Democracy in trouble alert -- seriously

Here's an amazing and frightening New York Times story about how news organizations (primarily newspapers traditionally) are cutting back on their spending to fund cases to keep courts open to the public.

Some highlights:

• The American Civil Liberties Union and other civil rights groups have taken the leading role in trying to shake loose information about the Bush administration’s policies and actions.

• As part of the settlement in a case involving Amtrak, the parties asked Judge Lawrence F. Stengel of Federal District Court in Philadelphia to “direct LexisNexis and Westlaw to remove the decisions” from “their respective legal research services/databases.”

The judge agreed, and the database companies complied.

Westlaw spokesman John Shaughnessy, which is owned by ThomsonReuters, said that the record's case number will exist and a note indicating that the judge ordered the record deleted will remain. WTF??? Noting the existence of censorship is still censorship.

We don't do everything better in America ... not even country music in this case

Newest music recommendation: Baskery. A trio of Swedish sisters who play some mean country with just a tinge of occassional punkishness to bring something new to their sound.

I saw them a few weeks ago (and suck for not blogging about it until today) at a tiny show at The Hotel Cafe. There were literally about 18 of us watching the show, which was a motherfuckingshame because these women were incendiary when they were playing the fast stuff and slash the heartstrings when going more traditional countrystyle.

They caught my eye about two months ago when I was trolling the HC's events calendar. I hadn't been in a looooooong time and missed it, especially the world's greatest chicken quesadilla. While scanning the calendar grid, a picture of three very attractive women caught my eye. I clicked on the word Baskery and was taken to the band's myspace. The banjo, guitars and harmonies blew me away, along with the stylistic description of "Alternatve / Punk / Country."

And I can say that after watching them, their myspace doesn't do them justice. Live is a much more vigorous and urgent experience. The song "One Horse Down" is a great rip-roarer online, but online it was the fire-breathing dragon of the set with fierce yowls, scorching guitar and dangerously infectious energy. And the deliciously emasculating "Out-of-towner" (which features basically one lyric "I don't wanna go to bed with a man from town"), which they dedicated to the boys in Stockholm basically had all the guys there ready to prove their non-Swedish lineage. What else can one ask for in a show, right?

Discovering Baskery's existence and then being able to see them for all of $12.50 (we were the only people to buy our tix ahead of time), is what makes living in L.A. sofuckingbeautiful. So if you wanna seem infinitely ahead of the musical curve in your non-L.A. part of the world drop Baskery as a band to watch 2010 and you'll be hot shit. And in 2012 you'll be really cool for liking such a talented obscure band of Swedish sisters.

If you're still not convinced, read the reviews included on the embedded image!

What is a perfect song? Part II

What is a perfect song? I've spent the last six weeks trying to get a better sense of the answer to that question.

It all started a few months ago when during a random IMing session with one of the L.A. Youth alums, I mentioned that I love The Elected's "Not Going Home" and when Angela asked me why, I said, "it's perfect." I hadn't really thought about why, but I was addicted to that song during that time and so rather than try to ad lib a Pitchfork-worthy reason I used the ultimate superlative. But that in-the-moment throwaway comment, stuck in my brain. What is a perfect song?

Is it one's favorite song? Must it meet any objective criteria, like lyrical depth, a certain musical complexity, or infectiousness? What are the criteria?

To get an answer I sent an e-mail to 15 friends with whom I've talked a lot about music over the years. I asked them ...

what is a song that you consider perfect?

It doesn't have to be your absolutely favorite song, if you could even have one of those, though I can't see how it would not be on your very short list. Now there's no definition of perfect that I'm going to set, because I'm sure we all would have many different and unique criteria.

But if each person could send me one or two songs (but preferrably one) that s/he considers perfect, that would be awesome. You're the people whose musical opinions I most value. This will lead to a CD that I want to burn and will happily send a copy of, if requested.

I quickly got great responses and realized that even more fun than collecting great music (any song not in my library I bought except for a couple which I had to have emailed), was learning why my friends chose these songs.

