Thursday, May 31, 2007

One Day Only: Hudson & Gaines Take to the Air!



I'm a huge fan of Hudson & Gaines, a podcast parody of Hannity & Colmes with a lot of local flavoring. So you can imagine how psyched I was to find out that they'll actually be playing on a local radio station this Saturday. Better still: They'll be doing it for 12 hours--and airing all 16 episodes!

I suppose I should tell you a bit about the show: It stars Mike Hudson and Craig Gaines (of "Huzzah!" fame), inhabitants of the fictional town of Great Haven; the former plays an oblivious conservative to the latter's bleeding heart liberal, with the help of Micah Muzio, sound engineer and whipping post extraordinaire, as well as a revolving door of recurring characters on their WBFK show. The on-air enmity/hilarity is interspersed with public announcements for Great Haven's local businesses.

I should also mention that Hudson & Gaines have a talk-show rival named Larry Forbes, whose ratings have been steadily slipping since H&G took to the airwaves. And no, I don't do the voice for him; I do, however, serve the town of Great Haven as its Librohistorian. As such, I sometimes help the gang settle their often raging (and hysterical) debates. So I suppose, I'm not entirely unbiased.

But those of you within earshot of Bakersfield, California should catch the H&G gang on KERN, News Talk 1420 AM on Saturday, June 2nd; those of you that fall outside of earshot will have to sate yourselves with the H&G podcasts.

Digital Music: Beyond the Pale of Copy Protection--First Steps

So, I know it's old news, but Amazon.com's decision to offer digital music sans copy protection has to be applauded. Personally, I feel that the industry should have worked out a deal similar to the one they worked out with the cassette tape makers a long time ago. And while I get that the Napster/digital music explosion caught the label heads off guard, the reactionary lashing out at consumers--clients, even--made for not only bad press, but bad business.

Speaking of which, iTunes seems to have fallen in line with the new copy protection-free downloads...as long as you download the new version of iTunes. There seems to be a catch, however; according to Christopher Breen of Macworld, there is a slight iPod compatibility problem with CDs ripped with protected songs.

Either way, digital music lovers win--by being able to pick and choose between the Amazon.com or the iTunes Store (both of which have formidable music libraries) and by finally being able to enjoy music without the ridiculous scourge that is and (soon to be) was copy protection.

As my buddy Craig would say (which I seem to be co-opting), "Huzzah!"

Monday, May 28, 2007

All in a Day: Memorial


U.S. Defense Department, U.S. Flag Draped Coffins Returning from Iraq, 2004

Ah, Memorial Day--the three-day weekend that unofficially kicks off the summer. Somewhere between the gridlocked highways and barbecue reunions, some lip service is paid to soldiers lost and living who gave/give their lives to defend the beliefs of their government and the rights of its citizens.

The holiday was originally an unofficial one known as Decoration Day, when mourners, various women’s groups, and other gatherers seeking to pay tribute decorated the graves of soldiers who died during the Civil war. Said tributes took place in towns across the country until their growing din spurred General John Logan, the then national commander of the Grand Army of the Republic, to commemorate the first official observance on May 30, 1868. (Logan officially proclaimed the holiday on May 5, 1968.) The ceremony took place at Arlington National Cemetery, where flowers were placed on the graves of both Union and Confederate soldiers.

The South (still embittered from having lost the war) initially refused, preferring instead to hold their own scattered celebrations on days of their own choosing. This held true until after World War I, when the parameters were expanded to include those who died during any war or military mission. The names "Memorial Day" and "Decoration Day" were interchangeable until after World War II, when the former gained cultural momentum. It was officially signed into law in 1967.

Memorial Day was transformed to its current three-day holiday state by the National Holiday Act of 1971, an act many see as having defamed the day of remembrance. To those ends, Senator Daniel Inouye (D-Hawaii) introduced a bill to return the holiday to its May 30th roots in January 1999; months later (April 1999), Rep Jim Gibbons (R-Nevada) introduced a similar bill to the House. Both Bills were submitted to the Committee on the Judiciary and the Committee on Government Reform and have yet to be addressed.

Speaking of things that need addressing, I feel the need to make note of the 3,455 soldiers (109 more than when I first started counting) who have been lost to the war in Iraq, but have had quite the time trying to find a way to do it in a way that does more than lay blame, sound like easy-to-say-from-here claptrap, or promote whatever shameful agenda one would dare promote during times like these. So...instead I'll just wish an Empathetic Memorial Day to those grieving for their lost family, friends, and community members--a Supportive Memorial Day to those soldiers who have served/are still serving their country (as well as to those who are still MIA)--and a Grateful Memorial Day to those Americans lucky enough to be alive.

