Sodomy Anthology Part 2 11
The Unit for Criticism and Interpretive Theory will offer a series of public lectures on the history of critical theory. These lectures, each of which will be followed by open discussion, will take place on Tuesdays from 5:15-6:45pm in 1092 Lincoln Hall. The lectures are coordinated with graduate seminars on critical theory in a number of departments, but are also open to other faculty or graduate students who may wish to attend.
Sodomy Anthology Part 2 11
Gay, bisexual, and queer (GBQ) men are at higher risk of negative body image. As having a negative body image is related to negative mood, sexual, and health outcomes, identifying and providing community-friendly tools for GBQ men is important. This paper describes the creation and evaluation of Rainbow Reflections, a comic anthology developed to promote awareness of and communication about body image. Rainbow Reflections includes comics from 38 trans- and cis-GBQ artists who drew inspiration from personal narratives based on pre-determined themes in the empirical literature and interactive inserts based on evidence-based practice. To evaluate Rainbow Reflections, 167 trans- and cis-GBQ men completed pre-post measures before/after viewing a selection of comics and responded to an open-ended question about their experience. Overall, participants rated the comic book positively, with a majority (61.1%) indicating that they would recommend the book to a friend. After viewing the comics, participants reported greater comfort with initiating conversations about body image, greater satisfaction with their bodies, and reported higher estimates of how common body image concerns are for queer men. Themes that emerged from open-ended responses included participants reflecting on personal struggles ( 30%), relating with the stories of others ( 22%), reflecting on the standards of queer men ( 18%), recognizing cis-privilege ( 11%), reflecting on others' struggles ( 9%), negative feedback about the comics ( 7%), and balancing masculine and feminine ( 3%). Results of the study provide preliminary evidence for Rainbow Reflections as an effective community-friendly tool to promote awareness of and communication about body image for GBQ men.
By David DoddResearch Associate, Music Department University of California, Santa Cruz.Copyright noticeSome interpretations: contributions from the WELL Deadlit conference. "That's It For The Other One"Words and music by Jerry Garcia, Bob Weir, and Bill Kreutzmann("That's It For the Other One," composed and written by Jerry Garcia, BobWeir, and Bill Kreutzmann. Reproduced by arrangement with Ice Nine Publishing Company, Inc. (ASCAP))["Cryptical Envelopment"]The other day they waited, the sky was dark and faded,Solemnly they stated, "He has to die, you know he has to die." All the children learnin', from books that they were burnin',Every leaf was turnin', to watch him die, you know he had to die.The summer sun looked down on him,His mother could but frown on him,And all the other sound on him,He had to die, you know he had to die.["Quodlibet for tenderfeet": Instrumental]["The Faster We Go The Rounder We Get: aka part 2]Spanish lady come to me, she lays on me this rose.It rainbow spirals round and round, It trembles and explodesIt left a smoking crater of my mind,I like to blow away.But the heat came round and busted meFor smilin on a cloudy day[Chorus]Comin', comin', comin' around, comin' around, comin' around in acircleComin', comin', comin' around, comin' around, in a circle,Comin', comin', comin' around, comin' around, in a circle.Escapin' through the lily fieldsI came across an empty spaceIt trembled and explodedLeft a bus stop in its placeThe bus came by and I got onThat's when it all beganThere was cowboy NealAt the wheelOf a bus to never-ever land[Chorus]["We Leave the Castle"]And when the day had ended, with rainbow colors blended,Their minds remained unbended,He had to die, oh, you know he had to die.That's It For the Other OneMusical details:Key: First part: Three sharps (quasi-A); Second part: ETime signature: First part: 4/4; Second part: 12/8Chords used: First part: E, A(no 3rd), A, G, Em, D, C(no 3rd), B(no 3rd), Am, G#, F#7, B7; Second part: E, D, C, A, G, BSongbook availability:Anthology (both parts)Hundred Year Hall (part 2 only)Also known as "The Other One," on most recordings. First recordedon Anthem of the Sun. Also to be found, in variousforms, on Grateful Dead (Skull & Roses), One From The Vault Two From the VaultDick's Picks, Vol. 1Hundred Year HallDick's Picks, Vol. 4Dick's Pick's, vol. 5Dick's Picks, v. 6Covers: Henry Kaiser on Those Who Know History are Doomed to RepeatItSolar Circus on Historical Retrospective. Phish has covered the song live at least once.It's interesting to note that Jane's Addiction, in their version of "Ripple"on Deadicated, usethe rhythmic figure of "The Other One" for the basis of the instrumentaltracks. An interesting juxtaposition...This note from rec. music.gdead on the possibility of variant lyrics:Subject: 2.2.68 - Crystal BallroomDate: Thu, 01 May 1997 15:56:14 -0700F. Scott Clugston wrote:Greetings, was listenin' to this recent acquisition today and noticed some strangelyrics in TO1. The first verse goes somethin' like this: When I woke up this morning, my head was by my side ? ? ? ? ? ? ? ? ? and vanished overnight I could not even spell my name, ? ? ? ? ? ? after this they do the usual "heat come 'round and busted me for smilin' on a cloudy day". Can anybody fill in the question marks and was it ever done this way again? BTW, this is a very nice 45 minutes of deadness:....Appreciate any inputs.Scottfsc@enter.nettapelist - fscAnd this answer:Subject: 2.2.68 - Crystal BallroomDate: Sat, 3 May 1997 11:27:34 -0600 (MDT)From: John and Rebecca McGraw To: email@example.comCC: firstname.lastname@example.orgI don't know how good a copy you've got, but my copy from the Grateful Dead Hour isn't too comprehensible.I have, nonetheless, noticed the odd lyrics and, thanks again to the Grateful Dead hour, have some idea of how this whole thing turns into TO1 we all know & love.10-22-67: Deadbase doesn't even have a setlist for this, & they say the 1st Other1 is next month on 11-11. Gans played it & pointed out the lyric differences.1st verse:When I woke up this morning my head was not attachedI asked my friends about it, try to find out where its at[inaudible]...came up inside of me, blew the dust clouds all awayThe heat came 'round & busted me for smiling on a cloudy day2nd verse: Well the heat down in jail they weren't very smartThey taught me how to read & write,they taught me the precious artsWhen I was breaking out of jail I learned that right awayThat they didn't need me telling them about smiling first and running _?