August 17, 2019 § Leave a comment
For someone with zero background in physics, I’ve developed quite an interest in quantum mechanics via the Many-Worlds Theory. Given its frequent appearance in literature and film, how could I not?
The Many-Worlds Theory was invented by the Princeton physicist Hugh Everett III, who published his dissertation in 1957. Like the Bohr model and Schrödinger Equation that preceded it, MWT explains the wave-like properties of protons and electrons, but it diverges in important ways: where Bohr and Schrödinger envisioned duality, Everett saw an infinite branching of outcomes. In Everett’s view, each event creates a split, and therefore a parallel universe, each with its own reality. His hypothesis is supported by physics: just as atoms can be in two places at once, so could everything made up of atoms, including us.
Though Everett’s theory was met with derision by Bohr and others for most of his lifetime (he died in 1982, at 51, having left academia to work in the defense and financial industries), it has gradually gained acceptance among theoretical physicists. Today the Many-Worlds Theory is taught and written about in universities, but its greater significance might be in popular culture. Decades after its controversial beginnings, Everett’s work has become a major theme of novels and films.
I first saw it illustrated in Krzysztof Kieslowski’s 1991 film, “The Double Life of Veronique.” Two identical women, one French and one Polish, both musicians, sense each other’s existence throughout their lives. Though their paths almost cross in Krakow on a single occasion, when Veronique inadvertently captures Veronika in a photo, they never meet. Nonetheless, as Veronique says, “All my life I’ve felt like I was here and somewhere else at the same time.”
Anyone who has wondered how life might have turned out on the road not taken has felt the possibily of parallel worlds. In Bruce Wagner’s 1996 novel, I’m Losing You, the agent Donny Ribkin runs into his ex-girlfriend and experiences a Many-Worlds reverie:
It was two years since the breakup, but their life together–for him–continued on a parallel, spectral track. He watched….as shadow-Donny and shadow-Katherine went about their daily couple-life: saw them vacation and marry, go to movies, buy a house….Their love continued to grow the way nails were said to grow on a corpse.
In the 1998 film, “Sliding Doors,” the world is split by the closing of a train door in the London Underground. When Gwyneth Paltrow’s character misses the train home, her life hurtles away from the one she would have lived if she had caught the train. Though two stories proceed with some similarities, they never converge.
Then there’s Quentin Tarantino’s masterpiece, “Once Upon A Time In Hollywood,” which I’ve so far seen three times. Its daring counterfactual ending is so fitting and just that it renders the real events of August 8-9, 1969 fantastical, an unreal nightmare. Whether or not he intended to illustrate Everettian physics, Tarantino has perfectly explained the Many-Worlds Theory: a single event sets into motion a series of others, moving reality onto a different track.
It was in the early 2000’s, considerably after I’d seen its depiction in art, that I learned of the existence of the Many-Worlds Theory. My gateway into quantum mechanics wasn’t film but music: specifically, that of the band Eels, whose frontman (and only full-time member) is Mark Oliver Everett, Hugh Everett’s son. The 2007 documentary “Parallel Worlds, Parallel Lives” follows Mark as he talks about his father’s life and work with physicists, both his father’s former colleagues and current faculty members at Princeton, one of whom is visibly moved to meet his mentor’s son.
The Many-Worlds Theory asserts that time is not an arrow but a fork, branching endlessly. . Because of art, it now enjoys widespread acceptance even among people like me, for whom math and physics were baffling, off-putting subjects. I hope that in some parallel universe, Hugh Everett is pleased.
July 23, 2019 § Leave a comment
There’s a lot to love about “Remember My Name,” the fascinating new documentary directed by A.J. Eaton and produced by Cameron Crowe. David Crosby is a great raconteur, and the fact that he’s having a late career renaissance–four new albums in as many years–makes this a far more dynamic film than the recent “Echo in the Canyon.” (Interestingly, Crosby enlivens that one too.) His eloquence and candor are evident throughout, and Eaton, an excellent interviewer, helps to organize the stories and put them in historical context.
We learn about Crosby’s family life–his father, Floyd, was an Oscar-winning cinematographer who shot some of the most important aerial footage of World War II, while his mother, Aliph, loved music–and his introduction to guitar via his older brother, Ethan. Success came early via the Byrds, but when Crosby was fired from that band he went on to even greater heights with Crosby, Stills and Nash, the first supergroup. After Neil Young joined the trio in 1969, CSNY’s debut performance at Woodstock was a high point of the festival.
