New Year’s Eve: The Vertiginous Event

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Before moving forward after looking backward (getting on with 2010 after remembering and assessing the last decade, one movie, album and sporting event at a time) New Year’s Eve is that vertiginous event where you are recalling –or trying to forget– the past while anticipating –or dreading– the future, but at the same time living utterly in the moment.

This year is slightly different, because we are not only reflecting on the last twelve months, but the last ten years. I’ll join the cliched chorus and marvel at how fast it goes. Ten years, already? Exactly a decade ago I was up in the Big Apple, determined to see in the new millennium even if meant going down with the ship. Remember how terrified people were about Y2K? The clocks would stop, the computers would crash, Reality TV would disappear, et cetera. Of course, we made it through in one piece. If Reality TV is the price we had to pay for surviving the infamous fin de siecle, then so be it.

Through a combination of dumb luck and the audacity to hope (abetted by a full night of celebratory end-of-the-world cocktails) my friends and I stumbled right out into the middle of Times Square — which had been on total lockdown for more than two days (we ran into people who’d stood in place for 36 hours or more, pissing into cups and freezing to death in slow motion under their multiple layers): the folks who wanted to witness history in real time were packed in barricaded city blocks, behind ropes and more cops than there are donuts (or cops) at a Krispy Kreme convention. Long story short: a few of us were simply trying to get back home to watch the New Year (or obliteration of the planet) happen on TV, like any reasonable American would do. As it turned out, we ended up watching the ball drop less than five hundred feet in front of us. Once in a lifetime, one in a million. We not only lived, but lived to tell about it. And, despite the awkward oversight that enabled us to slip not-so-innocently under a chained line to mingle with the crowd, the security was stellar that whole weekend. Cops were everywhere and they had things under control. But it was more than that: once the clock turned to 2000 the craziest (and coolest) city in the world was partying like it was…well, 1999. And there was nothing but love and happiness amidst that spectacle. People were happy, perhaps exhilirated to still be alive. Hugs and high-fives abounded, and I did not see a single act of violence or ill-will as midnight lurched toward the hangover of the century. Good times, to be certain.

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And I remember thinking: what a great time to be alive. What a positive omen for a new century. Of course, things didn’t quite pan out as predicted that evening. In the same city, less than two years later, everything changed forever. (In cities all over the country, less than one year later, the worst president in the history of America weaseled in on a technicality, ensuring that the idiotic and apathetic would ruin it for the rest of us, as usual.) It seemed like the rest of the decade was one calamity or crisis after another, testing even our capacity to absorb the inexplicable. And we still managed to make it, scarred and scared, to another decade. Another chance to make good on the work that needs to be done. For all of our sakes, let’s hope we do better this time around.

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I went into 2009 prepared to deal with the inevitable passing of my best furry friend, and could not have imagined it would end up happening many months sooner than expected. That hurt. It still stings, every single day, but as anyone who has experienced any kind of loss knows, the harder it is, the better it was. It’s never enough to compensate for the pain by acknowledging the profundity of the love, but it helps. That was the big event for me this past year and it feels right to remember that, now, while celebrating that he was with me for just about a decade. Bittersweet, to be certain, but as Big Head Todd would say, more sweet than bitter.

And, as always, it’s a hell of a lot easier to keep these things in perspective by considering the (increasing) number of our brothers and sisters who are struggling just to be, here and overseas. And for entirely too many people (inside our borders but especially beyond) every year is only about one thing, survival. Here’s hoping better times (financially, spiritually) are on the horizon for all, but mostly for those that need it the most. Don’t be cynical: find a charity you can feel good about supporting, endorse the efforts of our great artists, tell your parents you love them, appreciate –and savor– the friends who always have your back. Be good to strangers and be better to yourself: you deserve it.

Friends, family, health, music, movies, books, good food and drink, and happy memories yet to be made. Those are some of my favorite things, and I am blessed to have enjoyed all in abundance throughout the 2000′s.  Here’s toasting much more of same, for as long as all of us are able to keep the party going.

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Ballast: See This Movie

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Remember the last movie you saw that didn’t hit a false note and managed to effortlessly convey important things that you knew (even if you didn’t know that you knew them)?

Me either. These types of movies very seldom come along.

If (and when) they do, it is important to talk about them. It seems the least we can do.

And yet, I’m reluctant to say much about Ballast, for a variety of reasons. For one thing, I just watched it and it’s fresh, and I have a sense that subsequent viewings will reveal layers and nuances that will provide fodder for further discussion. But on another (important) level, I’m not inclined to say too much because the best thing I can say is this: see the movie.

This is the type of film that each person will likely have a unique reaction to, and while the themes are obvious and the feelings invoked are likely to be similar amongst likeminded (i.e., sensitive, intelligent) viewers, there are some profound and complicated realities being dealt with that make criticism and conversation seem overly intellectual and ultimately ineffective.

