University of Iowa Will Lead NASA Space Mission to Learn the Music of the Spheres

The big news for University of Iowa will be a NASA satellite mission to investigate how solar wind interacts with Earth’s magnetosphere. You can read the whole fascinating story in this issue of Iowa Magazine.

According to the story, “twin spacecraft known as TRACERS—Tandem Reconnection and Cusp Electrodynamics Reconnaissance Satellites—will begin their journey to study Earth’s mysterious magnetic interactions with the sun. The satellites will be packed with scientific instruments along with two small, but meaningful, tokens.”

The two small tokens happen to be purple guitar picks that belonged to University of Iowa physicist, Craig Kletzing, who died from cancer in 2023. Kletzing and colleagues got a $115 million contract from NASA for TRACERS. It’s the largest research award in University of Iowa history.

Kletzing played guitar in a few bands, and one them was named Bipolar—which is the only connection to psychiatry that I could see. He was dedicated to work in basic science, and he was often heard to ask “How can we make this simpler?” referring to chunking big scientific challenges into manageable goals. He was a rare person in that he was both a brilliant scientist and a great teacher. One example of his work ethic was that he skipped a meeting with NASA’s top brass in order to deliver a morning lecture on introductory physics to 275 students.

The members of the UI TRACERS team call the project “Craig’s mission.” I’m pretty sure he would have called it a team effort “… to help scientists better understand the powerful forces harmonizing throughout the universe—something the ancient Greeks described as the music of the spheres.”

And that’s what the purple guitar picks represent.

The Best Cribbage Song You Never Heard Of

I was looking for fun cribbage facts the past few days and while I couldn’t find any good cribbage jokes, I did find an interesting song about cribbage called “One for His Nob (The Cribbage Song.” It was done by a British artist, Richard Thompson. It’s included with another song by him entitled “Meet on the Ledge.” See the credit below and in the YouTube video description.

ADDENDUM 7/16/2025: The video below for the song “One for his nob” has vanished, unfortunately. I found another one called “The Crib Song” by Brett Kessler. You can find out more on my post from 7/16/2025 “Whoops, The One for his nob Cribbage Song Vanished.”

Anyway, the song “One for his Nob” is full of references to cribbage lingo, a lot of which is hard to catch because the tune is so fast. One of the terms is “19 in the box,” which refers to a score of zero in what American cribbage players call the “crib.” A no score in cribbage is often called 19 because that score is impossible. The term “one for his nob” is also standard cribbage lingo for holding the Jack of the same suit as the cut card.

Sena and I thought it would be fun to record a video of us playing cribbage so we could play it back along with Thompson’s song. The thing is I had to speed up the video because it took us a little over 10 minutes to play a cribbage game just to 60 instead of 120. It felt frenetic, but it fits the song a little better because the song is 2 min and 44 seconds long.

If you play the YouTube vide of “One for His Nob” just right and watch our speeded-up video of us playing cribbage, it’s funny. In fact, it just so happened that Sena scored a point twice in the game because she got the nob Jack in two separate hands.

I’ve included the regular speed video of our cribbage game for comparison.

“One for His Nob” is a song about cribbage recorded by British singer-song writer Richard Thompson. It was published by Avon Records and released on July 1, 2015.

The Big Mo Pod Show: “Variety is the Spice of Life”

We heard the Big Mo Blues Show last night and heard a couple of tunes that were fun. One of them was mentioned on the Big Mo Pod Show today, “Feelin’ Alright” by Stuff. The other was a riot but was not on the podcast, and it was “I Feel So Good (I Wanna Boogie” by Magic Sam.

Big Mo Pod Show 085 – “California Bluesin” KCCK's Big Mo Pod Show

After a short break during the Thanksgiving holiday your hosts are back at it again with another episode! This week features the usual mix of blues eras you’ve come to expect along with a few Californian artists, tune in to see which ones! Songs featured in the episode: Solomon Hicks – “Further On Up The … Continue reading
  1. Big Mo Pod Show 085 – “California Bluesin”
  2. Big Mo Pod Show 084 – “Garage Blues”
  3. Big Mo Pod Show 083 – “Legal Pirate radio”
  4. Big Mo Pod Show 082 – “Tribute”
  5. Big Mo Pod Show 081 – “Cheers To Kevin”

The one that brought back memories was “Feelin’ Alright” by Stuff. It sounded so familiar and we finally figured out it was a cover of song of the same title and sung by Joe Cocker (the one I remember). However, I guess it was originally written by Dave Mason of the group Traffic in 1968. And there’s even an album “Joe Cocker With Stuff Feelin’ Alright.”

