I'm not speaking figuratively, metaphorically or otherwise-ly. It's what happened: I was dreaming, and in my dream, I was having dinner with Jon Stewart, the host of nightly Daily Show on Comedy Central.
Sadly, my SO, who's a big (if not even bigger) fan, wasn't there. Go figure.
It started out in their studio, and I was complimenting Stewart on the show's comprehensive video library. There were piles of video tapes all around (shades of my bedroom), and I was asking how they organized everything. I believe the answer was, each person was responsible for their own piles, so at some level, nobody knew where things were.
And then we were eating dinner, in a house in the 'burbs. There was one, maybe two other people at the table. I don't remember who, I don't think it was anybody I knew, certainly nobody I recognized. (E.g., nobody else from the show cast. That's a shame, I would have loved to chat with Larry Wilmer.)
The conversation was about mundane stuff.
And then we were outside on the lawn (dreams aren't big on transitional segue logic), with Stewart and the other guest playing a game of catch.
And then I was inside, with some guy showing me something about the size of a record album or a laser disc (they're the same size), telling me, "This has seventeen episodes of the Daily Show on it." And I realized that dinner was over, and I'd been handed over to the merchandizing department. "What would I play this on?" I asked. (I've got a laser disk player, but it wasn't clear this was a laser disc.)
I didn't get an answer. And soon after, I woke up.
Dear Daily Show, if you do invite me again, please make sure to include my SO next time.
(Off the top of my head, tho I've been pre-brooding... posted before Kol Nidre, I may add some more stuff after the break-fast...)
- Saying "+1" instead of "Amen" during prayers
- Asking to be tweeted in @BookOfLife
- Shofar ringtone
- Chowhound rates best breakfasts
- Kippuraschlugging to take PayPal and NFC.
- RFID or other geo-tagging goat destined for Azazael
- Whale in Jonah redone using CGI
- Deduplication on community sinced deployed to reduce cloud storage volume.
I like cereal for breakfast. But as a not-on-meds Type 2 diabetic ALSO on a low-salt diet, even most of the "healthy/health food/oragnic" cereals -- heck, even plain old oatmeal -- aren't something I can do a bowl of. I need something that's low in carbohydrates (sugars and starches), and low in salt. High in fiber's good, too.
And even if I didn't have these restrictions, I'd want something that didn't use corn syrup or much in the way of whacky chemicals. (Yes, I ate stuff like that when I was a kid, who didn't? I was also happy to have frozen spinach or lima beans (heated), or clam chowder (the red stuff, not that weird white stuff), but that's another post...)
Trader Joe's had one or two items that were close, but still relatively high in carbs.
Fortunately, a few years ago (hmmm, probably five or more), I found a cereal that fits the bill: Hi-Lo Cereal, from Nutritious Living.
One serving is 90 calories; only 13 grams of carb, of which 6 is fiber; 12 grams protein. 95 milligrams of sodium (salt), one gram of fat. It looks like flakes. Add some oat bran, some wheat bran, some cinnamon (alleged to help control blood sugar), a few nuts, some milk (or soy milk), and there you go.
And I was able to find it, most of the time, at Whole Foods or Trader Joe's.
Until about a year ago, when it stopped being available there.
One store said, "They stopped making it."
I tried the URL on the box, and it didn't work.
Eventually, I called the company, who said that wasn't the case.
I saw it for sale online, via Amazon and other places, but that felt too whacky -- I mean, mail-ordering cereal?
But I missed my morning cereal.
So I called again. And, and I discovered THEY'D TYPOED THEIR URL ON THEIR PACKAGING, as "www.nutritiousliving.com." They left out the hyphen. Sheesh!
The site lists store chains that carry the cereal, but no way to identify specific locations. After a few calls and visits, I gave up. I left email and voice mail with the company, no response; eventually, I did reach a live person who said that WF and TJ weren't carrying it any more on the East Coast. Hmph.
So I gave in, and have been mail-ordering. The quantity and shipping sweet spot is around eight boxes, bringing the price to around what it had been in the store. I could have gotten free shipping during the summer by ordering $100 bucks worth, which would last me until early spring, but that seemed excessive.
So now I've got a stash of cereal in the basement, and am happy again, breakfast-wise.
