Wallace LCSW, Karen James, Chris Farentinos MD, MPH, Freda Ceaser, Janie Marsh, Johnnie Gage, Tonya Jones, Beckie Child, MSW, Doug Querin JD, LPC

Conference Sponsors and Partners for 2021

Oregon Health Authority & the Oregon State Hospital, Multnomah County Behavioral Health Division, Kaiser Permanente, Ganapati Fund of the Oregon Community Foundation, Central City Concern, Providence Health & Services, Cascadia Behavioral Healthcare, Association of Oregon Community Mental Health Programs, Virginia Alcoholic Beverage Control Authority, Bridgeway Recovery Services, Northwest Addiction Technology Transfer Center, Rainier Springs Hospital, Health Share of Oregon, Oregon Council for Behavioral Health, Mental Health & Addiction Certification Board of Oregon, Oregon Recovers, Oregon Department of Justice, Alcohol Policy Alliance

Quiet normal day

My Facts

A map to the present time

Now I am working on just my favorite topics, only stuff that I want to read about while waiting for the bus. Ghosts and random subjects. My new discovery is all about, well… theft. I am inspired by Plunderphonics and the vast possibilities of copy/paste techniques. Deletion is my chisel. I build monsters. Non-fiction demands REQUIRES attribution, my assumption is that fiction demands only style. Reflecting is not exclusive to my age group. My first project took eleven years to get into shape. Nothing is ever “finished” that I do, it is temporarily abandoned while to go on again. To more plunder! Things sometimes turn out differently than expected. Always.

  1. vague idea (or not)
  2. research (Dr. Googie)
  3. soup (fill the swimming pool, agitate)
  4. teaspoon into whimsical forms, no “writing” but no rules
  5. serve up

This is “fiction” not exposition. Any bits of information found in these creative projects that resemble “facts” are specious and accidental. There are clues that you might use in future research, however the intention is to invent for amusement. Inspired by the William Burroughs “Cut Up” Technique and the Plunderphonics philosophy, these stories are experiments in text buccaneering. Professor James, practicing what he preaches, approaches his themes in a light and often conversational way. Creating the illusion of every-day events, he introduces this abnormal phenomena cautiously and gradually; relieved at every turn by touches of homely and prosaic detail, and sometimes spiced with a snatch or two of antiquarian scholarship. Robin James is a retired librarian.

How can I know if what I am making is junk? I am living inside of it, like a child growing up, this IS normal, because all I know is all I can see. Big fookin deal. It’s like this all the time. I live with supernatural visitors. The story is about life under water. I steal everything. This is bringing about the end of civilization and the concept of property. And it’s easy!

I have a word game here. This was an idea, a vague idea, then it was researched, then assembled, and maybe a tad rushed, but I posted it in Booksie where I take advantage of the cover/title mechanism they have there. It adds the title words to the picture, plus my nom. Then I pop it into Medium where the art is displayed in a nice size, which I save, I only want the nice title-picture. Medium gives a nice big title-picture. I have applied further corrections and editing on the new Chaos Pirate venue. Medium and Booksie are but transitional sketches, the real thing is with the pirate booty. What you are reading here is my confessional. I am not a writer, I am a shoplifter. Should you try it?

Here is what I have so far, in chronological odor. Inhale from oldest to now-est.


Search Images Maps Play Drive More » DIXON TOWER

SPRING 2010 to MAY 8, 2021 the trouble with the Hardy Boys… Inbox

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Motorrrun. My brother and I, on motorcycles we were. Dad gave us motorcycles. We were so young. And we were just almost men. We could not wait. We were youthful sleuths, even way back then. We were invincible. We were Frank and Joe Hardy. Joe and Frank Hardy. The Hardy brothers. The sons of the most famous private detective in the world, in the whole known universe, Fenton Hardy. Where is Fenton now? Hallways and shiny floors and quiet music and wheelchairs. Calm voices announcing the time or making statements. Everyone is waiting and it smells chemically clean. We were nearly run off of the road. That driver kept on going, something was wrong. This is a real and true clue. We have our first clue! The night nurse moves me from the dining room to the social room where the giant television is. I build my mental wall against the giant television while maintaining my face mask of smiling participation in the community here. I am grateful to be alive! I am my own world no matter what, so?

I had noticed that the transcription software was making lots of errors and inventing words, so I sensed an opportunity. I read aloud into an audio recorder the entire first book of the Hardy classic series. Transcription software is designed to take spoken words slowly and carefully monitored and corrected as necessary so that the system and narrator merge slowly and learn each other’s ways. When I played the recording there were no corrections made or even monitoring of the results, no mercy, the words just kept coming and coming doggedly relentlessly, ruthlessly, and sure enough, the transcription software interpreted as best it could, and invented words, new plot twists, and even names of people who were never part of Dixon’s intended universe. For eleven years I have chipped away at punctuating the results and created the intro frame part taking place in a nursing home, and introduced the notion of dementia-influenced language after caring for several clients during my short career at “Home Instead” elder care. Now maybe I could claim a new identity, Robin James Joyce? My reward (or the discovery of this crime) will come after my manuscript is recognized in the decades after shedding this mortal coil. Certainly not before!

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Burroughs provided the notion of repurposing language accidents, and I ran amok with it.

I have done other bold things blending plagiaristic exploitation opportunities and the new technologies, but nothing more with transcription software. The volume of results from transcription software is excessively quantitative to manage efficiently.took eleven years to “complete”

This is a disasterous mechanical intrusion into the Hardy Boys first book, imagine my surprise when I posted this on Ello, the views have hit the highest of my career, right now (end of June 2021) there are 11.5k views showing. What does this mean? Go Ello!

This auspicious suspicious beginning to my wandering road to destiny is relentless gibberish. The chaos in its purest form. Never again will I tangle with the transcription software, it is too eager to provide.

SUMMARY:  Impersonating James Joyce I take on Franklin W. Dixon and do a Burroughs cut-up on the first novel of the YA series.


There it is, a little blip in the data. A location, so far away, where the wind blows softly and the sun shines warmly and the water shimmers with life. Illusia. So far away. So she takes the discovery and shows it around. After a long time she finds two others who have the same results, the same location, so far away. They put the pieces together and there is some good news. Now there is a way to a better place, to a place where humankind can find some purchase to start again. The new Earth. The fresh start. Where things will begin. The old Earth has become unreliable. First the tap water became unpleasant, foul tasting, and then the drought got worse. Then the political situation changed and the loudest shouters had complete control. Now, they will do what it takes to make this whole thing work out. The question is, make it work out for who? Not everybody is a winner. This old Earth will not last forever and something must be done, say an ignored group of scientists.