See the movie.

Full disclosure: it’s not a pleasant experience; it’s not even a particularly enjoyable experience. It is, for all the right reasons, more than that, and the experience will be augmented by whatever baggage and awareness you bring to the table. The more you have, the richer the experience is likely to be. The less you have, the more useful it might be to see this movie.

In closing, I’m deeply grateful that Lance Hammer made this masterpiece, and that he found the perfect actors (all non-professional, which is no coincidence) to help create some of the most perfect scenes it’s possible to capture on film. Did I just use the “p-word”, twice? Yes, I did. And I think that says more, in less words, than I could if I tried.

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The Narrow Path: A Tone Poem

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You are alone.

You are back in the city and you are alone as you emerge into the open and empty space, stepping out from the stale depths of the subway. The city has been blessed with snow and the air is heavy, like your thoughts. An austere chill holds sway as daylight succumbs to impatient evening.

You walk swiftly down the blank sidewalk, deflecting the grins and grimaces of commuters as they hurry by, delayed waves of anxious motion. The city is alive all around you: in the circular maze of windows and their electrical language, brightening as the sky darkens; in the cabs that hustle past, mocking pedestrians with warm exhalations of spent energy; in the stench of steam rising from sewage drains, escaping sullied rivers that flow in underground tunnels, teeming beneath the gray and black city; and suddenly in the misshapen face of the man who approaches you, eyes twitching an irremediable message (Help me, Help me! HELP ME!) and you shrink back until he slinks back into shadows, head shaking the answer he always gets (No, No! NO!). Your eyes guide you forward, eager to escape this squalid spectable.

Piles of steaming garbage smolder in neglected piles, suffocating beneath the sullen snow. Stepping awkwardly you slip and fall to one knee, genuflecting in the silky slush. Impossibly, you feel the cluster of sunken bags moving beside you and glancing down you see eyes (for a second you see yourself in those tired eyes). A distinct scent settles in the clumsy shift of air –one you instinctively recognize– and you scramble away. Your breath bursts in short white clouds that live and die simultaneously but the smell clings to you, assailing your nostrils. You understand what this signifies and you are ashamed.

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Damp clouds hang low in a disappearing sky: there will be more snow. And the wind, previously a child is now a bitter and aged man who coughs in your face, his bile a chill that grips your entire being: gusting and swirling at your feet, working its way up, over and around you, through you. Moving on slowly you curse this city and its wretched reality, a reality you will not escape from. Wishing warm thoughts, you close your eyes to think of the sun and somehow

you recall another city in another time and how frightened you were as you traveled, alone, through the hostile marketplace and the mass of humanity, an ocean upon the sand; there was no comfort in that prehistoric city: you were almost swallowed up by the groundswell of sallow, sneering faces and there was no refuge, even in the sanctuary –no solace in that holy place. And the molten sun soaked your skin, its heat causing you to look away, to look down and in looking you saw and in seeing you were saved because suddenly you were not alone: no longer was your path solitary because he walked with you and his stride was purposeful and deliberate, and you felt him brush against you as he moved ahead, so you fell behind him and

you find yourself directly behind him, a few paces behind the man, unable to overtake him because the snow has been packed down by other pedestrians. You walk together, silhouettes in the swaying mist. Thoughts dance rapidly in your mind, congealing as the chill numbs your face. You watch the wind blow back the long hair that masks the figure whose shadow falls in front of you, and you realize that the brunt of the winter blast is being borne by this disheveled scarecrow come to life, strangely out of place in the frigid city. Yet he’s somehow familiar with his hunched shoulders and humble gait: looking down you see the scarecrow wears broken boots; his bared soles scrape the soiled ground. You ponder his pain, the imploding agony of this brutal scenario playing itself out in front of you as you live and breathe, once again in the city, so you close your eyes and suddenly the snow is sand and

you remember the narrow path you once traveled as the stranger walked beside you –and on that mild evening he carried his sandals in his hands and the sand was warm underneath, each grain alive between your toes– and this stranger, with his serenity and silence, reminded you of the one you knew before; the one who walked among you, always in front of you, and even then you followed him into the city: he was known by the people there and they threw flowers at his feet and smiled and you believed when the water turned sweet and red and your mind swam, growing tranquil and light. It was easy to believe, then, while you watched the cup overflow and the crimson drops fell to the ground not unlike tears and

then the sand is snow and the red is there, somehow the red is still there. Eyes down you see the darkened snow, trailing a steady stream from the open sole of the scarecrow.

You are left alone as he moves silently onward, unrecognized, into the cold corners of the city.

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My Kind of Christmas Music

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Tchaikovsky

 

Corelli

 

Bach

John Fahey

The Who

Chuck Berry

a two-fer from Jethro Tull!