But it shouldn't be this hard, either to do, or to sort out. Like, if nothing else, when you're putting your URL on your product packaging, get it right
Here's a few pics:
and here's a sub-minute video:
Just saw them for the first time this year, earlier today, $3.99 each, stems somewhat shorter than what I recall from last year. Have grabbed three, and they're scheduled as part of dinner.
Here, an observation on where a book contradicts -- gratuitously, in my opinion -- the real world, in a way that even a five-year-old might spot and find confusing.
I'm a volunteer literacy tutor, through a greater-Boston-area organization. I've been doing this, once a week (during the school year) for five of more years, and tend to work with third graders. Today, one of the books was one of Arnold Lobel's FROG AND TOAD books, which each contain five short tales.
Today, as we were about to start, my tutee and I found ourselves asking what was the difference between a frog and a toad. I confess I didn't know, so we looked it up.
In the illustrations for this FROG AND TOAD book, both Frog and Toad look like frogs; even ignoring the anthropomorphia, they've got the same eye shapes.
They're both frogs. It took about a minute (Googling "toad versus frog" to determine this.
Now, maybe Toad is simply a frog named Toad. Or possibly, shades of Tock the watchdog in Norman Juster's THE PHANTOM TOLLBOOTH, Toad's parents were expecting a toad.
For any kid who can tell the difference between a frog and a toad, this cognitive dissonance might be confusing, even distressing. And it's unnecessary.
I'm happy to overlook, even waive that Frog seems to often be farther away from water than he ought to be.
I conceded that "Frog" and "Toad" are more direct (and gender-neutral) than, say, "Frog One" and "Frog Two," or "Joe Frog" and "Bill Frog."
But unless there's some explanation in one of the other stories why Toad looks to be a frog, I think Toad should look like a toad.
The movie was, in my opinion, "[coital-synonym-gerund-used-as-a-positive-comparative-modifier deleted ] incredible." Arguably the best movie version of a comic book that I can think of. It was as good as I'd hoped for. It was a good movie, and seemed like it would make sense even to someone who had not read the comics now was a comic book reader.
The source for the WATCHMEN movie was the 12-issue comic book limited series from DC Comics published in 1986-1987 (and collected into booklike trade and hardcover book versions readily available from book stores, comic stores, the Science Fiction Book Club, or your local library).
When Alan Moore and Dave Gibbon's ground-breaking WATCHMEN comic book series came out in 1985 and 1986, I had the good fortune to not only be buying and reading comic books again (I'd had a few few-year hiati), but was also reading/participating in comic book discussions online, through the Usenet rec.arts.comics.* Newsgroups.) Aside from the too-rare feeling of sharing the experience of reading a great comic, eagle-eyed fans spotted easy-to-miss clues, speculated on what was going on (not as spoilers, just great guessing), providing a form of as-you-go commentary/annotation. It was a great way to be reading great comics.
The premise/setting/plot of WATCHMEN, in brief, is that it's 1985 in an alternate-history where Nixon is still (thank to term limits being changed) president, and the Cold War with Russia is intense, with the "Doomsday Clock" -- likelihood of nuclear war -- at five minutes to twelve. This world's first generation masked/costumed crimefighters, including those banded together as the Minutemen, have retired; the newer generation, the Watchmen, are out of action (or working for the government) because the government has outlawed costumed vigilanteism.
There is only one "superhero" -- meaning extraordinary powers, rather than physical skills and/or weapons and gimmickry: Dr. Manhattan, created by accident in a nuclear test facility. As the WikiPedia entry notes, "Moore used the story as a means to reflect contemporary anxieties and to deconstruct the superhero concept."
Other of Moore's comic book work has been made into movies, including V FOR VENDETTA and THE LEAGUE OF EXTRAORDINARY GENTLEMEN. For reasons outside the scope of my review, Moore didn't want his name associated with this film -- which is sad, in my opinion, as this is the best and most authenticate movie version of his stuff to date.
Based on the trailers, and articles and interviews I'd read, I had no doubt that the movie would deliver an amazingly satisfactory look-and-feel of the comics, as if one had fallen asleep while reading it, and shifted into a dream version. This is a lot harder to do for a comic than a book, I'd argue; for all that, say, Phillip Pullman's GOLDEN COMPASS (see my review) or Tolkein's LORD OF THE RINGS posed major challenges, we didn't really know what most of these looked like, we just had our mental images. (Which the movies of both of these captured brilliantly, IMHO.)
