Jekyll2026-04-04T23:39:33+00:00https://frankramblings.github.io/blog/feed.xmlfrank ramblingsFrankA Hauntingly Beautiful Reflection for Holy Saturday2026-04-04T00:00:00+00:002026-04-04T00:00:00+00:00https://frankramblings.github.io/blog/posts/a-hauntingly-beautiful-reflection-for-holy-saturdayThis ancient homily is like a speed-run of the whole of human history.

Each year on Holy Saturday, I like to read and reflect on this anonymous text that dates back to the 2nd or 3rd century. It’s one of the most haunting and poetic pieces in all of Christian writing. It describes the day between the Crucifixion and the Resurrection, when Christian tradition holds that Christ descended into Hell to free all who had been there since the sin of Adam, awaiting the Savior.

The imagery in this piece is striking: it draws parallels between the fall of Adam and Eve, and the redemptive sacrifice of Jesus on the cross.

Where Adam and Eve fell to temptation in a garden (Eden), Jesus defeated temptation in a garden (Gethsemane).

Where Adam and Eve brought death by reaching for the branch of a tree to pluck the forbidden fruit, Christ brings life by stretching out his arms on another tree: the cross.

It’s a 5-minute read and worth every second.

Something strange is happening—there is a great silence on earth today, a great silence and stillness. The whole earth keeps silence because the King is asleep. The earth trembled and is still because God has fallen asleep in the flesh and he has raised up all who have slept ever since the world began. God has died in the flesh and hell trembles with fear.

He has gone to search for our first parent, as for a lost sheep. Greatly desiring to visit those who live in darkness and in the shadow of death, he has gone to free from sorrow the captives Adam and Eve, he who is both God and the son of Eve. The Lord approached them bearing the cross, the weapon that had won him the victory. At the sight of him Adam, the first man he had created, struck his breast in terror and cried out to everyone: “My Lord be with you all.” Christ answered him: “And with your spirit.” He took him by the hand and raised him up, saying: “Awake, O sleeper, and rise from the dead, and Christ will give you light.”

I am your God, who for your sake have become your son. Out of love for you and for your descendants I now by my own authority command all who are held in bondage to come forth, all who are in darkness to be enlightened, all who are sleeping to arise. I order you, O sleeper, to awake. I did not create you to be held a prisoner in hell. Rise from the dead, for I am the life of the dead. Rise up, work of my hands, you who were created in my image. Rise, let us leave this place, for you are in me and I am in you; together we form only one person and we cannot be separated.

For your sake I, your God, became your son; I, the Lord, took the form of a slave; I, whose home is above the heavens, descended to the earth and beneath the earth. For your sake, for the sake of man, I became like a man without help, free among the dead. For the sake of you, who left a garden, I was betrayed to the Jews in a garden, and I was crucified in a garden.

See on my face the spittle I received in order to restore to you the life I once breathed into you. See there the marks of the blows I received in order to refashion your warped nature in my image. On my back see the marks of the scourging I endured to remove the burden of sin that weighs upon your back. See my hands, nailed firmly to a tree, for you who once wickedly stretched out your hand to a tree.

I slept on the cross and a sword pierced my side for you who slept in paradise and brought forth Eve from your side. My side has healed the pain in yours. My sleep will rouse you from your sleep in hell. The sword that pierced me has sheathed the sword that was turned against you.

Rise, let us leave this place. The enemy led you out of the earthly paradise. I will not restore you to that paradise, but I will enthrone you in heaven. I forbade you the tree that was only a symbol of life, but see, I who am life itself am now one with you. I appointed cherubim to guard you as slaves are guarded, but now I make them worship you as God. The throne formed by cherubim awaits you, its bearers swift and eager. The bridal chamber is adorned, the banquet is ready, the eternal dwelling places are prepared, the treasure houses of all good things lie open. The kingdom of heaven has been prepared for you from all eternity.

]]>FrankFound: A History Textbook From 20942026-03-14T00:00:00+00:002026-03-14T00:00:00+00:00https://frankramblings.github.io/blog/2026/03/14/found-a-history-textbook-from-2094The most unsettling part of finding a U.S. history textbook from 2094 would be seeing our current chaos explained with the clarity of hindsight.