The Godfather

The Boss

Satchmo

Ella! (An embarrassment of riches here, here, and here)

 

Vince (The King)

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The Verdict Is In: Top 10 of 2009

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Let’s do this.

1o. Mastodon: Crack The Skye

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Some men let their freak flags fly. Some men get tatted up and sport full arm sleeves. Other men get tattoos on their fucking foreheads. You only do shit like that if you are in this for the duration, which means that half-stepping is simply not an option. Either that or you’ve done a lot of drugs. Looking at the cats in this band, you know it is all of the above. And then you listen to them. These guys somehow balance a full-on testosterone assault with brilliant writing and playing (and singing, as most of the members share the vocals at times), and deliver a product that is both thoughtful and bruising. Like many bands that eventually become excellent, Mastodon has spent some time working on their sound and style and 2009 is the mainstream coming-out party. It’s been fantastic to see these guys on several best-of lists this year. Unlike too many of their compatriots, they actually deserve it.

 

9. Hope Sandoval & The Warm Inventions: Through The Devil Softly

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To quote myself from a few months back: I’d love to take credit for prompting the return of Hope Sandoval after an eight year absence — a circumstance I lamented earlier this year. Little did heartsick homeboys like me know she was already wrapping up work on her second album, the recently-released (and highly recommended) Through The Devil Softly. She is touring now, so catch her if you can. I was delighted to discover that she was appearing in D.C. at the historic 6th and I Synagogue: I finally had the opportunity to see Hope Sandoval sing (!) in an intimate venue (!!) performing new music (!!!). She did not disappoint. And, as has been well documented over the years, her shyness is not an act. Or, it’s a very successful act: the only words she uttered for the entirety of her performance were “Thank you” once the concert ended. No encore, no fanfare, no problem. We weren’t there to hear her speak; we were there to hear her sing. And just see her, in person. And, for the record, she is as beautiful as ever. So…this album would get sentimental points toward Top 10 inclusion just by virtue of being made, but as it turns out, it’s a pretty fantastic record. So there.

 

8. James Blackshaw: The Glass Bead Game

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It is lamentable (if typical) that a young musician this good is still flying under the radar. With the release of The Glass Bead Game, it seems somewhat safer to predict that more people will begin to hear what they’ve been missing. Blackshaw is making music that is necessarily “out of time” (unless solo acoustic workouts suddenly become all the rage) but the upside here –and it’s crucial to stress that this is quite clearly not a commercially-driven calculation– is that this type of music is intrinsically timeless, in its way. Blackshaw’s compositions certainly articulate a contemporary vision, but (like John Fahey, with whom his work inevitably draws favorable comparison) one imagines something deeper and more distant; not the past per se but the way we think when we are prompted to think about the past.

Although he is quite capable, when playing solo, of arresting and beautiful work, his recent inclusion of other instruments (on this effort the violin and cello accompaniment is augmented by Blackshaw’s own, not unimpressive, piano playing) is a shrewd move: the sound is, obviously, bigger, but it’s also deeper and reaches closer to the clear profundity his earlier work attained in more stark (but never austere) terms. While his initial releases (again, inexorably) drew comparisons to everyone from the aforementioned John Fahey to Robbie Basho and Leo Kottke, Blackshaw has already developed a discernible style and he brings a rustic, British sensibility to his compositions. This guy should be around for a very long time.

 

7. Sunn O))): Monoliths & Dimensions

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Scary. Serious. Sludge. Sadistic. Slow. Silly. Sonic boom. Soul. Sick. Sunn O))).

6. Grizzly Bear: Veckatimest

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There’s not much I can say here that several dozen critics won’t be saying (albeit more breathlessly and unanimously) in the days ahead. The bottom line is –and there is no getting around it– this is one of the best albums of the year, and these young men are almost offensively talented. You don’t just write songs like this and sing like that. Unless…you write songs like this and sing like that. There are more than a handful of flavors-of-the-year topping all the cool lists this year that everyone knows will be stale next year and forgotten the year after. This one, it seems quite easy to predict, will be around for the long haul, for all the right reasons.

5. Neko Case: Middle Cyclone

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There was no way she could top Fox Confessor Brings The Flood and no one was asking her to. I wasn’t anyway. She is getting to Ella Fitzgerald territory (to invoke the cliche that I believe was first used in Ella’s honor: she could sing names out of the phonebook with a broken jaw and it would still sound sweeter than anyone else), and there is little she can do at this point to disappoint. Long may she sound her siren song(s). I remain smitten and unashamed to celebrate it.

