So, I was gonna’ write about this awesome dream I had last night. I met the dude that owns The Asylum and we were totally gonna’ make a kung-fu bio-pic about Uwe Boll starring Crispin Glover and the hot chick from the Progressive ads… Then I saw these hard rollers and realized that everything I will ever do in life will suck. So why even try?

Get dat gold! (With apologies to King, at least he’s on the road right now and won’t have to deal with me making him watch this).

Happy Labor Day. Back tomorrow with the Top-5 Greatest RPG Books of all time, prep the hate mail!

Yes, I am being cheap and re-posting this review. What can I say, today feels like a perfect Portland Autumn and it puts me in a good mood.  Since I’ve been re-discovering this glorious album all morning, I thought I’d re-post the review for anyone new to the site. Promise, I’ll get back to normal tomorrow…

Sometimes I sit back in amazement when I realize just how many talented people call Portland their home. Sure, there is some local bias rearing its prideful head, but you can’t deny that Portland just overflows with people that tell beautiful tales in song. If you truly need proof, look no further than the recently released album (D)early Departed – True Lies in Song Unearthed from Lone Fir Cemetery. This collection of songs is the brainchild of Kate Sokoloff and the Friends of Lone Fir Cemetery. 15 local Portland musicians accepted a “simple” request; choose one of Portland’s famous (and infamous) residents of Lone Fir and compose a song about their life and even their death. What followed was a collection of songs that will fast become required listening for anyone with an interest in Portland’s past or a simple love of folksy ballads of a bygone era.

The songs run the gamut from joy to sadness and all the places in between…From the opening harmonies of Matt Sheehy’s “Through Your Bones”, you know you are in for haunting tales. His tale of Chinese immigrants that built our city, but never found rest with their ancestors is not only a gorgeous song, but also the sole reason this album exists. Too long, have these bones resided in the cold dirt with nary a marker of their lives. A portion of the proceeds from this album will attempt to rectify this injustice.

Hero, villain, and the grey area of life in between receive equal treatment on this album. The listener moves from the heroic tale of a firefighter that gave his life to defend the city from a raging inferno. To the tragic tale of a well-loved prostitute that met an untimely and grizzly end. Such is the influence of the talented artists behind this album that you find yourself feeling the pain of loss of a so-called “immoral lawbreaker”.

It is fitting that Dr. John Hawthorne receives a song, though not about him, but his work and the home he built for Portland’s most fragile. In “A Home, A House, An Institution, A Love, A Death, and Another Death”, you understand the impact this man had on Portland. A fact reinforced when you discover many of the inmates under Dr. Hawthorne’s care took their final rest at Lone Fir Cemetery, at his personal cost. His hospital again receives a mention in the song, “Asylum Road” by Storm Large. Telling the tale of Charity Lamb, her powerful ballad not only tells the tale of Portland’s own Lizzie Borden, but also asks how far you would go to be free.

Still, not all the tales are of pain and sadness. True, many of the subjects within (D)early Departed lived hard and often unfair lives, but there is hope in these songs. A reminder that even in death ones story may yet continue; such is the case “Inebriate Waltz” and “Age Blues for Rodney Morris”. With “Inebriate Waltz”, we hear the tale of Portland’s most famous poet, Samuel Simpson of Beautiful Wilmette, a tale of a poet that wanted people to look beyond his one famous poem. “Age Blues for Rodney Morris” tells the story of a young and pious man that gave his life to save others. In this song, he finally gets the credit he never asked nor received.

Although the album hit the shelves near the Halloween season and does have a rather morbid appeal, you’ll find it staying in rotation long after the leaves return to the trees.

Filled with fantastic lyrics and stunning voices, (D)early Departed – True Lies in Song Unearthed from Lone Fir Cemetery is simply one of best releases of the year. Being a Portlander never sounded sweeter.

