Northern Lights

As you may have guessed, I love the Northern Lights (also known as Aurora Borealis) and I had to post this terrific video that was posted on Facebook. It’s taken from somebody’s deck in a town called Gillam, Manitoba in northwestern Manitoba. The video is short, but excellent.

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Yosemite’s lava falls

Yosemite National Park is one of my favorite places on earth. I had never heard of the lava falls until today. I searched around for some photos, and I’m posting five of them here. I don’t know who took them, but I’d be happy to give photo credits. Enjoy!

From The Associated Press (AP):

YOSEMITE NATIONAL PARK, Calif. — A window of time just opened in Yosemite National Park when nature photographers wait, as if for an eclipse, until the moment when the sun and earth align to create a fleeting phenomenon.

This marvel of celestial configuration happens in a flash at sunset in mid-February – if the winter weather cooperates. On those days the setting sun illuminates one of the park’s lesser-known waterfalls so precisely that it resembles molten lava as it flows over the sheer granite face of the imposing El Capitan.

Every year growing numbers of photographers converge on the park, their necks craned toward the ephemeral Horsetail Fall, hoping the sky will be clear so they can duplicate the spectacle first recorded in color in 1973 by the late renowned outdoors photographer Galen Rowell.

“Horsetail is so uniquely situated that I don’t know of any other waterfall on earth that gets that kind of light,” said Michael Frye, who wrote the book “The Photographer’s Guide to Yosemite.”

“How many are perched on a high open cliff? Most are in an alcove or canyon and won’t get the sun setting behind it. Yosemite’s special geography makes this fall distinctive,” he said.

Four decades ago, photographers had only to point and shoot to capture another famous Yosemite firefall – a man-made cascade of embers pushed from a bonfire on summer nights from Glacier Point.

But photographing Horsetail is a lesson in astronomy, physics and geometry as hopefuls consider the azimuth degrees and minutes of the earth’s orbit relative to the sun to determine the optimal day to experience it. They are looking for the lowest angle of light that will paint Horsetail the colors of an iridescent sunset as rays reflect off granite behind the water. It materializes in varying degrees of intensity for the same two weeks every year.

“If you hit it at just the right time, it turns this amazing color of gold or red-orange,” said Frye, a photo instructor with the Ansel Adams Gallery in the park.

Adams photographed the fall, but his iconic black and white images do not capture its fiery quality, and it’s unclear whether he ever noted it.

To be successful in photographing the watery firefall, it takes luck and timing, and the cooperation of nature. Horsetail Fall drains a small area on the eastern summit of El Capitan and flows only in the winter and spring in years with adequate rain and snow, which is scarce this year. Experts say it doesn’t take a lot of water for the fall to light up.

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Music I Like

From NPR.

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Tommy Stinson: A Bruised Lifer Returns

by TIMOTHY BRACY

Tommy Stinson's "All This Way for Nothing" is a classic piece of Replacements-style fatalism from one who knows it well.

EnlargeSteven CohenTommy Stinson’s “All This Way for Nothing” is a classic piece of Replacements-style fatalism from one who knows it well.

TUESDAY’S PICK

Song: “All This Way for Nothing”

Artist: Tommy Stinson

CD: One Man Mutiny

Genre: Pop-Rock

December 20, 2011

Tommy Stinson’s weird and winding road through the music industry began in 1981, when he became the 14-year-old bassist for the brilliant and beloved slow-moving train wreck known as The Replacements. The ‘Mats were a less a rock band than a Russian novel, a story replete with toxic appetites, disastrous flirtations with stardom and even the firing of Stinson’s own brother Bob as lead guitarist. Tommy played it all straight down to the bitter end, ending up as The Replacements’ only other original member, along with frontman Paul Westerberg on the band’s miserable final tours.

When that gig mercifully concluded in the early ’90s, Tommy Stinson embarked on an underrated second act, first with the terrific bar-rock band Bash and Pop, which in 1992 issued the tremendous Faces-style classic Friday Night Is Killing Me. A couple of strong power-pop albums followed with his next band Perfect, but none of this work found the larger audience it deserved.

Then, in a twist worthy of Sunset Boulevard, Stinson eventually fell into the full-time employ of Axl Rose, early in the midst of the 15-year meltdown which culminated in Rose’s underwhelming Guns N’ Rosesboondoggle Chinese Democracy. Just as he had in his previous band, Stinson hung on for the duration, making the best of an inevitably terrible situation.

Ironically, Stinson has always deserved better than second-banana status. On One Man Mutiny, his wryly titled new solo record, Stinson’s amiable rasp and keen ear for melody underscores the notion that he should have been working on his own songs all along. “All This Way for Nothing” is a classic piece of ‘Mats-style fatalism, set to a shuffling beat and heart-tugging slide guitar. “You say you don’t need much / because they’ve taken all you had,” he sings, sounding every bit like the scarred veteran of one too many music-industry wars. But as always, the desultory sentiment is leavened by the evident joy in creating yet another moving pop gem. Stinson may be a bruised lifer, but he’s also a true believer. He came all this way for us.

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