4. Vieux Farka Touré: Fondo

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About half-way through the year I wrote about Fondo, Vieux Farka Touré’s follow-up to his remarkable self-titled debut. Half a year later, it has not lost even a little of its luster; indeed, it has accrued additional value, and this is one to cherish –now and for the future. Here is a quick summation of what I said in June:

Word to the wise: get on board the Vieux Farka Touré bandwagon now. Not so you can be hip or prepared to drop his name at a cocktail party (for one thing, no one would listen to this music at a cocktail party, and more importantly, who goes to cocktail parties?) or for any reason that would behoove Starbucks to put this disc in their stores. No, the best reason to acquaint yourself with Vieux Farka Touré is because he is a surpassingly brilliant young musician who, if we are fortunate, has a long and productive career ahead of him. Nobody seems to agree on what “world music” actually means, which is probably not such a bad thing. It might suffice to suggest that “world music” is the sort made outside the States, likely sung in a different language and unlikely to yield traditional hit singles. In other words, music that involves actual instruments played with some degree of proficiency by sentient beings. Anyone with a moderately open mind might find Fondo, the followup to Touré’s eponymous (and astounding) debut, a very welcome antidote for the myriad of overproduced and underwhelming product being pumped out for mass consumption.

3. Living Colour: The Chair In The Doorway

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I’m going to take the liberty of quoting my recent PopMatters review, because I can (and should):

The rumors of Living Colour’s demise have been greatly exaggerated. They are back, but perhaps more to the point, they were never really gone. The good news is that The Chair in the Doorway is exquisite enough to make casual fans lament the ostensibly lost time. Something about contemporary cataclysms seem to serve as a call to action for this band: Collideoscope (2003) was very much a post-9/11 statement, and many of the songs on The Chair in the Doorway sound like a wrathful response to last year’s Wall Street fiasco. It is immediately apparent (and reinforced after subsequent listens) that the band put considerable thought into this album. Everything from the order of the songs to the production sounds like the result of a shared vision and a near-perfect plan. The finished product is fresh and clean, but retains an abrasiveness that gives it a most welcome edge. As ever, Living Colour’s cauldron bubbles over with rock, soul, hip-hop, metal, blues and their own idiosyncratic expression, a heart full of soul. It is right, then, to celebrate the return of a beloved band. It is also appropriate to acknowledge that, five albums in, Living Colour has solidified their standing as one of the most consistent, original and important bands America has produced. There’s little left to say: kick the chair out of the doorway and get this essential album into your life, immediately.

2. Dan Auerbach: Keep It Hid

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2009 had barely begun when I signed up to review this release, and expectations were, shall we say, somewhat stratospheric, considering that the album Dan dropped (along with the tag-team partner in his “day job” as The Black Keys), Attack & Release, was arguably the best of 2008. This was followed by a top-notch DVD documenting the subsequent A&R tour (which killed). So when word spread that the indefatigable Auerbach had already recorded a solo album, well, it was difficult to expect too much. Incredibly, it turns out that Keep It Hid was pretty close to an out-and-out masterpiece. Go figure. Here is what I had to say about the matter about ten months ago. If you’re not trying to read the whole rapturous review, here are some highlights:

What’s the story behind all this superhuman productivity? Auerbach has stated that, quite simply, he never stops working. Equal parts driven and inspired, it made all the sense in the world for him to build his own studio. Akron Analog, named after his hometown and preferred method of recording, is where he began assembling the rough cuts, mostly written during recent tours, into the songs that came together as Keep It Hid. This is not a retreat from the sonic explorations Auerbach undertook on Attack and Release, it is an expansion of them. The songs stretch out with that familiar multi-tracked guitar base, augmented throughout with the often subtle employment of organ, banjo and bass. This work unquestionably signals a step forward in Auerbach’s rapidly evolving style. Auerbach never seems to be straining himself or merely appropriating other, signature sounds just for the sake of doing so. The music he has so obviously, and voraciously, absorbed makes him who he is, pure and simple. In sum, Dan Auerbach was responsible for helping make one of the better albums of 2008, and Keep It Hid is already a contender in 2009. Should we go ahead and call him the current King of the Hill? Based on all available evidence, he’s that guy, and the competition for his crown is not particularly close at this time.

Anyone in need of further convincing needs to check out the album (or check their head) and is definitely advised to peruse this revealing interview wherein Auerbach talks about his process, his influences and his ambitions.

1. Rashanim: The Gathering

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Picking a jazz album for best of the year might seem like a stretch. Picking a jazz album that few people have heard of may seem pretentious bordering on recalcitrant. Except for one thing: Rashanim’s The Gathering remains the most convincing and exceptional album I’ve heard—in any genre—all year long. And to be perfectly frank, it’s not even really that close: this is not only the best album of 2009, it is without a doubt (at least in my mind) going to rank as one of the great albums of the decade, and for the ages. So, to paraphrase Don Vincenzo Coccotti (Christopher Walken) in True Romance before he whacks Dennis Hopper: “Hopefully that will clear up the how-full-of-shit-am-I question you’ve been asking yourself.”

