If you’re a Beatles aficionado like myself then you have definitely checked out Love. It’s this crazy CD where various Beatles songs are stripped down, mashed up, and blended together in crazy ways. A lot of the songs are totally trippy if you’re familiar with the majority of their catalog, and this one always gets me good when I listen.

Drive My Car The Word What You’re Doing

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

For those following along at home, it starts as “Drive My Car” (Rubber Soul, 1965) then goes to the into the main verse of “What You’re Doing” (Beatles For Sale, 1964). And then at the end it’s a free-for-all of with those two tracks mixed with the organ riff and chorus tag from “The Word” (Rubber Soul). It just blows my mind. The tempos weren’t altered. The pitch wasn’t raised or lowered. These three songs just fit together absolutely perfectly. I’m not sure if it’s a testament to the amazing song-writing abilities of Lennon/McCartney or aural proof that they had a specific formula for a percentage of their tracks. Either way it’s a fun listen.

ek

At some point while living in Ohio I went record store hopping with a friend of mine. We stopped at this rather large record store that reminded me a bit of Missing Link in Indianapolis (a store I miss sorely) and I rummaged through their old R&B/Rock section. I found a couple classic records, one of which being The Beatles at the Hollywood Bowl. Tracking down copies of this isn’t all that difficult, but they were only selling it for $3, and I think people on Amazon are trying to sell it in upwards of $100. I think I win that game.

I find that I gauge the value of bands more on their live performance than on their studio albums. And what has made me love The Beatles the way I do is how absolutely fantastic they were live, even with thousands of girls screeching at them the whole time. I can’t even imagine how hard it was for them to hear each other on stage.

The Beatles at the Hollywood Bowl is a compilation of two live shows at the Hollywood Bowl (surprised?) on August 23rd, 1964, and August 30th, 1965.¹ It was their only official live record, which was an oddity for bands back in the 1960s. Bands of the time typically released quite a few live albums, but the screaming girls made live recordings a bit difficult to engineer.

Frankly, I was not in favor of taping their performance. I knew the quality of recording could not equal what we could do in the studio, but we thought we would try anyhow. Technically, the results were disappointing; the conditions for the engineers were arduous in the extreme. The chaos, I might say panic, that reigned at these concerts was unbelievable unless you were there. Only three track recording was possible; The Beatles had no “fold back” speakers,² so they could not hear what they were singing, and the eternal shriek from 17,000 healthy, young lungs made even a jet plane inaudible.
– George Martin, 1977

Martin went on to say, though, that the recordings Capitol Records made of these two Hollywood Bowl shows were something special. They captured the energy of the crowd and how The Beatles responded and fed off of it. The banter of the boys between songs is pretty entertaining, especially how they egg the crowd on. One track that really stood out to me was “Things We Said Today,” written and sung by George Harrison (who was always my favorite, to be honest). You can tell it was a new song, because he forgets how long the introduction is, comes in late, stumbles on words, and seems generally tentative when singing. When Paul pipes in for the bridge the girls go absolutely nuts, as to be expected. I probably would have too; the bridge of “Things We Said Today” is quite possibly my favorite bridge of any song. Ever.

Here is the recorded version from The Beatles at the Hollywood Bowl:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

And for comparison, here is the studio version from A Hard Day’s Night:

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

I may have to share more Beatles love in the near future. I can’t be the only one that feels it.³

<3 ek

---

¹ As an aside, it’s interesting to note that Doctor Who was in its second broadcast season at this point, and it would be another 2/1 years before Star Trek would premiere (though it was already in production). Back to your regularly scheduled music post.
² I’m guessing that a “fold back” speaker is what we would call monitors now. Speakers on stage pointed towards the performers so that they can hear themselves and the other members of the band playing. Back to Mr. Martin.
³ And the footnote love. Who doesn’t love footnotes?

Life has been a big pile of crazy lately. So I’m here only to share a fantastic song with you. Enjoi!

[youtube=http://www.youtube.com/watch?v=ogJQgo0QpSs]

With all of Amy Singer‘s talk about ukuleles on Twitter/etc I feel compelled to share this little clip from Scrubs 507, “My Way Home,” the 100th episode of the series directed by Zach Braff.

[youtube=http://www.youtube.com/watch?v=GHWxtURGECo]

I suppose I’m on an I LOVE SCRUBS kick right now. I admit that I’m getting a bit nostalgic as the series comes to a close. I’ve been really happy with season 8, particularly THE RETURN OF THE TOTALLY GORGEOUS SCOTT FOLEY. omg. His eyes are just … *ahem* anyway. I also really love The Blanks and Sam Lloyd’s voice. And their covers of pop tunes. Oh yes, there is an article on the music of Scrubs already in the works. I’ll be finishing it up this summer hopefully. I love genre blurring. It makes me all warm and fuzzy inside.

