nothing of him that doth fade but doth suffer a sea-change into something rich and strange

Early advocate for political reform through nonviolence, atheist, free love proponent, vegetarian and Romantic poet, the anniversary of the death of Percy Bysshe Shelley (*1792 - †1822, previously) during a boating accident caused by a sudden storm in the Gulf of La Spezia, setting sail from Livorno for Lerici, having concluded a meeting with Leigh Hunt and Lord Byron about starting a new journal falls on this day. As the bodies of Shelley and the crew were not recovered for ten days, their remains were cremated on the beach. Not widely read outside of his close circle of friends, Shelley gained a posthumous fame and legacy. His gravestone in Rome bears the above epithet from the interlude “Ariel’s Song” in The Tempest.

sleeping very soundly on a saturday morning i was dreaming i was al capone

Billed as Smile, the previous band of drummer Roger Taylor and guitarist Brian May under which the booking had originally been made, those two were joined by bass-player Mike Grose and Freddie Bulsara on lead vocals to perform publicly together for a charity fund-raising event at the City Hall of Truro in Cornwall on this day in 1970. Welcoming the singer, the group was convinced to change its name to Queen by a persuasive Mercury who also took that moment to redefine himself, inspired by the lyric, “Mother Mercury—look what they’ve done to me” for the draft that would become song “My Fairy King,” which would feature on their first eponymous record album. The ballad itself inspired by Robert Browning’s poem The Pied Piper, it quotes directly “and horses were born with eagles’ wings” and immediately preceding the lament, “Someone, someone has drained the colour from my wings / Broken my fairy circle ring / And shamed the king in all his pride / Changed the winds and wronged the tides.” The titular opening lines are from an early version of “Stone Cold Crazy” was among original material performed at the first gig, with a small show, under their new name, following in London on 18 July.

for the nonce: nubivagant

This rare, obsolete adjective, used first in 1656 from the Latin for clouds, nubes, plus the vagant, vagus for wandering describes something emerging from the clouds or moving through the sky. Though not among the shameful paucity of subsequent citations of the word—only three lexical occurrences since the mid-seventeenth century, it does evoke William Wordsworth’s 1804 sentiment for all of us with our heads in the clouds and not fully grounded: 

I wandered lonely as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

procol harum

Reaching number one on the UK charts on this day in 1967 a little under a month after its release, this achievement of A Whiter Shade of Pale, remaining at the top for weeks, is considered the beginning of the Summer of Love in Britain, the Chaucerian prosody and Baroque accompaniment (Johann Sebastian Bach’s “Air on the G string”) speaking to an up-and-coming but disaffected generation. Subsequently this anthem has become the single most publicly played song in UK history with the single featured in the soundtracks The Big Chill, Breaking the Waves and Ken Burns and Lynn Novick’s documentary The Vietnam War. Over nine hundred cover versions have been performed by other artists over the years.  Though according to one anecdote the band is called after the rather sophisticatedly-named Burmese cat named Procul Harun—Arabic for warrior lion, there is no authoritative source and other suggesting it being bad Latin for “beyond these things,” whereas properly it would be procul hīs.

digital minoritization

In a valiant effort to save their native language from obsolescence by the dominance of English not just as a global lingua franca but also as the default of technology and media within and without their horizons, a middle-school class in Reykjavík paradoxically represents both the cause of Icelandic’s endangerment but also its potential salvation. As savvy and confident as the students are in global English (there are far more so called non-native speakers than those that live in the UK and former colonies that Indians and Icelanders have as much claim as Australians and Americans) they couldn’t conceive of an Iceland without Icelandic and are training, at the urging of their teacher, to recite, to incant, the Prose Edda, the epic of Snorri Sturluson to their laptops and tablets, in order that one day—eventually—the computer answers back, in Icelandic, and save the language from stafrænn dauði, digital death.

9x9

segmentation and targeting: A/B testing “The Love Song of J. Alfred Prufrock”—see also 

light house customer: we appreciated the chance to revisit a new and improved version Lights at Sea—via Nag on the Lake—both times  

nice.walk.ruined: award-winning global addressing scheme what3words (previously) subject to some juvenile humour with locations mapped in smutty language, both real and bespoke  

isotopia: a high-brow 1950 ballet and pantomime presented to the steering committee of the Atomic Energy Association to extol nuclear power from Weird Universe  

apartment d3: seven printed homes around the world  

l’art de payer ses dettes et de satisfaire ses créanciers san débourser un sou: credit culture in nineteenth century France 

alpha version: drag and drop personal, old school websites from mmm—via Kicks Condor 

sovietwave radio: broadcasting a selection of the sub-genre’s best space age and syntho-pop—via Dark Roasted Blend 

the writers’ block: a suite in Chelsea Carlyle mansion home to Henry James, T. S. Eliot and Ian Fleming on the market

maggie comes fleet-foot, face full of black soot

An inspired amalgam of the Beat scene of Allen Ginsberg and Lawrence Monsanto Ferlinghetti and particularly Jack Kerouac’s 1958 novel The Subterraneans describing the subculture and 1940s scat standards—indebted especially to the repertoire of Chuck Berry, Bob Dylan’s single from his fifth studio album Bringing It All Back Home peaked in the US charts on this day in 1965 at place thirty-nine, granting him barest of purchase on America’s radio top-forty, but it was just enough to establish Dylan’s credentials and kept his momentum going forward. Quoted and alluded to countless times and directly informing counter-culture and radical organisations like the Weathermen as well as accruing a multitude of homages, the promotional lyric film clip is considered to be the forerunners of the music video.  Maggie says that many say...