The only problem with the project was that I forgot to send the initial e-mail to some very important musical friends and once I did that the number of tracks and length of tracks exceeded what would fit on a single CD. So I added a few more people to the project and voila ... the Perfect Song Project double CD. Click here to get templates for making CD liner notes. Note: you gotta have Adobe InDesign.

Of all the places I've lived: Amherst, NY; Tucson, AZ, Syracuse, NY; Albany, NY, Los Angeles, CA ... L.A. had by far the greatest representation. This makes sense in that I live in a city in which I can immerse myself in music. And I also get to talk music with high school students and the way we connect to music in high school is with an unspoiled soul. Ironically, though, my former students often had the shortest explanations (but generally impeccable taste). I think though the greatest irony (on an objective scale) is that zero college friends were included. Honestly, I just didn't explore music much in college. Oh well. I don't think the list suffered for my lack of college music experimentation.

Without further ado here is Disc 2. There's not really a priority in terms of songs I like better than others (though Disc 2 has a few of the alternates), but instead it's based much more on how the songs worked together sequentially.

1. Pitchfork: “Rana” -- chosen by Kevin W.
The layers of guitar are near perfect, and the lyrics are great, if a bit simple. All in all, my favorite hard guitar song of all time. It also is very unique, and I think it’s difficult to place in a musical category, which makes it all the more intriguing.

2. blur: “Coffee and TV” -- chosen by Andrea
There's just something about Graham Coxon’s voice on this track that’s like curling up under a blanket. He’s not angry about the quotidian and the mundane, but comforted by it, and for some reason that makes the song full and satisfying. The way it’s structured, musically, is also satisfying. You have the mellow march of the guitar to complement the verse, then a little bit more honesty and rawness with the falsetto chorus. The guitar solo before the last chorus adds the perfect amount of recklessness, hinting that maybe everything is “not OK” after all. Complacency never felt so good. Mike’s note: an alternate selection from Andrea.

3. Neko Case: “Deep Red Bells” -- chosen by Connie
After a long day’s work I light candles, park on my couch and take deep breaths listening to Neko Case. I find her distinct voice and dark lyrics soothing. The tempo is both passionate and delicate, and when Case belts, “Where does this mean world cast its cold eye?” during the last verse, I get the chills and am in love.

4. Donny Hathaway: “A Song For You” -- chosen by Laura
This song makes me cry. Sob, with a snotty nose. I can't think of another song that has had that effect on me. It’s not perfect. The music is dated with an arrangement from the 1970s that can be at times trite. But his voice and the lyrics overcome all of the song’s problems. I've always thought that Donny Hathaway had the voice of an angel. The note at the end of this song may be the most perfect note ever sung. I can feel it in the center of my chest. The lyrics are heavy and sincere. The song is about a close relationship, perhaps romantic, maybe not. But he's singing to a person he cares about deeply. It's incredibly sad and beautiful. It makes me feel OK to acknowledge how much I love my friends and how important they’ve been in my life. It reminds me that we shouldn’t wait to tell the people we love, that we love them.

5. Joan Osborne: “Spider Web” -- chosen by Claire
When I was pregnant with my first child in 1996, I found out that he had Down’s syndrome and a related heart defect. It was a struggle coming to terms with who my child was, and with the terrifying realization that I actually had many prior expectations about who he would be. I played this song over and over, letting Osborne remind me that my son would have his own unexpected gifts, and attempting to channel her powerful energy. He did not survive, but I still consider this “his song” and I still listen to it when I need a reminder to embrace my own talents and flaws. And besides, the song rocks, in that soulful, courageous Osborne way.

6. Creedence Clearwater Revival: “Green River” -- chosen by Angela
I chose Green River because it makes me feel like I’m a hippie in the late '60s. It is SO TOTALLY TOTALLY on the playlist whenever I go up to NorCal. Mike’s note: Angela’s second choice.