Chapter 14: The American Unraveling in Global Context: 1945 to the Trump Era. Modern-day historians often compare the United States after World War II to earlier great powers that believed their dominance would last forever. In older American accounts, the United States was often described as a reluctant superpower: wealthy, militarily strong, and committed to rebuilding a damaged world. There was some truth in that view. Through the Marshall Plan, the Bretton Woods system, and its support for the United Nations and allied governments, the United States helped stabilize much of the postwar world. It protected trade routes, supported economic recovery, and helped create institutions that shaped global politics for decades. At the same time, later historians argued that this leadership came with growing costs. The same system that brought recovery and prosperity also gave the United States enormous influence over the rest of the world. By the mid-twentieth century, the United States had built what many later described as an informal empire. Unlike earlier empires, it did not usually rule large foreign territories directly. Instead, it relied on military bases, alliances, intelligence networks, trade agreements, lending power, and the worldwide spread of American business and culture. This system allowed the United States to shape events far beyond its borders while still presenting itself as a defender of freedom and self-determination. In some cases, that claim was justified. American power helped rebuild Europe and Japan, checked rival empires, and supported the expansion of consumer society and modern infrastructure. In other cases, it supported friendly dictatorships, distorted local economies, and made access to the global system depend on American approval. This double role, both stabilizer and dominator, became one of the central contradictions of the American-led order. The economic foundations of that order developed over time. Under the Bretton Woods system, the dollar became the center of global finance. Even after President Nixon ended the dollar's direct link to gold in 1971, the dollar remained dominant because of oil markets, U.S. Treasury debt, and the strength of American capital markets. At the same time, American companies expanded their supply chains across the world. Trade agreements such as NAFTA (1994) and China's entry into the World Trade Organization (2001) increased global economic integration. By the early twenty-first century, the United States was not just one major economy among many. It was the main hub of a world system tied together by American finance, consumption, technology, and culture. This system produced major benefits, but it also created serious tensions at home. Trade and globalization lowered prices for consumers, but they also weakened manufacturing communities across the United States. Millions of industrial jobs disappeared. Financial industries gained power and wealth while employing only a small share of the population. Immigration and rapid cultural change transformed the country, but many Americans felt unprepared for that pace of change. Political leaders continued to speak in the language of national success, yet many citizens experienced daily life through insecurity, declining local institutions, and resentment toward elites. For many years, these tensions were softened by economic growth, easy credit, and the belief that disruption was temporary. Historians would look back on this period as one in which deep problems were postponed rather than solved. The end of the Cold War made those contradictions more visible. With the Soviet Union gone, many Americans believed their political and economic system had clearly won. Leaders in both major political parties supported freer trade, weaker regulation in key industries, and a more globalized economy. Wealth and political influence became more concentrated. Corporate lobbying and billionaire donors played a greater role in shaping public policy. The 2010 Citizens United decision became a symbol of this era because it expanded the political power of wealthy individuals and organizations. The United States remained extremely powerful in military and economic terms, but public trust in its institutions continued to decline. This created a growing gap between American strength abroad and stability at home. That decline in trust happened over many years. The Watergate scandal in the 1970s had damaged the presidency, but it also showed that constitutional checks could still work. By the 1990s, many Americans had grown more cynical. The impeachment of President Bill Clinton suggested that politics had become more focused on partisan advantage than on public standards. The disputed election of 2000 added to the sense that the system could produce legal outcomes that many people still saw as unfair. Then the attacks of September 11, 2001 led to a major expansion of executive power. The government increased surveillance, created new security agencies, and defended actions such as indefinite detention and secret prisons in the name of national safety. The 2003 invasion of Iraq, built on false claims about weapons of mass destruction, did lasting damage to American credibility overseas. The financial crisis of 2008 deepened public anger. Millions of Americans lost jobs, homes, savings, or long-term security. Very few powerful executives faced major consequences. To many people, this showed that the system protected the wealthy while asking ordinary citizens to bear the losses. During the same period, social media changed the way Americans received information and argued about politics. Internet communication platforms such as Facebook and Twitter allowed information to spread quickly, but they also divided the public into separate political and cultural worlds. Shared facts became harder to maintain. The 2020 COVID-19 pandemic exposed how much public trust had already broken down. Public health decisions became deeply politicized, and many Americans responded to crisis through partisan identity rather than shared civic responsibility. None of these events alone created authoritarian politics. Together, they made it easier for authoritarian ideas to gain acceptance. For that reason, historians later placed special importance on the beginning of the Trump era. Donald Trump did not create nativism, racism, conspiracy thinking, or hostility to democratic limits. These had long existed in American life. What changed during his rise was that these forces were brought together into a durable political movement. The Trump regime's family separation policy at the southern border showed that cruelty could be used openly as a tool of government. The January 6, 2021 attack on the U.S. Capitol showed that violence against democratic institutions could be excused or minimized by millions of citizens and political leaders. Repeated attacks on elections, courts, civil servants, and the press weakened older assumptions about constitutional government. Trumpism combined media spectacle, nationalist grievance, billionaire support, and targeted cruelty into a powerful political identity. The movement drew much of its strength from a simple story about national decline. It claimed that the United States had been weakened by immigration, diversity, global cooperation, expert knowledge, and moral restraint. In this telling, the country had been cheated by foreigners, betrayed by elites, and prevented from defending its own people. These ideas distorted reality, but they gave many Americans a clear explanation for feelings of loss and frustration. Like earlier authoritarian movements, Trumpism promised national restoration through exclusion, strength, and revenge rather than through democratic compromise. What followed was not immediate isolation from the rest of the world, but a gradual loss of trust. At first, many allies and observers assumed that American institutions would recover. Over time, however, the costs of relying on the United States became harder to ignore. Unpredictable tariffs, politically driven sanctions, attacks on regulators and courts, disputed elections, human rights abuses, and recurring internal unrest made the country appear less stable. The United States remained militarily and economically powerful, but it no longer seemed reliably governed. As trust declined, American soft power declined with it. From the perspective of the 2090s, the importance of this crisis went far beyond the United States itself. As trust in American leadership eroded around the world, other states and regional alliances worked to reduce their dependence on U.S.-led systems. The European Union encouraged the growth of domestic technology firms by offering incentives to companies that could compete with major American platforms and services. Payment systems became more diverse. Military cooperation became more regional. Cultural and educational influence became less centered on any one country. English remained important, but it was no longer the automatic language of global prestige and diplomacy. The world did not simply replace one empire with another. Instead, it became less willing to depend on any single center of power. For ordinary Americans, the consequences were real. Academic exchange slowed. Immigration and tourism patterns shifted. Foreign businesses reduced their dependence on American courts and financial systems when possible. American culture remained influential, but its prestige was no longer taken for granted. Americans traveling abroad often faced suspicion that would have surprised earlier generations. Those who had resisted authoritarian politics at home sometimes found that other countries were not eager to separate them from the larger actions of their nation. That judgment was often unfair. It overlooked voter suppression, constitutional distortions, disinformation systems, and the difficulty of reversing authoritarian control once it had spread through institutions. Even so, such judgments shaped world opinion. The American story became a warning because its pattern was familiar. The United States had been founded in revolt against empire, yet it built an empire of influence without fully acknowledging it. It claimed liberty while allowing major inequalities and forms of domination to continue. Its wealth and power made it easier to delay difficult reforms. For decades, the system appeared stable enough that many warnings could be dismissed. As older restraints weakened, however, habits developed under conditions of power and exemption began to reappear within the United States itself. Language once used to describe foreign threats was used to describe political opponents. Methods once justified at the edges of empire became normal parts of government at home. The United States was neither a uniquely virtuous nation nor a uniquely evil one. It was a powerful modern state whose success delayed, but did not erase, the dangers of inequality, overreach, and civic decline. Its postwar leadership was real. So were the contradictions built into that leadership. Its tragedy was not that it fell from innocence. It was that it mistook power for virtue and treated the absence of consequences as proof that no debt had been created. In this view, the Trump era was less an accidental break than a revealing test. It exposed how much of the postwar American system had depended on habits that could not survive on their own: restraint, respect for institutions, a shared sense of reality, and the willingness to lose political battles without abandoning constitutional norms. Once those habits weakened, the United States still had enormous power, but it increasingly lacked the civic discipline needed to use that power in a stable and convincing way. The country remained important for the rest of the century. What changed was that the world no longer assumed it would lead. In historical memory, the United States came to occupy a role that its own textbooks had long assigned to other countries: the cautionary example. The lesson taught to students was not that decline was inevitable or that one nation's character alone determines its fate. It was that power without civic discipline creates political and moral debt. If that debt is ignored long enough, it does not disappear. It returns as history.

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This is a work of fiction. The textbook and its 2094 edition do not exist (yet). All historical events referenced through 2026 are real. Interpretive framing, future events, and editorial voice are invented. No affiliation with McGraw-Hill.

]]>FrankThe Social Web Split Up. Your Timeline Doesn’t Have To.2026-03-02T17:00:00+00:002026-03-02T17:00:00+00:00https://frankramblings.github.io/blog/2026/03/02/the-social-web-split-up-your-timeline-doesnt-have-toUPDATE: Public Beta is now open! 🥳

There was a stretch where Twitter was the internet town square. Messy, fun, chaotic, but central.

Then came the Great Scattering of 2022. People moved. Communities split. Timelines fractured.

Some of us went to Mastodon. Some to Bluesky. Some to Threads, Nostr, and everything else.

Most gave up.

The rest of us do this weird daily ritual: open one app, scroll, close, open another app, scroll, repeat.

The real problem isn’t “which platform wins”

I have people I care about on Mastodon. I have other people I care about on Bluesky. Some post in both places, but not always the same stuff.

So every day feels like checking two different versions of the same party.