7x7

and the oscar goes to: highlights and surprises from the 2021 Academy Awards  

zauberwald: Robert Mertl’s forest photographer captures the aesthetic I aim for during my woodland walks  

canzone russa italianizzata: the Russian Italo-Pop musical stylings of Alla Pugacheva  

cards against humanity: the brilliantly sullen poetry of John Giorno  

yahoo the destroyer: maligning the cannibalised early internet for contributing to the Digital Dark Ages via Waxy—plus a different approach to archiving going forward  

the trouble with tribbles: marketing Flatcat as one’s next robotic feline companion  

art of the title: film lettering over the decades

7x7

being vaccinated does NOT mean you can gyre and gimble in the wabe: COVID-19 safety protocols in the Jabberwocky 

i’ve hidden the plans in an r2 unit: watch Carrie Fisher’s screen-test for the role of Princess Leia—see also 

murder offsets: a fine is a price, paying for the right to do wrong, like papal indulgences 

page left blank intentionally: the missing portion of the CIA report on astral projection (previously)—via Things Magazine  

man tanna: the kastom tribe of Vanuatu mourn the passing of Prince Phillip  

nature’s palette: an anniversary re-print of Patrick Syme’s expansion on Werner’s Nomenclature of Colour—previously  

see my poncey boots—teach myself to cook: Mick Jagger and Dave Grohl sing about lockdown and conspiracy theorists

6x6

berggeschrei: Saxon princes collected, modelled miniature mountains and enjoyed miner cos-play 

#oddlysatisfying: the hypnotic and self-soothing qualities of visual ASMR  

it’s not a cult thing: an interview with the real estate agent selling this ‘sexy funeral Goth house’ in Baltimore—via Super Punch  

erard square action: a tool that measures a piano key’s up- and down-weight  

slamilton: a basketball musical of Space Jam meshed with Hamilton—see previously—that works better than it should, via Waxy  

den hügel hinauf: Amanda Gorman’s inspirational US presidential inaugural poem (see also) will be published in German

7x7

disaster capitalism: paintings of banks alight and other artworks by Alex Schaefer (previously) via Everlasting Blört  

convergent evolution: sea life becomes the plastic that is polluting it 

do geese see god: a documentary about the world palindrome championship  

full-stop: punctuation can really set a tone—see also  

№ 2 pencil: a fantastic Eberhard-Faber catalogue from 1915 

r.u.r.: online sci-fi dictionary (see previously) sources the term robot to 1920

living with the consequences: government austerity raises COVID deaths

6x6

street legal: these stunning automobile illustration are from a 1930 Soviet children’s book by Vladimir Tabi—via Present /&/ Correct 

conferment ceremony: Finnish PhD students receive a Doctoral Sword and Hat on graduation 

a coney island of the mind: Beat Poet and activist Lawrence Ferlinghetti passes away, aged 101 

train à grande vitesse: Roman roads of Gaul presented in the style TGV routes across France, Belgium and Switzerland—see previously  

epilogue: French electronic music duo Daft Punk disband after twenty-eight years  

usps: design proposals for the next generation US mail truck

earthrise

Via Kottke we are treated to a rousing recitation and call to action that poet Amanda Gorman composed in 2018 for the Climate Reality Project inspired by the awesome, humbling image of the Earth dawning over the lunar surface by the crew of Apollo 8. Riffing on the climate emergency, one stanza of Gorman’s words: 

Where despite disparities
We all care to protect this world,
The riddled blue marble, this little true marvel
To muster the verve and the nerve
To see how we can serve
Our planet. You don’t need to be a politician
To make it your mission to conserve, to protect,
To preserve that one and only home
That is ours
To use your unique power
To give next generations the planet they deserve. 

More to explore at the links above. So, Earth, Pale Blue Dot. We will fail you not.

thaumatrope

From our infinitely engrossing antiquarian, JF Ptak Science Bookstore, not only do we learn the image for demonstrating the formation and oscillation of drops is the above titled optical toy or tool “wonder turner” that gives the illusion of motion and progression (see also here and here), moreover there is accidental poetry is addressing the airy gravity of the nature of bubbles and membranes. An excerpt from an early Nature article speaks to this: “He has studied the behaviour of big bubbles and of little ones, of bubbles in large and small tubes, of bubbles of air in a liquid, and of one liquid in another, of bubbles in heavy land in light liquids, of bubbles in liquids of various degrees of viscosity and with various degrees of surface tension at the surfaces.” Much more to explore at the link up top.

twitterpation

Predawn birdsong for some reason seems to peal with far more volume in the city than at home in the forest, and was noticing this fact on this dark December morn, also recalling how I’d read somewhere that more animals were becoming nocturnal to avoid human, so perhaps in the woods, our feathered friends aren’t compelled to be such early-risers, nor have they taken to our bird-feeders. So this latter sentiment from Victorian poet Oliver Herford (*1860 – †1935, born on the day that the referring article was published) coupled with the fact that ornithologists do not really know why birds sing during the winter with mating season so far off—both courtesy of Better Living through Beowulf—resonated with us as a reminder that the cold, dim days don’t last forever: 

I heard a bird sing
In the dark of December
A magical thing
And sweet to remember. 

