All politics is not local
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I write about ESRI in this blog on occasion - most recently, in March 2016.
And ESRI just made the news again - not a local news outlet, and not a geo
news...
By day, I perform strategic marketing duties for...well, as of August 2020, for nobody. By night, I manage the Empoprises blogging empire, as well as various portals in Ingress and other games. Formerly known as Ontario Emperor (Ontario California, not Ontario Canada). LCMS Lutheran. Former member of Radio Shack Battery Club. Motorola Yellow Badge recipient. Top 10% of LinkedIn users.
Not too long ago, I wrote a blog post that contained the following introduction:
As a lyricist, Jimi Hendrix was with peer.
I went on to say:
His hippie 60's lyrical musings are not on a par with Dylan, Lennon, McCartney, Simon, or others of that decade.
I was curious to see if anyone ranked Hendrix highly as a lyricist, and I found someone who not only praised his prowess, but also chose to discuss the song that I had implicitly derided. Matt Coleman, the floor is yours.
Let’s look at one of my favorite Hendrix compositions, “The Wind Cries Mary.” Supposedly, Hendrix wrote this song after he and his then girlfriend Kathy Etchingham had an argument over her cooking. Kathy, I am so very happy your cooking did not please Jimi. Kathy, whose middle name is Mary, stormed out of the house and Jimi was left with a decision, eat the unpleasant food or write the song. Just kidding of course. Maybe Jimi was just not very hungry....
Hendrix demonstrates a great adroitness for metaphor and sensitive repetition. I, obviously am partial to the court references, but, they work quite well in the song. “Somewhere a queen is weeping, Somewhere a king has no wife.” These two lines in the second verse are by far the best in the song. The words elevate the song to an ethereal level and help represent Hendrix’s situation mystically.
Now I just have to find someone who thinks that Eddie Van Halen is a good guitarist - whoops, I forgot that some people actually think he IS a good guitarist.
I only personally know of two people who ever talk about the Zune - someone who goes to my church and works for Microsoft, and Steven Hodson, who writes the WinExtra blog (among other things). But the Zune apparently offers a whole range of services, including its own store (which you can visit at http://www.zune.net/).
Steven Hodson talks about the Zune in a recent post:
While most of the tech blogosphere either ignores or makes fun of Zune, and its marketplace as well as its streaming services, the fact is that it has been around for quite awhile and people like using it.
Well, at least in the U.S. it has, but that is about to change as different parts of the Zune ecosphere starts spreading beyond the U.S.
But wait a minute, you ask yourself. Isn't Hodson like Canadian and stuff? So how can he expertly talk about the Zune?
Very easily, as it turns out. Despite the best efforts of the Cabal TINC (an old Usenet joke), it is possible to get around any geographically based restriction (or geotarding). In Hodson's case, he just created a Microsoft account with a United States address, and he had access to all of the wonderful Zune stuff that we Americans take for granted.
But now that the Zune is officially offered in Canada, Hodson has a bit of a problem.
You see once Zune, and Xbox Live, are legally available in your country, and in my case it would be Canada, you are going to want to go into your profile and switch your setting to show your real country of origin – except you can’t.
I’m serious. There is no way possible for you to go to your Zune account, or your Xbox Live account and change your country.
Hodson then details all of the attempts he made to change his account to a Canadian account, and the frustrations that he's facing in his current US-Canada limbo.
And yes, Hodson admits that this is a problem of his own making. He was so eager to get Microsoft projects (in this case Zune and Xbox) that he gamed the system in order to get it.
And, Hodson admits, there IS a solution to his predicament.
You have to create a whole new Zune profile and Xbox Live account. This means new gamer tags and Zune tags. It means that all your achievements in Xbox Live are history. All your purchases – if you managed to make any – on Zune or Xbox are toast.
But wait – it gets even worse.
Because both your Zune profile and Xbox account are now tied in with your Windows Live ID (your Hotmail account) you will also have to kiss your email account good-bye.
I did some more reading, and learned that the Zune had actually been launched in Canada over two years ago WITHOUT an online store. In a May 7, 2008 article, the CBC explained some of the thorny issues at the time:
Microsoft Corp. is bringing the Zune, its answer to the iPod, to Canada, but the media player's initial launch will be hamstrung by the lack of an accompanying download store.
The company on Tuesday announced the Zune player will be available in stores here on June 13, making Canada the first country outside the United States to get the device. The online Zune marketplace, where device owners can purchase music and video content, however, won't be available on launch....
There are a number of factors that need to be sorted out before the online store can be made available here, said Elana Zur, product manager for Zune in Canada.
Or perhaps I should correct myself, since Canadians don't have to deal with this yet. In its September 20 announcement, Microsoft named a bunch of countries that are getting access to the Zune Marketplace and related services. Canada wasn't in the list.
Zune Marketplace will extend services to several markets in Europe and beyond.
Zune Pass (U.K., France, Italy and Spain). The monthly music subscription service will be available for 9.99 euros /8.99 pounds per month for unlimited download and streaming access to the Zune music catalog and will be accessible on Windows-based PCs, Windows Phone 7 and Xbox LIVE. The offer in the U.S. will remain at $14.99 per month for unlimited downloads and streaming access, with the ability to keep 10 MP3s per month.
Music purchase (U.K., France, Italy, Spain and Germany). Expansion to these markets will enable consumers to purchase MP3s and listen on their Windows-based PC, Windows Phone 7 or any other device that supports MP3 format. Users will also be able to purchase music videos to enjoy on Windows-based PC, Windows Phone 7 and Zune on Xbox LIVE.
Video purchase (U.K., France, Germany, Canada, Australia and New Zealand). Consumers will now be able to purchase movies to download and watch anywhere — on the big screen in the living room with Xbox LIVE or their Windows-based PC as well as sync it to their Windows Phone 7 to enjoy on the go.
Movie rental (U.K., France, Italy, Spain, Germany, Austria, Belgium, Ireland, Netherlands, Switzerland, Mexico, Canada, Australia and New Zealand). In addition to Zune video on Xbox LIVE, consumers in these countries will now be able to rent movies for viewing on their Windows-based PC or choose to sync the rental to their Windows Phone 7.
So if you live in Canada and want Zune stuff, you might as well keep on using that 90210 zip code.
I ran across this post by accident (I was doing an ego search and landed on a page that linked to Wendy Bredehoft's former website, which has now been taken over by others), but it definitely looked interesting, so I thought I'd share it here.
Punch Brothers, a band with a style that has been described as introducing bluegrass instrumentation and spontaneity in the structures of modern classical, will perform a free concert Tuesday, Sept. 28, at 8 p.m. in the University of Wyoming College of Arts and Sciences auditorium.
As I previously noted, I was not at Oracle OpenWorld this year and, other than monitoring a few tweets, I didn't get the full picture of the Appreciation Event at Treasure Island.