You don’t just miss posts, you miss context. One conversation happens over here, another happens over there, and your brain is constantly stitching them back together.

It’s exhausting.

So I built SocialFusion

I should say this up front: I’m not a developer. I’m a longtime computer nerd, an Apple fan, and someone with a Notes app full of product ideas.

Tools like Cursor, Claude Code, and Codex changed what was possible for me. I could finally turn plain-language ideas into working software.

So I built SocialFusion: an iOS app that combines your Mastodon and Bluesky feeds into one timeline.

That’s it. That’s the idea.

  • one place to read
  • one place to post
  • one place to keep up with your people

No constant app hopping. No “wait, where did they post that?” No unnecessary context-switching tax.

This isn’t about replacing either network

I like both.

Bluesky has speed and familiarity. Mastodon has federation and stronger community texture.

They’re different. They’re both useful. SocialFusion isn’t trying to pick a winner, it just makes living in both worlds less annoying.

Also:

  • your account credentials stay yours
  • your data stays yours
  • the app is open source

If you want to inspect it, fork it, or contribute, you can.

Launching Thursday

SocialFusion public beta goes live Thursday, March 5 on TestFlight.

Public Beta is now live on TestFlight! Get it here!

More info here.

If you’re on Mastodon, Bluesky, or both, I built this for you.

The social web split up. Your timeline doesn’t have to.

Want to follow along?

I’m building in the open:

]]>FrankReconsidering “Yesterday and Today”2025-06-19T17:00:00+00:002025-06-19T17:00:00+00:00https://frankramblings.github.io/blog/2025/06/19/reconsidering-yesterday-and-todayHi. It’s been a minute.

I’ve never been the biggest fan of the U.S. Beatles albums. Some of the track lists are kind of baffling. “Let’s squeeze every last LP out of Beatlemania before it burns out.” But this week, listening to Yesterday and Today, something clicked.

It’s kind of a perfect sampler of their transitional era: that golden 1965–66 stretch where they’re still cranking out pop songs but starting to get curious, restless, and just weird enough. It’s been my favorite Beatles period for a long time.

You get these killer tracks that didn’t make the 1 compilation because they weren’t #1s: “Drive My Car,” “Nowhere Man,” “If I Needed Someone.” (I still say 1 is the best place for a Beatles beginner to start. Then the Red and Blue albums once they’re hooked.)

And Yesterday and Today pulls from Help!, Rubber Soul, and RevolverBeatles evolution. It lands right in that sweet spot: after the mop-top phase, right as they were getting into sitars and tape loops. Some of their best hooks and harmonies, and just enough oddness to foreshadow what lay ahead in 1967.

But there’s more to the album’s mystique. Yesterday and Today was a U.S.-only release, which already makes it an outsider in the Beatles canon. Then there’s the infamous “butcher cover”: the original LP art featured the band dressed in butcher smocks, surrounded by raw meat and decapitated baby dolls. It was meant as dark satire but when it didn’t go over great, Capitol pulled it almost immediately and replaced it with the far tamer “trunk” cover, making original copies of the butcher sleeve one of the most coveted (and cursed) collectibles in pop history.

In retrospect, it’s kind of a lost artifact. A weird little bridge between Beatlemania and their psychedelic peak. A glimpse at a band in flux: still charming, but clearly getting restless.

Was it assembled for artistic reasons? Absolutely not. It’s a corporate cash grab at best. But I have to admit it’s kind of a vibe.

]]>FrankFifty Years of “Abbey Road”2019-10-01T17:29:00+00:002019-10-01T17:29:00+00:00https://frankramblings.github.io/blog/2019/10/01/2019-10-01-fifty-years-of-abbey-roadIt Feels Like Years Since It’s Been Here


As I write this, I’m flying home to Boston after a week-long vacation in London. While there, I just had to visit Abbey Road Studios and take the obligatory touristy photo at the zebra crossing made world-famous when it appeared on the cover of the Beatles’ 1969 album Abbey Road. A few days later, fans everywhere were treated to a 50th anniversary re-release of that album.

Obligatory photo of me at the Abbey Road zebra crossing

Over the last couple of years, producer Giles Martin (son of the Beatles’ longtime producer and collaborator George Martin) has teamed up with recording engineer & mixer Sam Okell to bring new life to some of the band’s most beloved albums. First with Sgt. Pepper’s Lonely Hearts Club Band in 2017, and then again with The Beatles (a.k.a. “The White Album”) in 2018, the team went back to the multitrack source tapes to create remastered, re-mixed versions of each album using both old-fashioned and modern techniques. They managed to make records released 50 years ago sound clean and fresh as if they were recorded yesterday. After a largely positive reception to both of those projects, fans (including me) were thrilled to hear that Martin and Okell would team up again in 2019 for the anniversary of Abbey Road, the final album that the band recorded together.

I’ve always considered Abbey Road one of the strongest Beatles albums. It’s the record where they went out on top. They exhibit their chops as songwriters with songs like “Something” and “Come Together.” They show off a fun, quirky side with tracks like “Maxwell’s Silver Hammer” and “Octopus’s Garden.” They dabble in an assortment of musical styles throughout the legendary side 2 medley that takes us from “You Never Give Me Your Money” through “The End.” I gained new appreciation for Sgt. Pepper and the White Album after their respective re-releases, so I was eagerly awaiting any new perspectives I might gain about Abbey Road.

Reviewing these re-releases track-by-track here on my blog is now an annual tradition. And it brings me so much joy. As I compare the new Abbey Road re-mix side-by-side with the original mix, I really love what Martin and Okell have done this time around. Let’s break it down.

Side One: One Thing I Can Tell You Is You Got to Be Free

Track 1: Come Together

The Big Picture: Every instrument here has more space to breathe in a way I didn’t think they needed until now. I do notice that the very ending of the song has been changed a bit, which I have mixed feelings about. John’s vocal overdubs have been swapped around: his grunts and groans have been pushed way down in the mix and another vocal that was previously inaudible is now front and center. It’s a change many people won’t notice, and it’s definitely very cool to hear something that was buried in the multitrack tapes all these years. I would have preferred to save that alternate ending for the bonus discs and leave the main track unchanged in that regard, but that doesn’t ruin the song for me.

The MVP: Ringo’s drums! The way they shift across the stereo spectrum from right to left feels super immersive right off the bat and sucks you into the record. A little gimmicky maybe, but it sounds great. It reminds me of the intro to the 2017 re-mix of “Lucy in the Sky With Diamonds.”

Track 2: Something

The Big Picture: Absolutely magnificent. The stereo mix is so immersive, I feel like it’s giving me a big warm hug. Some significant tape/room hiss has been removed, some slight peaking has been reduced, and all that’s left is the beauty and majesty that is one of the greatest love songs ever composed. Every word out of George’s mouth, every strum of a guitar or press of a key feels present here and now.