Epilogue: Those interested in photos of the war dead would be advised to follow this link.

Sunday, May 27, 2007

Top 8 Songs: Week Ending May 27, 2007

1. "In My Bed," Amy Winehouse (from Frank)
2. "Black Swan," Thom Yorke (from The Eraser)
3."Title Theme," Foreign Exchange (from Connected)
4. "You Sent Me Flying/Cherry," Amy Winehouse (from Frank)*
5. "Help Yourself," Amy Winehouse (from Frank)
6. "Twist of Fate," Olivia Newton-John (from Two of a Kind)
7. "Sincere," Foreign Exchange (from Connected)
8. "Hotel," Tori Amos (from From the Choirgirl Hotel)

• Songs fused on European Edition

Monday, May 21, 2007

Empire Falls/"Roooooock Skate!"

I had been visiting very close friends of mine (in Switzerland; longer story) when I learned that the Empire Roller Skating Center had shut its doors for good. I'd come across the article via the New York Times and was stunned by how deeply it affected me.

I suppose I should have been; skating there was a significant part of my pre/adolescence. My mom used to drive my cousins and I to the rink every other Saturday. (When not at Empire, we could be found at Roller Castle in Elmont, Long Island.) And, you know, this was around the late 70s/early 80s, so there were lots of sweatshirts emblazoned with puffy letters monikers (mine read “Shorty L”--I kid you not), designer jeans, polo shirts, double-belts, feathers, and other fashion travesties. As a matter of fact, I came up with the name Bourgeois Dork while reminiscing about said rollerskating shenanigans (dork) and the labor-intensive preparation (bourgeois) we put into looking as “fresh” and as “fly” as we could.

The last time I'd visited the rink was during the summer of 2001, when Tiger Beat sent me to interview Lil’ Bow Wow for a story that never made it to press. (Primedia folded the magazine on October 11, 2001...and eventually sold it to a West Coast publisher.) And though I was disoriented by the tiny rink that once seemed the size of an indoor football stadium, I was also happy to see the younger generation pick up where mine had left off. So many songs (“The Hustle,” Native New Yorker,” “Another One Bites the Dust,” “Too Hot,” “Rapper’s Delight”), so many memories (learning how to “roooooock skate!” with friends, mastering the art of skating backwards, roller-tag, and the inevitable pratfalls)--so when I went to visit my grandmother in Brooklyn, I decided to stop by the rink for one last nostalgic look-see.

I drove down Rogers Avenue, made a left on Empire Boulevard, and parked across the street from the rink. I stared at the repainted facade and the Herculean dumpster blocking the souvenir shot I’d wanted of the entrance. As I did, a phrase-fragment I’d recently heard on public radio cut through me: “...but the place they don’t want to leave is already gone.” And it was true; the Empire of my youth, much like the Brooklyn/New York City of my youth, was--and is--long gone. The reconciliation has been an excruciating one, but one I’ve finally made a degree of peace with.

Hoping but not really hoping to shake it off, I crossed the street, walked around the dumpster, and saw...a sea of roller skates on the sidewalk; the owners had thrown them out. Some of them were single skates; others were pairs. For some reason, my eyes zeroed in on the following pair:



As the fates would have it, they were size 12--my size! A man about my age--who I assume was quasi-coordinating the souvenir effort--saw me trying them on and, sensing my excitement, told me to take them. So I did--but not before helping a few other prospective souvenir-hunters find skates of their own.

I haven’t used them yet, but am seriously looking forward to the day I’m able to (when physical therapy is finally done). I’ll probably head out at my usual midnight hour, strap on my little Buddy (name for the iPod), and “roooooock skate!” in the streets--the only other rink I’ve used since the old Empire days.

Sunday, May 20, 2007

Review: Sound of Silver


LCD Soundsystem
Sound of Silver
Capitol/DFA Records


The brainchild of one-man-studio-band James Murphy (also known as LCD Soundsystem), Sound of Silver manages to mix dance and electronica without veering into electroclash terrain. This is likely due to the driving punk/dance punk edge that punctuates nearly every song. (The exception being the piano-driven "New York, I Love You But You're Bringing Me Down"). It's also due to the cowbells, handclaps, and other organic sounds that flavor the musical mix.