7. Kirsty MacColl: “The End of a Perfect Day” -- chosen by Diane
It’s a bright, beautiful, wise song that reminds me that there is and always will be life after love. Mike's note: I'm a dope. On the liner notes her name is misspelled as Kristy. I'm a dope.

8. The Tragically Hip: “Nautical Disaster” -- chosen by Kevin W.
Nautical Disaster is all about lead singer Gord Downey. While the music is excellent, the conversational aspect of the lyrics sets this song apart from anything else in the Tragically Hip catalog. And lines like “Anyway Susan, if you like, our conversation is as faint as the sound in my memory, As those fingernails scratching on my hull.” Evoking the feeling of paddling away from other shipwreck victims is very, very powerful. You can take any line form the song. They are all equally as poetic. Mike note: Kevin’s second choice as well as Jon’s.

9. Al Green: “Love and Happiness” -- chosen by Katie
Because it's the best “driving on PCH with my boyfriend” song.

10. John Mayer: “St. Patrick’s Day” -- chosen by Quing
I like it because it has really simple and beautiful lyrics, and it’s slow with a constant beat. And obviously that John Mayer has an amazing voice.

11. Michael Jackson: “Billie Jean” -- chosen by Mike
Degrees of perfection aren’t supposed to exist. It’s a paradox to even consider them. That this song obliterates the paradox is why it’s the best pop song EVER written and a Mike wildcard for placement on the list. Most famous bass line of modern pop era + an imminently singable chorus that forces one to dance + socially pointed lyrics based on a crazed fan who claimed Michael Jackson was the father of her child = wow.

12. Norwegian Recycling: “How Six Songs Collide” -- chosen by Mindy
I knew I discovered a perfect song when I couldn’t pick out a favorite part from the song. Whenever I think I got to the best part, another one of the six songs enters and the mix only gets better. I especially like the song now because it reminds me of the view of my college courtyard from my suite. Unfortunately, you don’t get that kind of courtyard surrounded by Gothic architecture in Beijing. Mike’s note: These are the songs: 1. Jason Mraz - I’m Yours; 2. Howie Day - Collide; 3. Five For Fighting - Superman; 4. Angela Ammons - Always Getting Over You; 5. Boyzone - All That I Need; 6. 3 Doors Down - Here Without You.

13. The Shins: “Sleeping Lessons” -- chosen by Jon
I chose “Sleeping Lessons” by The Shins for the song’s spirit of ascent. I’m lousy at describing music, but if I had to … It begins with a synthy, teeter-tottering arpeggio. And then it builds and builds. Toneless chika-chika strumming quickens it. Deliberate, spare bass notes anchor it. A few measures later, as the new rhythm establishes itself, the guitar and drums arrive. The tempo increases more. And the song, now cloaked with chiming guitars, seems to just take off. There’s an undeniable lift to it.
It’s fun to list activities that song could “describe” sonically, like: A shuttle launch (“Mission Control, permission to use iPod.”); Hang-gliding; Summiting Everest (“H-h-h-ard to s-s-select song while wearing g-g-gloves.”). Less fantastic purposes include: listening on a lazy weekend morning when you’re slow to get moving, and reinvigorating a long car trip—when some vague ache in the joints reminds you of a teen-age injury (or the onset of age) and the trip’s original spirit of adventure has, for the moment, faded.
Re: listening while driving though, Sleeping Lessons weights a pedal-foot. So maybe set the cruise (assuming you’re not in a rental car whose wacked-out dash delays your discovery of cruise control until the last day of the trip).