The MVP: The string section is the backbone of the track. Giles Martin makes his father’s sweeping arrangement somehow even more essential to the character of the song, binding together the vocal harmonies, organ, and iconic guitar solo into one cohesive unit. You can hear the string track isolated if you spring for the Super Deluxe Edition boxed set (or, as of this writing, you can stream it for free on Spotify or YouTube).

Track 3: Maxwell’s Silver Hammer

The Big Picture: The openness of these mixes is so refreshing! Even on this novelty track about a deranged-yet-somehow-lovable serial killer, every component is refined to emphasize the great performances that are being captured here. The Moog synthesizer is so smooth and futuristic, the guitar fills are crisp, the drums have so much body and character, and the backing vocals are glorious. I do wish the anvil was a little louder, though!

The MVP: Paul’s lead vocal sounds more vibrant and nuanced, like it’s from an earlier-generation multitrack tape. Now you can better appreciate his commitment to delivering a killer performance.

Track 4: Oh! Darling

The Big Picture: Paul’s tribute to old time rock ‘n’ roll is now much more punchy and bassy. The guitar stabs are in your face, the lead vocal is raw and powerful like Little Richard, and the percussive piano would make Fats Domino proud.

The MVP: The backing vocal harmonies are super bright and uplifting. Now they really embody the doo-wop spirit this song represents.

Track 5: Octopus’s Garden

The Big Picture: I didn’t think it was possible to make this song an even more pleasant listening experience than it already was, but here we are! John’s electric guitar fingerpicking is now in stereo, giving the track more body and presence. The honky-tonk piano is so delightful, it makes me want to get up and dance. On the other hand, some of the lead guitar licks could be a little higher in the mix. And ironically, for a Ringo track, the drums weren’t given quite the same treatment as on “Come Together.”

The MVP: That iconic “underwater” bridge segment! The guitar really wails, plus you can hear the bubble-blowing clear as day behind the sing-song gargling.

Track 6: I Want You (She’s So Heavy)

The Big Picture: I think this gets my vote for most improved track on the album. It’s raw and passionate at the beginning, it’s slick and groovy in the middle, and then it absolutely rocks out all the way to its legendary abrupt end. John’s vocal track is now higher in the mix, and it sounded so fresh on my first listen that I actually had to question whether I was listening to the same vocal performance! After the first “she’s so heavy” chorus, the bluesy, jazzy guitar solo is so warm and cozy, I want to crawl up inside it and live there. And then Billy Preston’s soulful-as-hell organ solo absolutely blows me away.

The MVP: The final section of this track might be my favorite side-closer on any album, ever. It’s always been an absolute wailer of an ending, with the tension building and building. And somehow, the tension is even higher now! You’ve got the Moog white noise generator swelling, Ringo banging away on the drums like his life depends on it, and of course that ominous repeating guitar riff that seems to be heralding the arrival of something terrifying. And every time I think it must be ending any second now, there’s still a full minute left!

Side Two: Once There Was A Way To Get Back Homeward

Track 7: Here Comes The Sun

The Big Picture: Side 2 opens with one of the most popular and well-loved tracks in the Beatles’ catalog — and it’s been given the attention it deserves. Within the first few seconds, those harmonies hit you in full stereo, and they’re now as radiant as the sun itself. You instantly know you’re in for something special. The bridge (“sun, sun, sun, here it comes”) gets a nice added punch as the synths really shine through. It’s also worth noting that a new music video was released to accompany the new mix — earning over 1 million views on YouTube within the first 24 hours of its release.

The MVP: The final verse. By the time you get there, you feel the triumphant payoff that the track has been building towards all along: the sublime vocals and the ultra-catchy acoustic guitar riff anchoring everything, the driving bass and drums driving things forward, the strings adding rich texture, and the victorious synth floating up above it all optimistically. It’s enough to make you want to stand up and cheer.

Track 8: Because

The Big Picture: This song has always been hauntingly beautiful. It really didn’t need much improvement, but there are some very nice touches here. Paul’s bass line plays a more significant role than before, that Moog synth adds a lot to the bridge and final verse, the harpsichord has more oomph, and the mix is a quite a bit more open overall.

The MVP: The harmonies, obviously! They’re the song’s main attraction, and they’re even more full-bodied than before, if you can believe it. Giles Martin and Sam Okell have an incredible ability to make the Beatles’ legendary harmonies sound like they’re right there in the room with you. They’ve done it on every album they’ve re-mixed so far, and for my money, this track is the finest example.

Track 9: You Never Give Me Your Money

The Big Picture: This track has a lot of minor changes. Some I love, others I don’t prefer. On the whole, it’s like a good bottle of wine that’s been decanted and allowed to breathe — it only gets better! I love how the “1, 2, 3, 4, 5, 6, 7,” chant is much stronger. Ringo’s drumming has really been brought to the fore and stereo-fied nicely. But I do sort of miss the ADT and slight reverb on Paul’s lead vocal. And like the ending of “Come Together,” there are a couple of minor changes at the end of this track that I felt weren’t entirely necessary. A quicker fade on Paul’s “came true today, yes it did now,” means he’s cut off slightly sooner. And a more gradual fade on the lead guitar uncovers some guitar noodling that wasn’t audible before. Again, a very cool alternate ending that I would have preferred left to the bonus features. But the mix is so beautiful overall, I really can’t complain! It’s very possible I’ll just get used to it with time.

The MVP: The “out of college, money spent” section really stands out to me in this mix. The piano is jangly, the drums are powerful, the bass is robust, and the harmonies are gorgeous. I just absolutely love how tight the band sounds here.

Track 10: Sun King

The Big Picture: The opening soundscape makes outstanding use of the stereo field. The way the fingerpicked guitar, cricket sounds, and cymbals dance around from one side to the other is some of Martin and Okell’s finest work together on the re-mixes. The bass sounds much cleaner. The Lowrey organ is downright regal.

The MVP: The multilingual gibberish section has never been clearer or more amusing. This sincere delivery of complete and utter nonsense is among the best examples of Lennon wordplay.

Track 11: Mean Mr. Mustard

The Big Picture: John and Paul’s voices blend so perfectly on this track! The piano isn’t particularly high in the mix, but it sounds so much clearer. I really gained a renewed appreciation for what they did there. Plus, the drums being in stereo makes a world of difference for me. My brain knows it’s digital trickery, but my ears don’t care.

The MVP: Paul’s fuzz bass is extra fuzzy and extra bassy! Love everything about it!

Track 12: Polythene Pam

The Big Picture: Much improved mix here! The original mix felt somewhat constrained to the center and didn’t make particularly good use of stereo. Now it’s much more balanced, and it highlights how incredibly tight this band was right up until the end!

The MVP: John’s exaggerated scouse accent is thoroughly delightful.

Track 13: She Came In Through The Bathroom Window

The Big Picture: Ringo shines here once again, and Paul’s double-tracked vocals on the chorus are exquisite!

The MVP: The ongoing guitar fills give this song so much character! They’re mixed a little lower than I’d prefer, but that hasn’t stopped me from playing air guitar with every listen.