My first thought was to write something about being stranded in my little room here because of the plague or whatever we want to call it, because of 2020.

So that was the title. How about content? I have my methods, my job is to cut away the bulk of the research to uncover the story underneath. So that was easy. Chip chop and rend.

I pulled in three pre-existing projects, I sacrificed them for this cause. I feel better, but now those three old friends are relics and not vital. This is vital?

Reasons to Stay at Home was a combination of time travel, environmental doom, lycanthropy, and fumbling excuses for my sedentary behavior lately. Obsessions make good hobbies. This is a few old projects combined. Leaving the doomed planet sounds safer than being an imaginary werewolf. This is a story with an unreliable narrator. Come werewolf, come space ship, come vampire mansion, season with the Hardy boys and build upon my personal legacies. Now dash away all….

SUMMARY:  The escape from a spent planet Earth is a long event.


Meet Courage Joiner, he wants to talk about time travel and ghosts, which includes burial practices and methods of time travel. He manages to take us to African Stonehedge. Courage Joiner first met his fate on Zebra Island, which is historic to my career in letters but far too tedious and preliminary to be of relevance to pirates. You now know all you need to about Zebra Island.

A ghost might be confused for a visitor from the past. What you have here are clues for your own private search for the truth. My name is Courage Joiner. No, that is not the truth. The name I sometimes prefer to use is Courage Joiner. My real name is inconsequential. I discovered upon the deaths of my parents that they had deceived me my whole life up to that point. They had adopted me, my birth or biological parents are unknown to me, but that is another story there, a story that was kept from me. Who am I? I am whoever I say I am, as far as anybody knows. The official records were adjusted to fit the story that my parents told me. My discovery was advanced in the form of correspondence with an unscrupulous adoption agency who has since gone out of business. For those who relish speculation regarding the future, this works well for my current job. I have developed a new identity every few years, the one I like best is the one I shall tell you about soon.

SUMMARY:  Ghosts have many possibilities.


“Around the campfire” is a concept we heard from stories about our grandfathers. Nobody here has ever seen an open fire, much less a small contained friendly conflagration at an encampment. We do have simulated woodlands on the ship. There are places where simulated nights can be experienced here too. When this voyage embarked, the ones who boarded had only the knowledge of how to live on the Earth, with natural gravity. Now we are perhaps midway into our journey, and the ones who knew the details of campfires and Earth have long passed on. They gave the children an early balance on good and social qualities, with the intention of forming the youthful personalities into a moral future. When our voyage started, only two things appeared certain, but there has always been doubt too. The first certainty is that the Earth was not as reliable as it once was, and the second certainty, our grandfather’s remote sensing equipment had uncovered some new information about some locations.

This one popped out in three days from idea to research and planning to execution and posting, an expansion of the space travel concept from Reasons to Stay at Home, without the werewolf. We head out to a new “Earth” which is more than one life-span’s distance. Will the kids trapped on this journey (that they did not choose) find indigenous life forms when they get to their destination so far away? Do we eat them or sell them insurance or do they eat us?

SUMMARY:  Deeper into the escape from toxic old Earth.


Hooray, I awake from yesterday, alive but the war is here to stay. The sea dragons wait camouflaged to look like floating seaweed and live in kelp forests and seagrass meadows, they form a kind of accidental time capsule, preserving an assemblage of natural and human artifacts at the moment in time when the ship was lost. There are over 500 statues and they just stare back at divers exploring them. The archaeological signature at this site also now extends into the interaction between indigenous people and the European pastoralists who entered the area in the mid-19th century, full of mysterious items lying on the ocean bed. This is one of the most bizarre structures lying buried in the sea floor. Although life is very sparse at these depths, underwater living has titillated futurists since the beginning of the 20th century. The nautilus is a living fossil little changed since it evolved 500 million years ago as one of the first cephalopods which still rules the bottom of the Earth.

For today’s story I tried to slow it down, only the best, no junk. Still it was done in a few hours from conception to research to lifting the whimsy-bits and stirring them, to assembly, review, corrections and posting. I listened to Electric Ladyland again, it has been years. This is about living underwater, including finding old statues and stuff.

SUMMARY:  Not to die but to be reborn, away from the war so scattered and torn…


It’s of no use to you now. Travel alone to reduce the risk of discovery. It has been suggested that the art of tracking may have been the first implementation of science, practiced by hunter-gatherers since the evolution of modern humans. Animals are all around us, but many are stealthy, shy, and seldom seen. An experienced Shadow Wolf can read faint footprints in the dust and determine when they were made, where they came from and whether or not traffickers are carrying additional weight. It was a day long to be remembered. Aside from the danger, however, a more encouraging hour had never presented itself in the history of the Road. A solitary being is by instinct a wanderer, and that I would become. I have known slaves to be beaten to death, but as they died under “moderate correction,” it was quite lawful; and of course the murderers were not interfered with.

SUMMARY:  Slavery is only one cause of fugitive activity.


The first human child is often endowed with supernatural powers. Rivers, lakes, water falls, and mountains are the abodes of spirits and often appear as a world of actions, of forces, of conflicting powers. History enters the mythic world obliquely, but leaves its definite mark in characters and incidents, or is warped beyond recognition in their contemporary representations. Although myth was traditionally transmitted through the oral tradition on a small scale, the film industry has enabled filmmakers to transmit myths to large audiences via cinema. In the old, old days, myths were often endorsed by rulers and priests or priestesses and are closely linked to religion or spirituality; the sun, moon, and morning star seem free to take human form and roam the earth, seeking love and other adventures. There is a complex relationship between the recital of myths and enactment of rituals. Mythical perception is always impregnated with death, which hath already drawn nigh.

SUMMARY:  Myths are old. How old?