In a sense, I didn't miss much, because one of the big attractions at the appreciation event was the ability to read your own tweets on a big screen. Hey, it was a techie crowd.
On the main stage, Berlin opened with their hits from the 80s plus some modern-sounding new releases. Midway through their set, tiny Terri Nunn hopped onto a roadie's shoulders and took a tour of the audience, happily greeting fans and leading a sing-along.
"Can you believe this?" she asked the crowd. "What a company party ...!"
Berlin was followed by the Black Eyed Peas and Steve Miller, and apparently Miller and Terri Nunn performed a duet.
The alternate stage also had good music, including the English Beat, Montgomery Gentry, and Don Henley. However, apparently there was no Ranking Roger-Don Henley duet.
As I mentioned, I was monitoring tweets during part of the evening, and one of the tweets I saw was a tweet from Larry Wake:
Don Henley opening with 20 minute preso on The Eagles' cloud strategy. #oow10ti
@larrywake but i heard that glenn frey was insisting on an ibm cloud solution #oow10ti #oow10
Meanwhile, Accenture is apparently without a celebrity endorser at the moment (or at least a human one), since they dropped the (human) endorser that they had. Obviously Oracle and Accenture are in different worlds when it comes to celebrity endorsements.
As a lyricist, Jimi Hendrix was with peer. His hippie 60's lyrical musings are not on a par with Dylan, Lennon, McCartney, Simon, or others of that decade.
But couple those lyrics with the musical performance, and you have something magical.
According to variousdiversesources, this was recorded at a Swedish TV show called "Popside." But according to this book, the band had other things to worry about - namely, the fact that Stockholm hotels didn't want people looking like them staying in the hotel.
Back when I was in college radio, one of the deejays (I've forgotten his last name, but I believe his first name was Paul) would occasionally talk about O.P.M., or Over Produced Music. I don't know if I've really encountered over-produced music (outside of Jeff Lynne's post-ELO work), but I've certainly encountered some HEAVILY-produced songs in my day. Pat Benatar's "Love is a Battlefield" comes to mind here.
But then there are some bands that are consistently heavily produced, so that the heavy production becomes associated with the band itself. For example, I was recently listening to the Madness song "Primrose Hill."
If you listen to the song, the most distinctive element of the song, especially toward the end, is the horn arrangement.
Now let me distinguish between horn arrangements that include the band, and horn arrangements that include people outside the band. Chicago's horns were self-contained within the band. Oingo Boingo's horns were self-contained within the band. But when Fleetwood Mac played "Tusk," and Madness played "Primrose Hill," these were peopled who were added to the band.
Now "Tusk" was pretty much a one-off - there's no marching band on "Albatross" - but horns pop up elsewhere in Madness, such as the song "Keep Moving" (brief mention here). It turns out that Madness' producers, Clive Langer and Alan Winstanley, kinda sorta liked lots of horns. When discussing a Nitcaps album, this comment was offered.
Sire spent the money where it mattered: top-notch production from Clive Langer and Alan Winstanley (Dexy’s Midnight Runners, Madness) and the full-time assistance of the Uptown Horns. (Langer and Winstanley never met a horn they didn’t like.)
But if you want to talk about an artist whose entire sound was shaped by heavy production, take a listen to (most of) the early records of Elton John. That little piano player had a much broader sound on songs like "Your Song," "Levon," "Tiny Dancer," and others, courtesy of the orchestral arrangements of Paul Buckmaster. In fact, in a review of the Elton John self-titled album, John Mendelsohn said that the album succeeded DESPITE Buckmaster.
The major problem with Elton John [the album] is that one has to wade through so much damn fluff to get to Elton John. Here, by the sound of it, arranger Paul Buckmaster's rather pompous orchestra was spliced in as an afterthought to flesh out music that had sufficient muscle to begin with, their choirs and Moogs and strings threaten to obscure Elton's voice and piano, everywhere that they appear at least momentarily diverting the listener's attention therefrom.
Buckmaster's review was dated November 12, 1970. Just five days later, Elton John recorded an absolutely fantastic live album. Forget Buckmaster and everybody else - just three people - Elton on piano, Dee Murray on bass, and Nigel Olsson on drums - put on an incredible performance. The album, called either 17-11-70 or 11-17-70 depending upon what side of the pond you live on, shows the musical skills of the three-man band, especially the piano player. If you've never heard any of the album, take a listen to this version of "Get Back."
True story - after an incredible and exhausting run of several years, Elton burned out, retreated, occasionally retired, and worked to get his bearings. For a while, the over-the-top piano player seemed to have disappeared. (Luckily, he came back later.) In fact, when I first heard the Double song "The Captain of Her Heart," with its extremely simple piano solo, for some reason (Captain?) I thought it was a new Elton John song, and I thought to myself, "Boy, Elton's hit rock bottom now."
I just wrote two (count 'em) posts that were derived from a single video - a post in this Empoprise-MU music blog called People they fall apart, and a post in my Empoprise-BI business blog called People they come together. Both posts are based upon an AT&T Blackberry commercial that included both Herman Melville's Moby Dick and the Moby (Richard Melville Hall) song "We Are All Made of Stars."
But what if you don't like AT&T? (Some people don't.) And what if you don't like Herman Melville? (Some people don't.)
Well, here's an AT&T/Herman-free version of Moby's song. You have to click through to see it; embedding disabled by request, probably because it wasn't posted by a record label.
But the person who did post it, perry8999, provided some helpful information.
("Stars" in order of appearance): 0:10 Moby 0:27 Kato Kaelin 0:44 Verne Troyer 0:51 Corey Feldman 0:59 Todd Bridges & Gary Coleman 1:13 J.C. Chasez 1:17 Dave Navarro 1:25 Sean Bean 1:31 Dominique Swain 1:52 Ron Jeremy 1:57 Thora Birch 2:04 Tommy Lee 2:10 Molly Sims 2:19 Angelyne 2:27 The Toxic Avenger 3:13 Robert Evans
At the time of the video release, MTV posted an article, the meaning of the video, and the celebrities involved. Sadly, one of the two celebrities named below is no longer with us.
All the locations are classic, iconic Hollywood venues: Hollywood Boulevard, seedy strip clubs, bars, tattoo parlors, and, of course, Kinko's. "Places," Moby said, "where normally you'd have debauchery and degeneracy and hedonism happening, but there's a banal side to it. My hope is, through showing the banal side of degenerate Hollywood, there's a sense of humanity to it as well, and we reveal endearing qualities in these iconic figures."
And what better way to illustrate that than with a "Diff'rent Strokes" reunion? "To see Gary Coleman and Todd Bridges together is a fantasy that we've had for a long time," Moby said. "I hope the rest of the world appreciates it just as much as we did. Sitting in Del Taco, watching the two of them sing lyrics to one of my songs, it was really special."