“We are nearer to Spring
Than we were in September,”
I heard a bird sing
In the dark of December.

bonnet, or tout, or mump and gag

Via Everlasting Blört, we directed to another old friend’s find in this menacingly brilliant rhythmic rendition of the Villon Song by Stick in the Wheel, a recitation of the late Victorian poet and literary critic William Ernest Henley’s—best-known for his 1875 “Invictus” and being the peg-legged inspiration for the character Long John Silver of Treasure Island—translation, interpretation of fifteenth century Françoise Villon “Tout aux taverns et aux filles”—Villon’s Straight Tip to All Cross Coves. Henley is here represented by a bronze bust of him executed by sculptor August Rodin in 1868.

зáумь

Invented in 1913 by radical futurist Aleksei Yeliseyevick Kruchyonykh (*1886 – †1968) with literati contemporaries including David Burliuk and Vladimir Mayakovsky (see previously), the non-referential linguistic experiment zaum was to be a demonstration that language is indefinite and indeterminate, spontaneous and non-codified—something that the listener or interlocutor would give form to and thus revealing something about the universal undercurrents of communication. Though transrational in nature, the Russian prefix and noun are meant to convey “beyondsense” and adherents are referred to as zaumiks. Listen to examples recited at Weird Universe at the link above, including Kruchyonykh’s poem here pictured—Дыр бул щыл, transliterated as Dyr bul shchyl, which the author claimed was more patriotic and nationally insightful than the entire canon of Alexander Pushkin.

twinkle, twinkle

We are treated to an albeit abridged but nonetheless thoroughgoing history of the asterisk from Keith Houston’s Shady Characters, beginning with a frustrated librarian of Alexandria called Zenodotus who was determined to make a version of the epics of Homer as close to their original form as possible before centuries of editing, commentary and poetic license had turned the text into the unruly document that Zenodotus and colleagues were now heir to. In order to pare down the Iliad and the Odyssey, Zenodotus devised tracked-changes and version control, first introducing a range of proofreading or editor’s marks, to begin with a dash (—) in the margins to indicate a line to be excised, later named the obelos—that is, a roasting-spit. 

Having left us the literary legacy of dividing the poems into books, glosses of unusual words, a form of labelling and alphabetical indexing so scrolls did not need enrolling to know the contents, many duplicate verses obelised and a calculation of the time that passes in the course of the war and homecoming, a century later, grammarian Aristarchus of Samothrace took up the mantle of Homeric scholarship and stewardship and expanded the vocabulary of the critical symbols, with his asteriskos—little star and not to be confused with the asterism, to signal duplicate lines or something appearing elsewhere. With the conditional, footnoted sense developing over the millennia, the subtext was that for a a line with an * attached, there was more to the story. Other marks in the system which also indicated punctuation, breath and pronunciation, the sigma and antisigma (Ϲ, Ͻ) for what’s interchangeable, a dotted diple (>·) or an asteriskos/obelos combination to indicate an editorial disagreement and spurious authenticity. Our comic Gallic heroes are of course named in reference to these annotations. Much more to explore at the link up top.

ultima thule

Via Strange Company, we learn that on this in 1848, Edgar Allen Poe sat for a daguerreotype portrait with the vernacular caption above in a studio in Providence in the state of Rhode Island. From the Latin designation for the extreme limits of exploration and travel, the term comes from Poe’s poem Dream-Land: 

I have reached these lands but newly 

From an ultimate dim Thule— 

From a wild, weird clime that lieth, sublime 

Out of Space—out of Time 

This title was coined by spiritualist and romantic interest of Poe, Sarah Helen Whitman, whom had met three years prior through shared interests.

woad and madder

Courtesy of The Morning News and having only dared to ventured out to where the freshly-turned fields begin to remark on these colour-coordinated trees and their turning leaves, we quite appreciated this reflection on russet—the colour of peasants, foxes pelts and penance. 

In addition to the earthy and autumnal hues, in this thorough-going essay that explores the emergent colour—where the reds of blood, fire and ochre of the Caves of Lascaux and here in the dark ruddy-orange tinge of it—through fashion, poetry and sentiment—Biron from Love’s Labour’s Lost yearning for expression “in russet yeas and honest kersey [course woollen cloth] noes” and even Oliver Cromwell preferring a “plain, russet-coated captain that knows what he fights for, and loves what he knows over that which you call a gentleman and is nothing else.” And if the author’s column rings familiar in hue and cry—it’s the happy continuation of these previous instalments of colour stories.