Though the Moon will be “fullest” in Paradelle at 01:56:12 pm today, I will (like most of us) be looking up at it tonight.
One neo-pagan name for this August Full Moon is the Lightning Moon, and around Paradelle there has been a lot of thunder, lightning and rain.
This August Full Moon is also known as the Sturgeon Moon, since that large fish of the Great Lakes and other major bodies of water were most readily caught during this month. It may be called the Red Moon because, as the Moon rises, it appears reddish through any sultry haze.
The video visualization that tops this post tries to capture the mood of Claude Debussy’s “Clair de Lune” (moonlight in French) from 1905 with images from NASA of the Moon built from the Lunar Reconnaissance Orbiter. “Clair de Lune” is the third of four movements in his Suite Bergamasque, but this section is quiet, contemplative, and melancholy. It feels right for solitary gazing at the Moon, full or not, inside or outside.
Maybe you can combine the video and music with one of these relaxation techniques tonight and ease yourself into a gentler new week ahead.
When I really started paying attention to the Sun, stars and Moon many years ago, one of the things that confused me was why the Quarter Moons looked like Half Moons.
The Moon is at or near its last quarter phase tonight, February 6, and into tomorrow morning. (The precise time is tomorrow at 15:54.) Take a look tonight and you will see half of the Moon. Half the moon always faces us, and half the moon is always lit by the sun, though we can’t see that. To astronomers, there are no ‘half moons.’
So why does this phase get the name Quarter Moon is we can see half of it lit? First quarter moon means the moon is one-quarter of the way through the current orbital cycle. Tonight’s third or last quarter moon means the moon is three-quarters of the way through the cycle, as measured from one new moon to the next.
It is all about perspective. At first quarter moon, the near side of the moon (the part we see) is half-illuminated by sunlight and half in its own shadow, so we are seeing half the moon’s day side.
It may also seem curious that in the Southern Hemisphere tonight the right side is 50% lit and in my Northern Hemisphere it is the left side that is bright. Yes, when we enter the first quarter that will be reversed.
A third quarter moon always rises in the middle of the night. It will appear at its highest in the sky around dawn, and will set around midday.
To move away from the sky though, I do like the name “Half Moon.” Half Moon Bay is a town on the California coast that I visited once and the name seems kind of romantic. There is a song called “Half Moon Bay” from 1969 by a band that I followed, Mott the Hoople. The lyrics have nothing to do with the town and the Dylan-esque vocals don’t make the lyrics any happier or romantic. It was a song I liked for its Procol Harum-like organ back then – and the album’s Escher cover is still a favorite. (Listen on YouTube)
Another more recent song with that same title is by Train. This one is actually about the California town and more “romantic.”
This ain’t a threat but I think I better warn ya’
Gonna fall in love if you go to California
I did and this is how I know
By the beach north of San José
Met the right girl and it sounds cliché
But we decided not to take it slow
But remember, there may be a Half Moon Bay, but there are no half moons.
We get a Blue Moon when there is a second full moon in one calendar month. That happens on Wednesday, January 31. But our Moon will also pass through the Earth’s shadow to give us a total lunar eclipse. And the triple play comes with this also being the third in a series of three straight full moon supermoons.
There will be another Blue Moon in 2018, and supermoons occur every few months. Eclipses are rarer, but the three occurring all at once is rarer still. This will be the first Blue Moon total eclipse in 150 years for the Americas.
The Moon will be entirely inside the Earth’s dark umbral shadow (totality) for a bit more than an hour.
The term Blue Moon still makes me think of the song “Blue Moon.” It is an oldie, written by Richard Rodgers and Lorenz Hart in 1934. Lots of singers and groups have recorded it (Billy Eckstine and Mel Tormé had early hits) and versions by Frank Sinatra, Billie Holiday, Elvis Presley, Bing Crosby, The Mavericks, Dean Martin, The Supremes, Rod Stewart and even an adapted anthem version used by English Premier League football club Manchester City are out there.
Today is the Harvest Moon for 2017. It is often in September that the Full Moon is closest to the autumnal (fall) equinox, but this year that is the October Full Moon and not the previous one on September 6. It will be full at 2:40 pm for those of us on the east coast of the U.S.
Any actual harvesting in your area might already be done but traditionally it was because farmers could work later into the evening by the light of this moon. Corn, pumpkins, squash, beans and wild rice — the chief staples of Native Americans — were ready for gathering.
Usually, the moon rises an average of 50 minutes later each night, but for the few nights around the Harvest Moon, the moon seems to rise at nearly the same time each night – just 25 to 30 minutes later across the U.S., and only 10 to 20 minutes later for much of Canada and Europe.
We notice the moon more when it stays out all night long, and that would be around the time of the Full Moon. This is when the Moon is 180 degrees from the sun, or opposite the sun in our sky.
A Full Moon rises around sunset and sets around sunrise. But after that, it is in a waning gibbous phase and rises later each night and sets in the west later each day after sunrise.