14. The Velvet Underground and Nico: “Sunday Morning” -- chosen by Jane
There is no such thing as a perfect song. That being said, taking into consideration composition, melody, lyricism and presentation, of the songs I can call off the top of my head, I’ve narrowed it down to these, and you can do what you wish with this list because I just can’t pick:
“Sunday Morning” - Velvet Underground (Mike's note: I chose this based on how it starts, but it was a HARD choice)
“Gold” - Interference
“I Will Not Forget You” - Sarah McLachlan
“Piece of My Heart” - Janis Joplin
“Everybody Knows” - Leonard Cohen
“The Sunny Side of the Street” - The Pogues

15. Rilo Kiley: “Pictures of Success” -- chosen by Mike
This has become my favorite song, so much so that I have some of the lyrics tattooed on my right arm. It came down to this song and “Nightswimming” when I was first choosing. Do I go with the song that defined high school and college or the song by the band that makes me (an early 30s person) feel about music the way that I did back in high school? Like the best songs, the opening notes immediately put the part of my brain that loves music into a suspended animation, in which exists only the song. Musically, it’s simple but the lyrical and vocal vulnerability as Jenny Lewis contemplates the future and laments the possibility of living a meaningless life ... it coalesces into something that absolutely hypnotizes me. It’s every moment of my youth that I wondered whether there was something beyond Amherst, NY and every moment since that I’ve understood that there is and that I can’t waste it. In short, the purest example in my life of William Blake’s concept of higher innocence—seeing with the unfiltered wonder of a child and understanding with the wisdom of those who have learned to value the fleeting nature of our time.

16. Ludwig van Beethoven: “Ode to Joy” -- chosen by Claire and Mike
Claire: So I was really stuck on the word “perfect” last night. All I could think of was Beethoven’s “Ode to Joy.” Because at heart, of course, I’m a geek. As for "Ode to Joy," it is so perfectly what it says it is. Can you feel sad after you’ve heard that music? Mike: Seriously, it was such a “Why didn't I think of that” choice! I love it. And it’s totally genre-busting, which is always a good thing.

What is a perfect song?

What is a perfect song? I've spent the last six weeks trying to get a better sense of the answer to that question.

It all started a few months ago when during a random IMing session with one of the L.A. Youth alums, I mentioned that I love The Elected's "Not Going Home" and when Angela asked me why, I said, "it's perfect." I hadn't really thought about why, but I was addicted to that song during that time and so rather than try to ad lib a Pitchfork-worthy reason I used the ultimate superlative. But that in-the-moment throwaway comment, stuck in my brain. What is a perfect song?

Is it one's favorite song? Must it meet any objective criteria, like lyrical depth, a certain musical complexity, or infectiousness? What are the criteria?

To get an answer I sent an e-mail to 15 friends with whom I've talked a lot about music over the years. I asked them ...

what is a song that you consider perfect?

It doesn't have to be your absolutely favorite song, if you could even have one of those, though I can't see how it would not be on your very short list. Now there's no definition of perfect that I'm going to set, because I'm sure we all would have many different and unique criteria.

But if each person could send me one or two songs (but preferrably one) that s/he considers perfect, that would be awesome. You're the people whose musical opinions I most value. This will lead to a CD that I want to burn and will happily send a copy of, if requested.

I quickly got great responses and realized that even more fun than collecting great music (any song not in my library I bought except for a couple which I had to have emailed), was learning why my friends chose these songs.

The only problem with the project was that I forgot to send the initial e-mail to some very important musical friends and once I did that the number of tracks and length of tracks exceeded what would fit on a single CD. So I added a few more people to the project and voila ... the Perfect Song Project double CD.

Of all the places I've lived: Amherst, NY; Tucson, AZ, Syracuse, NY; Albany, NY, Los Angeles, CA ... L.A. had by far the greatest representation. This makes sense in that I live in a city in which I can immerse myself in music. And I also get to talk music with high school students and the way we connect to music in high school is with an unspoiled soul. Ironically, though, my former students often had the shortest explanations (but generally impeccable taste). I think though the greatest irony (on an objective scale) is that zero college friends were included. Honestly, I just didn't explore music much in college. Oh well. I don't think the list suffered for my lack of college music experimentation.

Without further ado here is Disc 1.

1. R.E.M.: “Nightswimming” -- chosen by Mike
This was my first favorite favorite song once I had reached high school—a point in my life when I could finally and legitimately have a fave song, a song captured the hopefulness of my teenage solitude. The way “Nightswimming” navigates the tension of our innocence and our exploration of the way our physical and emotional selves entangle themselves with results euphoric and crushing is what the best songs should be about. To this day the opening piano line cues up a black-and-white movie in my mind that forces my brain to concentrate a little less on whatever I’m doing because the hopefully-never-gonna-die self-doubt and optimism of high school flickers again inside me.