The one Big Mo played last night was from the album Stuff Live at Montreux 1976. It was instrumental and hard to recognize at first. The lyrics are sad, though and it’s about unrequited love, I guess. I associated it years ago with drug and alcohol addiction after seeing the 2012 movie “Flight” on TV. Every scene in which the main character Whip Whitaker (played by Denzel Washington) got high, that song was a part of the scene.

Anyway, moving right along, the song that was not on the podcast and which was a whole lot of fun to listen to was “I Feel So Good (I Wanna Boogie) by Magic Sam. We’ve never heard of him but the way he sang the number made us laugh out loud.

The title of the podcast was right on target: “Variety is the Spice of Life.”

Big Mo Pod Show: “Blues: The Universal Mixer”

We listened to the Big Mo Pod Show (Sena stuck with it for about the first hour anyway) last night and then I got a mini-education in the forms of music, at least, as it relates to timing and rhythm. The theme was “Blues: The Universal Mixer.” Frequently, the blues show and the podcast remind me of previous eras in my life and lead to a few free associations.

Big Mo Pod Show 085 – “California Bluesin” KCCK's Big Mo Pod Show

After a short break during the Thanksgiving holiday your hosts are back at it again with another episode! This week features the usual mix of blues eras you’ve come to expect along with a few Californian artists, tune in to see which ones! Songs featured in the episode: Solomon Hicks – “Further On Up The … Continue reading
  1. Big Mo Pod Show 085 – “California Bluesin”
  2. Big Mo Pod Show 084 – “Garage Blues”
  3. Big Mo Pod Show 083 – “Legal Pirate radio”
  4. Big Mo Pod Show 082 – “Tribute”
  5. Big Mo Pod Show 081 – “Cheers To Kevin”

The 5 songs reviewed by Big Mo and Noah are probably recognizable to many listeners. As usual, I have to search for the lyrics because I seem to have an inborn tendency to hearing mondegreens. And as usual, I don’t always pay the most attention to the songs chosen for the podcast.

But Big Mo did a little teaching session about rhythm forms, which he related to a couple of songs on the list. One of them was “Wait on Time” by The Fabulous Thunderbirds. I happened to notice that a couple of lines in the lyrics of “Wait on Time” reminded me of another artist who didn’t make it to the list on the podcast but was on the blues show playlist last night. That was Junior Walker and the All Stars. Their song “I’m a Road Runner” was one of my favorites because it reminded me of how I ran all over the hospital as a consult psychiatrist. But I can’t relate to the song as a whole.

The lines the two songs share are:

“Wait on Time” lyrics:

“Well, I live the life I love
And I love the life I live
The life I live baby
Is all I have to give”

“I’m a Road Runner” lyrics:

“And I live the life I love
And I’m gonna love the life I live
Yes, I’m a roadrunner, baby.”

Although the lyrics are similar, the themes are different. The guy in the song “Wait On Time” is promising he’ll get back to his lover someday. On the other hand, in the “I’m a Road Runner” lyrics, that guy is making no such promise and is actually is saying just the opposite.

Big Mo pointed out that there is a common rhythmic form in blues that easily mix with other forms of music, including Latin forms (I don’t understand that music lingo but I think I hear and feel what he means). He mentions that Bo Diddley mixed certain rhythms like that into his music, which surprised me because I didn’t know that. It may be why I like Bo Diddley.

Big Mo didn’t play “I’m a Road Runner” last night but played another hit from Junior Walker and the All Stars: “Ain’t That The Truth.” Just an aside, that tune is mostly instrumental and has a total of only 4 lines apparently, which express a common blues sentiment about relationships:

“Say man, what’s wrong with you?
Oh man, my woman done left me
Say it, man, play me some blues, jack
Get it, baby
Ain’t that the truth”

Several artists covered “I’m a Road Runner” including but not limited to the Grateful Dead and Steppenwolf. Bo Diddley did a song called “Road Runner” but it was not the Junior Walker tune. There’s a YouTube video relating it to the cartoon Roadrunner and Wile E. Coyote.

I’m not a roadrunner by any definition, but I learn a little something new just about every time I hear the Big Mo Pod Show.

Remarks on Svengoolie TV Movie Phantom of the Opera 1943 and More

We watched Phantom of the Opera (1943 version) last night. And then, just for good measure, we watched the Phantom of the Opera (1925 silent film) today. We watched the latter on the Internet Archive.

I’ll say one thing, the absence of commercials in the 1925 version is great. Even though I like cornball jokes on Svengoolie, it’s good to have a break from that too sometimes.

