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    Just grainy film clips & that wonder music

    Losing sight of John Lennon, the man: Reflections on his 70th birthday

    Jim Beviglia
    Oct 9, 2010 | 1:57 pm
    • John Lennon has been dead for 30 years and the memory of the man (butthankfully, not the music) is being lost.
    • We know how the other Beatles like Paul McCartney turned out. The wonder willalways be around John.
    • My older brother bought The Beatles Greatest Hits 1962-1966 the day after JohnLennon was killed.

    I didn’t become aware of John Lennon until after he died. You see, I was just an 8-year-old kid in 1980, and The Beatles were just a vague presence flittering across my Dad’s AM radio in the car.

    The day after Lennon was killed, my older brother bought The Beatles Greatest Hits 1962-1966. By the next morning, I had memorized the lyrics to every song on the record, and my love for John’s music was born.

    It’s important to note that I only know of Lennon in retrospect, because that’s probably the case for most of the people within my generation. I can’t ever know what Lennon was like within the context of his times, and that always presents a barrier for truly understanding what he was all about.

    That’s not the case for the other three Beatles, because I have watched them closely ever since that day when I played that record over and over. I could form my own opinion of what made them tick, even as that view was ultimately filtered by whatever media was presenting them to me. There’s Paul, eager-to-please and perpetually chugging ahead in the face of tragedy and turmoil, even as his nostalgia for the past and his faith in rock ‘n’ roll never wavers; Ringo, the quick wit and amiability belying the soulful sadness for lost friends and his interrupted band that’s undeniable even behind the sunglasses; and George, wary and bruised by fame, yet clear-eyed about his legacy and, ultimately, the picture of dignity in his final moments.

    John Lennon, as a person, will always be to me just grainy film clips and fuzzy sound bites and other people’s words. I’ve read more than a few biographies on John and the band, and I can draw as many conclusions as I want from those, but it’s ultimately like the telephone game you play as a kid. It’s impossible to fully trust even the worthiest of sources more than genuine experience.

    Although John’s 70th birthday is upon us, rife as it is with celebrations and reissues of his music, it’s the fact that 30 years have passed since his death that looms large over how he is viewed today. It becomes increasingly more difficult to separate the man from his achievements as time churns forward. Most of those who know are facing their own twilights, while we, the ones now in charge of teaching his legacy to an even younger generation (as I try to teach it to my own daughter) are largely ignorant of the full truth.

    Luckily, John Lennon left us with the consolation of his music, which allows us to fill in the gaps as we see fit. Lennon wasn’t the most artful or elegant songwriter, but he was, without a doubt, the most resonant.

    Even though what he wrote was intensely personal and, especially in his solo years, extremely autobiographical, his words reside in the deepest hearts of multitudes of people. His messages were fearless in their directness and simplicity, unfettered by any agenda or concerns of how they might be perceived by the cynical. As trite as it may sound, he really was trying to make the world a better place with the tools he had at his disposal, and his battles with his own frailties as he made that attempt kept him always at the level of his fans.

    People are fond of guessing about how his life might have progressed had tragedy not intervened, what kind of music he might have made, etc. But, as John himself was fond of bluntly reminding the Beatlemaniacs who couldn’t let go, we do have all the old records. And those records are not only brilliant, but they are also infinitely malleable, capable of filling in the gaps of our own lives.

    For example, when my Dad died suddenly in 1982, “Watching The Wheels”, Lennon’s ode to his hard-earned domestic bliss that was, of course, interrupted by his own death, held an almost unbearable poignancy for me. As I struggled through my teenage years with the loneliness of feeling that no one else really understood me, I clung hard to the lines “No one I think is in my tree/I mean it must be high or low”.

    When I unexpectedly became a father to an amazing little girl seven years ago, “Life is what happens to you/While your busy making other plans” hit home with an almost comical accuracy.

    A few years later, I stumbled upon the girl who provided the romantic happy ending that I never thought was in the cards, and “In my life, I’ll love you more” suddenly made perfect sense. And now, surrounded by more love that I could ever have fathomed, my lifelong faith in “All You Need Is Love” has been rewarded.

    I think it’s safe to say that most John Lennon fans have this kind of circumstance-specific attachment to his songs. Even though he is not around to bemuse, bewilder, challenge, and, yes, maybe even frustrate us with his deeds and words in the current time, even though he cannot add anything more to his musical legacy, we shouldn’t really feel robbed in any way.

