It's Friday, and let me tell you, the phrase "Thank God it's Friday" never rang more true for us back here in blustry Northern Wisconsin. It was a rough week for everyone for some reason, with deadlines coming down to the wire at work and a week of bitter, bone-chilling temperatures and snow, but now we can rejoice that the weekend is here --- and thankfully --- it's not one where Felicia works.
As you may have noticed, I changed the background color in the main text area. I did this to hopefully make the page look more "defined" to viewers who use IE or Safari. Previously there was no separation in IE between the main area and the sidebar, but with the different background color, hopefully that problem is solved. If everyone used Mozilla it wouldn't be a problem...but what'yagonnado.
The Trouble With Political Rock Stars
by Theodore Hamm
As a follower of both politics and rock ’n’ roll, I’m deeply troubled by the pundits’ phrase of the moment, “political rock star.” Of late, it has been applied widely, describing the popularity of everyone from Barack Obama ("our soaring rock star,” in the words of the Chicago Sun-Times) to U.N. Ambassador John Bolton. But in my view the now-ubiquitous term insults the traditions of both politics and rock ’n’ roll, two of the central institutions in American life.
First off, the syntax is troubling. “Political” here is an adjective, and so if applied literally, “political rock star” would refer to figures like Bono, a musician turned international statesman. Yet since what the pundits really mean—a “rock star-like politician”—is a rather less appealing turn of phrase, I’m sure that Bono, Moby, Michael Stipe and other genuinely political rock stars won’t fight for the cause of syntactic purity.
Part of the problem is that baby boomer politicians pursue the label of rock star so intently. Who can forget Bill Clinton’s Elvis-like entrance onto the main stage of the Democratic National Convention in 2000? Though a sworn devotee of the wretched “pop-jazz” sounds of fellow sax player Kenny G, while in office Clinton more often behaved like Jim Morrison. Being pleasured by Monica Lewinsky while discussing appropriations with a Deep South legislator was just one example.
More recently, the most glamorous ex-president in American history actually fused politics with rock ’n’ roll when the Rolling Stones performed at his 60th birthday party/fundraiser for the Clinton Global Initiative. Bill, said one Canadian observer, “has always been a political rock star and he isn’t going to fade away. Nor will the groupies.” After canceling two shows just beforehand because of a sore throat, Mick Jagger indeed showed his love for the ex-prez/fellow rock star by taking the stage on his behalf. Have the once-radical Stones gone neoliberal, too?
The sad fact is that actual agendas get muddled when the phrase “political rock star” gets tossed around. After all, the roster of figures recently labeled as such spans the spectrum. On the Democratic side, Hillary Clinton, Obama and Harold Ford Jr. have been thusly lauded. For the Republicans, the unlikely band includes Rudy Giuliani, Newt Gingrich and, yes, John Bolton. Among liberals, any linkage between Ambassador Bolton and such a designation would probably involve his reputation for abusing his subordinates, la many a rock star. But according to one Washington Post writer, “Bolton’s blunt diplomatic style has made him a political rock star among conservative Republicans who relish his routine exposure of U.N. foibles and criticism of its bureaucrats.” [READ MORE]
Flaming Lips earn name on alley
OKLAHOMA CITY - The Oklahoma City Council has designated an alley in the city's Bricktown area in honor of The Flaming Lips.
The city council also voted Tuesday to name two streets in the burgeoning entertainment and restaurant district in honor of country singer Vince Gill and jazz great Charlie Christian, both Oklahoma City natives.Lead singer Wayne Coyne said the honor means a lot to The Flaming Lips, who got their start in Oklahoma City in 1983.
"So many bands despise their hometowns," Coyne said. "I guess we're just lucky or it never felt that way to us. Oklahoma City never rejected us. It's always seemed to be a strange twist of fate that even though we want to play Los Angeles or London, we weren't doing it to say we don't like where we came from." [READ MORE]
Featured Artist: Andrew W.K.
Since it's Friday, I wanted to share something a little fun and a little crazy with you, and I couldn't think of anyone that fit that description better than Andrew W.K.
What I love most about Andrew W.K. is that he is an artist who truly loves music, and that energy and passion are reflected in his music. He's no Bob Dylan when it comes to songwriting, but he'll give you everything he's got and more every single night he performs.
As Ian Mathers writes in his Stylus review,
I have massive problems writing about Andrew W.K.’s music. I think this is because there are two aspects of that music, and trying to shoe-horn them both in isn’t working. It’s like this: on the one hand, Andrew W.K. represents a shining belief in the nobility and beauty and possibility inherent in human beings and in the power of music, and of the joy of living. On the other hand, he makes music that sounds like Slayer doing Abba covers.
That latter is not a bad thing; his first record was a perfectly formed, tightly wound spitball of joy that for me is a classic 10.0 album, because it does exactly what it sets out to do and then ends. It balances being as loud and heavy and as BIG as possible with also cramming every spare note with as much melodic power as it can hold, and it is absolutely essential for lovers of metal, rock or pop music.
But the result is that people don’t take him seriously. I didn’t until I talked to him. He really is being serious about everything he sings about, his curious mix of Stoicism, hedonism and ‘embrace every moment and every person’ sentiment.
And that sincerity is the problem, because now I want to take him seriously. I personally think that at times W.K. says important and valuable and beautiful things about people and the way we live and the way we could live, but he throws in things like “Make Sex” or “Tear It Up”, which as a fan of his music I like, but which contributes to other people’s instinctive urge to dismiss him as a joke.
And really, why should I care? Even as a joke you can appreciate his pop sense, which makes these songs great to drive to, or sing in the shower, or just play really loud anywhere. But there’s something about the deeper sentiment that demands to be shared, something Andrew W.K.’s live shows have borne out.
This second album isn’t nearly as perfect as the first, simply because W.K. (who still plays every instrument here) has changed his focus from making the hugest, catchiest music he can to focusing on the sentiment more, which means more mid-tempo songs. Ultimately your reaction to the first album will define your reaction here. I can foresee a long cult career for Andrew W.K., devoted acolytes swearing he is the best thing ever, and everybody else ignoring him because they don’t know how to do anything else.
On the back of the CD booklet there is a picture of Andrew sitting at his keyboard, turning back to face the camera, a big grin on his face, giving us the thumbs-up. It looks hokey, but also sincere and a little heartwarming. Which is exactly what this album sounds like.
Andrew WK - "I Love Music"
Andrew WK - "Long Live the Party"
Andrew WK - "Tear it Up"
Andrew WK - "Totally Stupid"