We’ve never read the novel by Gaston Leroux but there’s a pretty good Wikipedia article about it. We’ve never seen the Andrew Lloyd Webber stage version nor the 2004 movie.

That said, we’re struck by the differences between the 1925 and 1943 versions. It’s difficult to develop any sympathy for the Erik the phantom (played by Lon Chaney Sr. in 1925). He’s pretty much a monster from beginning to end. We tend to think that it’s easier to be sympathetic to Erique Claudin (played by Claude Rains in 1943) who has a rough path downhill after losing his job and a place to live early on, inability to sell his concerto or get a date with Christine and so on, after which he starts killing people left and right.

It’s worth pointing out that in Leroux’s book (according to the Wikipedia article), the phantom’s childhood was pretty traumatic because he was born ugly and deformed, which didn’t endear him to his mother. She was simply not good enough, which I think appeals to my training in psychiatry.

The 1943 film was pretty comical at times. For example, the two guys competing for Christine’s attention, singer Anatole (played by Nelson Eddy) and Raoul (played by Edgar Barrier) get stuck in doorways and eventually end up going to dinner together instead of one or the other going out with Christine. Their forced politeness with each other in front of Christine is priceless.

On the other hand, the 1925 version is a little more like what you’d expect from a movie on the Svengoolie show—it’s a horror flick, only classier. Lon Chaney’s makeup job makes him look like a proper monster, which made women faint according to some articles. Claude Rains’ makeup is barely suggested on part of his face.

The murders committed by the phantoms in both movies are bloodless, although the comedy in the 1943 version distracts you from what you expect; for example, after the Phantom drops the huge chandelier on the audience. No mangled bodies or gore, move along, nothing to see here. People continue to sing, dance and cavort, possibly hopping over any corpses lying about.

There was mostly dark music in the 1925 Phantom of the Opera film. However, in the 1943 version there was lullaby theme that ran throughout and was even a point of connection between Christine and the ill-fated Erique. Somebody found a full version of it years later, entitled Lullaby of the Bells. The one who posted it mentioned the composer and the performer.

The Big Mo Pod Show 043 All Dem Christmas Favorites

We listened to the Christmas tunes on the KCCK Big Mo Blues Show last night, “All Dem Christmas Favorites.” We both liked Earth Kitt’s “Santa Baby,” which wasn’t on the podcast list, but what the heck. I got a kick out of Brave Combo’s silly rendition of “O Holy Night.” Fareed Haque’s guitar solo of “You’re a Mean One, Mr. Grinch” was pretty impressive.

Big Mo Pod Show 085 – “California Bluesin” KCCK's Big Mo Pod Show

After a short break during the Thanksgiving holiday your hosts are back at it again with another episode! This week features the usual mix of blues eras you’ve come to expect along with a few Californian artists, tune in to see which ones! Songs featured in the episode: Solomon Hicks – “Further On Up The … Continue reading
  1. Big Mo Pod Show 085 – “California Bluesin”
  2. Big Mo Pod Show 084 – “Garage Blues”
  3. Big Mo Pod Show 083 – “Legal Pirate radio”
  4. Big Mo Pod Show 082 – “Tribute”
  5. Big Mo Pod Show 081 – “Cheers To Kevin”

That Donut Song by Washboard Sam

I got a kick out of a song by Catfish Keith last night on the Big Mo Blues Show on KCCK radio. It was “Who Pumped the Wind in My Doughnut.” He always sings songs with lyrics that I mostly don’t understand and that was one of them, at first. I’ll give you a hint; it’s not a Christmas tune. Catfish Keith covers some old-time blues songs and this one is for adults only.

Judging from the title of the song and some of the lyrics, you might guess it’s about doughnuts but it’s not. Don’t bother with the Artificial Intelligence (AI) description, which I did not ask for. AI just pops up in a web search whether you want it to or not:

“Who pumped the wind in my doughnut” is a playful, nonsensical phrase meaning someone has exaggerated or inflated a situation or story to make it seem much bigger than it really is; essentially, they’ve added unnecessary drama or hype to something, like adding air to a doughnut to make it appear larger.”

Once again, we see that AI makes stuff up as it goes along, creating a little story which is really concrete and far from the truth about something for which it was not programmed—to process language that is not literal but a form of humor riddled with innuendo to express something about sexual infidelity, in this case resulting in a lot of children which don’t resemble the singer because they aren’t his.

