Dr. Gordon Edwards: "The Age of Nuclear Waste is Just Beginning" | teenbooks.info
Until we meet again, my trusted friend, The original recording of Until We Meet Again by Gordon Mario Edwards was the title track of his cassette, recorded at Chuck O'Hara's studio in Halifax, Nova Scotia. This variant and the video above recorded by Kilkenny Krew on their. Victor French was inducted into the Great Western Performers Hall of The role of Isaiah Edwards on “Little House on the Prairie” broke the for the duration of the series, appearing in 59 episodes until the final to Heaven,” in which Victor played ex-cop Mark Gordon as the sidekick to Landon's angel. We are quite skeptical that these Small Modular Nuclear Reactors will ever be To find out how Canadians want to meet Canada's climate goals, create jobs and keep energy affordable. . Gordon Edwards, CCNR, September 12, The French company Areva proudly announced the EDF reactor.
Inspired now that they had found the groove, they would play the whole thing again, trying to do it better still. And that's when we would get the body of the song, played now with a daemonic intensity, and verve. As for the next blow, they were tired now, and it was getting later, and only sometimes would it be better. It was generally worse. And so it would be left to Jesse Henderson and to me, using a razor blade, to later edit together the original blow with the subsequent and inspired body, fading the tune when the blow reached its controlled apex.
For an interesting object lesson on the body and the blow of Stuff material, listen to the two versions of the tune "Happy Farms" clickable in the Studiowner. Listen first to the unedited version 8: Next, listen to the edited version 3: The noticeably enhanced sound quality of the edited version is due to the Roger Mayer sound gates discussed below. Tommy was on the premises to keep track of the Stuff recording sessions, which he had played a role in arranging, and to protect the interests of the big record company in Los Angeles.
But he was not warming to the assignment. In fact, he was very unhappy. He would spend little time in the control room, listening to the music being recorded. He was short and dismissive with the studio employees. And don't ask me again! Having learned his lesson, Tommy LiPuma would more often be seen sitting in relative security at the big oaken table just outside Control Room "A," bathed in the loud sounds coming from the hanging JBL speakers in the kitchen, these sounds having been piped in from the recording studio.
He would summon Herb to the oaken table for these unpleasant sessions.
Snippets of these sessions were audible, even over the roar of the JBL speakers. It was the index finger on his right hand that did most of the work. It was wagging almost non-stop, except when he would straighten it and point it at Herb Lovelle's nose, making the finger dart in and out.
He would occasionally raise his right arm to the level of his neck, and draw his finger across it from left to right as though his finger were a knife. This would make his cane rattle, which had been hooked behind him onto his chair. I'm just one man He had one move, and that was to shrug his shoulders, and to turn the palms of his two hands upwards, towards the ceiling.
I would sometimes seek out Herb Lovelle after the most tumultuous of his interludes with Tommy LiPuma, hoping to give him some moral support. Herb liked to talk with me, and I liked him a lot. The end came early one morning, after yet another night of the band's largely drunken behavior and marginal productivity in the recording studio. They sent someone up to my room to get me out of bed. A car had been called, and was idling on the gravel drive, awaiting its passenger.
I caught up to the man just as he was taking his last, hurried sip of coffee. This project has the chances of a fart in a windstorm. The car then rolled down the driveway. As it turned out with the crazed piano tuner and the visiting engineer from Florida, I would never see Tommy LiPuma again. The Dark Days and Surprises Rock 'n' roll follows no rules.
What you think is sure to happen often doesn't; what you think is unlikely to occur often does, instead. Why this happens so particularly in rock 'n' roll, and not in other disciplines, is not for me to speculate on in this essay.
That's an analytical question, and I'm not doing analysis here, but reportage instead. I'm simply telling you what I've seen. All with a bit of jaundiced humor, I suppose. I would be the first to admit that there are whiffs of condescension, manufactured irony, and needless cynicism in between the lines of these essays I have written, including this one. It was with such feelings that I originally reacted to the roller coaster events being described here, and it's with similar sentiments that I remember them now.
At least I had Kierkegaard's "laugh on my side. Like I said, so be it. Take this situation at Long View Farm, for example. A rhythm and blues ensemble Stuff becomes the talk of New York City, and attracts the attention of a hip record label Just Sunshine Records and a major, international distributor Warner Brothers. The band is well-rehearsed, having dazzled crowds for years at the upper east side bistro Mikell's, and they've made some plausible tape recordings in studios as well known as Media Sound.