And it delivered. WATCHMEN, the movie, looked like the comic brought to life. It included key scenes, dialogue, events, and images from the comic, while also adding or expanding to make sense. The use of period music -- Bob Dylan singing "The Times They Are A-Changing" in the opening credits, notably -- was powerful beyond words.
The other question was, could and would a movie of WATCHMEN make sense -- could the plot, sub-plots, and other aspects of the comics be condensed into movie length? Or would it only make sense -- correct sense -- to those of us who'd read the original comics?
I believe the movie made enough, and correct, sense, even if you hadn't/haven't read the original comics. There were some omissions, and some changes, including aspects of the ending, but nothing I would request changing.
It was an incredible well-done movie.
It was also, in many places, explicitly violent and gruesome enough that I avoided watching several scenes once it became clear what was about to happen -- all taken accurately from the original comic. (Ditto several scenes with frontal male (CGI) nudity and explicit sex.) This is NOT A MOVIE FOR CHILDREN, any more than the original graphic novel was.
Arguably the hardest challenge was making a movie that meant something, when it couldn't mean what the comic meant in the mid-1980s (ignoring what the comic meant as a statement about superheros and superhero comics per se), because, of course, it's not the mid-1980's anymore, with the spectre of the Cold War hovering near.
Ditto, much of the audience is a new generation, not alive for the events or cultural references of a movie happening in an alternate-1986 (and many moviegoers not even alive when the WATCHMEN comics were first appearing).
I have no idea what someone between the ages of 15 and 30 would think of this movie, or what it would make them think.
But I feel that director Zach Snyder, the actors, and the myriads of other people involved in the making of this film kept it true to the spirit of being about something... and preserving the poetry of Alan Moore's writing, plotting and pacing, and of Dave Gibbons' artwork, as they made a movie.
So if you haven't already seen WATCHMEN, and can tolerate some moments of uber-violence (or are good at shutting your eyes quickly), go see WATCHMEN.
Even if you don't go see WATCHMEN, at least watch the opening credits, with Bob Dylan's "The Times They Are A Changin'" in the bckground, if they're still online somewhere. (As I write this, copies are being cease-and-desisted off... search for "watchmen opening credits"). Here's the link I just found them at.
Like I said, expletive-deleted brilliant.
And whether you see/saw the movie or not, check out the fake trailer for Saturday Morning Watchmen, found by a friend:
(Posted here rather than in my TryingTechnology.com blog, since this isn't quite about technology. I'll add a cross-post (or whatever the blogspeak term is) for it over there.)
While we have cable TV at our house, going to the 5+ year old non-flat TV upstairs, the dunno-how-old from-the-street junker downstairs still isn't hooked up. That one is used primarily for watching DVDs and videotapes), episodically (no pun intended) used for watching PBS.
So, several months (and also to be prepared in case of a cable outage), I ordered my Converter Box Coupons (at https://www.dtv2009.gov/), to be prepared for the exciting upcoming Farewell To Non-Digital Television Broadcast Signals slated for February 2009.
My coupons arrived in a timely fashion... and semi-promptly got buried in a pile of other papers. (Easy to happen, as anyone who's seen my home office knows.)
A month and some weeks later, I learned that THESE COUPONS EXPIRE IN 90 DAYS!
Go [expletive deleted] figure.
I found the coupons, but by the time I was able to get to a store that had converter boxes, THEY HAD EXPIRED TWO DAYS AGO.
Meanwhile, I'd applied online, on behalf of my father, who also has an uncabled TV. Weeks or months later, no sign of those coupons. I just checked online at the DTV2009 site, it has no record (and I foolishly didn't save the tracking number).
Ah well. I have applied again, on his behalf. And saved the tracking number. And emailed the gummint for a fresh set for me, explaining why I didn't use the first ones they'd sent me.
Meanwhile, this video on the upcoming conversion to DTV that a friend of mine found pretty much says it all, I think.
If, any of a few times a year during the 70s, 80s or 90s, you were in Harvard Square (in Cambridge, Mass.), and went around the back of the Harvard Coop (pronounced "coop" as in "chicken coop," although it is short for "Co-operative") to one end of one-lane alley 47 Palmer Street, where a half-flight of stairs led down to the door of the Passim Coffeeshop, you might have encounted a man who looked like a cross between Kris Kringle and a cowboy, wearing a largish hat, sporting a full curly white beard, making deep-voice duck-quack noises ("a base canard," he would note) and warning would-be buyers to avoid the upcoming performer. In election years, he might have been stumping for president, as candidate for the "Do-Nothing" party -- "If elected, I will do nothing." Or he might simply have been greeting friends in the line.