2. The Cure: “Just Like Heaven” -- chosen by Angela
It makes me feel like I’m in an ‘80s teen movie and the only way to dance to it is to jump around in circles.

3. Frightened Rabbit: “Fast Blood” -- chosen by Amy
I picked “Fast Blood” because every time I hear it, I spaz out. It’s the perfect song for the blurry velocity of emotional and energy you get when you desperately want to sleep with someone and realize that it's going to happen, is happening, etc. I love love love it. Great song to run to. More succinctly: it sounds like sex.

4. Jeff Buckley: “Hallelujah” -- chosen by Monika
“Hallelujah” is perfect because it is serene and beautiful and sad. And I like sad songs more than happy ones, what can I say?

5. Radiohead: “Planet Telex” -- chosen by Christina
Perfection (imo) = playability + complexity + emotional impact. AND I can listen to PT on repeat 24/7.

6. The Beatles: “Blackbird” -- chosen by Morgan
Not only is “Blackbird” the epitome of a simple—but not understated—song, it’s on The White Album, which changed my life and my outlook on music. “Blackbird” achieves everything a song should through melody, percussion and meaningful lyrics. It’s the perfect symbolism for the Civil Rights Movement.
My parents are big Beatles fans, so family road trips consisted of Beatles tapes and scanning the radio for oldies stations. As a child, I wasn’t aware of the meaning behind the song; I was more in love in Paul McCartney. As I grew up and really understood what Paul was singing about, I thought this was everything a song should be.

7. Indigo Girls: “Ghost” -- chosen by Scott
So I’ve had trouble narrowing things down, but as of right now I think a perfect song is “Ghost” from Indigo Girls. It has a great melody, and is an example of perfect lyrics to me. There are no false rhymes, no skipped over syllables, everything locks together, just a perfect lyrical crystal. I first heard the song in a college class that was covering some mythology items and it was used as a pop culture reference for Ulysses.

8. Pulp: “Common People” -- chosen by Andrea
This song is brilliant because it achieves perfection on two levels: musically and lyrically. The orchestration is full, layered and driving while still following a build-up. It never loses momentum, and not a single chord feels out of place. The music carries the story and its gradual emotional unhinged-ness right along with it. Jarvis Cocker's storytelling is frank and honest, but still eloquent. It’s perfect because it narrates a story while still being intimate and emotionally stirring; I feel that with most songs it’s either/or, not both. Most of all we can relate to—or relish in—what he’s singing about. Unless you’re a Greek heiress, of course.

9. The Beach Boys: “God Only Knows” -- chosen by Kevin D.
I still think “God Only Knows” is too easy. although Pet Sounds was one of only 4 albums we had in my room when I was a kid, so I liked it before there was a VH-1 or Pitchfork ... Hell, it is my choice. It's a perfect song. Even if I didn't visit their boyhood home in Hawthorne.

10. Grizzly Bear: “On a Neck, On a Spit” -- chosen by Sasha
My favorite songs are those that constantly evolve, that do not stay in one place but instead continue to unfold as a sort of reward for the listener. “On A Neck, On A Spit” feels grand and sweeping and epic, so much so that it takes my breath away. Although I've listened to it so many times, I still feel a wonderful tension followed release during its transitions and movements.