Dr. Gordon Edwards: “The Age of Nuclear Waste is Just Beginning”
Only, these guys are first-call session musicians, in high demand on short notice for a variety of important projects, and it's difficult to get them all together for any length of time. On the cheap too, as it turns out. And on the cheap! That's the way to make this LP for Warner Brothers.
But this is rock 'n' roll, and we are due for our first surprise. The band does not arrive at Long View as a team of dedicated musical monks, but as party animals instead. They stay up all night, and get prodded out of bed only in the early afternoon, if then.
They love that "open bar," and use it. Steve Gadd sips on a glass of something while trying to comfort his young wife, who has been crying on the patio for hours for reasons unknown. Gordon Edwards is shouting down across the acreage to the two chubby white girls he imported from the city only this morning, now in tiny bikinis on the raft in the middle of the pond, doing the Boogaloo.
Therein, the recording studios are silent. There are no musical charts lying around. No instant cassette copies of the magical riff that came to mind in the middle of a dream.
No playbacks from the night before being scrutinized. No one wearing headphones. This is not looking good for the home team. These guys were making at least some music back in New York City. But they are making little or no music here at Long View Farm. And then, more surprises, none of them ever envisioned as likely.
First of all, the visiting engineer who was there one day, but not the next: Or the terrorized piano tuner, who ran down the road, trying to get away: Didcha' see that guy runnin' and screamin'? Or the senior executive from Warner Brothers Records, who departed the Farm in disgust, leaving only warnings behind: This is looking less good still for the home team.
It would appear that the Stuff LP might not even get recorded, much less released. That result might actually have occurred had it not been for Herb Lovelle. Despite what it said on the eventual album cover, this man was the sole, de facto producer of the record.
Held in the greatest respect by all of the band members, including Gordon Edwards, it was he who established non-stop presence in the control room, nodding if a song had been recorded correctly, or giving his "thumbs down" if another take was in order. He had strong opinions when it came to the "sound" of the various instruments, and the manner in which these sounds were displayed on the loudspeakers. It was he who would liaise most closely with studio staff on matters of scheduling, mealtimes, arrivals and departures, and so forth.
And it was he, Herb Lovelle, who gathered the band members for an emergency meeting around the oaken table on the day that Tommy LiPuma abandoned the recording project, and left the Farm.
Till We Meet Again () - IMDb
Herb Lovelle was not at all pleased. That guy from the record company who stormed outta' here this morning? He was pissed, and he took our futures away with him in his back pocket, with a big question mark on 'em. And you know, I'm beginning to think he may be right. Starting now, you hear me? We haven't come all this way to see it end like this. The two girls would continue their jive on the raft, of course, squeaking and waving and pushing each other off the raft at intervals, into the chilly water of the pond, but they were now doing this dance for themselves alone.
And what music it was! Like nothing we had ever heard before. Six men, playing as one. Deep, dark, rock-hard rhythms. The big 3M tape machine rolled on and on, its red lights blinking, capturing it all. There was magic in the air. Al Schmitt, Tommy LiPuma's engineer friend from LA now thought of as one of the world's finest recording engineers arrived in the middle of this happy chapter, and was impressed. That left us with only the mopping up to do: The postman arrived all right, about a month later, but with the biggest surprise of all.
I should have thrown the letter away years ago, but I never did. You can see a copy of it hereas an attachment. Rock 'n' roll follows no rules. There are surprises instead, some of them very unwelcome.
Here we had recorded what we felt was the very best tape ever to have been made at Long View Farm, and maybe anywhere else for that matter, but one of the most prestigious record companies in the world had deemed it unmixable, and was seeing to it that we would not be paid for our work. And it would be in this fashion that the Stuff project at Long View Farm now seemed likely to end.
Unless, of course, someone like me, for example could demonstrate that the tape was mixable after all. It would take me a month to figure out how to do this.
The Noise Gates Noise gates are electrical devices which, when inserted into a circuit carrying sound, will shut down the circuit when the sound passing through the circuit falls beneath a certain volume level, allowing no sound at all to go through.
If, say, you put such a device between an audio tape machine in playback mode and a mixing console, and adjusted the cutoff level to be at the faint level of tape hiss, then, whenever the level of the recorded sound fell beneath the level of the tape hiss, the noise gate would shut down, removing all sound delivered to the mixing console, including the tape hiss. That's what we know now, with noise gates included as an in-line feature of all professional mixing consoles, and even cheap, non-professional mixing consoles used in garages, and basements.
