The fourth day of window replacement. The doors are open, the back and front gates are open, and so Birch has to be kept on a leash for the whole time, lest he wander into the working area and get adhesive foam stuck to his coat, or bolt out the door and gate for a squirrel. And of course he barks, as he should; when a face appeared at the window on the second floor of the house, in my studio, it was hard to say “oh ignore that, it’s nothing” when it was very much the ultimate definition of something.

Can’t complain, and I’m not complaining, but the whole week’s been askew and won’t be put right until next Tuesday. Disorder! It’s good for reminding you how much you need the Order that made you bored and wish for Disorder. Repeat until Republic collapses and is ruled by Caesars.

Interesting question:

I don’t know - two generations after people who knew the distinctions are dead. But was there much difference in pop music on a decade-by-decade basis in the 19th century? Different styles of music rose and fell, but was there enough differences to make the music of the 1820s as distinct from the 1850s, as the 1950s were distinct from the 1920s?

And if you say “how distinct were the 1960s from the 1920s, really?” You’re just being difficult and willfully obtuse. The fact that the songs were recorded makes a great difference, because it added the fact of the performance to the song, whereas the music of the 1820s wasn’t set down in the grooves the way “Rock Around the Clock” was.

What happens when you clean the keyboard while the cursor is in the Google search box?

This is why I shouldn’t wait too long. I’ve lost the location for these pictures. It was an Alcoa HQ in a suburban city. Look at this thing!

It makes me . . . verklempt.

It's all about the aluminum, of course, but it's also about the boundless possibilties the jet- and space-age presented. Everything was up for redefinition, and that could only mean everything was up for improvement!

Like I said, I don't know where it is. I lost the original notes.

But I suspect it's lots of places.

Some context for the new Public Service Building, where the Public will be Serviced.

That's as tall as it'll get.

This is now about the tower in the distance. It's the building in the left side of the middle. See it? Two floors?

Better than this, eh?

I'm an Expert! Just the sort of thing that makes Lance suspicious.

It would be amusing if they didn't offer a solution, but just let that hang there, as is; people wouldn't be bothered, since so many things on the comics page were flat and unfunny.

Solution is here.

From X-Minus One, the 50s radio series.

I noted something when I heard this cue; it seemed to prefigure another I knew quite well.

		It's the instrumentation and arrangement.

		Many of these cues seem known only for the one they used the most; the rest were rarely employed.

		This is what I recognized - it frequently closed the X-Minus One show. And then there's a surprise.

That famous sci-fi writer, you know.

Then: him! Now: who?

Wikipedia: "He enjoyed his greatest success in the early 1960s, when he scored nine top-ten hits on the pop, country, and adult contemporary Billboard charts, including "Poetry in Motion" and the self-penned "It Keeps Right On a-Hurtin'".

I read that as "Hurlin'" at first.

The wikipedia article says his parents ran a gas station at 6th & Pearl in Jacksonville FL.

It's still there, and it's a classic. Wonder if he ever goes back.

		1943: Canny OTR listeners know exactly which show this comes from.

That'll do - see you Monday!