You can pick up the CD at Music Millennium or order directly at CD Baby. You can learn more about the people behind the songs and the Lone Fir Cemetery by going to Friends of Lone Fir Cemetery.

Interesting how editorials from “learned” media outlets cause this article to re-surface once a year. Many thanks to Slate and the painfully ignorant Sarah Boxer, I was wondering where I would get some extra topics for the show this week. (Since one shouldn’t spend 90 minutes on Quentin Tarantino).

Posted originally in February, 2006:

Much thanks to Ersogoth for pointing out to me the February 16, 2006 Wired magazine column written by Tony Long. In just a few paragraphs Tony has elevated my annoyance level to heights that only John Byrne and Orson Scott Card have been able to previously achieve. (There is one level higher, alas; I cannot mention this person without breaking a New Year’s resolution). A self-professing Luddite (likely, Wired’s answer to “token”), Tony Long takes to task the assault upon the written word. Now, as one who will often correct a person for using words like Neanderthal and forte incorrectly, regardless of their station or what is happening at the moment, I can sympathize with many of his arguments. Indeed, I found myself agreeing on some of his complaints and defiant stance against linguistic mediocrity. (That’s right folks, your friendly neighborhood Geek has cracked open his old college books. The “big” words are going to fly.) In fact, it is completely possible and likely that I would have left the entire article alone had he not decided to use my people as the foundational nomenclature of his argument.

Tony Long has the stones to call out the “Comic Book Generation”?

I still find it interesting and perhaps even borderline insulting that those who have likely not read a comic since their single digit years still believe them to be poorly written. However, perhaps I am taking his use of “comic book generation” as an example of grammatical ignorance a bit too far. Then again, maybe I am not. Certainly, many a comic book reader may lack the normal social graces. Even though I could say the same about rabid sports fans or and other hobby obsessed group, I highly doubt Mr. Long would refer to them as the “Pigskin Generation”. Some of my earliest comic reading memories were of me entranced by heroic adventures, the comic resting upon my lap and at my side, a dictionary. You read right, a dictionary. See, unlike many kids or funny books, comics, as a rule, do not speak down to their target audience. Assuming the person isn’t reading Archie or Disney comics, it is highly likely they are reading stories that are more advanced then an outsider would assume. Sure, a Grant Morrison book about a group of metaphysical superheroes fighting a hidden shadow government is outlandish and completely over the top; but, it sure does force you to stay on top of your Triple Word Score words. I may have accepted Tony Long’s comment had his article been written in the early 1950s and 60s, but not with today’s current crop of writers. You can’t blame the decline of the written word on the “comic book generation” when the top selling comics of the day are penned by New York Times #1 selling authors and Emmy award winning screenplay writers.

If only that were all…

Long also goes on to complain about the use of anachronisms in our everyday language. Again, I can agree with Long on some points. There is little more annoying then reading a message from someone and have it contain a large amount of LOL, ROTFLOL, and IMO. To say nothing of the fact of how it makes you feel when you realize that you don’t really know what the hell the other person is writing about. Not many people are willing to write back and humbly ask, “Um, what does ROTFLOL stand for”? I say not many because the reply is often preceded with a HAHA, and we all know that stands for. Long, though, does not stop at the use of text message and email language short cuts. No, he then sets his site on terms that are more technical. True, they may not have a place in everyday grammar, but to discredit them because you refuse to evolve as a writer is poor judgment. For example, WYSIWYG (What You See Is What You Get) pertains to computers and hails back to the time before what was viewed on a computer screen and what was output in print were similar. It is completely fine if Luddites like Tony Long can’t stand the use of such a term used in popular culture (The technical people aren’t thrilled, either), but to be fair, he had better be prepared to cut out his own career’s shortcuts.

“But couple those deficient grammar skills with the shorthand that’s become prevalent in fast communication (not to mention all those irritating acronyms: LOL, WYSIWYG, IMHO, etc.) and you’ve just struck a match next to a can of gasoline.”