Everybody's got noise gates now. But inthat was not the case. They were thought to be theoretically possible, only. And so all this weighed heavily on me as I made my way down to New York City that day in August in the twin engine airplane to see the guy who had published some recent technical articles on the topic, who had reportedly built a few prototypes of the gadget, and who had just financed a small production run, hoping to see the devices tested out by professional users.
I found Roger Mayer in an office on East 57th Street, this office cluttered by circuit diagrams on the walls, bits of wires on the floor, and hanging, naked tungsten light bulbs.
See this little knob on the noise gate? This is what makes the thing work. But if you set it just right, it should work for you. Increase the dynamic range of the program material, let you use any EQ you want, and take out the tape hiss. With a balanced, Cannon-connector wiring harness all attached.
Stick 'em between your tape machine and the console and have a ball. You don't need sixteen. You can't use them on the cymbals of the drum kit anyway. Cymbals fade out to a level beneath tape hiss. Shouldn't use them on the piano either, if it's being featured in the mix. Twelve should do you just fine.
And I had a flight bag all ready to put them in, since I had some people band members that I wanted to show them to only a couple of hours later. But I may have a problem with the ten days. I've got to use these to get paid, and that may not happen ten days from now. I know where you live. In retrospect, thirty-five years later, this event was clearly the game changer.
But I now had some additional work to do, uptown and on the east side of Manhattan, in the nightclub called Mikell's.
Mikell's I arrived at the corner of 97th Street and Columbus Avenue by cab about 8 o'clock in the evening. It was still light out. Over my shoulder was a flight bag containing my newly-acquired Roger Mayer noise gates, together with their mounting rack and a long gaggle of wires and connectors required to wire them into the studio back in Massachusetts. Pat Mikell, who had arranged this meeting for me, was there at the door, waving me inside.
Pat was the wife of Mike Mikell, and between the two of them they had created the hippest and most exciting night spot in New York City. Cat Stevens would be there another night, rubbing shoulders with Stevie Wonder, who had just flown in from the coast. Paul Shaffer of Saturday Night Live, and later, David Letterman's TV show would introduce a fresh recording wannabe, who turns out to be Whitney Houston, remarking that this venue was, for him, "soul heaven.
This activity would often go on until 4 o'clock in the morning, here on the outskirts of Harlem. There was no name for a while for this house band. But then someone suggested the name Stuff, and the name stuck. Stuff was born at Mikell's, and Mikell's reached the apogee of its influence in the New York City musical community with Stuff playing there three nights a week in the mid-nineteen-seventies.
I want to talk to you. Put your gear there on the table, and follow me. We slide along past mini-skirts and long legs and high-heel pumps swinging like pendulums on the tips of manicured toes. Serious-looking young men are sitting on bar stools with their Walkman cassette players at the ready, confidently counting off the deal points of business arrangements on their fingertips.
The music swells as we pass the modest stage, with its piano player, another man playing a stand-up bass, and a young woman playing a flute. Pat mumbles something into the ear of the piano player, and he nods.
The music and the crowd are behind us now as Pat leads on. The staircase squeaks as we make our way downwards, holding onto a shaky two-by-four wooden railing. Down at the very end of the corridor is a light bulb hanging by a wire, and we make our way towards it, hearing only our feet on the cement floor, and the very faint sounds of the revelers coming down through the ceiling.
There's a dirty black telephone on the table, and a large dusty mirror, facing upwards towards the ceiling. There are several large Woodstock posters hanging on the walls, covering up the cinder blocks. Those guys in the clubs down on 52nd Street don't have the same problems.
But we do, here just a stone's throw from the Apollo Theater, of all places.
It may not happen, what you want to do. Look, I'm not here to play any race card. Couldn't very well do that, could I? I'm married to Mike Mikell.
But I can see things from the band's point of view, and it's not pretty. They've been fucked over a dozen times, left and right, and each time it's been in the corner office of some silver-tongued white guy downtown who's promising them this, and promising them that, but it all comes out backwards, with them losing publishing rights to their material, and getting stuck in non-performing contracts, and sometimes being held responsible for the payment of their own studio time.
It goes on and on. Fucked over, left and right. They wouldn't have, had it not been for Paret's relationship with Lovelle.