    His music, with all the guidance, solace, inspiration, and joy it provides, is always right there for us to access as we go riding on the merry-go-rounds of our own lives. We can’t bring him back, so it’s all we’ve got.

    It’s enough.

    unspecified
    news/entertainment

    super duper

    Quirky Houston DJ drops genre-blending mix CD inspired by video games

    Craig D. Lindsey
    Dec 26, 2025 | 9:15 am
    DJ Squincy Jones
    Photo by Dustee Torres
    DJ Squincy Jones

    If you’re the type of person who has dubstep, Southern hip-hop, and Koji Kondo’s iconic “Ground Theme” from Super Mario Bros. in your streaming-music library, then Squincy Jones has created the perfect playlist for you..

    DJ Squincy Jones

    Photo by Dustee Torres

    DJ Squincy Jones

    Super Nintendub is the name of the mix where the Houston-born-and-bred DJ mashes up all those aforementioned music genres. A capella bars from Houston heavyweights (Megan Thee Stallion, Paul Wall) and other Dirty South MCs (Three 6 Mafia, 8Ball & MJG) gets laid over grooves from underground dubstep artists (Numa Crew, Blay Vision, Hamdi). But we also get music from various Nintendo (Castlevania III, Ninja Gaiden) and Super Nintendo (Super Mario World, Final Fantasy VI) games. Jones also throws in audio samples from commercials and gaming-heavy movies like WarGames, The Wizard, and the Adam Sandler-produced Grandma’s Boy.

    Needless to say, Jones has always been a gamer. He’s had his run of game systems: NES, SNES, Sega Genesis, even the old-school Atari 2600. He recalls his days blowing the dust out of such cartridges as Contra, Double Dragon, and Duck Hunt. In the past, Jones has released a series of mashup mixes – titled Blend Pack – with cover art that resembles/salutes classic video games.

    “I'm a huge fan of all the eight-bit and 16-bit stuff,” says Jones (government name: Shane Rector), 41. “I play a lot of the new games, or I have played a lot of the new games, but not as much anymore. You know, being a parent and having a full-time job – you don't really have time for video games anymore.”

    Super Nintendub is a sequel to Nintendub, a dubstep mix he played during a party way back in 2008. “I added some a capellas, [like] a Bun B a capella,” he recalls. “I had some other Dirty South tunes from the time. I layered them because they're at the same tempo as dubstep. Another friend that does music gave me a folder of Nintendo songs. So, I just randomly layered it on top and kinda slowed down the Nintendo music, and it sounded cool as hell to me.”

    The mix picked up fans overseas when he dropped it online. “I've always wanted to make a follow-up to it because I got so much good feedback,” he remembers. “People from all over were writing about it."

    Jones decided to release Super on compact disc, sold in rectangular keep cases – packaging that’s very familiar to gamers – with double-sided artwork also by Jones. (A digital link is available upon request to those who buy the CD.) While the limited-edition disc is available for purchase on Jones’s Bandcamp page, the CD mix shouldn’t be confused with the Super mix that’s currently playing on the page.

    “I wanted to have them in the mix as well,” he says. “But I'm not entirely, you know, confident with my production skills. So, I just kinda had it on the side to go along with the release of this mix.”

    Since releasing Super in September, Jones says he’s gotten good feedback from those who’ve bought a copy. “Because it looks like a video game,” he says, “a lot of people are like, ‘Oh, cool! Is it an actual game or an actual DVD or whatnot?’ But it's always hit or miss because some people are like, ‘Oh, man, I don't have a CD player’ or "Wow, you actually printed a CD,’ because everything's, you know, digital.”

    He’s looking into playing a big-screen version of Super, where videos of the rap songs are spliced in with video-game footage and other retro clips, somewhere around here. “I was thinking like either a movie theater or somebody mentioned Aurora Picture Show, or maybe Wonky Power, to do like a viewing or showing or whatever – kind of have a party for it.”

    Even though Jones enjoys merging gaming and music – his dual obsessions – he still prefers to be known as more than a video-game DJ. A veteran of the Houston DJ scene for a quarter of a century, he continues to do gigs like his upcoming monthly residency at Eight Row Flint.

    “I do open-format DJing,” he says. “I've done raves and dubstep parties. I've played on the radio. I've played at Mid Main, where it’s a mainstream crowd. In this day and age, everybody has their branding or whatnot. I just love video games, so I just kind of take that as my branding, I guess.”

    music
    news/entertainment

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