It is often said that music, next to physics, is the most successful effort by humanity to create order where there had been chaos, that it is useful at halting the advance of time (while celebrating its existence) and that the universe is in fact nothing but a cosmic symphony. Nothing in the El Físico Nuclear paradigm contradicts these hypotheses, and his interest and participation in the world of music lends some credence to the veracity of these claims. These links connect to pages which deal with music, musicians, or music like materials which have sailed into the ken of The Physicist, and which now bear traces of his interest, or which left their mark upon him.
El Físico Nuclear came to this planet encased in a thick hard pod which protected him from the dangers of intergalactic space. When he leaves this planet, as he often must, to perform heroic deeds on planets circling stars of which we have never even heard, he must once again grow this casing. He achieves this by ingesting a mixture of powdered clay, limestone and gravel in a suspension of hydrogen peroxide--or as he likes to call it, a "Concrete Blonde." For 72 hours after he drinks this concoction, he is vulnerable to his enemies, and must make sure that he is in a safe place. His favorite refuge during this period is the underground fortress of Johnette Napolitano in Silver Lake, California (her song "Caroline" was inspired by his frequent absences). Along with her other talents, she is a 27th level cleric, which means that she instantly averts the Undead--which is why El Físico Nuclear, during his vulnerable period, is safe from the attacks of such entities as Grode the Anti-Being and Vandal Drummond.
Of course El Físico Nuclear considers Rush to be one of the finest musical trios to have ever played--but why? Is it because
Geddy Lee's voice reminds The Physicist of the screeching his escape pod, upon his initial entry into Earth's atmosphere, made
as its gears ground each other into organometallic shards? Because their lyrics celebrate "my way or the highway" Social
Darwinism in a way that El Físico Nuclear once considered true, but now knows is only a cheap excuse for callous
indifference? Because their style is so technical, one might even say methodical, that their live albums are distinct from their
studio efforts only by the addition of the screams and cheers of "an audience?"--thus appealing to the técnico who is El Físico
Nuclear? Or is it because they sing of freedom, freethinking, celebration of life, individual rights, the ways of the common
human--exactly as El Físico's wrestling, philosophy, and science do? How to resolve this paradox? Is Rush a group of snobby
intellectual elitists afraid to get near their fans for fear that they might tarnish, or defenders of Truth! Science! and Fair Play,
Maple Leaf Style? The politicians in their smoke filled rooms want to tell you it is the former, but don't you listen to their empty
rhetoric: the members of Rush stand for everything Thomas Jefferson, Robespierre, Julius Caesar, and Benedict Arnold did.
In any case, the real connection between El Físico Nuclear and Rush is their insistence on the power of Free Will. Rush is without a doubt the band which sings more than any other of the Machiavellian characteristic of virtù. It is precisely this same force which allows The Physicist to consolidate his humanoid form out of the countless intelligent protozoa which exist on this planet, just like Machiavelli's Prince draws together the city-states surrounding him in order to protect himself. In the future, Rush, El Físico and Machiavelli will replace Herbert Spencer, Henry Ford, and Thomas Alva Edison as the Holy Trinity of the Church of American Capitalist Pragmatism.
Several pages dedicated to The
Incredible String Band. The Incredibles
were the single most powerful
influence on the band El Físico Nuclear
and the New, Improved! Not because their music is at all alike, but because the entropic disorder of their music, which presented harmonies which he could not or would not hear, drove him to invent, singlehandly, the concept of geometric rock & roll, for which music theorists (if not performers or listeners) are forever grateful.
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Until Bruce Springsteen discovered that he was a child of Woody Guthrie (best seen in his solo albums starting in 1983 with Nebraska), he explored the possibility that he might be the progeny of El Físico Nuclear. This is clearest in his album Greetings from Asbury Park, New Jersey, has many songs with allusions to the astronomical facets of El Físico Nuclear. Many of the songs on this album feature imagery related to heavenly bodies and space travel. More importantly, however, is the sense of alienation from his peers which makes the connection between Springsteen and El Físico Nuclear stronger--a connection which was made stronger when the two finally met at Springsteen's induction into the Rock and Roll Hall of Fame. This isolation, which is something that one does not find in Guthrie's work, makes it hard to classify Springsteen along the spectrum that is formed by Guthrie and El Físico Nuclear. Bruce takes the best of both of these figures and blends them carefully, patiently. Perhaps the best image one could provide of Springsteen's entire opus is of a lone teen piloting a supercharged spaceship through fields of wheat scattered among the stars.
Another theory holds that Springsteen in fact channeled El Físico Nuclear. Take a
close look at the lyrics of "Born to
Run", then read Dr. M.G-M.'s proof that Springsteen channeled El Físico Nuclear as far back as 1975.
Lyrics to other Springsteen songs which feature space travel as a theme.
Blinded by the Light µ µ µ Growin'
Up
Steely Dan is one of the weirdest and most inventive groups to have come out
of the latter half of the twentieth century. El Físico Nuclear is quite fond
of Walter Becker and Donald Fagen, and has brought them (blindfolded, of
course, so they couldn't find the way back) to his home planet, in
appreciation of their genius. Everyday, before breakfast, El Físico chooses
a Dan tune at random, converts its instrumentals into numbers, and reduces
them all to primes. He then uses this as a means of divination, to predict
the best course of action for that particular day. Thus has he been led to
many great adventures that would otherwise have been lost to us! He similarly uses the lyrics to avoid traffic jams. Click on The Dan to jump to an Steely Dan link archive.
For a brief time, El Físico Nuclear and the witch-goddess Astrolabia, granddaughter of one of the Nephilim, were lovers. As he played Oberon to her Titania, their passionate comminglings shook our globe such that they wrinkled the earth's crust, created the Santa Monica Mountains and sank Lemuria. After many millenia together, Astrolabia trod on a serpent, and was dragged, Kore-like, to the Underworld. Tori Amos is her first reincarnation, and her songs make clear that she is struggling to remember her past lives, that she suffers a great sense of loss which she is trying to understand. Would that the voice of El Físico, as he gives vent to his grief, were half as beautiful as her songs! Alas, it is not--one can often hear the wss-pa-bf.wav
growls of his melancholy resound throughout the Santa Monicas.
There has been much speculation recently on the connection between genetic information and culture--whether or not our genes make us intelligent or aggressive, determine our sexual orientation, or whether our ability to discover new sciences confers some evolutionary advantage. Most of this cannot be analyzed according to scientific methods--where do you get a control group for the human race?--but we do know that El Físico Nuclear, before our ancestors escaped from his lab, programmed us to respond to certain types of music: to be joyful upon hearing Mozart's symphonies, or saddened by a requiem. Within the past few decades, several of our species have stumbled upon this secret. Here are several web pages which present information about the results.
An archive of people's responses to queries about this matter.
The curriculum vitae of John Dunn, the artist who discovered the musical nature of DNA, and his biography.
© 1998 efn_archivist@oocities.com
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