After Gary Coleman's death, Coleman's appearance in this video (and others) was cited as the number one of ten reasons Gary Coleman was cool.
P.S. For those who get confused, it was Corey HAIM who passed away earlier this year, not Corey FELDMAN.
I'm watching the Bears-Cowboys game right now, and I just saw a commercial that made me put the game on mute (the hated Cowboys are losing anyway, pleasing this Redskins fan), search for the commercial on YouTube, find it, and share it with you.
Now technically I could have put this in my Empoprise-BI business blog and taken one of several angles with it. I could have talked about television, and how companies need to make commercials that are so good that people will put up with bad programs just to see the commercials. I could have talked about the product itself, and how AT&T is emphasizing that they can offer multiple types of phones - perhaps I could have gone into the multi-tasking angle also. Or I could have talked about mashups, the connections between Herman and Richard. Or I could have taken the social media angle, and noted how multiple information sources can be brought together to serve a single purpose.
But instead, I put this in my Empoprise-MU music blog because the music's so cool. And because it has nothing to do with Oracle. (OK, Larry has a yacht...)
I just confirmed via IMDB something that I had read elsewhere regarding a certain person who shared billing with the Beatles.
No, not Tony Sheridan or Billy Preston.
Davy Jones.
Well, technically Jones didn't share billing, since his appearance on episode 17.19 of the Ed Sullivan show was uncredited. You see, Ed Sullivan's show was first and foremost a variety show, and when the Beatles first appeared on the show, they were just one of several acts. For those who have never seen a true variety show before, check out David Bassler's description of that particular episode. In addition to the Beatles:
Dutch comic magician Fred Kaps performs card tricks and a salt shaker stunt, the cast of the Broadway musical "Oliver" performs several numbers and Frank Gorshin does his impression of an imagined committee meeting of the U.S. Senate with its members all famous movie actors. British singer Tessie O'Shea performs three songs, including her hit, "Two-Ton Tessie from Tennessee", the comic team of Mitzi McCall and Charley Brill perform a comic sketch concerning the travails of a Hollywood producer trying to find the right woman for a part in a major motion picture and the comic acrobat team of Wells and the Four Fays perform a number of tumbling stunts.
No, you didn't see Jones' name in that description, but he was there - as part of the cast of "Oliver" (Jones played the Artful Dodger).
And you know what happened next. After his appearance on Sullivan, Jones was signed to Colpix Records...as a solo artist. A few months after the "David Jones" album was released without charting, Jones secured the TV job which would bring him fame...as a member of the Monkees, a show heavily based upon another of the guests on that February 1964 Ed Sullivan show.
In a 2010 inteview, Jones discussed his impressions of that night, and his time as a 16 year old in New York:
I sang with [Judy Garland] at Carnegie Hall and that was cool. It was all about the time that I was on the Ed Sullivan Show in ’64 – the night the Beatles were on. I did a song from Oliver. That was when I first thought, ‘Ah! Music! It’s good, all these girls! I think I’ll have a piece of that (fame), actually!’ That’s why I got into what I got into.
...Jack Cassidy and Shirley Jones was all part of that click and it was like, ‘Goodness gracious, me!’ Years later, David shows up on the lot at Columbia Pictures, he’s in a TV series and his mum there. And he’s like, ‘Oh, my goodness gracious!’
But, as Jones notes, it's been a long time since the Beatles and the Monkees and the Partridge Family and the rest were teen idols.
He (Cassidy) sings, ‘I think I love me, what am so I afraid of?’ Tony Orlando sings, ‘Knock three times on the ceiling if you hear me fall”. Peter Noone singings, ‘Mrs. Brown, you have a lovely walker’. Roberta Flack sings, ‘The first time I ever forgot your face.’ And Willie Nelson’s on the throne again. All this stuff is, like, ridiculous. Ringo Starr sings, ‘I get a little help from Depends.’ It gets crazy. Paul Simon sings, ’50 ways to lose your liver’ and Abba is singing ‘Denture Queen’.
Ever since then, I haven't been able to get the song out of my head.
However, my preferred version of the song is the one that appeared on the record, not the re-sequenced one that appeared on the video. Let me explain the differences.
The version that hit the charts followed a traditional verse-chorus-verse-structure, and then closed with the rap by Vincent Price. The song builds toward this ending rap, with an interjected vocal interlude by Jackson, then the close of Price's rap, which concludes with a horrible (as in horror) laugh.
The video, of course, is arranged a little differently.
In this case, the song had to be re-arranged to fit the story and the dance routine. Because of this, the verses are placed toward the beginning of the performance of the song, with the chorus excluded. Price's rap, which was the ending highlight of the audio song, was instead moved (with Jackson's interlude) to an earlier portion of the video. For the video, the highlight is reserved for the chorus, which is withheld toward the end of the song and serves as the musical background for the famous dance sequence. The VERY last part of the song - Price's laugh - is reserved for the very ending of the video.
One other note about the video version - because of the length of the video, and because of some of the story material (especially the movie-like horror scenes), Jackson's song isn't the only music in the video. Elmer Bernstein "scary music" sequences are also incorporated.
All in all, two different versions of the song, serving two different purposes. But I still like the non-video version better.
One of my co-workers is on the office's team building committee, and sent out an e-mail about our office barbecue. The e-mail included the following statement:
The corn on the cob is supposed to be served with the chicken if you are not having chicken, please do not take the corn :)
I couldn't leave well enough alone:
If you don't eat your meat, you can't have any corn! How can you have any corn if you don't eat your meat?
Perhaps you've heard the Edward Anatolevich Hill song "I am very glad, because I'm finally back home." I wrote about the song a few months back, after both Keith Andrew (of the Tall Ships) and Josh Haley (of the Medium-Sized Ffundercats) both mentioned the song. If you don't recall the song, here's a reminder:
The song, commonly called the "Trololo" song, is actually part of a musical tradition called "vokaliz." And apparently something about that song appealed to Jack Senzig, who posted a request as a comment to my earlier post.
I sure would like to get my hands on an orchestral score of this piece. Anyone with ideas look me up on joinchoir YouTube channel.
I visited the joinchoir channel, and I think I've discovered Senzig's intentions for such an orchestral score.
I am looking for repertoire for the 2010-2011 choir year. I especially want to have the kids perform pieces from Anime, video games and songs written for specific online communities. Compose your own, write your own lyrics or suggest a song that already exists. Songs that utilize technology are especially interesting to me. Vote for the suggestions you like. No promises.
This repertoire will be performed by the Gifford Children's Choir at Gifford Elementary School in Racine, Wisconsin (their blog is here, and their school mascot is Clifford the Gator).