It was a strange ending to a voyage that had commenced in a most auspicious manner. The first introduction was altogether most agreeable, and I already began to imagine I might not be so badly off after all. I shall try and arrange some means for our meeting unobserved tomorrow. For a spy must hunt while he is hunted, and the crowd is his estate. Spying, as well as other intelligence assessment, has existed since ancient times. The trouble is that a man can hold almost any theory he cares to about the secret world, and defend it against large quantities of hostile evidence by the simple expedient of retreating behind further and further screens of postulated inward mystery. He could collect their gestures, record the interplay of glance and movement, as a huntsman can record the twisted bracken and broken twig, or as a fox detects the signs of danger. My fortunes have been, from the beginning, an exemplification of the power that mutability may possess over the varied tenor of man…

SUMMARY:  Spies make easy drama.

Exhuming Poe

It was a night of unusual gloom. We had now reached the summit of the loftiest crag. For some minutes the old man seemed too much exhausted to speak. We had no means of calculating time, nor could we form any guess of our situation. I dreaded lest the continued pressure of misfortune had, at length, fairly unsettled the reason of my friend. Let us sum up now the meagre yet certain fruits of our long analysis. We stand upon the brink of a precipice. We peer into the abyss-we grow sick and dizzy. Our first impulse is to shrink from the danger. Unaccountably we remain. The following anecdote, at least, is so well authenticated, that we may receive it implicitly. This is unquestionably the most stupendous, the most interesting, and the most important undertaking, ever accomplished or even attempted by man. What magnificent events may ensue, it would be useless now to think of determining. We dug very steadily for two hours. Little was said.

SUMMARY:  Edgar rests.

Waking Lʌvkræft

Cthulhu is a word that is unpronounceable by humans, who do not possess the proper respiratory organs, originating from a loose pantheon of ancient, powerful extraterrestrial deities who once ruled the Earth and have since fallen into a deathlike sleep. Lovecraft was prey to intense headaches, insomnia, and general nervous weakness which prevented his continuous application to any thing. His work emphasizes themes of cosmic dread, forbidden and dangerous knowledge, madness, non-human influences on humanity, religion and superstition, fate and inevitability, and the risks associated with scientific discoveries. He described his father as having been so anglophilic that he was commonly presumed to be an Englishman. Howard Phillips Lovecraft is best known for his creation of a body of work that includes weird, science, fantasy, and horror fiction, patiently explaining that there is no recognizable divine presence, such as a god, in the universe, and humans are particularly insignificant.

SUMMARY:  Howard waits.


A “Child of Love and Light”

In 1814, Mary Wollstonecraft began a romance with one of her father’s political followers, Percy Bysshe Shelley, who was already married.

Mary and Percy began meeting each other secretly at Mary Wollstonecraft’s grave in the churchyard of St Pancras Old Church, and they fell in love—she was 16, and he was 21.

They married in late 1816, after the suicide of Percy Shelley’s first wife, Harriet.

In May 1816, Mary Godwin, Percy Shelley, and their son travelled to Geneva with Claire Clairmont. They planned to spend the summer with the poet Lord Byron, whose recent affair with Claire had left her pregnant. The party arrived at Geneva on 14 May 1816, where Mary called herself “Mrs Shelley”. Byron joined them on 25 May, with his young physician, John William Polidori, and rented the Villa Diodati, close to Lake Geneva at the village of Cologny; Percy Shelley rented a smaller building called Maison Chapuis on the waterfront nearby. They spent their time writing, boating on the lake, and talking late into the night.

Sitting around a log fire at Byron’s villa, the company amused themselves with German ghost stories, which prompted Byron to propose that they “each write a ghost story”

Unable to think of a story, young Mary Godwin became anxious: “Have you thought of a story? I was asked each morning, and each morning I was forced to reply with a mortifying negative.” 

During one mid-June evening, the discussions turned to the nature of the principle of life. 

“Perhaps a corpse would be re-animated”, Mary noted, “galvanism had given token of such things.” It was after midnight before they retired, and unable to sleep, she became possessed by her imagination as she beheld the grim terrors of her “waking dream”, her ghost story:

I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.

Early in the summer of 1817, Mary Shelley finished Frankenstein; or, The Modern Prometheus, which was published anonymously in January 1818.

“When I first stepped out from childhood into life”.

In 1822, her husband drowned when his sailing boat sank during a storm near Viareggio.

SUMMARY:  Mary persevered.


The spaceship shot swiftly through the endless, trackless eternity of the void. Faster, faster, faster! The roar became a whining hum. Then for Hippolyta sound ceased to be anything-she could not hear. The wind was now heavy, imponderable, no longer a swift, plastic thing, but solid, like an on-rushing wall. Nick Bottom made a sudden violent action that was more than a straightening of his powerful frame. It was the old instinctive violence. Then he faced north. Hippolyta read his thought, knew he was thinking of her, calling her a last silent farewell. Beyond the ship a myriad fragments of light gleamed, countless coals glowing in the dark void. Stars, suns, systems. Endless, without number. A universe of worlds. An infinity of planets, waiting for them, gleaming and winking from the darkness. Suddenly a door opened and a tall man stepped out. Mustardseed grinned wryly. “You could even help us name the animals,” he said. “I understand that’s the first step.”

SUMMARY:  Shakespeare in space.


It was that time of year when all the world belongs to poets, for their harvest of joy. The mad king Gnikdameht had escaped. Little knots of excited men stood upon the street corners listening to each latest rumor concerning this most absorbing occurrence. His was a reign of instability and terror. Unaware of his royal blood, much less that he is a dead ringer for his relative Gnikdameht, the current king of Gordia, Julius Drusilla visits Gordia on the eve of the First World War to see for himself his mother’s native land. As he arrives in Gordia, King Gnikdameht has just escaped from his ten years’ imprisonment at the hands of his scheming uncle, Prince Edgar. Much to his own and everyone else’s confusion, Julius is naturally mistaken for the king, leading to numerous complications.

SUMMARY:  The mad King plots his return.


It is so. This place, which we have, now for some time had as a quiet and perfectly eligible one of meeting, is about to be invaded by one of those restless, troublesome spirits, who are never happy but when they are contriving something to the annoyance of others who do not interfere with them. That was many, many years ago, as the crabbed, uncertain writing on these pages proves. I took the papers from the safe where they had been ever since our return so long ago. We were struck with the fact, that in all the mass of material of which the record is composed, there is hardly one authentic document; nothing but a mass of typewriting, except the later note-books of Scout and Dill and myself, and Atticus’s memorandum. We know that the phantom is the psychical body projected from the physical body. It is that which enjoys or suffers, thinks, wishes, judges, and perceives all sensations.

SUMMARY:  Vampires never sleep, they wait.