I wrote at length about the band, and their latest release, back in August and even then I had a fairly solid idea that this one would be at or near the top of my list once the dust settled. The title of the post (and featured blog for PopMatters) was Rashanim: Healing Music For Unrighteous Times. That seemed accurate, then, and it seems even more appropriate, now.

So…who are Rashanim? They are a jazz trio operating out of New York City who record for John Zorn’s label Tzadik and are categorized in its “Radical Jewish Culture” series. (Being neither Jewish nor radical, I still find this concept rather rad, and to be certain, some of the very best music in the world is being created on Zorn’s middle-finger-to-the-industry label.) So…what does Rashanim sound like? The music is impossible to isolate or explain simply, in part because it incorporates so many disparate influences, using them all as a point of departure. Rashanim invokes other places and times yet remain very rooted in a modern sensibility. Klezmer? Ancient Jewish music? Jam-band? Surf guitar? All of the above: it’s definitely jazz and it is certainly imbued with a distinctively Jewish sensibility. Above all, it rocks. Like Zorn’s Masada albums, many of the songs have biblical or Hebrew titles (sometimes both), and for the most devout or scholarly (particularly the scholarly devout) these songs may accrue added levels of significance; but like much of Zorn’s catalog, the individual tunes can–and should–be appreciated simply for their superior craftsmanship and the almost inexpressible joy they provide. Like Zorn, and like many of the best composers, the melodies are effusive: instantly identifiable after only a few listens yet strikingly distinctive. This music challenges but rewards abundantly.

Let’s cut to the chase: call me Santa Claus and consider this recommendation the best holiday gift I could give you.

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Geddy Lee: Bassist and Tobogganist

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After that, the only possible chaser is a little Snow Dog. RESPECT!

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The Ace of Spades

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The verdict is in and was never really in doubt: Lemmy is sui generis. Sui genius, too.

Lemmy who? Nevermind; if you don’t know, you won’t understand (you need to know, but you’d need to know a lot of other things –way too many things– in order to facilitate first-name-only recognition).

I saw them live in 1994 and was astonished he was still alive, then.

This has, in many ways, been the year of Lemmy: he was featured in Spin (wonderfully and disgustingly, in an issue that featured the anti-Motorhead poseurs U2) and in a recent issue of Rolling Stone (wonderfully and disgustingly, in an issue that features uber-anti-Motorhead pop confection Madonna).

Do yourselves a favor and check out both pieces if you can.

Here are some particuarly delightful tidbits culled from both pieces:

“People ask me, ‘Who is the king of heavy metal?’ Ozzy Osbourne says. “And it would absolutely be Lemmy. Lemmy, to me, is the epitome of what being a rock star is all about.”

“They used to say LSD wouldn’t work if you took it two days straight (Lemmy says). We found out if you doubled the dose it did.”

Ozzy: “On the ‘Blizzard of Oz’ tour (where Motorhead was the opening act) Lemmy had a plaid bag with three books and a notepad. No change of clothes. His fucking rider was seven bottles of bourbon, eight bottles of vodka, two bottles of orange juice, and that’s fucking it! He’s not fucking human.”

“It’s very much up to you, how you shape your life,” (Lemmy says). “I mean, I missed out on human relationships. But looking at relationships that I’ve seen along the way, I don’t think I’ve missed much.”

In his (2002 biography) ‘White Line Fever’, Lemmy admiringly points out that The Beatles were ‘hard men’ from rough parts of Liverpool. ‘Ringo’s from the Dingle, which is like the fucking Bronx.”

Lemmy (as a roadie for Jimi Hendrix in ’67) used to grab a chair (every night) and sit in the wings to watch Hendrix play. “There was no point in trying to learn from him. You couldn’t tell how he was doing it. It was like magic.”

“Every band that’s used special effects has had ‘Spinal Tap’ moments. The more elaborate you try to make your show, the more likely you aer to end up looking the cunt.”

“We weren’t a dreamy, trippy band. We were a black fucking nightmare. We would lock all of the doors of the venue so people couldn’t get out.” Throughout the show, the band who have five strobe lights going–pointed directly at the audience rather than the stage. Lemmy says the bandmates would throw acid onto the crowd out of a dropper. They’d also spike audience members’ drinks with LSD. “I don’t remember anyone complaining,” Lemmy says.

Lemmy recalls heading to the Roxy, a London punk club, to check out the fuss. “I was standing at the bar…getting all sorts of suspicious looks, when I heard a voice behind me say, ‘I used to sell acid at your shows!’ It was Johnny Rotten.

He didn’t meet his son until he was six years old, and he remains wholly unapologetic about this fact. “They’re not real people before that anyway.”

He does not own a computer.

“I’d rather die than live the life that would mean completely giving up everything that makes life worth living.”

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Obama’s “Mission Accomplished” Moment

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Don’t you dare say that Obama has not accomplished anything.