[Hill] is best known for his interpretations of the songs of the Soviet composer, Arkadii Ostrovskii....The song he is interpreting, "I Am So Happy to Finally Be Back Home," is an Ostrovskii composition....
Hot dog, I thought to myself; if we're talking about a famous Soviet composer, then it should be relatively easy to find a score. Unfortunately, the wonders of alphabetic nuances got to me, because the main results of a search for "Arkadii Ostrovskii" led back to...famous singer Edward Anatolevich Hill.
But what makes the clip more of an oddity than the typical '70s video is the fact that, despite bearing the complicated title "I Am Very Happy Because I Am Finally Coming Home," the song has no lyrics. Instead, Khil hums, laughs, and belts out the melody in a long stream of la la la's -- a performance that has earned him the nickname "Mr. Trololo."...
The song, with its distinctive cowboy-style syncopation, was written in 1966 by popular Soviet composer Arkady Ostrovsky. It wasn't always wordless. In the original version, the lyrics told the story of a man, Johnny, riding his horse across the American prairie to his sweetheart Mary, who knits socks as she awaits his return.
But Khil and Ostrovsky eventually decided that the suggestive lyrics were too "naughty" to pass Soviet censors and opted instead for the wordless version. Today, the singer says he can no longer remember the lyrics that once might have caused such a stir.
More importantly, the text gave me an alternate spelling for the composer's name, which led me to a Wikipedia entry for the composer (who died in 1967) and to a memorial site...in Russian...with music samples.
A lot of music samples.
But if you go to Вокализ Эдуард Хиль you can find Hill's version of the song (labeled "Vocalise" on this page). Right above that, incidentally (see Вокализ Муслим Магомаев), you can find a version of the song by another singer (Muslum Magomayev - see this page for a link to a YouTube video of the latter's version).
Unfortunately, all of this additonal knowledge did not lead me any closer to the musical score that Jack Senzig (joinchoir) so desires. So if you're a retired Soviet musician who performed on TV or in the movies in the 1960s or 1970s, and you happen to have the score of this song lying around in your dacha, could you please send it to Senzig? The people of Wisconsin will thank you for it.
As I've said before, even the biggest musicians don't always have concerts that are open to anyone who is willing to pay the Ticketmaster fees. Sometimes musicians play at corporate events, in which only people attending the function in question can attend. Over the years, I have attended concerts by such names as John Fogerty, the Gin Blossoms, the Psychedelic Furs, and Seal. Well, actually I didn't attend the Fogerty concert, and I skipped the Psychedelic Furs set, but I did see the others.
While we like to think that our musical heroes are pure and wonderful and reject the trappings of the corporate state, there is one clear advantage to performing at a corporate event.
You get paid.
Actually, there are other benefits, as Terri Nunn notes in an Oracle interview.
Blog Staff: This will be the third time you've performed at OpenWorld. What are your memories of the previous show?
Terri Nunn: The last time I performed at OpenWorld was one of the highlights of my life. The amazing Oracle people gave us the unbelievable opportunity to play with ELTON JOHN! I don't care where my career has gone or will go; that night will be a standout forever. The crowd seemed in a daze and it's no wonder. How often will you ever get to see Elton John and--even more incredibly--see him at a company party?
Later in the interview, Nunn also expressed her excitement at performing with the Black Eyed Peas.
I won't be able to make the concert this year, but I'm wondering - do you play the song "Sex" at a corporate event? (And do you play it at THIS corporate event?)
Soap operas are criticized as completely uncool daytime shows watched by aging housewives, but the truth is that soap operas are everywhere. Sometimes they're labeled as such, if you recall the success of nighttime shows such as Dallas and Dynasty in the 1980s. But sometimes things aren't called soap operas, even though they are. If you consider a soap opera as a continuing storyline with overly dramatic overtones, then professional wrestling certainly qualifies.
And so does rap music.
Because the personalities in rap music are so strong, and because the rhymes are often autobiographical, you can consider rap music to be a soap opera of sorts, with some beats (rather than organs) in the musical background. This person's been arrested, this person's been shot, these two people have reconciled - the story weaves on and on, played by your local urban contemporary radio station several times a day.
Of course, there's a question as to whether the autobiographical storylines in rap songs are truly autobiographical, or whether they're exaggerated for effect. I don't know any of the rappers personally - for all I know Calvin Broadus is a practicing Mormon who doesn't touch gin & juice or smoke anything. But whether the stories are true or not, they certainly seem to be true, and therefore qualify as dramatic (or "overly dramatic" depending upon how you look at things).
And at times they can be unsettling.
Eminem is, in my view, an unquestionably talented individual, a talented rapper, and to all appearances a troubled soul. His lyrics are gritty, violent, and full of alternating bravado and self-doubt, often with a little twist (or a big twist) in the end.
Take his current song, "Love the Way You Lie." If you read the lyrics as Directlyrics rendered them, you see these conflicted lyrics of a man in a love-hate relationship. Finally, the lyrics conclude as follows (with expletive deleted):
I'm tired of the games I just want her back I know I'm a liar If she ever tries to [expletive deleted] leave again I'mma tie her to the bed And set the house on fire
But the part that got to me about the song wasn't what Eminem said. Throughout the song, a female singer has been repeating a particular chorus, and after Eminem raps about tying a woman to a bed and setting fire to a house, the chorus comes up one more time:
Just gonna stand there And watch me burn But that's alright Because I like The way it hurts Just gonna stand there And hear me cry But that's alright Because I love The way you lie
And as you're absorbing the fact that the "watch me burn" lyric is apparently to be taken literally, you begin to think about who is singing that lyric.
Rihanna.
You see, while Eminem has been publicly playing out his soap opera about his family, Rihanna has been playing out a soap opera of her own. Perhaps she wasn't tied to a bed or set on fire, but we do know that she was on the receiving end of abuse.
Sadly - and I personally WON'T blame Eminem and Rihanna if this happens - there are probably some people who, rather than viewing the video as a cautionary tale, will instead decide to emulate it.
During the aforementioned time that I was at Reed College, my future roommate Bill Ansell had a radio show (before I did, actually). One day he spent a good deal of one of his shows playing Rutles tracks. We threw things at the radio station.
Despite this expression of opinion, I actually like the Rutles and its complete send-up of the Beatles, Beatlemania, and Beatlemaniamania. (Of course, George Harrison liked it too.) But I recently discovered that the jokes didn't end when Lorne Michaels and Eric Idle left the scene.
It turns out that the "Archaelogy" section of the Rutles' website includes the page New Rutles Rumor: Dirk Is Deaf. Inasmuch as Eric Idle - I mean Dirk McQuickly - didn't participate in Archaelogy, the issue had to be addressed. And it was, in a brilliant parody of all of the rumors that circulated about Paul McCartney in late 1969. An excerpt:
And, on the cover of the Shabby Road album, Dirk is crossing the road barefooted. He would obviously had not done this had he been able to hear people warning him that the asphalt would be hot and it would burn his feet.