Lupin was asleep, on his bench. If he thought that the eyes of a girl like that were merely two glittering sequins of mica, he should not be athirst to know her and to unite her life to his. But he feels that what shines in those reflecting discs is not due solely to their material composition; that it is, unknown to us, the dark shadows of the ideas that the creature is conceiving, relative to the people and places that Alice knows—the turf of racecourses, the sand of cycling tracks over which, pedaling on past fields and woods, she would have drawn him after her, that little peri, more seductive to him than she of the Persian paradise—the shadows, too, of the home to which she will presently return, of the plans that she is forming or that others have formed for her; and above all that it is she, with her desires, her sympathies, her revulsions, her obscure and incessant will. Alice left the room.

SUMMARY:  Watching the detectives.

Witch Shadows

The midnight ride, the power of conversion into animal semblance and form, mystic rite and incantation, spells and cantrips, as well as the presence on earth of the Devil himself, who generally appeared in some alluring form—all had a firmly-established place in the superstitious and impressionable minds of the people who dwelt in the land of those darker days. As long as death could by law be awarded against those who were charged with a commerce with evil spirits, and by their means inflicting mischief on their species, it is a subject not unworthy of grave argument and true philanthropy, to endeavor to detect the fallacy of such pretences, and expose the incalculable evils and the dreadful tragedies that have grown out of accusations and prosecutions for such imaginary crimes. Magic is a disconcerting travelling companion. Treachery however was not destined to be ultimately triumphant.

SUMMARY:  Mysogyny and history

HAL 9000 the Sphinx

The distant shores when they arrive. Interior of the globular egg cluster. Fossil remains inspired dragon myths. The brain is unstable and could. Microorganism’s creation myth or creation story. Deposited singly or in small groups. Intercessory prayer when reading scripted prayer. To both speed up the development. Ask the righteous in heaven. Give birth to live young nourishing. Pray, the Lord’s Prayer is a model. Transformation took place during a year timespan. Could change from one thought to. They tended to blame the bunyip. Is generally narrow because it demands. Well, he totally forgot his fatherâs. Tendencies when they were of age. No choice, we are on this. Of over five thousand human souls. Enchanted singing causing their ships to. Shrines range from shacks to compounds. These two worlds would be easier. Whisper or the lonely wood there. Primeval story is not represented. Technology risks are hostile artificial intelligence.

SUMMARY:  I am not a good poet, and the robot is a chatterbot.

Review #9

The dream begins with the sounds of waves breaking, in the darkness hear frosty synthesizer woodwinds as they hover over the darkest desolation. There are significant differences between the way things are perceived to exist and the way things really exist, sculpting or painting. When working with music it is possible to listen to music the way we listen to the sounds that surround us in our daily lives, like rowing a boat into the darkness. Proterozoic means “former life.” From the quiet water come drips at first, and a hand drum sounds in the swirling synthesizer zephyrs, whistles developing slowly into a beat that could be like a heartbeat, a hand drum with synthesizer, whirling in space where things change and the beat sustains. But now we are in a new era of ears where we can invent or discover a melody that haunts the wonderful meadows just under huge lime cliffs, walk through the valleys and then climb the higher parts of the range and behold the soaring landscape.

SUMMARY:  This one just might seal the crypt of my music journalist enterprise.

Robby the Oracle

Divination can be seen as a systematic method with which to organize what appear to be disjointed, random facets of existence such that they provide insight into a problem at hand. You’re free to speculate as you wish about the philosophical and allegorical meaning. For the danger of uncontrolled advanced AI to be realized, the hypothetical AI would have to overpower or out-think all of humanity, which a minority of experts argue is a possibility far enough in the future to not be worth researching. Tomorrow is voting day, you know. And now that we’re men-well, where do we androids go to register? For the first time in a generation human beings did manual labor such as unloading produce trucks. They didn’t like it, of course. They kept telling the police to do something. If I had been in the city they would have undoubtedly wanted to lynch me. A human figure-or it might be superhuman, eyes mournful with the presentiment of pain.

This is somehow linked to HAL 9000 the Sphinx

SUMMARY:  I intended to tell a different story, the frame I created for it took off on its own power.

The Automatic Tempest of Jimmy Park

No constraint, not the least trace of command, a state of profound abstraction or absorption, artists developed new systems and techniques for exploring the irrational world of the subconscious mind. And he caught glimpses of the outlines of gigantic sea-serpents stretching far away into the darkness. This fish was almost a yard broad, and twice that length; his mouth wide enough to receive, or take into it, the head of a man, his stomach, seven or eight inches broad. They will have to be rehabilitated at animal rescue centers and then released into the wild. The moon. What is chaotic? “Ah, master,” cried one, “if our divine princess were here this would be a day indeed.” Tears came to my eyes, so that I was forced to turn away so that I might hide my emotions. So I suspected. It’s going to happen if you stay focused and not give up. Then she vanished altogether like a vision. Anarchy people also ask what is the best chaos?

Who is Jimmy Park?

SUMMARY:  I edited the messy output of the Dream Filter of Thomas Park.

Graphic Arts Collection Synergies

Why do certain images belong together as a collection?

Over the years I have been considering the dynamics of collections of images.

In 1980, with my partner LMT, we created a series of collections of images we called IMAGINATION DECKS.

This particular collection, depicted here, we called a Story Deck.  I had an idea for making up stories using elements that can be arranged variously. This idea was further developed by LMT to create prompts for improvising narrative adventures. The basic concept is that these images can be assembled or sequenced in various ways, and can inspire different people in different ways. We also included them in some of our performance art, our ensemble was called The Theatre of Transformations and we were active from 1979 through 1984.

We tried to market the picture decks as “games” and proceeded to develop “rules” for playing these games. That turned out to be less productive.

Today I am still interested in collections of small images that naturally assemble themselves. The core idea is a love of pictures and considering what might draw them together into groups. Each image is a unique unit of meaning. What belongs together and what is an incidental or accidental juxtaposition? How does that combination create or alter the image’s meanings? These are the questions that interest me.

Rendezvous with Husmus


An unofficial soundtrack to the sci-fi novel RENDEZVOUS WITH RAMA by Arthur C. Clark, a musical homage by Johan Agebjörn and Mikael Ögren with Between Interval, Le Prix, and Martina Björk. Kilian Eng created all of the visual artwork used as the album cover illustrations.