He has done something no president in recent times (if ever) has come close to achieving: namely, alienating and disillusioning a huge percentage of the people who put him in office. And it took him less than a year to do it. Is this guy incredible or what?

This health care debacle is obviously the last straw.  And blaming Joe Lieberman will not suffice (more on the despicable one here). Did anyone expect anything different from this self-absorbed, petty, childish, greedy, shameless clown?

I’m not proposing that we fail to hold this asshole accountable. Certainly we should. But I’m perplexed by my brethren who are unable to see exactly what’s going on here. Lieberman has been on borrowed time; he knows it, and he knows he has no chance to win re-election (if he is as insane as I’m beginning to suspect, he may have deluded himself that he has a better chance if/when he actually runs as a Republian: if so he is setting himself up quite nicely. Think I’m being facetious? I’m not. If/when he gets his old, wrinkled, money-grubbing, insurance-industry-owned ass called to the carpet, he can/will go into full martyr mode, then try to reposition himself as the sane man who stood up to the loony liberals. More on this another time, maybe, but spending any time thinking about Lieberman is actually making me sick.)

But as I said, don’t blame him. Hold him accountable, sure, but remember that these histrionics were entirely predictable.

If you’re looking for someone to blame, how about the person who is supposed to be running our country. That guy who, as soon as Shameless Joe went public with his transparently fabricated sanctimony (has there ever been a more insufferably sanctimonious hypocrite in politics than Lieberman?) Obama quickly dispatched the toothless bulldog Rahm Emanuel to get Reid in line (I actually feel pity for old Harry at this point: yes, he’s a putz and a mostly ineffective empty suit, but he has seemingly tried his best on this health care clusterfuck, and it certainly appears that all he has gotten from Obama is a big bowl of nothing. Obama long ago cut him loose and laid him out to dry, slowly and painfully. Translation “Hey Harry, do my dirty work and I’ll sit on the sidelines, carefully waiting to see how this plays out; if it works, I’ll happily bask in the glory, if not, I’ll distance myself”. It’s time to stop calling this pragmatism and call it what it is: opportunistic cowardice. Obama, whatever you do, don’t even entertain the idea of channeling some very righteous indignation, and possibly breaking a sweat or getting some proverbial dirt under those fingernails).

Prediction: As has been projected (by myself and many others), whatever this bill ends up as –once it’s been whittled down beyond all recognition– Obama will suavely declare it a “major victory” and trumpet it as the centerpiece of his State of the Union Address. Hence, the hurry to get something (anything!) signed by Christmas. (Well, that and the fact that we couldn’t ever expect these well-paid, well-insured sloths in the Senate to ruin their holiday having to pass meaningful legislation!)

Obama’s arrogance, combined with this disgracefully unprincipled cowardice, has become intolerable.

He wanted to be above it all last year and not alienate the man who actively campaigned against him (Joe L.), and has bent over backwards to not speak ill of any Republicans at any time under any circumstances. If this was shrewd politics, or if this could be illustrated as a sly way of enacting his agenda by cleverly keeping his powder dry and temper cool, I would stand back in awe of his discipline. As it stands, his stance has hurt him, repeatedly, and this recent Lieberman debacle is the King Chicken coming home to roost (crapping and pissing all over the floor as he does so). The President has not invested an ounce of political capital trying to do the right thing. The only move he has made with a ruthless disregard for the fall-out is …..bailing out Wall Street! That sweetheart of a deal, without any concessions whatsoever, entirely financed by the same taxpayers who got fucked over by these swine, made it clear that Obama owes allegiance to the special interests who own him. Therefore, it’s anything but surprising that just the other day some of these so-called “fat cats” were snickering that Obama’s alleged smackdown was “just a PR stunt”. It was. Let’s call it MISSION UNACCOMPLISHED.

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If someone cares to explain to me any other rationale prompting this slapshod negotiating, and quick (spineless) capitulation other than political expediency, I’m all ears. What is most upsetting is that one can see through this like a watery turd: led by the increasingly clueless Rahm Emanuel, it’s all about the next election cycle. That, in and of itself, would be unconscionable on the human level. The kicker is, it is a non-starter on the political level as well. These guys actually seem to believe that it’s all about getting something, anything passed, then holding a press conference declaring it a huge victory with the word “reform” stamped all over it like a well-travelled guitar case, and that will be that. Of course, that is how the game is played; that is how it works. But at what cost? Sure, there will be folks who don’t follow the news that will buy the boilerplate. But at this point, even casually interested Democrats have to be scratching their heads: Gee, it smells like piss and feels warm and is kind of yellow…but they are telling me it’s Dom Perignon, so I guess I should open wide; wait, that tastes like…piss!