Harvest Moon reminds me of an old song that my parents would have sung and danced to in their youth – perhaps at a Harvest Moon Dance. “Shine On, Harvest Moon” was a popular early-1900s song credited to the married vaudeville team Nora Bayes and Jack Norworth in the era of Tin Pan Alley songs. It became a pop standard, and is still performed today.
It is the tale of a guy who hasn’t had any loving for months and tonight he was ready to make his move on his girlfriend but the Moon wasn’t shining, so she was afraid to be out. He calls to the Moon to please shine.
The night was mighty dark so you could hardly see,
For the moon refused to shine.
Couple sitting underneath a willow tree,
For love they did pine.
Little maid was kinda ‘fraid of darkness
So she said, “I guess I’ll go.”
Boy began to sigh, looked up at the sky,
And told the moon his little tale of woe
Oh, Shine on, shine on, harvest moon
Up in the sky;
I ain’t had no lovin’
Since April, January, June or July.
Snow time, ain’t no time to stay
Outdoors and spoon;
So shine on, shine on, harvest moon,
For me and my gal.
I hope you have a nice Harvest Moon tonight that looks orange in color because that is the stereotypical way the October Full Moon is often portrayed. It looks very harvesty and Halloweenish. But this effect is not seasonal but is caused by the atmosphere of the earth. The reason for the orange color is due to the scattering of light by the atmosphere. When the moon is near the horizon, the moonlight must pass through much more atmosphere than when the moon is directly overhead.
Well, it’s a marvelous night for a moondance
With the stars up above in your eyes
A fantabulous night to make romance
‘Neath the cover of October skies
And all the leaves on the trees are falling
To the sound of the breezes that blow
And I’m trying to please to the calling
Of your heart-strings that play soft and low
And all the night’s magic seems to whisper and hush
And all the soft moonlight seems to shine in your blush
There is no such season as “Indian Summer” but if you live in the U.S. you have probably heard the expression used around this time of the year. The U.S. National Weather Service defines this as weather conditions that are sunny and clear with above normal temperatures, occurring late-September to mid-November.
Indian summer has become the way to describe a period of unseasonably warm, dry weather in autumn that feels like summer. It is especially used when we have a warm period after a killing frost when we assumed autumn was giving us a taste of winter.
But why call it Indian summer?
In the late 1800s, an American lexicographer named Albert Matthews tried to find out who coined the expression. The earliest reference he found in print was a letter from 1778, but from the context it was clear that the expression was already in widespread use.
It is supposed that the origin came from areas inhabited by Native Americans (“Indians”) and that Indians first described this weather oddity to Europeans as something that occurred most years.
The expression has traveled beyond American borders. In British English, the term is used in the same way as in North America. Originally, it referred to America but it gained wider currency in Great Britain in the 1950s. In the U.K,. this period is also associated with the autumn feast days of St. Martin and Saint Luke.
You can view Indian summer as a cruel weather tease that reminds you of the summer days that are gone, or as a happy respite from the cooler “normal” weather of that time and the days to come. I prefer the latter, though when Indian summer ends, I tend to go with the former.
Indian Summer is a romantic notion that has inspired a number of songs. Some of the better known examples:
In 1975, Joe Dassin recorded “Indian Summer” in French, English and Spanish and “L’Été indien” went on to become his biggest hit, selling almost 2 million copies worldwide – but the lyrics are about a summer in India, so…
In 1977 Poco released the album, Indian Summer, which also contained the title track.
In 1978 Joe Walsh recorded “Indian Summer” for the album But Seriously, Folks…
I was a Beach Boys fan from the start when they and I both loved surf culture more than we loved surfing. (Dennis Wilson was the only real surfer in the band.) I loved the harmonies. But it was all about Brian.
Brian had lots of issues – drugs, bogus psychiatry, bad management and fears about touring. 1964 – 1977 is a sad but fascinating period in Brian and the band’s history. I wrote earlier about my own brush against Brian’s problems, but the music has always helped me, and I think it saved Brian.
Brian had a panic attack on a flight from L.A. to Houston in late 1964 and stopped performing live with the group. Like The Beatles in later years, he wanted to concentrate on songwriting and studio production.
The band continued touring with Glen Campbell and then Bruce Johnston as Brian’s substitute for live performances. Back in L.A., Brian was introduced to marijuana by a friend who thought it would de-stress him and aid his creativity. It worked, and in a month he completed the Beach Boys’ Today! album and started on the next one, Summer Days.
The next spring, Brian tried LSD for the first time and that acid trip also inspired him. You might think it would inspire some “acid-rock” but what came from that experience was the music for “California Girls.” That Top-10 pop single was great for the band, but the acid trip also led to auditory hallucinations which have plagued him throughout his life.
In late 1965, he started working on material for what would become Pet Sounds. It ended up being pretty much a Brian Wilson solo album.