It is dark in deep space, the feeling is ethereal and layered and there is just no need for words. Each song has special synthesizer qualities and all of them flow into a beautiful mix, there is a story here. This music is for the hidden colors, bespangled bright and brilliant, celestial, glittering, with soaring echoes, pulsing and beating patterns. You are headed into the future, there is no turning back. Moving forward is the best description of the nature of the electronic music made by Johan Agebjörn, who has an amazing career. In his own words, “I live in Lund, Sweden. I study psychology. I’m a father. I make music from time to time. I have two main projects. At times they cross over into each other, but OK, let’s be simple:

“My ambient music. It could be described as “ambient electro” or “arctic ambient,” not too far away from the sounds of Krister Linder (Sweden) and early Biosphere (Norway). I’ve played live a few times and released my two albums Mossebo (2008) and The Mountain Lake (2011) on Lotuspike / Spotted Peccary.” (Followed by his 2017 collaboration with Mikael Ögren We Never Came to the White Sea.)

“My disco music, especially as part of the project Sally Shapiro. Sally Shapiro is mainly a ”neo-italo disco” project consisting of a female singer (whose real name remains a secret) with me as a composer and producer. We have released three albums Disco Romance (2007), My Guilty Pleasures (2009) and Somewhere Else (2013) as well as a few EPs and remix collections…”

Agebjörn has his own microlabel, Husmus.

Political statement: “I care about animals, global justice and the environment. I am a vegan and I try to purchase ecological and fair trade products as much as I can. I don’t like capitalism and I think the welfare state is worth defending.”

In 2017 Agebjörn and his friend/collaborator/neighbor Mikael Ögren released an ambient album on Spotted Peccary Music called We Never Came To The White Sea, a soundtrack to an unedited roadmovie through Russian Karelia, where Agebjörn’s grandfather was born, way back when it belonged to Finland.

A priest by profession, Mikael Ögren has been active as a musician mostly as a hobby. He is heavily influenced by electronic pioneers Kraftwerk and Jean Michel Jarre, as well as ’90s trance innovators such as Jam & Spoon. During the mid-2010s he began collaborating with his neighbor, Johan Agebjörn, when the two remixed “Aurora” by synthwave producer Tommy ’86 in 2015. Ögren’s remix of Agebjörn’s song “The Leftovers” (featuring Loney Dear) was released later in the year, and in 2016, Ögren and Agebjörn reworked Jam & Spoon’s 1992 remix of the genre-defining eponymous single by the Age of Love.

Agebjörn and Ögren have recently created their second collaborative release, Artefact, and it is also on the Spotted Peccary Music label. Employing vintage synthesizers (Gear: Access Virus Indigo II, Alesis Micron, Clavia Nord Lead 2, Kurzweil K2000, Novation Supernova, Propellerheads Reason 11 with Korg MonoPoly, Roland DJ-70, Roland JD-800, Roland JP-8000, Thoraiz AS-1, Waldorf Blofeld, Yamaha AN1x) which blend into the ethereal atmospherics and electronic sounds of a classic sci-fi soundtrack, enjoying styles ranging from ambient to trance. Artefact features collaborations with fellow electronic musicians Between Interval and Le Prix, as well as ethereal soprano vocals from Martina Björk. Kilian Eng created the otherworldly illustrations, and the exquisite graphic design is by Daniel Pipitone.

The Review

Free Jazz Forever!

Jeffrey Morgan, sometimes known as Slim Saxmon

Jeffrey Morgan and Associates

Art Tantrum YouTube Channel

Jeffrey Morgan at All About Jazz

All artist reviews

May 31, 2004


Take No Prisoners
Konnex KCD 5115

Should there ever be a New Thing Revival along the lines of the New Orleans Revival of the 1940s then saxophonist Bert Wilson could be prime candidate to be its Bunk Johnson.

Like the legendary trumpeter from New Iberia, La., Wilson has since 1980 lived far away from mainstream jazz centres in Olympia, Wash., and plays in a style as true to what was recorded on ESP-Disk as Johnson was to pre-Swing Era traditional jazz. At 64, the alto and tenor saxophonist is even a decade older than Johnson was when he was fitted with new dentures and rediscovered in 1940. As for historical connections, if Johnson played with Bolden in New Orleans before the First World War, Wilson fittingly jammed with John Coltrane’s expanded sextet in Los Angles in 1966.

That sojourn in L.A. unfortunately, limits these comparisons. Unlike Johnson, who never recorded and was out of music before he was found and displayed as the genuine jazz article to fight the bebop heresy, Wilson, who has used a wheelchair since a childhood bout with polio, has lived in New York as well as L.A. Wilson actually recorded on ESP-Disk, with percussionist James Zitro and saxist Sonny Simmons, has made other recordings and played at many jazz festivals.

Besides, Wilson, a self-aware, jocular type, doesn’t want to be displayed as anyone’s genuine jazzer. Being confined to a wheelchair was, in one sense, a blessing, he’s said, for it gave him all the time in the world to practice. Someone who can reach five to six octaves on the saxophone, he’d rather play than do anything else.

He certainly shows his stuff on this duo, which is doubly impressive since his pianist partner here is Spokane, Wash.-born Jeffrey Morgan. Peripatetic Morgan, who has lived in Cologne, Germany since 1991, is a saxman himself, whose most recent achievement is a fine duo disc, TERRA INCOGNITA, with British drummer Paul Lytton. However he played piano before the saxophone and TAKE NO PRISONERS is like those LPs that featured bassist Charles Mingus on piano — a rare opportunity to hear an accomplished stylist translate his skills to another medium.

Maybe there are still some parallels to Johnson’s unvarnished Classic Jazz, however. This 73¾-minute session isn’t for jazz dilettantes. It’s six shots of long form improvisation with each man pouring his all into and through his instrument. Even for the committed it may best be experienced in small doss rather than in one sitting.

Wilson, for example, spends many passages on the longest — nearly 15 minute — title track squealing away altissimo. Along the way he adds sideslipping obbligatos, flutter tonguing and spetrofluctuation. Still, for all his extended techniques, he never sounds as if he’s at a loss for ideas, nor, no matter how hard he blows, do the tones ever sound forced. Morgan too shines, playing perhaps with a more powerful touch than usual since his instrument is an old upright. Creating allegro fantasias, he pushes uneven note clusters against a small thematic grouping, or flashes octaves over the keys.