11. The Rolling Stones: “Jumpin’ Jack Flash” -- chosen by Dave
If there's a sonic heaven, it exists within the 3 minutes and 41 seconds of The Rolling Stones' 1968 return to their roots, “Jumpin’ Jack Flash.” If the Stones recorded nothing else, this song would still earn them their title of “greatest rock ‘n roll band in the world.” Every element works in unison to kick the living shit out of the listener—in a good way. The protagonist of the track triumphs over the bleakest of circumstances. “I was drowned, I was washed up and left for dead. I fell down to my feet and I saw they bled. I frowned at the crumbs of a crust of bread. I was crowned with a spike right through my head, but it's all right now ...” growls Mick Jagger in what is, for all its perfect flaws, his finest vocal performance. This song makes you cheer for the underdog; the Rocky Balboa’s of the world who, against all odds, survive the 15 rounds. A little history ... This song followed the Stones’ creative nadir, 1967’s “Their Satanic Majesties Request,” which was a pale imitation of The Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band.” It all began when bassist Bill Wyman was fooling around on a piano, waiting for the rest of the band to show up for a recording session. Wyman receives no songwriting credit, but none is probably deserved since “Jumpin’ Jack Flash” is only a slight variation on the “Satisfaction” riff, which is entirely Keith’s. Its name traces back to Keith Richards’ gardener whose footsteps once awoke Jagger. Richards explained to him, “That’s Jumpin' Jack.” The main guitar riff of the verses is actually an acoustic guitar inside which Richards placed a cassette recorder microphone, overloading it to achieve a unique distortion, creating one of the meanest “electric” guitar sounds to ever leave its footprints on magnetic tape. There's still debate about Jagger's vocal entrance, some people believe he shouts “one, two,” while others hear “watch it!” The song also features a catchy bass lick, which is also supplied by Keith. This also represents one of his first uses of open tuning, which has since become his trademark. Interestingly, the best live version of the song is in standard tuning. Here's a YouTube link to it (watch for Jagger signaling in vain to an offscreen soundman to fix his monitor): http://www.youtube.com/watch?v=kB80DOFm29c

12. Guns N Roses: “Sweet Child O' Mine” -- chosen by Rich
OK, so after much deliberation, here’s my answer to your impossible question. Without picking some seminal blues song that spawned everything from James Brown to Zeppelin, or a Beatles song, or some hipster choice like Nick Cave or whatever, I’m representing for straight-up rock and roll. I give you “Sweet Child O’ Mine,” and here’s why:

• It’s one of the all-time most recognizable riffs in rock history. Still gives me chills when I hear it.
• Vocals like these would be savaged on American Idol, and that’s exactly what rock vocals should be—imperfectly perfect for the song they’re paired with.
• ”Jungle” put GNR on the map, but “Sweet Child” made them a phenomenon.
• It’s a love song with balls. Guys love it and girls love it. If ever there was an anthem for drunk couples who like to drunkenly dry hump at rock shows, this is it (“This Love” by Pantera is the metal version of the concert drunk-hump anthem).
• Starts out gently, takes you on a journey (“where do we go, childe” indeed) and ends with a bang—the most dynamic song on “Appetite,” which itself is one of the best rock albums ever.
• You can sing every note of the guitar solo.
• Guns and fuckin’ Roses.

13. The Who: “Baba O’Riley” -- chosen by Stephanie
When you first sent out that email, I thought crescendo; mixology; total rock out music, but good, meaningful rock out music. I thought The Who and then I thought “Baba O’Riley” because in the first two seconds you automatically know that for the next five minutes you'll be in total and complete bliss. It’s an ode to the angst, the stress, the “I don’t give a damn” feeling we all feel at 17, 20, 35, 56, and on. The intro is so powerful, so moving, it's the perfect lead in to an even more perfect song. I still get goosebumps when I listen to it.

14. Bob Marley and The Wailers: “Jamming” -- chosen by Guianna
Mike’s note: Guianna originally selected Ben Harper and The Relentless 7’s “Up to You Now.” After extensive review of my iTunes, I’ve decided to submit a different perfect song. The Ben Harper is my current favorite song but it's not perfect. It reflects more of what I’m feeling than what I consider to be perfection in a song.
I’ve decided to submit “Jamming” by Bob Marley and The Wailers. my criteria for the perfect song: simple, catchy tune; in my experience brings people of all types and backgrounds to the dance floor; has had a broader impact than your typical top 40, whether it be in terms of play in films, pop culture or innovations in lyrics. “Jamming” is simple and catchy; always gets people up to dance; and has had a well-recognized influence on reggae artists. My close second was “Bohemian Rhapsody” but I didn't choose this one because it doesn’t get people to dance as much as to sing the lyrics (pretty awesome in my opinion ... I’ll never forget that scene in Wayne’s World).