Did you notice anything strange? No, I didn’t think you did. You didn’t notice the grammatical shortcut because it has been is use for centuries. Read it again; see if you can find it. Still nothing? It is the colon, that tiny “:” before a writer begins to list words that go to support their argument. In effect, the colon is a symbolic acronym for “please read the following items in order that will prove my point in the former sentence”. While it might be fun to write that phrase occasionally, it would get old very fast, just like typing a longer description that explains how what you see on the screen is what will ultimately be output would get old every time a technical writer had to pen a user manual for us non-technical folks… Us Luddites. Sure, the written word has taken some hits in recent years. It will probably get even worse as communication devices continue to evolve faster than our biological export tools can work. Will it ruin the grace and beauty of the written word? I highly doubt it. If anything, it will cause people to appreciate good prose even more.

Therefore, Mr. Long, you keep complaining and fighting. I will keep evolving.

And reading comics.

Star Trek II: The Wrath of Khan – Remastered & Complete Score
Score by: James Horner
Distributed by: Screen Archives Entertainment

There is no exaggeration when I say, I’ve watched The Wrath of Khan at least 1,000 times. It was and is the only movie my parents had to buy three times, because each time I wore out the poor VHS tape. There was a moment during my junior high years where I would literally come home from school, drop my bags, open the VHS closet, take out the movie, play the movie, and then go about my afternoon rituals. I connected my Radio Shack tape deck to the back of the VCR and recorded all the audio onto a very well-worn 180 minute cassette. Without question, Star Trek II: The Wrath of Khan, is the single most watched movie of my life. Period. There isn’t a single fact about the movie I do not know. Not a one. This isn’t a challenge to best me, merely a statement of fact. So, it was with some excitement when I heard we Trek fans were finally going to get a chance to hear James Horner’s complete score to that fantastic film. Still, I didn’t expect anything too terribly ground breaking. I mean, so many other CDs have come out, each one claiming to have a track or two of “lost” ensembles. However, I wouldn’t be the Trek fan I claim were I to skip this album. First off, the packaging is gorgeous. Screen Archives Entertainment really went out of their way to deliver the visual goods. It is this kind of attention to detail and respect for the completist collector that will save the retail music market. But, the music is what really matters. Now, after knowing everything there is to know about my obsession with the Wrath of  Khan, I must ask:

Where the hell did this music come from?!

Sure, it sounds like James Horner’s classic composer. The booklet claims this is from The Wrath of Khan. Yup, right there on the bottom right, “Copyright 2009 Paramount Pictures”. Why the hell haven’t I heard this version of the score before? I mean ever. Not in the dozens of recordings I own. Not in the countless copies of the movie sitting on my shelf. Not even during the few times I’ve been lucky enough to catch it on the big screen. This sounds like a completely soundtrack. As the cliché goes, I am hearing it again for the first time. From the slow techno build in the opening seconds of the Main Title giving way to the Alexander Courage inspired French horns, followed by the strings and brass backing that tells you that you are in for one  hell of a ride, this is aural perfection. As Main Title slows, in creeps Surprise on Ceti Alpha V. In all my listening and viewing, I never once heard darkly sinister male chorus in the background. Khan’s Pets continues this darkness with simple strings that help to accentuate Khan’s malicious revelation. Good with the musical “jump scares”, Horner kicks it into major “oogy” territory with The Eels of Ceti Alpha V. With each crescendo, you can feel those little beasts making their way into your ears. Gnawing. Biting. Chewing. Until finally, wrapping themselves around your cerebral cortex. In direct conflict with this horrendous image, Kirk in Space Shuttle reminds you that the good guys are just around the corner. There is hope.