Okay, so. As I alluded to in a previous post, I’m writing up a paper this semester on musical topics in Star Trek. I’d like to compare musical treatment of topics and tropes in episodes that are dramatically focused on irony or ironic situations. I’m writing here to see what recommendations I get about episodes to look into, and to share my background thoughts on my research.

Before digging into Star Trek it’s important to define what I mean by irony. Here are a few dictionary definitions:
Socratic Irony: a pose of ignorance assumed in order to entice others into making statements that can then be challenged.
Verbal Irony: the expression of one’s meaning by using language that normally signifies the opposite, typically for humorous or emphatic effect.
Dramatic/Tragic Irony: a literary technique, originally used in Greek tragedy, by which the full significance of a character’s words or actions are clear to the audience or reader although unknown to the character.
Situational/Cosmic Irony: the disparity of intention and result: when the result of an action is contrary to the desired or expected effect. Likewise, cosmic irony is disparity between human desires and the harsh realities of the outside world (or the whims of the gods). By some older definitions, situational irony and cosmic irony are not irony at all.
Historical Irony: a subset of cosmic irony, in which the element of time plays a role; irony through retrospection.

Alright, with that out of the way … I’m thinking about looking into these episodes:
- “The Corbomite Maneuver” – Balok being this mysterious, powerful being … but in the end turning out to be a somewhat mischievous, child-like creature. Both sides are using Socratic irony, while the music is hyperbolic in its melodramatic affirmation of a later discovered untruth.
- “Amok Time” – Spock and Vulcan culture are explored in a ritual that seems quite barbaric for a logic-oriented, emotionless race. The ritual of pon farr is one of situational irony, where a part of the Vulcan culture appears to be in direct contradiction to the edict of the race: logic. In the vein of cosmic irony, pon farr and the koon-ut-kal-if-fee show disparity between the Vulcan ideals of logic and suppression of emotion and the barbarism associated with the biological changes and rituals Vulcans go through during pon farr.
- “Mirror, Mirror” – This episode has a clear instance of music acting in a way similar to verbal irony, where it communicates information to the audience that is unclear to the characters. I’ll address this in more detail below.

Before moving on, here are a few more important definitions to know:
Musical topic: short melodic figures, harmonic or rhythmic formulae carrying literal or lexical meaning; meaning can come from literature, social history, and the fine arts.
Musical trope: the combining of two or more topics to create a new meaning, or comment on the meaning of the topics being combined.

To illustrate, think of Marlena’s theme from “Mirror, Mirror.” This is considered a musical trope, a combination of two musical topics: the barbaric/evil/enemy “threat” theme, and the singing/romantic/string “love” theme. The troping of these musical ideas tells us something that Kirk may or may not know about her: she is evil and a threat (if only because of her existence in the Mirror Universe), yet has the capability of being a heroine (which we find is true towards the end of the episode). This musical trope is then considered “ironic,” as we the audience are given a cue that she is a heroine while Kirk does not, nor does he anticipate that she could be.

Musical topics and troping can go across episodes as well. Consider the famous music played during the fight scene in “Amok Time.” It does transform during the course of the episode, starting off as a low, lyrical song while Spock relates his people’s customs, and is transformed into a booming march-like battle song during the episode’s climax. But the theme comes back in later episodes in different contexts, particularly as underscoring for enemies and in other battle situations. The meaning has changed again; rather than being about Spock/Vulcans, it is about anything barbaric or threatening. The element of time does not necessarily make the changes in musical use “cosmic irony,” though it can be argued that the element of time becomes important in the reception of musical topics over the course of the show. Through retrospection, however, the audience member can recall the music from “Amok Time” and wonder if it carried meanings not apparent at the time. (Though, to be honest, the reuse of music was simply an issue of using available resources and saving money. But at the same time, there must have been musical qualities of the theme that carried connotations appropriate for the later reuse, and this in itself brings a new and different meaning to the theme in retrospect.)

This is definitely a complicated subject, but I think you can see (if you read through all of that) that irony is a big part of Star Trek. In fact, irony is a large part of science fiction as a genre. And I admit, I am a bit obsessed with genre studies. So if you read through this and have any other ideas for episodes, or musical uses, or both, that deal with any form of irony let me know. And to be clear, I am focusing specifically on the original series, which ran from 1966–69. Any and all comments and suggestions are welcome!