_(don't know that last word, sounds like "hey" or "hay")11-11-67:1st verse: When I woke up this morning with the sky in sightI would ask the walls about it, but they vanished overnightI could not think or spell my name or _?_ the words awayThe heat came 'round & busted me for smiling on a cloudy day. (word in 3rd line sounds like "fly" but I'm not certain what it is. 2nd verse is the familiar "escaping through the lily fields" one)2-2-68When I woke up this morning my head was not in sight.... (rest of 1st stanza is same as 11-11-67. looks like the content of the 10-22 version has been put in the rhyme scheme of the 11-11 version)Also, on 2-3 the lyrics are the familiar ones, though the "it left a smoking crater of my mind I like to blow away" line is totally flubbed, but that could be because it wasn't stuck in Weir's mind yet, or it may not have even been written.I'm not saying any of these transcriptions are authoritative. There's lots of intense jamming on all of these, and you have to wonder how anal Weir was about getting to the mike for the beginnings of stanzas (my guess: not at all). There's only a couple places where I'm confused, and those are marked.Gotta love that Grateful Dead hour!-John McGrawp.s. when I first read your post, I thought I'd check David Dodd's awesome annotated lyrics page ( ddodd/gdhome.html#songs). While it didn't have any answers I could quickly & easily forward to you, it did have your post quoted on it. Because of this, I'm cc'ing this to David.Thanks!Blair Jackson, in GratefulDead: the Music Never Stoppedhas this to say about The Other One:"The song, which the Dead frequently dedicated to Owsley and which some have suggested dealswith the persecution of the acid chemist, opens with a series ofserious, but pleasantly melodic verses sung by Garcia overPigpen's liturgical organ line and Garcia's florid acousticguitar... The tune continues to tell the tale of this ill-fatedindividual until the melody fades and Kreutzmann's and Hart'sdrums set up the relentless chugging rhythm of the next section,sung by Weir, which eulogizes Prankster Neal Cassady (who died inMexico in early 1968 under slightly mysterious, possibly drug-related circumstances), and attempts to verbalize, to a degree,psychedelic euphoria. Abruptly, that song closes and the musicreturns to the original theme sung by Garcia." (pp. 84-85)David Gans, in Playing in theBand, has this to say about "The Other One":"There's another piece with a ... simple appearance whichprovides a launching pad for far-reaching group exploration. It'slisted in the songbooks as "Cryptical Envelopment" for publishingreasons, but band and fans know it as "The Other One." It's thatbrief passage of frantic, fearful 12/8 on side one ofAnthem of the Sun and side two of the "Skullfuck"album (Grateful Dead, the 1971 double live LP) withthe perfect paranoia imagery and the perfect scary cartoonsoundtrack flavor."`The thing about `The Other One' that's so thrilling is that ithas all these climaxes at an incredible rate when it's alreadygoing at a very strong pace,' says Hart."Never has such black music packed such joie de vivre! Thevisual images are of lovely things turning dangerous (`Spanishlady come to me, she lays on me this rose/It rainbow spiral roundand round and trembles and explodes') and of everyday scenesturning fabulously opportune: `The bus come by and I goton/That's when it all began...'As with `Dark Star' the `song' portion of `The Other One' isstraightforward, though characteristically clever, and the sketchof a lyric and the `head' of the song are merely jumping-offpoints."`The Other One' has a more clearly circumscribed emotional colorthan `Dark Star' (`Breathlessness,' says Weir, who wrote it).It's a joyful song of terror and a scary song of fun, and inperformance the band takes it through many dark passages withbrightly lit tonalities close at hand. You can see the cinematicversion of `The Other One' in you mind's eye without having toknow the words."(pp. 74-75)In an interview published in Golden Road, Spring, 1991,p. 30, Garcia was asked about his portion of the lyric:"Golden Road: Who or what inspired your section of "That's It For the Other One"--"The otherday they waited," etc.?Garcia: ... "Seriously, I think that's an extension of my own personal symbology for "The Manof Constant Sorrow"--the old folk song--which I always thought of as being a sort of Christparable."[Top]Here are some ideas on the song'smeaning contributed via the WELL's Deadlit conference:"That's it for the other one always made me thinkof the greats who were burned for believing"controversial" beliefs that have since become accepted fact. Italso reminded me of Wilhelm Reich, whose books were being burned inthe fifties. It seems to speak of making a public spectacle of theexecution of a visionary. (As for Cryptical Envelopment, Bobby'scontribution, it seems more a psychedelic interlude.)" -- Ryan M. Hastings"Funny, to me it's always been symbolic of a"dying" ritual, (the need of the ego to die in order for the true spirit to be bornwithin). In other words, the "death" was a metamorphosis & therefore wassomething to be desired...interesting how we can have such different takeson these things. But I guess this is a subject for anothertopic..."--David GansQuodlibetThanks to Dave Kopel for the following annotation!The word is a combination of the Latin "quod" (meaning "what") andlibet ("it pleases"). For use of quodlibet in its most literal sense, see, for example, the Latin translation of the Book of Leviticus. 350c69d7ab