Meanwhile, boiling repetitive overtones, minute vibrations, yelps and cries characterize the reedist’s work, which at times reaches an Aylerian march tempo. Wilson’s more versatile than many would suspect, though. By the piece’s end, duck-like quacks give way to tones that would be balladic in a different context, and he ends with a sweeping legato slur that reference pre-modern tenor titans like Ben Webster.

The Aylerian cast is even more prominent on “Centari” with Wilson and Morgan dredging up memories of New Thing saxophonist Albert Ayler and his closest keyboard associate Call Cobbs. Here Morgan sound as if he’s turning out mutant boogie woogie, while Wilson’s initial foghorn shrills soon turn into dog whistle shrieks. True to his own tuning system, he has the tendency to propel unrelated melodies into the middle of his solos that somehow fit perfectly with the irregular vibrations. If he’s biting his reed while playing, it seems as if he will devour it in the middle of a solo.

Wilson’s most varied work comes on “Poltergeist Meditations”. Beginning with an extended nephritic roar, he then reaches higher and higher pitches, seemingly just to prove that he can do so. He can, as well, smoothly sound entire well-modulated legato passages and timbres that appear to arise from the bottom of his sax bow — so thick are they with undersea-like notes. Coda is made up of the reedist wheezing out staccato high notes then blowing air through the body tube and gooseneck without moving the keys.

Interestingly enough, while the two often appear to take off in different directions, they end up coming together at just the right note, courtesy of Wilson’s experience and the appropriate piano technique of Morgan. It ranges from punishing the lower-pitched keys with pedal pressure, rolling out speedy arpeggios and stroking the internal strings on the soundboard.

All in all, perhaps the disc is mis-titled. “Take No Prisoners” may be a bit too bellicose for what the two do. What they actually create, as the final tune says, is “Lightning, Thunder and Rain” merely using acoustic instruments and their combined talents.

— Ken Waxman

Track Listing: 1. Sky Dive 2. Take No Prisoners 3. Centari 4. Fast Break 5. Poltergeist Meditations 6. Celestial Spheres 7. Lightning, Thunder and Rain

Personnel: Bert Wilson (alto and tenor saxophones); Jeffrey Morgan (upright piano)

Empire of Darkness

The phases of sunrise and sunset constantly remind us of the sacredness of life, where the daytime’s steady precision of the path of the sun contrasts with the nighttime’s waxing and waning of the wandering moon. Life is both as simple and as beautiful as every sunset while also being as delicate and as sacred; perhaps it is impossible to watch a sunset and not dream. Perhaps the true goal of imaginative music is to give face to form, and provide identity and character to the process and proceedings of existence, for comfort as well as for stimulation.

Consider the music of Rudy Adrian. “For me, the big pleasure is making electronic music, with more or less the same tools as I had available in 1990 – an Apple Macintosh and a multi-channel synthesizer. It’s a pursuit of nostalgia, where I get to feel like I did thirty years ago…”

Rudy Adrian is an electronic musician with a history in the study of botany and forestry, who lives in Dunedin, New Zealand, on Otago Harbor. The name Dunedin is of Scottish Gaelic origin, derived from Dùn Èideann, the ancient capital of Scotland now known as Edinburgh in the contemporary tongue.

Surrounding Otago Harbor there are hills and an extinct volcano. The land was originally inhabited by the Maori people before the Europeans came and established a whaling station in the 1830s. The settlement grew into the surrounding valleys and hills to become the principal city in the region.

As Dusk Becomes Night is Rudy Adrian’s seventh album on the Spotted Peccary Music label, which includes the smaller sub-labels Lotuspike and Brain Laughter. Altogether he has created over a dozen albums including his work on Groove Unlimited Records, White Cloud, and Quantum Records. Working in styles ranging from beatless atmospheric music to heavily sequenced electronica, as well as producing sound tracks for television in his profession as a sound engineer for Taylormade Media, he has also been one of the hosts of a radio programme specialising in ambient music on the Dunedin campus radio station, Radio One.

Rudy has a complex career, blending his love for spending time outdoors, with his profession as a sound engineer. His musical accomplishments include being a successful planetarium soundtrack composer, which brings an unusual dimension to appreciating his studiocraft. I had the opportunity to ask Rudy to share some details about his work. He told me that one of the most important rules for atmospheric music is to have things slowly evolving. Also, “visualising your intended audience and trying to please them is important. Another thing is to make sure you have a gradual build up in a piece of music. Don’t do all your tricks in the first minute of the piece! A third thing to consider is ‘musical suspensions,’ where things aren’t settled, but wanting to go somewhere for musical resolution. It’s really important to look into having the bass notes at time not as the root of your chord, but slightly at odds with the chord’s root.”

The sounds on As Dusk Becomes Night evoke a purely nocturnal atmosphere, the listener is drifting in space, imagining the sensations of walking along a dark path and experiencing the bliss of deep listening, under a star-filled sky, perhaps in a contemplative forest of mystical moods, and all of this is expressed using textural electronics.

RUDY ADRIAN: It’s a celebration of, for instance, evenings while on holiday, or in lockdown, when you find yourself reading a really good book and stay up all night to read it. It’s also about strolling through open parkland at night, with trees silhouetting a star-speckled sky. And it’s also pulling over the car at night to stop and look at a vista below, be it a desolate moonlit beach or the twinkling lights of a city.

As Dusk Becomes Night was pretty much entirely created during New Zealand’s lockdown in late March 2020, so the album was put together very much in the confines of my own home. Luckily there are some nice views to enjoy from the deck at the rear of my house and watching the sunsets and stars slowly appearing, plus checking online to see if the International Space Station was to soar overhead were some of the inspirations.

The result seems like the sleepiest album from me yet, which makes sense as I wanted to make something soothing for my listeners during these tumultuous times. The album also suggests to me the idea of relaxing at home with a good book that is keeping one up beyond their bedtime.

As the photographs show, my house is not a huge one by North American standards, but that is how much of the rest of the world lives, in smaller and older houses, one bathroom per house, no double vanities, no double oven ovens, no over-size fridges. My house was built just after what my parents used to refer to as “the war” (World War Two) and the original plans show the location of an air-cooled meat safe. The framing timber was a single native rimu (Dacrydium cupressinum) tree felled from a farm south of here.

