I’ve got my afghan yarn back in so I’m making these wheels again. I need fifty-six. I have twenty six. So, it feels like it’s going well. I just really hope I’m not secretly fucking up these wheels, too, but I keep counting to make sure I have sixteen spokes, and there are, so that’s what it should be.
I remain a big fan of this yarn for its soft, squishiness and its weirdness.
I woke up early to purchase “Lemonade” so I can listen to it at work and marvel to be living in a time of geniuses.
I read the credits on the song she did with Jack White. It samples Zeppelin’s “When the Levee Breaks,” so they get writing credit on the song. I noticed that Memphis Minnie and Kansas Joe did not. It makes me wonder if this is one of the songs that Zeppelin ripped off and never had to make right on. I know Willie Dixon eventually got them to own up to what they’d done–and by that, I mean, get some money out of them for the use of his intellectual property, but I don’t know if other folks were able to.
The fact that Memphis Minnie and Kansas Joe don’t get writer’s credits on the Beyonce song does worry me about that.
But I love the “gal I love, stole her from a friend, joker got lucky, stole her back again” aspect of Beyonce getting Jack White’s help to steal a song that Led Zeppelin stole.
But I do keep thinking of Willie Dixon, whose influence is so heavy on rock music, and who I think is utterly forgotten except by music nerds. Is justice come in the fact that most people who listen to Beyonce’s album aren’t going to know who the fuck Led Zeppelin was? My kind of music nerdery can’t accept that. I want people who love Beyonce to get the thrill of hearing Zeppelin for the first time and then getting the thrill of hearing Dixon or Minnie or Robert Johnson.
I want them to have that lightning shaped epiphany of seeing how art travels through time.