I think that Alan Reiter is angry. The use of phrases such as "amazing demonstration of arrogance" clued me in to Reiter's feelings.
You see, there's been a longstanding fight between the National Association of Broadcasters and the music industry. Normally people don't want to cheer for either of these entities, but the NAB is actually making the music industry look good.
You see, Reiter notes that there has been pending "legislation requiring radio stations to pay record labels and performers for playing songs over the air" - legislation that has been opposed by the NAB and others.
But the NAB is suddenly willing to allow these payments - as long as one teeny weeny little amendment is made to the legislation.
[T]he broadcasting industry wants Congress to mandate FM radios in all cellphones.
Reiter notes that the electronics industry opposes a mandate requiring them to put radios in their phones. (FCC DISCLOSURE: I was previously employed by Motorola.)
Reiter doesn't indicate how the cellular service providers feel about the whole thing, but I'm certain that it depends upon whether the service can be monetized. If Verizon, AT&T, et al can figure out a way to charge you to use an FM radio on a cellphone, you can bet that they'd be in favor of the deal.
But then the NAB would oppose the deal, because monetary limitations on access to the radio would adversely impact radio advertising revenues.
Keith Andrew (whom I've mentioned before, in relation to Edward Anatolevich Hill) posted something that alerted me to a story about Soundgarden's bass player, Ben Shepherd. The story appeared in SPIN Magazine, and opened with the following teaser:
One guy's homeless, one likes sleeping all day, one's in Pearl Jam, and one's Chris Cornell. Beloved '90s titans Soundgarden are back, but where are they going?
The quote that SPIN, and everyone else, focused on is this one:
After dinner, Shepherd, Thayil, and I cross the street to the bar at the Palace Kitchen. Shepherd buys me a beer, and I ask him where he lives.
"Nowhere," he says. "Literally. I've been sleeping on studio couches and at friends' houses. I'm totally broke." Shepherd is part owner of a bar 15 minutes from here called Hazlewood, but he says he sinks any money from it into the solo album he's been working on since last fall. Six months ago, he split with his girlfriend and moved out of their house. "This is my home now," he says, holding up the sides of his slightly gamey overcoat.
There was a ton of reaction to it...and eventually there was reaction from Ben Shepherd himself:
Ben responds to SPIN Syndicate content August 24, 2010 - 6:58pm
I feel the banner saying that I am homeless was merely a sensationalizing stunt done by workers at SPIN magazine to sell their story, or make it seem more exciting than it actually is. It makes me feel embarrassed for the truly homeless people to be associated at all in any way with the likes of me. I seem to have been lucky, as most of you, in never having to survive day to day (on the streets) anyway.
Furthermore, my friends and family have always been by my side so I have never gone without love, care, food, compassion, and understanding. I would actually like to thank whatever editor that played this hand for helping once again bring to light the subject of the homeless and uncared for human beings of this dangerously bleak world. I humbly ask for whoever reads this to realize we are all in this together, and try to just remember that once in a while and not only at some convenient time.
I in no way refute what was written in the article, I say what I mean with someone else's alphabet, so it is no wonder to me that my blathering can be so easily 'shined up' or misinterpreted to whatever purpose, especially to a stranger who has no idea of my horrible humor, or my delusional ideas. There I was thinking i was on top of the world, doing what i love and GET to do- (music I mean)- sure I've been couch surfing but that's a far cry from the plight of many many millions of good people worldwide. I just don't want our loyal and most badderasser fans to be mislead, or a bad light to be shone upon my family or friends who have helped me and tried to help me get along. It would be wholly unfair of me after all this to not stand up for them. Now feck auf, thanks.
Ben
So if we believe Shepherd, either (a) David Peisner or (b) Peisner's editor was either (a) too dim to realize that Shepherd was exaggerating/joking, or (b) knew that Peisner was joshing, but figured that SPIN would sell more copies if the words were taken at face value.
But regardless of how we interpret the spin (or the SPIN), it's undeniable that Shepherd has had some tough times since Soundgarden broke up. But in a way that's understandable. Before I found Ben's side of the story, I had written the following at Keith Andrews' original item:
To be fair to the musicians - and, for that matter, to sports figures - a lot of them reach dizzyingly high levels of fame when they are relatively young - in their early 20s, or even in their late teens. You probably have a better insight on this than I do, but I shudder to think what could have happened to me if by some quirk I had achieved great fame and adulation at age 17, or even age 21.
For the record, Shepherd was approximately 22 years old when he joined Soundgarden, and approximately 29 when Soundgarden broke up. (And no, I don't know how old Keith Andrew was when Dryve came together in 1993.)
And, although I DON'T think this was the band's intent (or SPIN's), but the whole affair does bring publicity to Soundgarden in advance of its forthcoming album.
Now I am certainly not an expert on Pacific Island music, but I have run across it from time to time.
Back when I attended Reed College, I had a show on the college radio station, KRRC. The show had a name (I named it after a former classmate who transferred out), an impressive advertising campaign (assembled via a typewriter, cut-outs from newspapers, and a photocopier), and a theme song. The theme song was taken from a record in the library (back then, the entire library consisted of records). The record included a collection of artists, and was entitled Hawaiian Steel Guitar 1920's To 1950's.
The theme song that I chose for my radio show was "Indiana March" by Roy Smeck. This was a fast number, played on the steel guitar in a semi-Hawaiian style. If Sousa had ever been forced to abandon brass and woodwinds, perhaps he could have played this march. I couldn't find an online copy of Smeck's rendition, but I did find a video with Sol Hoopii's version.
I used this as my radio show theme song for a while, but eventually I dropped it and switched to the next track on the same album, M. K. Moke's "Moana Chimes." This is a much slower number, very peaceful, and had absolutely nothing to do with the rest of the music that I played during my radio show (your typical early 80s mixture of Devo, Talking Heads, Wall of Voodoo, and the like). Again, I couldn't find the original version, but I did find this tribute video.
Josh Haley recently shared a rather scary picture of Celine Dion with a microphone in one hand and a pointing finger on the other.
Except that the picture was not of Celine Dion. The picture was of a Celine impersonator named Gypsy Miller. Follow the link to see the picture, and what Gypsy/Celine can do:
Gypsy Miller performs all Celine Dion's hits,all in the original keys - no lip-synching! Her between song speaking voice, her moves, gestures, and attitude, as well as her ability to sing in both French and English make this one of the most amazing Celine impersonations ever seen.
But Miller does not merely rely on her ability to portray Celine Dion. She can also portray Cher:
Gypsy Miller's Cher Show is a high-energy performance that includes hits from the 70’s, 80’s, 90’s and 00’s as well as plenty of audience participation. She captures the voice, mannerisms, humor, and the spirit of Cher perfectly.