When I moved in there were just two bedrooms, the south wall of the kitchen had opaque windows and there was a lot of space used up with a rear passageway and huge laundry room. After thinking about the issue of wasted space for a number of years I recall leaping out of bed and realising that the laundry could be tucked into a cupboard in the kitchen, the wasted space could become a third bedroom, opening up to an outside deck, also accessible through the south wall of the kitchen.

It didn’t cost much to make these changes and I now have an almost reverential response to being out “on the deck” (as New Zealanders say) enjoying the sunsets, or waking up to an early morning view of fog in the valley below. It was such a stupid design originally, and it didn’t take much to improve on it – and that’s what I’d like others to consider for their circumstances. That is also some of the sentiment of As Dusk Becomes Night – the ability to find a simple and economical solution to enjoying life and scenery around us.

RJ: One of the things I love about conducting interviews with musicians is exploring their motivations, perspectives and passions. One of my favorite questions to put to creative souls is, “What is music?”

RA: I’m afraid I have a very negative view of our place in the universe and its preservation. Look up at the sky and you might go: “Look there goes a supernova!”. That explosion is destroying a whole solar system and possibly having a detrimental effect on nearby ones. Are living beings killed in that process? Possibly, but will we ever know, ever care? We don’t care about those living in abject misery in the camps of Palestine, Yemen, Ethiopia, Syria, Greece, let alone those intelligent creatures farmed for their flesh in feedlots and factories across the world. Similarly many of us don’t care about stamping out a wasp nest or wondering about the destruction and homeless jungle creatures that went into the hardwood decking outside their house (at least MY deck is made out of “sustainably grown” pine!).

In my lifetime the world’s population has doubled, at huge environmental cost. The best solution for the environment is the sterilisation of humanity, but I don’t see that being touted as a solution by many.

But it is nice to realise that temples in Central America as well as Cambodia, were TOTALLY encrusted with jungle within several hundred years of abandonment. And these temples were not surrounded by jungle but by rich farmland when they were built, so if we were to abandon our cities, within a few thousand years they’d surely be just mounds of densely vegetated rubble?

RJ: Where do you dream of going? (vacation, tour, exploration, by time machine, etc.)

RA: As for holidays, I was lucky to have a week off from working for the local newspaper and visiting places I explored as a boy with my father – places such as Apple Tree Bay and Mutton Cove.

I do dream of exploring more thoroughly an area called Kahurangi National Park, it’s full of low mountains and lots of lakes, and (at the moment) hardly any tourists. I was going to do so this year, but felt I wasn’t fit enough – maybe next summer before the borders open!

New Zealand’s had a total of 26 deaths from Covid-19! – in part by having an early, intensive lockdown and in part by having oceans as borders. Here, everyone is out enjoying mass gathering with no deaths (and considerably less influenza and colds this year!). OK, people running tourist ventures are suffering, but many of us are enjoying the absence for once of all those overseas tourists clogging our beaches and walking tracks and (I regret to say it) killing us by driving on the wrong side of the road…?

RJ: What would you like to try that you have not tried yet?

RA: The one thing I’d love to try is the right to self-euthanasia. It’s not legal in this country, so both my parents died drawn-out deaths from cancer – a disease which seems to run in my family. My aunt was lucky enough to be living in the Netherlands, where she could receive the lethal injection while surrounded by her family. When I die, the only solution seems to be to purchase (illegally) a lethal dose of morphine and die alone on my much-loved deck, hoping that someone might find my body before the bird have pecked the eyes out. Surely as a grown adult, I’m entitled to die when I chose, before being wracked with pain and disability?

RJ: What are the most beautiful places you have performed or experienced music?

RA: When I performed music, some twenty years ago, I’d try to have a relatively dark environment with slide (and later video) images on a screen. What I was doing on my keyboard was pretty unimportant. I noticed a number of people simply shut their eyes and just listened, so perhaps that’s the best way to enjoy atmospheric music – in your mind, irrespective of the surroundings.

RJ: Do you have any stories to share about the Moa Caves, about the legends of the extinct birds, and any stories about the process of recording the cave sounds? The dripping sound of the water is magically melodic. The notion of the possibility of sensing the ghosts of these exotic birds is intriguing.

RA: Moa were large flightless birds, killed off in an extraordinary short time by early Maori settlers. It’s astonishing how in about 100 years the Maori covered every remote valley in New Zealand and ate every last one. In earlier times, Moa occasionally fell down sink holes into caves and their bones can still be found there today. I think that’s where the inspiration for the track “Moa Caves” came from. The drips are actual cave drips from a sound effects library for a television production house for which I contributed sounds. I am rather pleased with the bottle-blow sound, which is actually a sample on the recent Yamaha Montage synthesizer I purchased second hand. I’ve manipulated the sample with adjusted LFOs, and filters to make each note unique.

RJ: For my little research adventure today, I learned that the word “moa” is from the Maori language, the moa were the largest terrestrial animals and dominant herbivores in New Zealand’s forest, shrubland, and subalpine ecosystems. The bones that are left indicate that some moa appeared as ostriches that were something like twelve feet tall. No records survive of what sounds the moa made, so that gives the imagination plenty to work with.

Would you like to share any thoughts about As Dusk Becomes Night featuring the debut appearance of your new synthesizer – the Yamaha Montage 6?

RA: I wouldn’t say the album “features” this much newer synthesiser, but it’s definitely there on all the tracks, doing what my Kurzweil K2000 did before, namely providing quiet pads and strings and the occasional imitative sample. For instance, the slow marimba pulse on “Moa Caves” is actually a sample from the Yamaha Montage 6. I could have programmed a similar sound using FM synthesis on the Yamaha SY77, but I liked the slightly odd harmonic quality of the sample, so went with that instead.

There’s always some “real” sounds, such as piano, percussion, acoustic guitar and flute that can work well with electronically-made music. On this album, both flute and bottle-blow sounds were used. I recall the use of a haunting bottle blow sound in the soundtrack of the film “La Ardilla Roja” (“The Red Squirrel”) almost thirty years ago, and I’m glad to have finally put the idea to use!

Once I find an interesting way of producing a musical effect, I kinda stick to it. I recall Brian Eno once saying in an interview that he considered himself a bit of an expert in creating insect noises. The clicky noises aren’t necessarily insects, but could be sensed by the listener as a fishing reel or a drawn-out vibra slap. I’d rather that the listener didn’t try and interpret everything they hear as a representation of actuality (eg: thinking that a deep drone is simulating a passing aeroplane, or a soft pitch-bent note being an animal cry) I’d rather they just hear it as part of the music as a whole.

