Piano Guidance
Piano Guidance
Photo: cottonbro studio
security blanket * When a 1956 strip finally gave Linus's blanket a name ("This is a security and happiness blanket") Schulz inadvertently added the phrase "security blanket" to the lexicon.
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Read More »IndyArts email {{ #verifyErrors }}{{ message }}{{ /verifyErrors }}{{ ^verifyErrors }}Something went wrong. Please try again later{{ /verifyErrors }} * If the comic strip Peanuts was, as Charles M Schulz once said, "a study in disappointment", the character of Linus was a wonderful study of insecurity. Sixty years ago this weekend, the bright but somewhat troubled child was pictured carrying a security blanket for the first time. Charlie Brown asks Lucy why he's holding it. "I'm not sure," she replies. * With the blanket over his shoulder and his thumb invariably in his mouth, Linus represented Schulz's anxious, serious side. "He's the house intellectual," said Schulz, "well-informed, which I suppose may contribute to his feelings of insecurity." Lucy and Rerun, Linus's siblings, hated the blanket, Snoopy perpetually stole it, but Charlie Brown was more well-disposed towards it, even borrowing it on a couple of fraught occasions. * When a 1956 strip finally gave Linus's blanket a name ("This is a security and happiness blanket") Schulz inadvertently added the phrase "security blanket" to the lexicon. * Linus's blanket was, according to Schulz, one of 12 "devices" that gave Peanuts a "steadiness, simplicity, universal appeal". The others: the kite-eating tree, Schroeder's piano, Lucy's psychiatry booth, Snoopy, his doghouse, the Red Baron, Woodstock, the unsuccessful baseball team, the unkicked football, the Great Pumpkin and Charlie Brown's unrequited love, the little red-haired girl. * On April 11, 1983, Linus claimed to be cured of his need for the blanket, but on April 23 it was back . By 1989, however, the security blanket was rarely seen in Peanuts; Schulz explained that Linus had finally "outgrown" it after 35 long years. * Today, Project Linus (projectlinusuk.org.uk) distributes security blankets to traumatised children across the world.
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This so-called “flatted third” is closer to the root note, and the distance from the major third is thought to create peripheral dissonance and a...
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...Walrus remains a standout track, if only for its all-round oddness. Whether George Martin could fully comprehend the images and concepts of the LSD-baptised Beatles is moot, but his execution of warped moods remains peerless. Again, the cellos were close-miked, bringing out the scratchiness over the warm notes. Lennon's voice is deliberately distorted, one of the earliest such treatments on a vocal. In the middle of the two halves, the song breaks down and the whine of a radio being tuned (Ringo) is inserted. In the mix, the radio experiment caught just a snippet of Shakespeare's King Lear being broadcast (these were the days before sample clearances). When it came time to do the stereo mix, the happenstance of the radio breakdown could not be recreated, so it had to be 'borrowed' from the mono mix, with some special EQ on opposite sides to fake a stereo effect. The Mike Sammes Singers were employed to add a backing chorus, which was an odd choice, given their reputation for light, poppy repertoire. But George Martin's score, and the surreal text ("Stick it up your jumpah!" etc.) gave a disturbing effect that delighted Lennon. As its writer would go on to say about the track, "Enough little bitties to keep you going, even 100 years later."
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