Put slightly less grotesquely (although that metaphor, unfortunately, is pretty accurate), if Democrats (not to mention the more ardent portion of “the base”) were understandably disillusioned by –but willing to grant benefit of the doubt on– the recent Afghanistan “surge”, this may be the proverbial bridge too far. Count me amongst that group.

Look, we all know the bottom line: this bill, no matter how shredded and soft, is still miles ahead of what any Republican could do (nothing) and, in the final analysis, will constitute progress. But good god, what a hollow victory. That’s like losing five hundred bucks at the craps table and then finding an unexpected $20 in your front pocket and declaring that it’s a net gain. Sure, that $20 is better than being broke, but it would be nice to have held on to that $500 (or even $250): the simile is strained, so insert one more suitable if you please. You get the picture. The key takeaway here is that the evolution (or devolution) of this process epitomizes the two worst characteristics any politician can encompass: cowardice and cynicism. That is a devastating combination. To his credit, as much of a craven buffoon George W. Bush has always been in his personal affairs (Daddy, bail me out again; Rove, don’t have me confront a single coffin returning from overseas; let’s do a fly-by of Katrina, etc.), he had the courage of his (admittedly idiotic and mostly backwards) convictions. Can you imagine Bush tolerating the brazen mechinations of Lieberman? At the very least, the threats and promises being made behind closed doors would be frequent and unambiguous. Could you imagine Slick Willy (the King of Triangulation himself) enduring this charade? Or Hillary? Sigh.

It would be depressing enough if you could chalk this up to arrogance or even naivetee on the part of the Obama camp (traits that have been demonstrated repeatedly, starting –and ending– with Lieberman, but also repeatedly throughout the health care “debate”): you can imagine them thinking “it’s really different now, we can rise above the muck and emerge unscathed; we’ll get them to see the light”. But I don’t think, at this point, that is feasible; nobody could possibly be that delusional (well, except Sarah Palin). What’s much, much worse, is the ugly reality that Obama (as a politician, as a person) is not terribly invested in any of this on a personal level. One has never gotten the sense, through any of this, that Obama is tossing and turning at night, or that he wants to sacrifice any of that (rapidly diminishing) political capital on doing this thing properly. (And any dupe who still furrows their brow and declares that Obama is only eating the shit sandwich served to him by the simpletons in the Senate needs to revist the always-astute Glen Greenwald today.)

Never fear, there is plenty of blame to go around:  these “moderate” Democrats are all going to lose their seats in 2010. Good riddance, obviously. Yet, it’s amazing that in the by-now cliched fear (did we not learn anything in the 2006 mid-terms) that catering to the center-right orthodoxy, otherwise known as not taking a stance on anything except status quo –a status quo that any middle class American would agree is FUBAR– is a recipe for ruin? In that regard, their collective comeuppance will be deeply satisfying. Except for the fact that all of them will be replaced by actual Republicans. Can you say lose/lose? Or just: loser.

Lastly, it was entirely predictable (and equal parts distressing and infuriating) that as soon as Howard Dean (the man who should be enjoying his second term right now…) spoke truth to corruption, the White House attack curs came after him. Let’s recap: Joe Lieberman emasculates the Dems (and Obama), several times, and there is not even a semblance of blowback. Dean, with facts at his side and a record of actually putting people before politics, voices his concerns, and immediately he is savaged (the fact that Emanuel apparently loathes Dean is all you need to know about Emanuel, and speaks volumes about Dean’s honesty and integrity). And of course, Dean will be easy to marginalize. He, after all, is the crazy left lunatic who screamed that time. To see Dean betrayed so ruthlessly (and so quickly: boy does the Obama team act quickly when it feels the need to) should be the final affront for anyone who fancies themselves remotely progressive. If you are even beginning to rationalize or spin this any other way, just stop.

So…to summarize: Obama endorses a bill that continues to have pieces hacked off, like the Black Knight from Monty Python’s Holy Grail, which becomes less popular with each iteration, and through this imbecilic obsession with a non-existent middle-ground, emboldens his enemies and infuriates his allies. In fact, Obama is the Black Knight: his viability is sliced away, chunk by chunk, and he (and his mouthpieces) insist this is exactly the way they wanted it. And after a while, there is little choice but to believe it is the way they wanted it.

Concluding thought: Bush was a modern day Nero in the sense that he fiddled away while the empire burned. But he was a child, utterly overwhelmed and mostly incurious about how the fire started or who might put it out. Obama, on the other hand, knows exactly what needs to be done. He also is aware that fire is hot, and that if you get too close you might just burn yourself. And why go to all the trouble of putting on that fire suit, and then you waste all that water when the fire would just burn itself out anyway. After a while. And no matter how the fire goes out, if it’s no longer blazing, we can claim credit for making it stop…

Right?