I wonder if she ever switches costumes during a performance so that she can portray both artists. A medley of "Gypsies, Tramps and Thieves" and "My Heart Will Go On" would make for an interesting show.
But Miller does not merely rely on her ability to portray Celine Dion and Cher. No, she has one more trick up her sleeve:
The term EllaVis was first coined to describe Gypsy Miller’s pioneering performance of Elvis "had he been born a woman".
Yes, Gypsy portrays a female Elvis impersonator, complete with jumpsuit or leather as needed.
The advantage of this is that no matter what happens to musical tastes in the future, Miller will probably be able to find work.
There are all sorts of real estate agents throughout southern California, and many of them have websites. Here is the website for one of those agents, Marilyn Wilson-Rutherford.
The musical notes that surround Rutherford's name are no accident, since Rutherford, under her maiden name of Marilyn Rovell, was a member of a 1960s girl group called The Honeys. However, she is more famous in musical circles for being the first wife of Beach Boy Brian Wilson, and being the mother of two thirds of Wilson Phillips.
Rutherford uses her past as an opening to talk about the present. When people ask about her musical fame, it offers her an opening to transition to real estate talk.
She knows her past is a big part of who she is today. And she knows that soon enough the conversation will turn to the present and her work as one of the Westside’s premier real estate professionals. And soon you’ll be talking about the most important issue at hand...your future and your real estate goals.
Having lived in southern California for her entire life, she obviously has an understanding of the area.
Since 1994, Marilyn has been putting her own creative stamp on Brentwood real estate. As one of the premier real estate professionals on the Westside, she simply never compromises when it comes to helping her clients achieve their goals. Her genuine passion for life and her career is music to the ears of buyers and sellers alike because they know that when they work with Marilyn, she simply won’t quit until she’s helped them achieve the results they’re after....
For Marilyn, her career, like life itself, is all about harmony. It’s about using her knowledge, insight and experience in Westside real estate to bring buyers and sellers together and create winning results for both. It’s about carefully listening to the goals and aspirations of her clients and then matching them with the ideal property to turn those dreams into reality. But more than anything, it’s about truly making a positive difference in the lives of those who put their trust in her each and every day.
I don't anticipate that I'll be buying a house in Brentwood any time in the near future, but if you plan to do so, this is presumably a real estate agent who will make you Smile.
It's ironic to apply the word "harmony" to the mid-1970s/early-1980s version of Fleetwood Mac (see my previous post on the various versions of the band), since their personal relationships were anything but harmonic. But despite everything, Christine, Stevie, and Lindsey still managed to come up with the best vocal harmonies this side of the Beach Boys.
When considering musical movies, you have both the people in front of the camera, singing and playing, and those behind the camera, doing what needs to be done to get the movie out and get people singing the tunes.
Charley Sherwood Cryer, born in 1926, was known professionally as Sherwood Cryer. A welder at Shell, he opened up a club named Shelly's in Pasadena, Texas. But things began changing when he ran into a musician named Mickey Gilley, who at the time was not as well known as his more famous cousin Jerry Lee - and perhaps Jimmy was better known at the time also. They teamed up, the club was renamed Gilley's, and Cryer added an attraction:
Gilley's didn't really begin to take off until after Cryer installed a mechanical bull for all the pipe-fitters and glass-cutters to work out some of their aggression somewhere besides each other. Gilley and most of the club's other performers hated it, but it was making too much money for Cryer to shut down....
Eventually the club caught the attention of some people who wanted to make a movie about urban cowboys. The Music's Over:
When the Urban Cowboy filmmakers wanted to recreate the bar on a sound stage, it was Cryer who convinced them to film the now-famous scenes right there in the club.
But massive success spelled the end of Gilley's as the partners split up and the building burned to the ground in 1989. Cryer subsequently owned an establishment in Deer Park called G's Ice House, as documented in this aggravated assault case that occurred on the premises.
Orelsan and his friend The Toxic Avenger love Facebook. The Frenchmen love it so much they've made an entire video, filmed in Venice, featuring the social networking site.
[A]n online video of a song he wrote two years ago, Sale Pute (Dirty Slut), came to the attention of feminists for its explicitly violent lyrics about beating up a girlfriend caught cheating. "If I break your arm, consider that we parted on good terms," was a rare printable lyric from his sexually explicit descriptions of violence.
Women's groups and the Communist party denounced "an incitement to hatred against women" and called for the rapper to be banned from one of France's biggest rock festivals...Le Printemps de Bourges. The Socialist party supported the call, stressing that France was battling high levels of violence against women.
The government joined the outcry, and the culture minister, Christine Albanel, asked YouTube and its French equivalent, Dailymotion, to remove the video from their sites.
I don't know if any French politicians have complained about the poking yet.
When I was growing up, I usually bought my music on round pieces of vinyl. Nowadays people don't even buy music in tangible form - it's just electrons and stuff.
But you don't have to download your music from Apple and Amazon. There's a store in my area called Rhino Records (and other similar stores), and there's a store in RoadDog's area called Vinyl Frontier.
Friday was...a visit to the Vinyl Frontier in McHenry, one of the last local mom and pop record stores.
Spent a lot of time looking for CDs and talking with the owner...[who] showed my why analog is better than digital.
That is something I like about going to record stores that there is no way you're going to get it downloading. I feel sort of sorry for kids who will never get this opportunity.
When a new artist chooses to appropriate and modify the work of an existing artist, sometimes the relationship goes smoothly, while sometimes it doesn't.
The band Blurred Vision has released a video which adapts the Pink Floyd song "Another Brick in the Wall (Pt. 2)" to the specific situation in Iran. The new title is "Another Brick In The Wall (Hey Ayatollah, Leave Those Kids Alone!)," and the lyrics have also been modified.
Roger Waters, a founding member of Pink Floyd, gave the rights to Blurred Vision, a duo living in Canada, to remake the classic under the title Another Brick in the Wall (Hey Ayatollah, Leave Those Kids Alone).
Some time ago, Brain Damage posted a quote from Jeffrey Morgan about the song:
"Rarely in the history of rock 'n' roll does a cover version come along that actually dares to exist at the right reactionary time. By cleverly updating Pink Floyd's 1979 iconic protest anthem "Another Brick In The Wall" exactly thirty years to the month that it was originally released, Blurred Vision are wielding their activist music as an irresistible force irrevocably set in motion to shake up the staid conventions of repressive regimes and show solidarity with common street soldiers everywhere. Thanks to Blurred Vision, the revolution will be downloaded."
Blurred Vision's website is here, which lists all the usual social media accounts, including the Twitter account @b_v_music.