Anyway, I found a little background on the song which was originally performed by a guy called Washboard Sam (born Robert Clifford Brown). He was a blues artist in the 1930s. He performed “Who Pumped the Hole in My Doughnut” under the name Ham Gravy. I found a reference which says that Washboard Sam performed it and Robert Brown wrote it. And I found another which shows a picture of the actual record which has the name Johnny Wilson on it with the name Ham Gravy just below it. I don’t know whether Johnny Wilson was just another pseudonym. You can find the lyrics of the song identifying it as being by “Washboard Sam via Johnny Wilson.”

You can find a mini-biography about Robert Brown on, of all things, a WordPress blog called The Fried Dough Ho. It has a fair number of posts about doughnuts too. The author knows the song is not about doughnuts. There are also some pretty comical impressions in a blog post entitled “What is he talking about?” regarding the meaning of the lyrics of the song on a Blogger site called The things I think about, when I wish I were sleeping. One of the comments is fairly recent, from 2023. You can also find a Wikipedia biography.

You may never feel the same about doughnuts.

The Greatest Christmas Record of All Time

Last Friday night on the Big Mo Blues Show on KCCK radio, I heard Eric Clapton sing a song that I later found out was a cover of a song originally co-written by William Bell and Booker T. Jones, “Every Day Will Be Like a Holiday.” A Wikipedia entry about it reports that it has been called the greatest Christmas record of all time by Hot Press magazine in 2017. It has been covered by many musicians.

That song is still in my head. I had never heard of William Bell. He’s been a top rhythm and blues performer for decades. He’s 85 years old and is still going strong. I hope he has a lot more Christmases to go.

Thoughts Arising from the Film Dr. Phibes Rises Again

On Saturday night we watched the sequel to “The Abominable Dr. Phibes” movie, which is “Dr. Phibes Rises Again.” It was released in 1972. We also discovered that Turner Classic Movies (TCM) has shown the film. The TCM link has what I think is the best plot summary.

It makes us wonder what qualifies for classic status if TCM has this movie in its library. Incidentally, TCM also shows the other Svengoolie movie we saw recently, “Invaders from Mars.” I’m pretty sure I saw this on TV when I was a little kid. I have a vivid memory of the stocky green Martian stooges running stiff-legged through tunnels.

 Anyway, I couldn’t find a clear definition of what a classic is. I think it depends on the category, in this case for shlock movies. Even Roger Ebert was all over the map about it (about films in general, not schlock horror films).

Anyway, TCM seemed to echo what Svengoolie and company speculated about as far as the last names of a few of the characters (in the trivia section, although I’m not so sure about the reference to jazz trumpeters). Svengoolie also mentioned the connection. Four of them happened to have last names that a few famous musicians had:

Darius Biederbeck: I start with that one because the jazz musician Bix Beiderbecke (note the spelling difference) has an Iowa connection. He was born in Davenport, Iowa.

Harry Ambrose: There might be a connection to Benjamin Baruch Ambrose, known professionally as Ambrose, who was a violinist and bandleader.

Hackett: Bobby Hackett was a famous jazz trumpet and cornet player. Just an aside, I usually mistakenly come up with the name Buddy Hackett when I try to remember Bobby Hackett. That might still be an interesting connection because Buddy Hackett played Marcellus Washburn in “The Music Man” film adaptation in 1962. Of course, this also has an obvious Iowa Connection. I found a reference which says that Marcellus had a song and dance routine in the “The Music Man.” I’m from Mason City (River City in the musical) and I’ve never seen the play or the movie.

Lombardo: Guy Lombardo was a violinist and bandleader who had a jazz style.

What makes the connection important and whether it figures into whether the movie is a classic or not is beyond me. However, music is an important feature in “Dr. Phibes Rises Again” as it was in the first film, “The Abominable Dr. Phibes.” Phibes is frequently playing an organ and waving his arms around like a drunken bandleader.

And then there is the mechanical band. It’s probably not a real mechanical band, but actors who try to mimic the movements of robotic musicians. I found a comment about this in a web article in which the commenter thought he saw one of the robots moving a little too smoothly.

Humor is a feature in “Dr. Phibes Rises Again” as it was in the first film. The clownish and incompetent police officers, Inspector Trout and Superintendent Waverley reappear. This comedy relief may be an attempt to offset some of the more vividly horrifying murder scenes. Trout makes a jarring joke about one of the characters who was crushed in one of Phibes’ diabolical torture machine- “Baker had a bad night.”

This reminds me of what I appreciate about Svengoolie, who always warns the TV audience when grisly scenes that might be too intense are coming up. If you decide to see the film, you might want to skip the scorpion scene.