That would, of course, have been the late folksinger, songwriter, storyteller, humorist and historian Bruce "U.Utah" Phillips, "the Golden Voice of the Great Southwest, America's most-feared folksinger," in town for another of his always entertaining, thought-provoking, educational, historical shows.
Utah died Friday night, May 23, 2008, of congestive heart failure. He was 73. He had been having health problems for the past several years, which, among other things, forced him to retire from actively touring and performing. According to reports, he passed away peacefully, in his sleep, at his home for the past two decades in Nevada City, California.
This is the place where one might say "he is with us no more," but Utah left a long, large (and loud) legacy, including his recordings on albums and CDs, videos, and radio programs; the dozens or hundreds of songs he wrote; and the many -- tens, perhaps hundreds of thousands of people he touched in his performances and his life.
I had the pleasure of seeing Utah many -- dozens, I'll guess -- of times, starting in the early 1970's -- early in his career, although I didn't know that. I don't remember whether I first heard Utah here in Boston, at Passim (back when Bob and RaeAnne Donlin were alive and running the place), at the Philadelphia Folk Festival (an annual three-day event, now in its 47th year, held Schwenksville, Pennsylvania, a good hour or so west of Philadelphia), or somewhere else.
In the course of interviewing him for various folk music reviews and other articles, starting in the early 1970's, I also got to be friends with him; at least, that's how it seemed to me -- friends enough that he recognized me and remembered my name, always seemed happy to chat with me for a few minutes before or after his performance, and didn't hesitate to call me long-distance once or twice, years back, with some questions on "this Internet stuff." (As in, why would he, a folksinger, care.)
I won't be able to review any more of his performance, or interview him again -- or bring him more small goofy toys for his stage kit and personal amusement. But I do want to join the many others who are writing up their own memorials to Utah, with my own. (I've also put together a more formal obituary-style piece, suitable for a newspaper or other outlet -- email me if you're interested.)
I've divided this up into four parts:
- Part 1: Utah Phillips, Folksinger/songwriter, Racounteur And Joke-teller is stuff you might have learned from listening to Utah perform (live, on the radio, or through his recordings), or from publicly-available information, e.g. liner notes, articles and blog posts, and several of the obituaries -- some of which I didn't know before my web research for this memorial. (I can't vouch for the accuracy of it all; some, I'm trusting my sources.)
- Part 2: A Partial Stroll Through Utah's Recordings And Books -- a partial discography/etc of Utah's recordings and other materials, which you can buy (or borrow).
- Part 3: Some Personal Memories & Stuff -- A few words from fan and mostly-former folk music reviewer: Some of my own recollections, and other odd factoids I've accumulated.
- Part 4: See and Hear Utah For Yourself: Free Online Songs and Videos -- MP3s and videos of Utah performing that I've turned up, including a four-segment half-hour video interview of Utah, and some quasi-videos -- his songs, accompanied by pictures and images. It's enough to give anyone who wasn't familar with Phillips a sense of the performer and his material. And for those of us who were, enough to make us laugh again... and cry, because we won't see him again, except through these recordings. (I haven't watched these all through yet, I'm not ready.)
Bruce Duncan Phillips was born in Cleveland, Ohio in 1935, to a pair of labor organizers. He was an Army private in Korea; as he has told it (and according to the family-provided obituary, when he returned to the United States, he rode the rails -- freight trains. He wound up in Salt Lake City, Utah, at the Joe Hill House, which was a homeless shelter run by Christian anarchist Ammon Hennacy, who Phillips has talked about in many of his monologues, like in this video.
It was in Utah that he met Rosalie Sorrels, who would be one of the first to record his songs, and who toured and performed extensively with Phillips for many years. One of his jobs during the 1960s was as an archivist for the State of Utah, which, according to the official obituary from his family, "taught Phillips the discipline of historical research; beneath the simplest and most folksy of his songs was a rigorous attention to detail and a strong and carefully-crafted narrative structure."
In 1968, Phillips lost this job after a failed run at U.S. Senate, and had to leave Salt Lake City. He ended up in Saratoga, New York at the Caffè Lena, which is where his career as a folksinger began.
Like many folksinger/songwriters, Utah seems to have wandered or fallen into his career by a mix of accident and fate, rather than any planning.