15. Cocteau Twins: “Pandora” -- chosen by Wayne
Language-less yet still evocative words mean anyone can sing along to it equally well. It’s lush, almost orchestral, still-edgy sounding (hence timeless) and has a classic song structure.

16. Peter and the Wolf: “Safe Travels” -- chosen by Machiko
Tried to choose a song I thought no one else would know/send ... which also happens to be my most played song on my iTunes: “Safe Travels” by Peter and the Wolf from Lightness.
The play count on my iTunes only takes into consideration songs I’ve started listening to from the beginning of college, and I’ve deleted some albums already ... so not as accurate. So in this case, my definition of perfect is one that I can listen to over and over and over again.

If I were to set an arbitrary criteria:
1) not depressing/downer
2) singable!
3) simpler the better

Disc 2 coming tomorrow. There's not really a priority in terms of songs I like better than others (though Disc 2 has a few of the alternates), but instead it's based much more on how the songs worked together sequentially.

[Mike's note: This clip, which I found after the initial blog post and well after making the CDs, resolves the what does Jagger say to open "Jumpin' Jack Flash" debate once and for all.]

Seven years ago I started becoming who I am

I left Amherst, NY for the final time Monday, Aug. 5, 2002. Here's a replay of the e-mail I sent that night from Rockford, Ill. after having driven about 660 miles west on I-90.

DAY ONE

so i have to say that southwestsern ny, northwestern penn, western ohio, northern indiana are very BORING!!! but that's OK, as a deep-down-on-the-inside left coaster, it's the later part of the journey that has me jazzed. the main point today was to make good time (just like george costanza does when he drives) and I succeeded. I write this message from my Sleep Inn room in Rockford, Ill. (666 or so miles from my starting point monday morning).

The first stop was in Ohio, just across the line from PA, and then i went to Cleveland to find some lunch, unfortunately I couldn't find any place to park where i felt safe with a loaded car so i didn't end up doing anything there but wasting time driving around. eventually i grabbed lunch at a highway service area -- typical fast food chinese (but no east wok) but i got a great forture cookie -- "your life becomes more and more of an adventure." so that was mega good karma, which is always good on a trip like this.

now this e-mail is probably pretty damned boring, considering that i am writing about fortune cookies and highway rest stop lunches, but that just goes back to the lead. there was nothing to write about -- unless y'alls want to hear about the flat green spaces. sorry, planning jargon slipped in there, once a muni reporter always a muni reporter, eh?

Indiana was equally exciting, although i did drive through south bend, which was depressing and then Gary, which was insane (thx andrew t.). It was like industrial/factorial sprawl. Factories, smoke stacks and train tracks everywhere. it seemed as though every where was the wrong side of the tracks in Gary. it certainly wasn't very music-man-esque... musical theater seemed to be about the last thing that was even considering going on in my mind.

chicago was typically majestic, well at least the skyline that i saw as i drove by on I-90. i fgured hotels there would be out of my league, and given how far i was getting, i decided to plow on to Rockford, Ill. ugly and suburban, but at least with a cheap, halfway decent hotel just off the highway. i almost stayed at an Extended Stay america, but opted against it.

tomorrow.... who knows.... i'll be going thru wisconsin and minnesota.

more then.....

btw, thx for the all the replies to the first email, unfortunately, i don't have time to respond to everyone. just know that i am hearing y'alls all the time when the voices that talk to me through my rear view mirror start their singing.

Cleverness inspires

------

Final spends: Friday, July 31 $23 on dinner.

Thursday, July 30 $5 on color copies at work because I messed up and sent jobs that were meant to be in B&W as color. Those would have been free.

Thursday, July 30 $4 on Coffee Bean.