Track 14: Golden Slumbers

The Big Picture: The stereo separation here is less strict than before, and it’s absolutely for the better. The piano and orchestra play off each other in a beautiful new way. There’s an orchestra-only version on one of the bonus discs, and it’s absolutely worth your time to experience this arrangement on its own.

The MVP: Paul’s vocal performance is at times wistful, and at others, soulful. I’m mesmerized by the contrast between “smiles awake you when you rise,” and then, “I will sing a lullaby.”

Track 15: Carry That Weight

The Big Picture: It’s now much easier to pick out the bands’ individual voices during both the verse and the chorus — and that just brings me a ton of joy.

The MVP: The horns quite literally send a chill down my spine when they come in with the melody of “You Never Give Me Your Money.” And then George’s guitar solo just brings me to the verge of tears.

Track 16: The End

The Big Picture: The track comes in with a bang and doesn’t let up. And that drum solo? Oh my goodness. Ringo has never sounded better. And then, just like that, the orchestra swells, and the Beatles’ recording career ends with one of their most iconic lyrics: “the love you take is equal to the love you make.”

The MVP: The three-way guitar solo, hands-down. I’ve seen mixed reactions online but I absolutely adore the way they pan left, right, and center. It was one of just a few things I had on my wish list, and they delivered in a big way. It was exactly what I hoped for.

Track 17: Her Majesty

The Big Picture: Look, I cant lie. The song is 25 seconds of Paul singing and playing his acoustic. There’s not a ton to pick apart, but it’s great. Based off the original mix, they tweaked the left-to-right panning and made it much more gradual.

The MVP: All of it. It’s 25 seconds long!

And In The End…

The new mix of Abbey Road is fresh and fantastic. If you like the Beatles, give it a good listen and enjoy it! Much like other recent re-mixes and remasters, it’s like hearing the album for the first time, all over again. It’s like stripping the finish off a beautiful piece of wood and admiring the beauty just under the surface. There are so many nuances waiting to be noticed. It’s pure magic.

]]>FrankA Christmas Lesson From A Carpenter2018-12-25T20:17:41+00:002018-12-25T20:17:41+00:00https://frankramblings.github.io/blog/2018/12/25/2018-12-25-a-christmas-lesson-from-a-carpenterThis Christmas, I’m struck by the humility that this day represents.

God chose to take human form.

He chose to be born to a family living in poverty.

He chose to be born in a country occupied by a hostile empire.

He chose to be born in a stable that smelled like farm animals.

He chose to be laid in a food trough for those animals.

As a child, “He was subject to” Mary and Joseph.

God himself grew up as the apprentice to a simple carpenter.

He fetched water. He tended to the fireplace. He swept the floor.

So that’s what I’m thinking about today. If the God of the universe was humble enough to make himself so lowly, I need to remember to be more humble too.

Merry Christmas!

]]>FrankFifty Years of “The White Album”2018-11-30T19:40:58+00:002018-11-30T19:40:58+00:00https://frankramblings.github.io/blog/2018/11/30/2018-11-6-fifty-years-of-the-white-albumCome on it’s such a joy

After the 2017 fiftieth anniversary reissue of Sgt. Pepper’s Lonely Hearts Club Band, Beatles fans wondered if more remixes might be coming soon. A couple of months ago, the official word came: 1968’s The Beatles would be receiving the Sgt. Pepper treatment for its fiftieth anniversary. Fans everywhere rejoiced — including me!

Clocking in at 93 minutes with a total of 30 tracks across 2 LPs, The Beatles (affectionately known as “The White Album” because of its plain white cover) has long been the subject of debate among fans. Many consider it the band’s magnum opus, while others feel the double LP has too many filler tracks. Personally, I’m with Paul McCartney on this one: “It was great, it sold, it’s the bloody Beatles’ ‘White Album,’ shut up!”

Until about five years ago, the White Album was the Beatles’ album I had spent the least time listening to. It’s long, and it’s not necessarily the band’s most accessible work (“Wild Honey Pie” and “Revolution 9”, I’m looking at you.) But since this reissue was announced, I listened to the original stereo and mono mixes over and over again to prepare. While I don’t think the White Album needed a new stereo mix quite as much as Sgt. Pepper did, there were a handful of White Album tracks whose original mixes left me wanting more. These new mixes not only left me satisfied, they breathed new life into songs that I didn’t know even needed it. The way I see it, a good chunk of the White Album was pretty close to perfect already, but there were a few tracks that needed a little sprucing up. Giles Martin and Sam Okell took on the responsibility and delivered in a big way. This remix is another triumph and a fitting follow-up to their work on Sgt. Pepper.

I’ll provide a track-by-track analysis (because I’m a nerd like that) but here’s the TL;DR overview first. The entire album has a brighter, cleaner, more balanced sound overall. Plus, the drums and bass have been brought to the forefront in a lot of cases. In the 60s, drums and bass could cause record players to skip (the beat could literally cause the needle to jump out of the grooves), but today’s digital technology makes it possible to emphasize Ringo and Paul’s work the way it should have always been.

I mentioned that the album sounds more balanced. If there’s one thing this reissue proves, it’s that Giles Martin has a talent for filling the entire stereo field with sound. It’s becoming clearer and clearer that if the original stereo mix of the White Album has a flaw, it’s too much strict separation of instruments that almost pits the left and right sides of the tracks against one another. In the old mix, it was plain to hear how much of the album was recorded in overdubs. And that’s not bad per se, but it did sound kind of cold at time. You could tell when the guys weren’t playing together as a band. Plus, there were times in the old mix where either the left or right side were completely silent, resulting in a lopsided sound. In this remix, there’s much less of the lopsided effect, and instruments generally sound like they’re being played together, which adds more warmth and intentionality.

It’s interesting to note that some mixes were only slightly altered (“While My Guitar Gently Weeps”), while others were practically started again from scratch (“Glass Onion”). There’s a definite respect for the spirit of the album and a desire to provide the audience with an updated version that elevates the source material rather than trying to fix something that wasn’t really broken to begin with. And that’s a spirit I can get on board with.

SIDE ONE: looking through a glass onion

Track 1: Back in the U.S.S.R.

The Big Picture: From the opening sound of jet engines, the album is off to a rocking start. The stereo field on this track is wider than the old mix, and the new dynamics really bring out things like the drums and piano like never before. I had never really paid much attention to the piano for most of this song until hearing this version!

The MVP: John’s bass playing really has a great new kick to it. The previous mix buried the bass and now sounds tinny and more flat by comparison. This mix emphasizes the bass and drums in a way that makes the song rock on a whole new level. This is actually pretty consistent on the entire record, but it shines in a special way on this song.

Track 2: Dear Prudence

The Big Picture: This track is now so much richer! The decision to take full advantage of the stereo field results in a much more immersive sound that still preserves the intimacy and simplicity that makes this song so beautiful. The bass, the lead guitar, and those exquisite backing vocals embrace the listener from all sides, rather than hanging out on one side or the other. So crisp and clear in a new and exciting way!