Here's how Phillips ended up in show business in his own words -- an excerpt from one of, perhaps the last, letter from him to the world at large:
When I hit a blacklist in Utah in 1969, I realized I had to leave Utah if I was going to make a living at all. I didn’t know anything abut this enormous folk music family spread out all over North America. All I had was an old VW bus, my guitar, $75, and a head full of songs, old- and new-made.
Fortunately, at the behest of my old friend Rosalie Sorrels, I landed at Caffe Lena in Saratoga Springs, New York. That seemed to be ground zero for folk music at the time. Lena Spencer, as she did with so many, took me in and taught me the ropes. It took me a solid two years to realize I was no longer an unemployed organizer, but a traveling folk singer and storyteller—which, in Utah at the time, would probably have been regarded as a criminal activity.
Phillips became a regular performer at Harvard Square's Club Passim (one of the first -- and the last -- of the places I saw him), and at other Massachusetts venues, as well as at coffeehouses, folk festivals and other events across outside the United States, Canada and Europe starting in the early 1970's. He continued this until a few years ago, when health problems kept him from touring. I had the good fortune to see him at Passim in March 2007, at what was probably one of his last East Coast performances. (Folksinger and journalist Scott Alarik was there, and conducted a live, on-stage interview, FYI.)
There's a fair amount of Utah's work still available for sale. Also try (or from your local library and/or their inter-library loan service, not to mention your folkie friends' collections.
Phillips' his first album was Good Though!, for Philo Records, distributed through Rounder Records. contained a mix of traditional songs as well as some that Utah wrote, like "Daddy, What's A Train?" ... and the tall tale that, for better or worse, became one of his most well-known bits, "Moose Turd Pie" (Here's the MP3 from his site.)
His second album, "El Capitan," was mostly more songs of trains and the West, like "The Goodnight Loving Trail," but also includes "The Green Rolling Hills of West Virginia," recorded by Emmy Lou Harris and others, and "Enola Gay," a song about the B-29 Superfortress plane that dropped the atomic bomb on Hiroshima during World War II.
Phillips' subsequent albums are increasingly historical, humorous, and political, and auto-biographical, on topics including Wobblies (the Industrial Workers of the World), anarchism, politics, plus more of his poems, jokes and ruminations-at-large. Some he did on his own, some accompanied by or otherwise featuring Rosalie Sorrels, Kate Wolfe, and Ani DiFranco, and one of a concert with Ramblin' Jack Elliott, and Spider John Koerner. There are also a few albums listed here of Utah's songs, performed by other people.
For several years, Utah also did a weekly radio show, Loafer's Glory -- 100 episodes, which the site describes as "collages of rants, poetry, tales, and reminiscences mixed in with little known music and talk from over 1,000 tapes of everything under the sun. A few shows are jungle stews cooked up for his own satisfaction, but most are thematic: from tramping and labor (historic and contemporary) to baseball and old friends ... and always music. Each show is one hour long."
CDs of Loafer's Glory shows have been available; hopefully, Phillips' family or others will continue to offer them.
If you only buy one Utah Phillips thing, and can spring for $40, get Starlight on the Rails: A Songbook -- "The definitive, newly released 4-CD set of 61 original songs (each accompanied by a descriptive story) sung mostly by Utah, with certain songs by special guests Rosalie Sorrels, Kate Wolf, and more." This includes not only the songs, but spoken introductions with a lot of background and other information. (You can hear a surprising amount of each selection online.)
And if you want to read more about Utah's songs, and see the words and some of the music, get Starlight on the Rails and other songs: by U. Utah Phillips -- Music and Lyrics.
46 of Utah's songs and stories are available as MP3 downloads from Amazon.com for $0.99 each (and you can listen to the beginnings of each free). Some are short -- but "How I Became A Buddhist" is ten minutes,
Utah Phillips was best known -- if that phrase can be used meaningfully for any folksinger outside of a small handful like Joan Baez, Judy Collins, Woodie Guthrie, Odetta, and Pete Seeger -- for many things, ranging from his love of railroads and trains and the West, to hobos, the IWW ("Wobblies"), and his sense of humor, ranging from puns and zingers to long tall tales... and he knew how to use them. He could rattle off long stories and other recitations by the handful... and he had the precise timing of a Borscht Belt comedian, as demonstrated by his standard opening and closing joke/monologue/songs, his "capper" story "Moose Turd Pie," and stories like the Egg-Sitting Horse.