Crosby recounts the heady days of his career as entertainingly and insightfully as we’d expect. And when things turn bad, beginning in the 1970’s–with his worsening drug addiction, the tragic death of his adored girlfriend Christine Hinton and the breakup of CSNY–he’s just as frank. But about one of his defining traits–a talent for alienating those closest to him, including the bandmates who stood by him in his darkest hours–he’s less open. Though Crosby says it can’t be a coincidence that none of his musical colleagues will speak to him, he’s vague on the reasons, aside from those that broke up the Byrds (speeches from the stage about the Kennedy assasination conspiracy theories, for starters). It’s striking that a man who’s wise enough to write an advice column has a blind spot about his character, apart from his acknowledgment that he’s “an asshole”.
Then there’s Crosby’s penchant for petty, permanent grudge-holding. Passing by Ciro’s, he recounts meeting Jim Morrison there and developing an instant hatred for him. Why? Because Morrison took off his sunglasses, saying, “You can’t hide from me.” Beyond the fact that this incident took place in a dark club more a half century ago, it should be noted that that Morrison has been dead for 48 years and never made it past the age of 27. But Crosby isn’t done with him yet. At his next stop, the Canyon Country Store, he eyes a photo of The Doors and says “I didn’t like those guys”, adding, “Morrison–what a dork.” In a final, mind-boggling slam, Crosby says, “I don’t think they ever lived [in Laurel Canyon]”–though he could have thrown a stone and hit Jim Morrison’s house from where he stood.
Things get better with a lengthy, photo-filled segment on Joni Mitchell, his girlfriend circa 1968-1969, in which she finally gets the attention “Echo in the Canyon” denied her. Still, there are some digs. Though Crosby praises Mitchell to the skies–“she’s the best songwriter and musician of all of us”–he also grouses about her ingratitude for his contacts in the music business, as if she really needed him to open doors for her. When he recalls how Mitchell broke up with him via a new song (probably “For the Roses,” though he doesn’t say) that she performed–twice–at a dinner party, we understand her reasons.
In light of his obnoxious, self-destructive tendencies, David Crosby is a lucky man, and he knows it. After serving four years in Federal prison for an assortment of drug-related charges, including running from the law, he married his longtime girlfriend Jan, had a son, and got a new liver (paid for by Phil Collins, though he doesn’t mention that generous gift). Despite professed financial problems, Crosby now lives with his family, dogs and horses on a ranch in the lovely Santa Ynez Valley. In light of his tumultuous, drug-fueled life, surviving to tell the tale for posterity would be feat enough. Instead, at 77, an age when most of his fellow musicians are retired or dead, Crosby is touring and recording new songs, unstoppable in his musicianship.
July 18, 2019 § Leave a comment
Since seeing the newly restored version of “The Doors,” I’ve been on a deep dive into the band’s music, interviews, reviews and concert footage. I was a child during The Doors’ heyday and clearly remember first hearing “Light My Fire” on the radio: it was thrilling, a song like no other. I was particularly impressed by the second verse: “The time to hesitate is through/No time to wallow in the mire/Try now we can only lose/And our love become a funeral pyre.” Though I didn’t know then that these lines were Jim Morrison’s contribution to Robby Krieger’s first-ever song, I recognized that rhyming mire and pyre with fire was genius.
Later I would learn why The Doors’ music sounded so different from other bands’. The bass lines played by Ray Manzarek’s keyboard instead of a bass guitar were one reason. Robby Krieger’s bottleneck, pick-less guitar playing and flamenco background were others. John Densmore’s jazz influences set him apart from other rock drummers. Finally, the Latin, jazz and blues roots of all three musicians came through in The Doors’ sound.
Then there’s Jim Morrison, frontman for the ages. If no other band has successfully imitated The Doors, it’s safe to say that most rock singers have tried to imitate Morrison, whose wild, immersive performances set a high bar. In Tom DiCillo’s 2009 documentary “When You’re Strange” (Netflix), there’s stunning sequence at the 22 minute mark: footage (set to “Love Me Two Times”) in which Morrison leaps, writhes and flails his way through a series of increasingly chaotic concerts. Timeless in his leather pants, boots and Dionysian curls, Morrison fearlessly connects with his audiences, fighting his way through police lines to hold them in his thrall. Ray Manzarek often compared him to a shaman, and there is a touch of the divine in his Native American-inspired movements and trance-like writhing. Though he considered himself a writer first and foremost, Jim Morrison understood stagecraft as few other singers have. His all-out performances, enabled by copious drinking and drugging, no doubt contributed to his death at 27.
Then there’s his voice, a doomy baritone that was much-criticized in the band’s heyday but which seemed, even to the childhood me, perfect for songs that were often in minor key. Both Morrison and the rest of The Doors worried that he wasn’t a good enough singer, and his purported lack of musical talent led his father, Rear Admiral George S. Morrison, to write a disparaging letter that caused a permanent rift between them. Yet from 1970s onward, his vocal influence is everywhere in rock. Iggy Pop, Ian Curtis, Ian McCulloch, Dave Gahan and Trent Rezner are just a few of the singers who owe Jim Morrison an enormous debt. And don’t get me started about his leather pants.