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Dead Lists and the Dirty Ground

dead lists

Fortunately, end of decades only happen once a decade. Otherwise, trying to decide on a reasonably accurate (not to mention reasonably brief) list of “best of decade” albums, movies, books and songs (et cetera) would put many good minds in an insane asylum. Come to think of it, what better place to get the necessary peace and quiet necessary to compile such lists? Do they allow i-Pods in those places?

But seriously folks. I feel obliged, or at least compelled, by the lesser angels of my list-making mind, to take a crack at what moved and impressed and inspired me most this very busy decade. And even before you get around to separating the good, very good, and great, you invariably stumble upon more distressing shit like “Good grief, ten years went by that fast?” And then you start thinking that the Big C (Cliche) is lurking ever around the corner, like a straight-jacket.

And yet, in some ways, it’s easier to assess a decade than it is to focus on one year; picking, say, the ten best albums of 2010 might prove more challenging than picking, say, the fifty best albums of the decade. In part because you can really be picky and anything that doesn’t make the cut can get tossed pretty quickly. And, of course, as all the hipsters know, there ain’t any good music being made anymore anyway, right? Hardly. In fact, this past decade was a near bottomless pit of bliss: so much great music and so many great movies, it is intimidating as much as it is astonishing to consider what remarkable artistic times we live in.

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So where does one begin (assuming one is the odd sort who puts stake in such lists and thinks anything is accomplished by making them)? Well, you start with a list. And then revise and expand, expand and revise. Get frustrated, get angry, feel overwhelmed, feel a little bit like God. Feel the eyes of friends and strangers already getting you in the cross-hairs. How could you possibly leave out this one? How can you possibly think (insert CD or movie) is worthy of making the cut? Et cetera.

And that is what it’s all about: sharing ideas and stimulating some discussion. That is all it’s ever been about for people who really love art and live to talk about it. And it wouldn’t be nearly as much fun (or edifying) to consider spending so much time agonizing over these lists if you couldn’t count on the conversation that is certain to ensue. And before you know it, your living room looks like the week before final exams, with notes and cheat sheets scattered around like stale breadcrumbs. But those crumbs serve a purpose, and you drop them on the (dirty) ground in the hopes that they’ll lead you to something approximating Epiphany. The moment you make your choice(s) and throw them out there. And then look forward to hearing how much better it could or should have been (and laughing because you knew going into it that you, above all, would likely end up feeling the same way). The weak get paralyzed, and the uncertain get to work (the only ones who know all the answers are of little assistance because, unfortunately, they are in padded rooms with iPods).

Keep an eye out for the Top 50 (or 60) Albums, the Top 40 Jazz Albums and the Top 20 (or so) movies. And get your scalpels out. Figuratively speaking, of course.

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Cerphe Lives or, Keeping The Segue Alive!

surf-topper

This is less a coincidence than a revelation: the same week that Hawaii is celebrating the arrival of some epic surf, I received an e-mail from Cerphe. Anyone who grew up in or around D.C. will instantly recognize this one word name without any need of elaboration.

For those not in the know, Cerphe is Don “Cerphe” Colwell, a stellar disc jockey, classic rock aficionado and beloved local legend. Back in April I took the opportunity to mourn Cerphe’s exodus (I never used the word retirement) from FM radio, while celebrating the considerable service he has provided for music fans going on four full decades. In that post I concluded with the following thought:

Cerphe has been so reliable a presence, it’s difficult to imagine the radio without him. Indeed, many of us have yet another reason to never turn the radio on again (other people reading this will ask, “do people still listen to the radio?”). Well, I wouldn’t necessarily say I’ve been a loyal radio listener, despite my commute. But I’ve always been a Cerphe fan. I have a feeling we’ve not heard the last from Cerphe. I hope we have him around, in whatever capacity possible, for many more years.

Well the news is in, and it’s good. I was thrilled to see our favorite DJ post a comment on the blog (the question of how he happened upon the post notwithstanding), and I’ll include it below: fans will be interested to know they can still get their Cerphe fix, albeit in a very contemporary (that is to say, non-traditional) fashion. Check it out:

Wow–thank you for all the heartfelt messages.  I am only seeing this today. I did launch a podcast at www.ecoplanetradio.com  Cerphe’s Progressive Show and through the power of syndication–the show will hopefully be coming to a radio near you soon! In the meantime, please listen online at www.ecoplanetradio.com.  From theme sets, deep tracks and lost classics to the well known and unknown–no music is off limits. My one-man-crusade to keep the segue alive. 

Be well,
Cerphe

So there it is! Get thee to the Internets and check out what our man has been –and is– up to. In the meantime I’ll celebrate this gnarly news with some all-time tubular surf tunes.

The Ventures, “Out of Limits”:

The Chantay’s, “Pipeline” (The Lawrence Welk show? Holy shit YouTube RULES!):

The Pyramids, “Penetration”:

Jack Nitzsche, “The Lonely Surfer”:

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