I remember the Philadelphia Folk Festival, listening to Utah (I think he was MC'ing) from the main stage, so far away it was a blur, but clearly audible. lambasting the audience with zingers. The one from then I still remember (but am retelling badly): "A man tells the truck driver to take a load of penguins to the zoo. The next day, he asks the driver how it went, and the driver said, 'Great, and we had such a good time that today we're going to the museum.'"
During the years the Chris Lydon was hosting The Connnection radio show on WBUR-FM, Utah was one of the few* I heard who was unflummoxed by Lydon's long, grammatically wandering questions. Instead of making any effort to address what he'd been asked or Lydon had otherwise said, Utah simply seized upon some nugget of thought from Lydon's ramble, and launched into one of his own bits.
(* Another was author Samuel R. Delany. And then there was Harlan Ellison, in Boston for a reading... who got up and walked out halfway through the life show, when Lydon referred to Harlan as a science fiction writer, despite Harlan having made clear to the producer ahead of time that was not an option.)
Some things you probably didn't know about Utah that you won't find out from the web (as far as I can tell):
- He was guest of honor at a science fiction convention. (I haven't been able to verify which yet.)
- He was an amateur magician, enough to know many of the terms and gimmicks.
First, here's eight short video segments of Utah performing at the 2007 Strawberry Music Festival, courtesy of whoever took them and posted them to YouTube:
- "Railroading On The Great Divide," Part 1 of 3
Utah's standard opening was the song "Railroading On The Great Divide," interspersed with a joke, story and badinage-filled monologue, including some local and topical humor and political barbs.
- "Railroading On The Great Divide," Part 2 of 3
- "Railroading On The Great Divide," Part 3 of 3
- "The Egg Sitting Horse"
Utah claims is the funniest joke around.
- "I'm Walking Through Your Town In The Cold"
- "Fry Pan Jack (Get The Bum Off The Plush)"
- "Christian Anarchist Ammon Hennessey"
- "Hallelujah, I'm A Bum/So Long, It's Been Good To Know You"
Utah's usual closer song, again interspersed with jokes galore.
Here's some other live videos of Utah performing:
- Judi Bari tribute & "The World Turned Upside Down""
A tribute to environmental, labor and social justice leader Judi Bari, followed by Leon Rosselson's song about the Diggers, "The World Turned Upside Down" (you may know this from Billy Bragg singing it)
- Utah Phillips & the Strum Bums, 1 of 2
Utah Phillips leads Strum Bums in "Yessir That's My Baby" and "Remember Me," at the Nevada Theatre in Nevada City, California
- Utah Phillips & the Strum Bums, 2 of 2
"Utah Phillips performing "Little Brown Gal," with Cool Hand Uke's Strum Bums in Nevada City, California, to help get the group to the 2007 New York Ukulele Festival." (Hard to describe, but worth it for the jokes and the walking sushi! - DPD)
From Utah's March 7, 2007 performance at Passim
- "Bread and Roses
- Utah talking about voting with your body ballot
- Utah Phillips, Mark Ross and Butte Montana
Interview by Amy Goodman interviews for Democracy Now! in 2004:
(Thirty-six minutes of video interview!)
- Part 1: "Utah's Approach To Music"
Utah talks about his approach to music and learning from his audiences.
- Part 2: "On War and Non-Violence"
Utah discusses his own military service and becoming a pacifist.
- Part 3: "His Name, the IWW, and War Resistance"
Utah explains how he got the name "U. Utah", the history of war resistance, and the Wobblies.
- Part 4: "The Role of the Media"
Utah talks about television, storytelling, capitalism, and alternative media.
- Part 5:"Making a Living, Not a Killing"
Utah tells how he started out in New York, fired his agent, and decided not to play music for profit.
And Here's some "photo/graphic videos (music videos?) -- songs done by Utah, with added visuals -- and some snippets of Utah singing:
- Podcasts by and about Utah Phillips
- "There Is Power In The Union"
- "Direct Action"
- Excerpt from "Hallelujah, I'm A Bum"
- Utah Phillips Blog
- WikiPedia entry on Utah Phillips
- Obit in the New York Times, by music critic Jon Pareles
- Search Google for obituaries on Utah
Farewell, Utah. I'll miss you. All your fans will. Rest in peace.
- Daniel Dern, June 2008