There have certainly been bands that have changed their sound over the years. Sometimes this is because of a change in interest of the band members - the Beatles come to mind here. And sometimes it is because of personnel changes - Van Halen and Genesis come to mind here.
But probably the most vivid example of a popular band undergoing a dramatic change in sound has to be Fleetwood Mac. Just take a listen to "Albatross" and "Gold Dust Woman." Go ahead, I'll wait.
While the bass and drums - the "Fleetwood Mac" part of Fleetwood Mac - remained constant over this period, all of the treble underwent a wholesale change. Blues fanatics were replaced by a melodic Englishwoman and two melodic Americans. Now Albatross was of course an instrumental, but the mid-1970s Fleetwood Mac certainly hit on some wonderful three-part harmonies.
And the guitar. How does one compare Peter Green and Lindsey Buckingham, two guitarists with very distinctive styles?
First of all, I would like to thank you very much, Mr. Green, for taking the time to answer our questions. It really means a lot. My question is: What did you think of Fleetwood Mac's evolution from a heavy blues band in the late 60s, to a Rock/Pop group in the 70s and 80s? You did start Fleetwood Mac as a blues band, so what did you think when they became so popular playing a different type of music? (Josh Williams, East Liverpool, Ohio, USA)
It was a natural progression from blues to middle of the road stuff. I was very pleased for them when they became successful with Lindsey and Stevie.
How do you feel about the guitarists who followed you in Fleetwood Mac (Lindsey Buckingham, Rick Vito, etc.) ? Also, when you briefly worked with the band on TUSK, how did you feel about working with Lindsey as a producer? (Beau, Chapel Hill, North Carolina, USA)
I don't know what I feel about them. I was quite ill at the time that they popular. I felt that they had a more technical technique than I did. I didn't play guitar on the "Tusk" album.
In a separate interview, Lindsey talked about his influences, which weren't necessarily Chicago blues:
How did you get started on guitar?
I started playing guitar first of all when i was eight, because my older brother used to bring home all the Elvis records, Buddy Holly, the old Everly Brothers, Jerry Lee Lewis. Then I got into folk stuff and acoustic fingerpicking.
One influence was interesting.
What rock guitarists did you later get into?
I guess Eric Clapton and that whole thing--but at the time I wasn't into playing that stuff much. Peter Green, oddly enough, has a little bit of influence on me, because Then Play On [Reprise, 6368] was released around that time. I really liked his style of playing where a few notes mean a lot--even one note.
Now I don't know if Buckingham has ever played "Albatross," and I don't know that Peter has ever accompanied a singer on "Gold Dust Woman," but I'd love to hear the results. And of course you can hear Rick Vito taking the lead on "Albatross".
But what I didn't know now is that the album that contained the original version of this song (and the similarly named one) actually got its title from...well, it didn't come from John Lydon:
There are several urban legends revolving around the album title's origins. Rumor has it that the group Devo came up with the slogan as part of an advertising campaign for the product Rustoleum, a rust inhibitor. Neil has confirmed that he got the phrase "Rust Never Sleeps" from Devo but whether it was ever seriously created for an ad campaign is unknown.
Of course, the song is often tied to two other musicians - the aforementioned Lydon, who was mentioned (under his "Johnny Rotten" pseudonym) in the lyrics, and Kurt Cobain, who cited a phrase from the song in his suicide note. Cobain's wife, Courtney Love, put Cobain's interpretation of Young's line in the proper context:
[Cobain] "It's better to burn out than to fade away."
"I read something and someone told me a few things that made me think he was in trouble that week," sighs Young. For the first time, he is not looking directly at me, but staring off across the table. He describes how he tried, over three or four days in the first week of April in 1994, to reach Cobain. "I even had my office look for him." By that Friday evening, Cobain had taken a life-threatening dose of heroin and shot himself....
Destroyed by grief, Young hit the studio and recorded his bleakest work, Sleeps With Angels. It was released with a moratorium on interviews. "I've never really spoken about why I made that album," Young told an interviewer in 1995. "I don't want to start now."
But today, he opens up. "I like to think that I possibly could have done something," he says, concentrating on finding the right words. "I was just trying to reach him. Trying to connect up with him." He pauses and thinks again. "It's just too bad I didn't get a shot. I had an impulse to connect. Only when he used my song in that suicide note was the connection made. Then, I felt it was really unfortunate that I didn't get through to him. I might've been able to make things a little lighter for him, that's all. Just lighten it up a little bit."
But how do Devo and Kurt Cobain fit together? Very well:
"Of all the bands who came from the underground and made it in the mainstream," declared Kurt Cobain, "Devo were the most challenging and subversive of all."
However, Devo and Young survived their brushes with fame. Cobain did not.
I know that I've been writing about Dala a lot lately, but here's one more Dala video. In this one, they're covering "Ohio" at a Neil Young-themed event.
Let's face it, Dala's version is pretty different from Devo's version (see this post to see one reason why Devo covered the song), but both Dala and Devo have a definition admiration for Neil Young.
Last Saturday I posted Will APRA Survive?, a post that discussed the possible negative backlash to the Australasian Performing Right Association's copyright objections to Jane Korman's viral video (which shows Korman's grandfather and various grandkids dancing to Gaynor's "I Will Survive" - at Auschwitz).
For someone like Gaynor who continues to work in the industry, this would provide a wonderful opportunity for self-promotion. If handled correctly, she could issue a public statement saying that she was "delighted" with the video and its message of overcoming obstacles that most of us will never face.
Or, if she were so inclined, she could issue a public statement saying that she was "devastated" by the video and that, while she understands Korman's sentiments, the subject is just too painful for other survivors to see.
So to see what Gaynor actually did say, I went to the news page on her website and found her latest news release:
Ferring Pharmaceuticals Announces Disco Icon Gloria Gaynor as National Spokesperson for EUFLEXXA® May 24, 2010
Ferring Pharmaceuticals Announces Gloria Gaynor as National Spokesperson for Euflexxa.
Please visit www.gloriasknee.com
Click Here to read the press release for further details.
If she could, I'm sure that Gloria would be kicking herself over the missed opportunity.
To be serious for a moment, Gaynor's website does include a realization of how the words "I Will Survive" have touched people, and she has included some words of encouragement on her site. Gaynor is not Jewish (she is Christian), but one of the words on this page may be relevant to someone like Jane Korman's grandfather who was wronged by others:
To forgive does not mean to excuse a person for wrong-doing; it simply means you stop wanting them to pay, and start wanting them simply to realize and repent of the wrong, for their own good. This is why you need God's help to forgive.
On the other hand, I can imagine Hitler's reaction if he were to find out that a Jew not only survived Auschwitz, but returned to the site to dance to the song of a black woman. "Everyone who ever owned a disco record, leave the room now."