RJ: The imagination is a tricky thing, it is tempting to ask you to explain your secrets for making certain sounds, but it is much more respectful of your craft and even more interesting to leave all that to the listener’s imagination. There are limits that allow for introducing speculative possibilities that are much more powerful than simply saying “here is how I did it.”

RA: I think most people creating things like some limitations – for instance doing illustrations just with pencil. A major restriction I like to impose on myself is using a very old MIDI sequencer. This can record the notes as I play them on the keyboard and then I can overdub and manipulate the data (eg: transpose, change velocity, alter timbre) as I like. Once I’ve built up a nicely layered piece (the SY77 can play 16 different types of sounds at once) I can then record the final result. The software only works on an Apple MacIntosh Plus – so that’s from 1988, with one megabyte of RAM, using 800k floppy discs.

RJ: I see that you have dedicated one of the songs to the memory of Jeff.

RA: “Moonlit Beach – for Jeff” was, in part, thinking of Jeff Kowal, who created music under the name Terra Ambient and passed away a few years ago now. I exchanged some e-mails with Jeff when I he designed the album covers of “MoonWater” and “Desert Realms.” “Moonlit Beach – for Jeff” in part inspired his composite picture of the beach he created for the front and back covers of “MoonWater.”

(RJ: Pittsburgh based artist Jeff Kowal was a trained visual artist and graphic designer, his musical approach had a visceral, painterly quality to it, leaving a deeply unique collection of crossover of electronic, ethnic, acoustic and experimental sounds. “I am still fascinated by the idea of exploring unfamiliar terrain both metaphorically and personally,” confided Kowal concerning his creative vision, on his website for what turned out to be his last album, Wanderlust. “Thematically, I love the idea of stepping through an ancient, covered doorway, or finding an unmarked path in the woods, and discovering some place forgotten by time.” Sadly, Jeff Kowal passed away in 2016 following a battle with cancer.)

RJ: How do you find the music you create?

RA: I spend a fair amount of free time improvising behind the keyboard thinking about sound combinations, and keys and sow gentle melodies which might work in an upcoming piece. It’s actually pretty rare I’ll turn on the computer and try to commit these ideas to a structured piece. And when I do, it often doesn’t come out the way I’d hoped. I use the computer to lay out my music tracks, I like the fact I can adjust individual note values – a bit longer, a bit shorter, a bit brighter, a bit duller, maybe playing a slightly different sound, maybe up an octave. All those tiny adjustments may sound tedious, but can be very satisfying. Because I’m multi-tracking, I often play a musical idea for say 3 or 4 minutes, then I add little overdubs overtop. I do tend to find it gets rather cluttered after a while and I end up muting some tracks to figure out where to go from here. So often I find muting the original track seems to give the best results, so obviously, it’s a mysterious process! What I love about atmospheric music is that there’s a lot of rules you don’t have to follow, because you’re hopefully making a slightly mysterious, evolving soundscape.

RJ: What is new this time around?

RA: Acquiring the Yamaha Montage to augment my Yamaha SY77 from 1990 has been a bit like getting a car with reversing sensors and power steering when all you had previously was a jalopy. However, there’s so many options and arcane devices on the new keyboard, it feels like a step back, when I’ve become very familiar with the workings of the thirty-year-old SY77. The architecture has been designed by different teams, so a function that works with the “enter” button in one menu, requires the “edit” button in another. There are 6347 different sound samples on it, but most are just yet another poorly-engineered variation of the previous and quite useless, with many sustained sounds having noticeable loops that you can hear going “zing-zing-zing” if you hold the keys down. There’s a keypad for typing in values – great, though with some values ranging from 1 – 7, that’s hardly necessary., but you can’t type in the number of one of the 6347 samples you want to try out, nope, you have to scroll to it – scroll 6347samples!

I do like its processing power with totally different reverbs available for each of the 16 sound channels, but mostly they’re all set to the same – a multi-tape delay with feedback to thicken out sustained sounds and a fairly long reverb on everything else.

While the Yamaha SY77 is actually a very frustrating and awkward synthesizer to use, I’m so familiar with it that it seems like an old friend. Similarly, hearing the start-up beep and seeing the small grey screen of an Apple Macintosh – which allows me to overdub an almost limitless number of MIDI tracks of music – transport me right back to the late 1980s again.

RJ: How big is your studio? Do you collect lots of equipment?

RA: I’d rather just use one synthesizer and get really familiar with its quirks, its strengths and its weaknesses. For instance, my trusty Yamaha SY77 synthesizer, which has dominated all my musical output over the last thirty-plus years, can play sixteen different types of sounds at the same time – it’s a bit like having a sixteen-track tape recorder at hand, and it was the very first synthesizer to properly feature that kind of power. It simply needs to be powerful enough and equipped with enough MIDI channels to allow me to create nicely layered and complete compositions using the Apple Macintosh.

RJ: MIDI is something that we hear less about lately, Musical Instrument Digital Interface.

MIDI’s great – it has such low demands on data, because it’s just the computer issuing commands such as: “Play the note Middle C, at such and such a time, hitting it this hard and holding it for this long.” So it’s not unusual to have a track that’s only twenty or thirty kilobytes big saved on a floppy disc. All I need is a synthesizer that can play different sounds at the same time and I’m happy.

RJ: Thank you Rudy for your time participating in this interview, and most of all for your amazing music.

As Dusk Becomes Night is an homage to experiencing the night, suggesting the concept of transformation associated with closure or relaxation, born out of the unusual events which the whole world went through in 2020. “I was trying to make an album which would seem to my listeners to be a logical continuation of what I’ve done before, as a ‘thank you’ to those who’ve liked the music I’ve created thus far.” Rudy wanted to make something peaceful and calm for people to listen to, something to soothe the anxiety and stresses of life in these historic, unusual and uncertain times. The timeless spirit of the hours of darkness will bring you back again and again to an electronic dream of future and ancient nocturnal beauty.

All photographs were created by Rudy Adrian, except for the album covers MoonWater, by Jeff Kowal, and for As Dusk Becomes Night: (Early morning sky over Punta Gorda by Diana Robinson)


Rudy Adrian

Rudy Adrian

As Dusk Becomes Night

Dunedin, New Zealand

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As Dusk Becomes Night


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