The MVP: John’s finger-picked rhythm guitar is absolutely otherworldly and I could listen to it on a loop for hours. The song starts so cleanly and simply with that finger-picking as its foundation, builds to its peak, and then strips everything away again, leaving us the same way it began. And as it fades out, there is a sense of physical closeness, as if he’s right in the room, playing the song just for you.

Track 3: Glass Onion

The Big Picture: I felt this mix could use some sprucing up, and I’m really pleased with what we got here. The hard-panned bass and drums never sounded natural to me. Again, the band sounds like they’re playing together as a unit. The psychedelic strains of the string section and the steady piano really jumped out to me in a new way.

The MVP: John’s vocal sounds brighter, and it’s been brought to the forefront of the track. I hear some interjections from Paul that weren’t as noticeable before. That’s one of the real joys of reissues like these: hearing little tidbits for the first time, even though they’ve been right there (sometimes buried) in the music for all these years.

Track 4: Ob-La-Di, Ob-La-Da

The Big Picture: Paul famously labored over this track to the point where his band mates lost their patience with him. It seems that Martin and Okell didn’t feel the need to tinker with it much further, giving us a mix very similar to the original in most respects. It’s one of the rare spots on this album that actually benefits from some increased stereo separation. Previously, there was an almost muddy warmth to the horns section and the final verse’s piano trills, but that’s been brightened up. An acoustic guitar is now faintly audible, providing a steady ska beat throughout the whole track. The hand claps, maracas, and other percussion instruments are pleasantly set apart from the rest of the track, and John and Paul’s comedic vocal overdubs are much clearer than I’ve ever heard them.

The MVP: The high-pitched “la la la” backing vocals during the chorus now soar above the rest of the track, sounding cleaner and crisper than before. They really bring the party vibe!

Track 5: Wild Honey Pie

The Big Picture: Let’s just admit that this song wasn’t the Beatles’ finest musical achievement. Okay. Now that that’s out of the way, the changes in this mix are minor, creating more isolation between the layered vocal harmonies.

The MVP: The tape distortion on the guitars is much more exaggerated than before. Seriously, it’s kind of a big difference. More than I realized at first. Was that entirely necessary? Maybe not, but it further emphasizes this track’s defining characteristic, so I’m here for it.

Track 6: The Continuing Story of Bungalow Bill

The Big Picture: A much fuller, richer sound. For maybe the first time, I’m actually able to take this song seriously. I had always regarded it as a sort of novelty song, but its musical merits are finally on display here. Guitars, group vocals, percussion, and mellotron create a party vibe that’s not unlike “Birthday” (which we’ll get to a bit later.)

The MVP: Mandolins! Mandolins everywhere! Wow, they really create tension during the verses, don’t they? They now augment the story (slightly absurd as it is) in a really powerful way.

Track 7: While My Guitar Gently Weeps

The Big Picture: When this track dropped on Spotify a few weeks before the rest of the reissue, I was surprised that the new mix was actually fairly similar to the original. The real change here is the way the acoustic rhythm guitar ties all the elements of the track together, allowing the sounds to build on one another and create a finished product that is greater than the sum of its parts. Martin and Okell managed to polish a gem that we didn’t even realize could shine any more than it already did.

The MVP: Ringo’s hi-hat really stands out — just kidding! The obvious MVP here is the iconic Eric Clapton guitar solo! The new mix brings this slice of music history to new life, and I can’t help but play air guitar every time I hear it.

Track 8: Happiness Is a Warm Gun

The Big Picture: Happiness is a balanced stereo mix. And that’s exactly what this track delivers. Every instrument works together to weave a soundscape that imitates the experience of hearing the band play live. The added double-tracking on the fuzz guitar solo was an interesting choice. But I do have some criticism: it’s now much harder to hear Paul’s doo-wop vocal bassline during the chorus, and that’s a real shame. It adds so much charm to the end of the song, and I’m bummed that it’s not as clear as it used to be.

The MVP: The backing vocals on the chorus do a lot to elevate the song from a standard rocker to something transcendent. It hits the listener right in the face and signals a change in the direction of the song.

###

SIDE TWO: take these broken wings

Track 9: Martha My Dear

The Big Picture: The opening of this song is much improved! It starts with a simple piano melody, which had been hard-panned to the left in the old mix. Now, it’s centered and feels much more open — as if the piano itself is relieved to have some breathing room.

The MVP: The horn solo sounds so clean and modern! On one hand, it’s actually a bit of a shame that it seems to be missing some of the trademark Abbey Road reverb that used to be there. On the other hand, this crispness is a better fit for the new mix.

Track 10: I’m So Tired

The Big Picture: The actual mix is fairly similar, but a bit more centered. This track was previously very bass-heavy, and that’s been leveled out here. Paul’s bass still drives the song, but it doesn’t dominate like it had before, and that’s a good thing in this case.

The MVP: Ringo’s drumming, for real this time! You can now fully appreciate his ability to always make the exact right choices for a given song. Never too much, never too little, always just right. I feel Ringo is severely underrated in general (this podcast episode covers the topic well), and while this isn’t even my favorite performance of his, it’s a great showcase for his talent.

Track 11: Blackbird

The Big Picture: Did you ever notice this track had audible tape hiss? Because I never did, until now. And it’s gone now! Another improvement for the better, without any drawbacks.

The MVP: Well, the guitar, clearly. It’s now centered for a fully immersive experience. Sure, it’s a little harder to hear those foot taps, but I don’t think we really needed to dedicate the entire left channel to them, either. This centered approach is the way to go!

Track 12: Piggies

The Big Picture: Songs like this one don’t always get the attention they deserve. Sure, George is earnestly singing a satirical, baroque ballad about pigs clutching forks and knives to eat their bacon. But shouldn’t he sound good doing it? Well, clearly Giles Martin thinks so, and he blends the strings, keyboards, guitar, and tambourines so they sound like they’re in the room with the listener.

The MVP: The harpsichord wins this round. It’s always been this song’s defining characteristic, and I’m thrilled to hear it front and center as the star of the song.

Track 13: Rocky Raccoon

The Big Picture: This might be the best example of how to update the overall feel of a song by mixing the bass and drums in the center. Everything else falls into place once those are where they belong. As deeply familiar as I am with the song, the honky-tonk piano and harmonica felt so fresh, it was almost like hearing them for the first time all over again.

The MVP: The doo-wop backing vocals during the final verse made me gasp. Until now, they had always sounded slightly low-fi. I assumed that was on purpose, but now I wonder if that was a result of multi-track bouncing that’s been corrected in the digital age. Either way, the voices surround the listener and have become one of the highlights of the song for me.

Track 14: Don’t Pass Me By

The Big Picture: Why was Ringo’s drumming ever sentenced to fifty years of solitary confinement in the left channel? I don’t know the answer, but I’m certainly relieved that they’ve been released. The result is a delightfully jangly country rock song that may lack in polish, but makes up for it with charm.

The MVP: I can’t in good conscience point to anything other than the fiddle. It’s what gives the song it’s southern charm and it’s more integrated into the song than it’s ever been.