After running across a mention of Dala in California (I blogged about this), I found myself listening to and watching the video of "Anywhere Under the Moon" over and over and over.
I first saw this video on Dish Network's IMF Channel, and as I watched the video, I remembered the day when IMF was no more. I didn't have the Empoprise-MU blog at the time, so I wrote about it in a post on mrontemp. Here's a brief snippet of how other people reacted to Ovation's purchase of IMF:
Son of a bitch. They replaced IMF with some crappy art channel called Ovation TV. For ***** sake.
In short, IMF fans were not happy. In the comments to my post, Vinny said:
Ahh!! IMF was the best channel to find out about new singers around the world. Ovation is boring. Right now a show called "How to Draw a Bunny" is on. And theyre showing how to draw a bunny. We need to stop this. IMF has to come back to channel 157! Now!
I responded:
If Veronica Maggio showed us how to draw a bunny, I'd tune in.
Well, it's been a couple of years, so I figured it was time to revisit Ovation and see where things stood. But before I did, I figured that I'd find that petition that Matt Dowski started:
To: Universal Music Group / Ovation
The International Music Feed was a television music channel that played music from around the world. It was the only channel in the US that focused on combining music from American artists with music from other countries across the globe. IMF maintained the increasingly rare format based very largely on playing music videos rather than other programming. IMF was on air from 2005 to 2008.
After its initial widespread removal, IMF was removed from the channel lineups of various smaller television providers over the course of February 2008. Finally, as of March 31, 2008 the station was no longer available.
We Would Like You to Bring Back IMF.
It had become part of everyones lives, in a world that preaches diversity and open mindedness IMF was one of the last things left that brought that to everyones lives through music.
66 people have signed the petition, and it turns out that there is a Facebook group devoted to the effort. I wasn't a member of Facebook in 2008, but I am now, so I joined.
Ovation: The only network focused on art and personal creativity - showcases programming featuring the best of performance, people, art, music and film. From world renowned artists to everyday people, Ovation entertains, inspires and engages the artist in all of us. Move. Explore. Dream. Create. Ovation: Make Life Creative.
12:00 Every Picture Tells a Story: Boy Bitten By a Lizard
12:30 Every Picture Tells a Story: Le Dejeuner Sur L'Herbe
01:00 Paul Potts: By Royal Command
02:00 Blue Note: A History of Modern Jazz
04:00 Every Picture Tells a Story: Boy Bitten By a Lizard
04:30 Every Picture Tells a Story: Le Dejeuner Sur L'Herbe
05:00 Paul Potts: By Royal Command
06:00 Blue Note: A History of Modern Jazz
08:00 Sweet and Lowdown
10:30 Sweet and Lowdown
11:00 Sweet and Lowdown
AM
01:00 Hollywoods Best Film Directors: Brett Ratner
01:30 Hollywoods Best Film Directors: Francis Ford Coppola
02:00 Blue Note: A History of Modern Jazz
04:00 Later...with Jools Holland: Ep. 31/3
Now if you want to watch music videos from all over the world...you're still out of luck. But the IMF fans are still passionate...this was written on June 2, 2010:
I need help identifying this song I heard on IMF a couple years ago (sucks it went off the air, fuse and Mtv suck) and i’ve no clue what the lyrics were or anything besides that in the video the singer was a blonde girl, and she was in a snowy setting, and that the sky or ceiling.. upper area, was purple-ish pink, I think it was from russia, but I can’t be sure, any help’s appreciated
Some of you know that I used to release synthetica songs on the old mp3.com before it stopped supporting bad indie artists like myself. While I was issuing CDs of "Road Array" and similar songs, there were other artists on mp3.com. My favorite was someone called Doctor Orange, known for a song called "Buried Alive" in which someone was buried alive. But Doctor Orange was better known for his ode to tacos, "Taco Taco Taco."
I enjoyed listening to it at the time, but by October 2003 I could no longer find it. By November 2003 I was defending the song against a non-believer. In February 2008 (in the comments of a December 2003 post) I was discussing the song with another believer, regretting that I could not find the song anywhere.
Until now. Or at least in January 2009. "Taco Taco Taco" is now on YouTube, along with video pictures of tacos. Enjoy.
Don't you agree that this is the most meaningful song that was released in the 20th century - even more meaningful than "96 Tears"?
Dala came to California earlier this year, and I missed the news. But Sheila Carabine blogged about it.
Amanda and I are flying high above the clouds, literally and figuratively. We spent Memorial Day weekend in Yosemite National Park, in the company of towering trees and friendly Strawberry folks. I can see why it is so hard for people to leave California.
Dala played at Amy's Orchid Cafe (picture here; since the pictures are under copyright control, I can't post them on my blog), the Ampitheater stage (picture here), Birch Lake, and the main stage.
They will come back to California in September. These tour dates were announced in April:
Sep 18 2010 8:00P De Lobero Theatre Santa Barbara, California Sep 20 2010 8:00P Performances To Grow On,Matilija Auditorium Ojai,Ventura, California Sep 21 2010 8:00P Performances To Grow On,Matilija Auditorium Ojai,Ventura, California Sep 22 2010 8:00P Performances To Grow On,Matilija Auditorium Ojai,Ventura, California Sep 23 2010 8:00P Performances To Grow On,Matilija Auditorium Ojai,Ventura, California Sep 24 2010 8:00P Performances To Grow On,Matilija Auditorium Ojai,Ventura, California Sep 25 2010 8:00P Pepperdine University Center For The Arts, Smothers Theatre Malibu, California
Benny6Toes points us to a story about an Auschwitz survivor, who went back to Auswitz (sic) with his grandkids and recently filmed a video of them dancing to Gloria Gaynor's I Will Survive -- as a way to celebrate life and the ability to overcome obstacles. The story is about the basic controversy over the video, as some folks find it offensive and others find it heartwarming. However, Benny notes that the video has been taken down. The video attached to that HuffPo story, when you click on it, says "This video is no longer available due to a copyright claim made by APRA."
Ignoring for the moment TechDirt's next point (how can an Australian group affect the entire world?), there's a question about public relations vs. principle.
On the other hand, APRA or whoever could argue that while they're sympathetic to the cause, the video producer did violate copyright law, and if they granted an exception for this video, then they'd be forced to grant an exception for every other video.
On the other hand, APRA comes off looking bad, which can't help their cause. People might download Men at Work's "Down Under" in protest.
There's a song off of Devo's second album that always intrigued me, probably because of the 11/4 time signature. In addition, the guitar solo is one of Bob Mothersbaugh's best, bridging the gap between a traditional country-western guitar solo ("Beautiful World") and a punk guitar solo ("Too Much Paranoias").
Plus, the song was great for a parody. When I went to college in Portland, a couple of us wrote "Flat-Head" in honor of TV/furniture salesman Tom Peterson.