Being a sucker for over the top fanfare, the remastered Enterprise Clears All Moorings is just glorious. You can almost hear the ships engine pushing the ship along with the music. A new addition to most collectors, Chekov Lies and Spock both reveal character traits with simplicity. In Chekov Lies, we see hear the loyal friend not wanting to betray his captain, but Khan’s dark shadow looms so very strong over him. Spock is haunting and beautiful. Cementing the friendship between Kirk and Spock, this short track also foreshadows the sadness that will soon fall upon these life-long friends. This trend continues in Kirk Takes Command and He Tasks Me. Indeed, the spirit of both captains (Kirk with the Enterprise and Khan in the Reliant) come out in the track. Kirk, knowing that each of the “kids” on his  ship can rise to their duty. While Khan, full of hate and vengeance will sacrifice all that look to him for leadership.

Genesis Project, a newly restored piece composed by Craig Huxley, is a slightly creepy mechanical work. Like the Genesis device itself, it evokes an unnatural feeling within the listener. Though it little off-putting, I think it is a necessary element to the score as a complete work of art. Surprise Attack, Kirk’s Explosive Reply, and Regula 1 offer nothing new, musically. However, they have never been presented with such clarity and raw power. While I’ve yet to watch it, I sincerely hope the Blu-Ray edition to Star Trek II sounds as rich and true as this album. If not, there really isn’t a reason to buy it.  I’ll just find some tech geek to remix my audio track off the CD.

With Inside Regula, Horner starts composing The Wrath of Khan like it’s a Hammer era horror film. Trailing into the equally unnerving Brainwashed, this thematic switch works beautifully. Horner bridges this small arc with Brainwashed and Captain Terrell’s Death. Again, Khan’s influence is felt by anyone and everyone he comes into contact with, directly or not. Finally reaching a powerful end with Buried Alive, Horner takes the listener to the classic abyss from which all heroes must ascend, or die trying.

The Genesis Cave is a natural lead into this climb. With a renewed sense of drive, Battle in the Mutara Nebula, along with Enterprise Attacks Reliant, and Genesis Countdown cements a nautical tone for the final confrontation. James Horner knew he was essentially drafting an audio Horatio Hornblower, with epic battles and heroic action. James Cameron fans will instantly recognize themes from Aliens in these tracks. With little time to finish, Horner bastardized many tracks from The Wrath of Khan in order to make the theatrical deadline. It is wonderful to hear these original works stand alone once again.

Finally, we come to Spock Dies. Returning from the notes first hinted at with Spock, this is the end of an icon. Literally. When one separates what came after Star Trek II from the music itself, it is hard to no feel any emotion. Mixing simple reed work with the spanning Alexander Courage theme, Spock Dies is still a powerful work of music that can make even the hardest fan mist up a bit. Moving seamlessly into the bagpipes of Amazing Grace, you understand Khan’s vengeance was both a success and failure. Abruptly ending bagpipes in favor of a full orchestra, Amazing Grace flows directly into the restored Epilogue and End Titles. Just as the score opened, strong and confident brass horns reminds the listener that life finds a way.

From hate comes hope. As Mr. Spock say (and I copy from the film), “there are always…possibilities”.

My thanks to James Horner for allowing me to come to this place again, for the first time.

Greetings Programs.

Rarely does your friendly neighborhood Geek ask for help (except when padding local “Best Of” events), but he needs one now. And, in the scheme of things, this favor helps us all.

If you live in the Portland area and you have a Geek event coming up, be it movie, comic, toy, music, technology, or any pop culture theme; I’d love to hear about it. When I first started GeekintheCity.com back in my early (dot) blogspot days, I wanted to highlight events the local “mainstream media” missed or ignored. That goal hasn’t changed to this day. What has changed is my ability to scour the Internets and local groups to discover these Geek events. Yup, that is where you come in. Drop me a line on the Contact page of this very site. I will read every single submission, most will find their way onto GeekintheCity.com, while big events will find their way onto the Rick Emerson Show every Friday on KUFO with The Week in Geek!

This is also a good chance to thank everyone that helped turn this little corner of the ‘net into the fantastically nerdy site that it is today. We couldn’t do it without the besy damn audience ever.

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