Track 15: Why Don’t We Do It in the Road?

The Big Picture: This is probably my least favorite song in the entire Beatles catalog. In fact, until writing this review, I had forgotten that I’d removed it from my iTunes library way back in 2009 when I got the remastered set. That’s how little I care for it. It’s been made warmer and clearer than before, but it’s still the track I’ll skip most often.

The MVP: Paul’s baseline is groovy and (for my money) the most musically-interesting element of the song. It sounds much more crisp and snappy.

Track 16: I Will

The Big Picture: This album features a healthy number of acoustic tracks with relatively simple arrangements. This song really didn’t need much work. I don’t love that the lead guitar is now slightly more buried in the mix, but I appreciate the effort to pull the vocal harmonies slightly to the left and right, creating that sense of being surrounded by music on all sides.

The MVP: Paul’s vocal bassline always amuses me, and it’s really easy to pick out and enjoy now.

Track 17: Julia

The Big Picture: How do you take a vocal and an acoustic guitar and give them the weight and impact of a full band? Well, take a few pointers from this track, because they’re on to something here. It feels like they’ve taken us listeners inside of John’s guitar.

The MVP: John’s multi-tracked guitar finger-picking is haunting and surreal. ‘Nuff said.

SIDE THREE: Yes we’re going to a party, party

Track 18: Birthday

The Big Picture: This is another one of those mixes that benefits from more stereo separation. By comparison, the old mix sounds much less dynamic — almost flat. And I don’t know that I’ve ever actually noticed that guitar riff that accompanies the bass during the “I would like you to dance” segment around the 2-minute mark. I’d always heard the bass, but never quite picked out the guitar that goes along with it.

The MVP: The main guitar riff complements the bass so beautifully throughout the track now, it’s amazing! They had been locked in together previously, but they’ve been given their own spots on the left and the right, and that allows them to share the spotlight and raise each other up.

Track 19: Yer Blues

The Big Picture: This earns the prestigious Frank Ramblings Award for Most Improved Track! The song packs even more of a bluesy punch now, with Ringo drumming like a madman right up the middle, and George and John’s guitars off to the sides.

The MVP: John’s lead vocal always had reverb, but now it really reminds me of the sound he went for on solo albums like Imagine or Rock ‘N’ Roll. This one will be in heavy rotation for me.

Track 20: Mother Nature’s Son

The Big Picture: If it struck you as odd that this track was always essentially split down the middle of the stereo field, that’s been addressed. I found that having the guitar and orchestra share some space in the center channel really opens things up and draws me in further.

The MVP: The brass section used to feel like it had been tacked on to an otherwise acoustic song — which is really what happened. But the new mix provides a more cohesive sound and brings a sense of intentionality that was always missing before.

Track 21: Everybody’s Got Something to Hide Except Me and My Monkey

The Big Picture: Glad to see this song finally getting some love. Adapted from a saying by Maharishi Mahesh Yogi during The Beatles’ time with him in Rishikesh, India, the lyrics are a bit silly, but they’re wrapped in a legitimate hard rock coating. Re-arranging the stereo imaging made it much easier to appreciate the percussion and the enthusiastic screams and shouts from the band throughout the track.

The MVP: Paul’s driving bassline is front and center in this mix, giving the song a focal point. The rest of the song feels anchored around it.

Track 22: Sexy Sadie

The Big Picture: Another song written by John about the Maharishi, though this time with a decidedly less positive attitude. This may come as a surprise, but I think I prefer the old mix on this one. It wasn’t perfect, but it was brighter and less muddy than the new mix. Now the bass is a touch too dominant for my taste, and it drowns out the piano almost completely. On the bright side, you can hear a Hammond organ now (especially in the final 10 seconds or so) that I’d never noticed before.

The MVP: The guitar solo has been brought up in the mix and it’s never sounded so good. It makes me wish for a hybrid mix, taking the best parts of both the original and new versions.

Track 23: Helter Skelter

The Big Picture: The term “heavy metal” wasn’t in wide usage yet at this point in 1968, but if there was ever a true heavy metal song, this is it. The signature guitar lick is so dynamic that it sears itself into the listener’s memory immediately. Ringo does some of his best work on this track, and the new mix really gives him the chance to shine. In the old mix, John’s bass had taken up residency in the left ear, throwing the track off-balance at times. Now, it joins Ringo’s drums in the middle to create a rocking rhythm section. Plus, if you listen carefully, you’ll notice some spoken bits from Paul that weren’t so easy to hear until now.

The MVP: The backing vocals are absolutely haunting now. It’s almost jarring at first. They jump out at the listener and make it pretty clear that this is something special and different.

Track 24: Long, Long, Long

The Big Picture: It seems fitting that the loudest song on the album is followed by one of the quietest. Prior to this new mix, George’s vocals and acoustic guitar would very quickly modulate from a whimper to a soulful shout. That’s been smoothed out, and it’s infinitely more listenable than before! It’s one of the more experimental songs on the album, and it’s presented here in a way that is much more enjoyable to listen to.

The MVP: Check out the phase effect on the drums. It’s pretty wild, and I’m positive I never noticed it before.

SIDE FOUR: We All Want To Change The World

Track 25: Revolution 1

The Big Picture: The old mix of this song was the result of some odd choices. It sounds highly compressed, the low frequencies are muted, the high frequencies are intense, and the horns section is completely isolated on the right side. In stark contrast, this new mix sounds like a brand new recording. Honestly, this is one of the most-improved tracks out of the whole bunch. The acoustic backing track and lead vocals anchor the whole song, with backing vocals, lead guitar, and horns surrounding the listener on the left and right, giving the impression of a 180-degree field of sound. And the bass is actually audible this time! How novel!

The MVP: The horns section adds an air of sophistication to the entire song. And now that it’s somewhat mixed in with the rest of the instruments, you actually feel like they’re intentional and not added off to the side.

Track 26: Honey Pie

The Big Picture: Paul’s tribute to the 78 RPM music hall style takes on a new character in this mix. Previously, there was an unnatural (by 2018 standards) separation that made it clear these musicians were not all playing together. In the new mix, the stereo separation is still used to great effect, but the entire track sounds much more dynamic. The jazzy electric guitar and the piano bind the entire track together, along with Paul’s lead vocal.

The MVP: Another win for the orchestra! The clarinets now span across the entire stereo field and envelop the listener in a sphere of jazz reminiscent of the old records Paul is honoring here.

Track 27: Savoy Truffle

The Big Picture: This song wasn’t always a favorite of mine, and I can’t help but wonder if the old stereo mix had a lot to do with that. First of all, the old mix was painfully quiet by comparison. And I can’t understand why George’s vocals were isolated on the far right. I far prefer this new mix, which once again creates a unifying effect that draws the listener in and makes for a generally more pleasing listening experience.