Brian wrote, produced, and sang on it and the album’s instrumentation was done by the studio musicians known as the Wrecking Crew. Brian used them throughout the mid-1960s, on “Help Me, Rhonda”, “California Girls”, “Good Vibrations” as well as Pet Sounds and the original sessions for Smile.
When the band returned from a tour in Japan, all that was left to do was record their vocal overdubs. That didn’t go over well with the band, especially Mike Love. Despite their feelings that this was not a Beach Boys album in its creation and sound, it was released in May 1966. It had modest sales figures at the time, but since then it has become critically acclaimed, even arguably (no argument from me) being cited among the all-time greatest albums.
“Good Vibrations” hit number one and Brian started on Smile, which he once described as a “teenage symphony to God.” Like “Good Vibrations,” the album would be recorded in separately written modular sections that would be divided into tracks and spliced together. The standard live-to-tape linear performances that The Beach Boys and most bands were using fell away. Brian wrote with Van Dyke Parks.
The album was scheduled to be released in January 1967 but that was bumped so many times that by May the whole project was cancelled.
Beach Boys recording relocated to a studio situated in Brian’s mansion living room where he had installed his grand piano in a giant sandbox and built a tent. Things were strange.
The rest of the year they produced a few heavily orchestrated tracks (“Can’t Wait Too Long” and “Time to Get Alone”). Brian asked his brother Carl to take on the recording sessions. It was all too much.
After the collapse of Smile, financial issues and more drug use (cocaine, amphetamines, marijuana, and psychedelics) and the birth of his first child (Carnie in 1968), Brian ended up in psychiatric hospital. he received a whirlwind of treatments (talk therapy, Lithium and electroconvulsive therapy).
The Wilson boys’ father had been managing the band since the start but had many issues with Brian over music and contracts. Murry Wilson sold their Sea of Tunes publishing company to A&M Records’ publishing division for only $700,000. Brian lost most of his music and this renewed the feuding between him and his father.
But Brian gained some stability and even toured briefly in 1970 when Mike Love was ill. e went back to writing and recording with the Beach Boys. He wrote or co-wrote 7 of the 12 tracks on Sunflower. A decent album, it was a commercial flop. The Beach Boys were viewed as a nostalgia act.
It was a period when their albums had terrible titles (15 Big Ones, an album of covers) and weak sales. Brain managed to write most of Wild Honey (1967) and Friends (1968) but his studio participation was far less than in the past.
Carl and the band cobbled together tracks for an album called 20/20. I bought that in 1969 and had no idea that it was Smile outtakes (“Cabinessence” and “Our Prayer”) along with older songs like “Time to Get Alone.” Those tracks sit a bit oddly next to the more surf-sounding single “Do It Again.” But that classic single-sound made it a hit on the US charts in 1968 (plus number 1 in the UK and Australia). “Break Away” became the band’s final single for Capitol Records.
In 1971, Surf’s Up became their 17th studio album and got good reviews and reached number 29 on US record charts and #15 in the UK. It was their best performing album in years. The title echoes the band’s past, but the music was not surf rock at all. The title track was from the Wilson/Van Dyke Parks sessions for Smile. Like Pet Sounds, the album had legs and was voted to several “Best Of” album lists later.
Carl and the Passions (the name of the Wilson boys high school band) “So Tough” was the next album (1972), a moderate commercial success upon release, but one in which Brian had minimal involvement. reaching number 25 in the UK and number 50 in the US.
The band was still releasing an album each year and in 1973 it was Holland. It was produced by the band and mostly recorded in Baambrugge, Netherlands. Two Brian Wilson tracks were recorded in Los Angeles and added to the album at the last minute. The two singles were “Sail On, Sailor” and “California Saga.”
The end, or turning point, of this troubled period is the album Love You in 1977.
This 21st studio album, Love You, is not a great album, but it marked the return of Brian Wilson at the helm of Beach Boys ship.
He gets credited with writing and arranging all the songs. He also plays every instrument. But there are some Beach Boys vocals.
Brian says he was more concerned with lyrics on this project.Some of the song topics are odd – Johnny Carson’s Tonight Show – and stories about his writing at this time have him sitting down and improvising a new song in 20 minutes.
Some tracks, like “The Night Was So Young” and “I’ll Bet He’s Nice,” have the old construction and harmonies, but the album heavily uses synthesizers. “Good Time” was a 7-year-old Sunflower outtake.
Brian had planned this as a solo record and the working title was Brian Loves You. It peaked at number 53 on US record charts and was received very mixed reviews from both fans and critics. There was one single – “Honkin’ Down the Highway”/”Solar System.”
Carl Wilson remixed the “finished” album in January 1977 and added guitar and percussion tracks and is credited as the album’s mixdown producer.
The album was done while Brian was in mental and drug rehabilitation. It was the last album written and produced by Wilson for the next 11 years. The week after he finished, he began Adult/Child, but it was never released.
Brother Dennis Wilson died in 1983. Brian’s first true solo album, the eponymous Brian Wilson in 1988, was his return to recording and performing. Carl Wilson died in 1998.