Nobody knows how to shut it off. And what is radioactivity? Basically, these atoms that are broken pieces of uranium atoms or else transmuted, heavier-than-uranium atoms like plutonium, these atoms are unstable, which means that they are like little miniature time bombs.
They explode and when they explode, they give off damaging subatomic shrapnel which is called atomic radiation, and this exists in three major kinds: Gamma radiation is very dangerous, too. In fact, one fuel bundle, which is about this big.
They will only be handled robotically, by robots or by remote equipment. So how did we get into this? How do we build so many nuclear reactors? The fact is people were lied to. So these were built on false premises, these reactors. And I think now the time has come when people are more and more realizing that this is all a big lie, and that we made a big mistake in swallowing that lie, and going along with it because we trusted the scientists, thinking scientists were sort of like gods.
This is the way the nuclear industry has always behaved. We can prevent reactors from exploding. We can prevent all the bad effects. For example, we can prevent these materials from being used in atomic weapons. This is beyond human power. Germany had seventeen nuclear reactors.
By the year they should have them all shut down. It turns out that they spent billions of dollars in refurbishing some of the old reactors, and these refurbished reactors are operating at about a percent capacity factor. In the meantime, Ontario can actually do itself a favor. It would cost far less to buy the surplus hydro power than it would to refurbish those reactors.
They can also do Quebec a favor because they are now selling that surplus hydro power to the United States at a loss, and you could also do the people of the country a favor by getting rid of this liability. It can have catastrophic failures just like any other reactor because the fundamental problem is not the mechanism of the machinery. It is not based upon the machinery. So a nuclear reactor is not just a machine for generating electricity.
Would you want to have in your backyard a warehouse full of the most dangerous radioactive poisons you can imagine? And as a matter of fact even nuclear scientists, for example, I heard Alvin Weinberg, one of the deans of nuclear energy—he was the head of the Oak Ridge nuclear division down in the United States which developed the first enriched uranium atomic bomb—and he said we nuclear scientists—this was back in even before Three Mile Island—he said that we nuclear scientists have made a big mistake in thinking that nuclear power is just another form of generating electricity.
We should not be building these near large cities at all. Now he was pro-nuclear. Look at what we have done here in Ontario. Can you imagine anything more stupid? We would be contaminating the water supply for forty million people, and not just for one generation but for several generations to come. So it seems that people are beginning to wake up and realize that this is not the way to go.
It all went into nuclear weapons. There were military contracts. In fact, that was the only market there was for it. We also, by the way, sold all of our plutonium for bombs to the United States from the Chalk River reactors that we built.
Well, it sounds good but the problem is when you sell uranium for peaceful purposes, what happens to it? You put it into a nuclear reactor, the uranium atoms get chopped up and create all these poisons we talked about, but some of the uranium atoms actually absorb a neutron to become a little heavier, and they turn into a substance called plutonium which has a 24,year half-life and which is the nuclear explosive that is most useful in all nuclear weapons.
So here in Canada, even though we are thought of worldwide as being like the Saudi Arabia of uranium, in terms of how much uranium we have in, for example, the province of Saskatchewan, we already have two provinces that have banned uranium mining altogether: British Columbia has declared a permanent ban. There will never be uranium mining in the province of British Columbia. In Nova Scotia we had a ban on uranium mining declared in which again was a temporary ban which extended right up until a couple of years ago and when it was made into a permanent law.
Out of that symposium came an international declaration calling… and again led by the physicians… the International Physicians for the Prevention of Nuclear War IPPNW —they won the Nobel Prize Peace Prize in —and they have the led the way on this, calling for a worldwide ban on uranium mining.
So is arsenic, but arsenic is actually safer to mine than asbestos is. So asbestos should just be left in the ground, and uranium is of the same character, even more so. Asbestos threatens the health of anybody who comes in contact with it. Uranium threatens the entire planet. We think this is just plain common sense.
And of course the main weapon of mass destruction really is not chemical weapons, bacteriological weapons—horrible as they are—but nuclear weapons which include all the worst characteristics of those two together with further dangers.
So why would you want to bring that material to the surface? What is uranium needed for? What is uranium used for. Well, basically, you can count them on the fingers on one hand, and have extra fingers left over.
- About Victor French
Nuclear weapons is the only use for uranium which absolutely requires uranium. Number two is electricity generation, but we have many ways to produce electricity.