The MVP: Stabbing brass on all sides elevates the song to a new level! Seriously, I can’t get over this sound! I can’t tell if it’s the placement of the microphones, the new centered mix, or just the simple fact of going back to the source tapes. Maybe it’s a combination of all those factors? Whatever it is, this song quickly rose up the ranks for me.

Track 28: Cry Baby Cry

The Big Picture: This has always been one of the highlights of the album for me. The melody and lyrics strike me as somewhat McCartney-esque, though I’m aware it’s a Lennon composition. I enjoyed by the way the old mix had John’s vocal floating from the center during the verses to the left during the chorus. I was a little bummed out that the new mix didn’t preserve that, but I still prefer this new version by far. But that’s OK, especially because the lead guitar totally wails now. The piano and acoustic guitar are also noticeably easier to hear, giving the song a sort of backbone that it only really had in the mono mix until now. And did you realize there was a bass guitar on this song? Because I barely realized it until it became so pleasantly audible in this mix.

The “Can You Take Me Back” segment sounds largely the same, but louder and more vibrant. I wish they had preserved the old mix of this section— with the new volume boost, but it’s a matter of personal preference.

The MVP: John’s vocal is warm and enveloping, particularly during the chorus when it’s double-tracked. It’s very telling that the vocal is still the centerpiece of the song, given how much more vibrant the other instruments have become in the new mix.

Track 29: Revolution 9

The Big Picture: Oh boy. Just the thought of trying to summarize this track makes me nervous. I had read that the original mix was preserved, and I can confirm it. Honestly, it’s a relief. The original mix was the result of hundreds (if not thousands) of very intentional and specific choices by John Lennon, George Harrison, and Yoko Ono. Altering it would be unthinkable to many die-hard fans. It’s probably for the best that they didn’t mess with what so many consider an avant-garde masterpiece.

The MVP: It honestly hasn’t changed, so I can’t say anything new jumped out at me. But if you’re like me, maybe it’s been a while since you last listened to this one. Take this as an opportunity to pop on a good pair of headphones and experience it again.

Track 30: Good Night

The Big Picture: This is a perfect album closer. Framed as a lullaby, it ends the record on a high note. And it sounds much cleaner and more polished than ever. My eyes widened when I heard how crystal clear the backing vocals are now! And I love the Beatles’ four-part vocal harmony later in the song, but I had never noticed that it can be heard during the intro as well!

The MVP: George Martin’s orchestration is absolutely sublime. You’ll feel like you’re in a concert hall listening to a live orchestra, surrounded on all sides by music, and whisked away to dreamland. It’s one of the most overlooked orchestral arrangements in the Beatles’ catalog.

Now It’s Time To Say Good Night

Even if you already own and love the White Album, this new mix is a must-have. A discerning listener will notice that it sounds fresher and more energetic than before. I absolutely have a new appreciation for it and I’ll be listening often.

If you don’t feel strongly about the White Album, I’d encourage you to check out this new mix on your favorite streaming service and give it another honest try. It’s worth it for the bonus tracks alone! I won’t dive into the details here, but they’re an absolute treasure trove of early takes and mind-blowing demos.

In 2018, the spirit and culture of 1968 lives again in many ways. In dusting off the White Album and polishing up some of the band’s finest work, both the Beatles as a band and The Beatles as an album are as relevant today as they’ve ever been.

]]>FrankA Modern Life Lesson from Superman2018-09-05T17:18:18+00:002018-09-05T17:18:18+00:00https://frankramblings.github.io/blog/2018/9/5/2018-9-5-a-modern-life-lesson-from-supermanThe next time someone asks why I still read superhero comic books at age 29, I’m going to hand them a copy of Brian Michael Bendis’s Superman #2. It opens with powerful reminder of the responsibility we all have to stay plugged into what’s happening in the world, even when it’s totally overwhelming — all under the guise of a superhero story. And it has the realistic, yet inspiring tone you’d want from a Superman story.

Green Arrow once privately asked me if my life was Hell.

“Hell?” I asked.

“Actual Hell! Because you can never turn off your super-hearing. You can’t not see the madness of the world with your super-vision. You can’t stop seeing and hearing all the horrors of the world.”

First of all… yes, I can. I can turn it off anytime I want. I don’t. I never have and I never will. But I can. We all can. I could leave the planet and never come back.

And yes. Some days it does feel like madness. The screams for help never stop. The hate never stops. Oh, and the ignorance. The ignorance sometimes never stops, and it just breaks my heart.

But, and it was my wife who pointed this out… she said: everyone knows there is suffering and hurt and war and disaster. All the time. Somewhere, someone is out there hurting someone else. Whether you have the superpower to hear it or not, you still know it.

But what a lot of people don’t get to see or hear it what I get to see or hear: what happens after the scream.

People help. People reach out. More times than not, a scream — and someone nearby helps before I can even lift a finger. People do their jobs. It’s stunning to see. Beautiful, really. The police, firemen, EMTs, politicians, even.

Nothing is perfect, and it never will be, but the world works. Even during emergencies, tragedies, and sudden disasters. Especially during emergencies, tragedies, and sudden disasters.

Not all the time, and not everyone, but billions and billions of times a day, the world works. Billions and billions! I explained it to Ollie: that’s what I get to see and hear every day. The sight and sounds of billions of people trying.

Does that sound like Hell?

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]]>FrankHow Does Apple Prepare For iPhone Launch Day?2017-09-22T17:52:35+00:002017-09-22T17:52:35+00:00https://frankramblings.github.io/blog/2017/9/22/2017-9-22-how-does-apple-prepare-for-iphone-launch-dayHow exactly does Apple keep their biggest product launch a secret and then suddenly ship them all over the world at once? Nicole Nguyen of BuzzFeed News went behind the scenes with Apple head of retail Angela Ahrendts to get the answers. Really great watch.

]]>FrankNitpicking the iPhone X Announcement2017-09-14T19:41:59+00:002017-09-14T19:41:59+00:00https://frankramblings.github.io/blog/2017/9/14/2017-9-14-nitpicking-the-iphone-x-announcementYes, the iPhone X looks awesome. Yes, I want one. But anyone can talk about the good stuff. How about some of the annoying, nitpicky details?

  • Poor Craig Federighi. Was his face too handsome for Face ID?
  • A cellular Apple Watch won’t be useful to me until it’s as easy to play podcasts on the watch as it is on the iPhone. Until I can easily get podcasts on my Apple Watch and AirPods, I can’t leave my iPhone very far behind anyway. I’ll be sticking with my Series 2 for now. Plus, as a Type 1 diabetic, I’m hopeful that the rumored glucose monitoring features will come to Apple Watch Series 4 in 2018.
  • I was crossing my fingers and wishing (foolishly, I’ll admit) that they’d reveal that the existing AirPods charging case has secretly had wireless charging capability all along. I know, I know — I ought to know better.
  • On iPhone X, Control Center is now accessed by dragging down from the top right corner of the screen. But, Reachability doesn’t exist on iPhone X. So I’ll be regularly swiping down from the top, but I’m not sure I can always reach that corner. Something I’ll need hands-on experience to fully wrap my head around.
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