In many ways, the music is a throwback to the urban ennui of New York City's East Village circa 1980, with its aggressive drum loops, frenzied guitar riffs, rowdy rhythm-and-bass intact. The retro sound serves as a sonic counterpoint to the lyrics, which range from the personal ("All My Friends") to the global ("North American Scum"). They also tell the tale of a protagonist seeking to reconcile the end of his youth with the realities of his thirtysomething life. So it makes perfect sense that the music should reflect the soundscape of the artist's Gen-X youth.

In addition, Murphy's vocals are, in the punk tradition, are both functional and fervent, rolling from the shrill highs of his falsetto to the staccato of simple spoken words and phrases. More often than not, the effect is hypnotic ("Time to Get Away"). Even in those cases when it isn't ("Get Innocuous"), the pastiche of sounds and rhythms come to the booty-shaking rescue.

The (postmodern) Man vs. Maturity dilemma comes to a head in the final two tracks: "Sound of Silver," an ode to the consequences of nostalgia, and "New York, I Love You But You're Bringing Me Down," a bittersweet meditation on the wages of youthful expectation and adult disappointment. Thirtysomething quandaries aside (or notwithstanding, as the case may be), Sound of Silver serves a hearty share of chicken soup--not for the soul, but for the head and the hips.

Saturday, May 19, 2007

Top 8 Songs: Week Ending May 19, 2007

1. "You Sent Me Flying/Cherry," Amy Winehouse (from Frank)*
2. "In My Bed," Amy Winehouse (from Frank)
3. "Sound of Silver," LCD Soundsystem (from Sound of Silver)
4. "What Is It About Men," Amy Winehouse (from Frank)
5. "Say Say Say (featuring Michael Jackson)," Paul McCartney (from Pipes of Peace)
6. "Help Yourself," Amy Winehouse (from Frank)
7. "We All Want the Same Thing," Kevin Michael (from Ya Dig? - EP)
8. "Midnight Indigo," Lambert, Hendricks & Ross (from Everybody's Boppin')

• Songs fused on European Edition

Saturday, May 12, 2007

Top 8 Songs: Week Ending May 12, 2007

1. "F**k Me Pumps," Amy Winehouse (from Frank)
2. "You Sent Me Flying/Cherry," Amy Winehouse (from Frank)*
3. "Strange," Tori Amos (from Scarlet's Walk)
4. "What Is It About Men," Amy Winehouse (from Frank)
5. "Rockin' Chair," Louis Armstrong (from Louis Armstrong: Complete RCA Victor Recordings)
6. "Sound of Silver," LCD Soundsystem (from Sound of Silver)
7. "We All Want the Same Thing," Kevin Michael (from Ya Dig? - EP)
8. "(There Is) No Greater Love," Amy Winehouse (from Frank)

• Songs fused on European Edition

Thursday, May 10, 2007

Review: The Escape Artists




Just finished reading Joshua Piven's The Escape Artists, which I found to be a rather intriguing read. In a nutshell, the book profiles 10 "escape artists"--people who have eschewed traditional careers in favor of pursuing the passions that fuel them. The aforementioned passions range from sci-fi prop-making to practicing medicine in the Third World while working on ways to help its inhabitants become self-sufficient.

Piven himself knows a bit about escaping himself, as he managed to parlay his off-kilter curiosities into the well-known Worst-Case Survival Handbook series, and escape the world of cubicles and corporate hegemony. The interviewees, like Piven, found that the white-collar world was not for them (the exception being Steve Smith, who works as an agent for the Drug Enforcement Agency) and set off on journeys that led them further from tradition and closer to personal fulfillment.

Thankfully, the book offers no how-tos or precise formulas on reaching said fulfillment. And given that each of the escapees took their own routes and had to make it up as they went along, how could he, really?

As a person still trying to find a way to merge creativity, commerce, while trying to contribute to the cultures that have and continue to shape me, it was heartening to read about people who've "made it"--if not financially, then in the ways that afford them the peace of mind they've long sought. It isn't always easy (as many of the stories indicate), but I definitely believe it to be worth striving for. That's why I'm still around--and what I try to remind myself of during those not-so-easygoing times when I find myself stressed to myopic distraction.

I'd like to think of myself as less of an escape artist, and more of homecoming one. But I suppose time will do what it tends to in these cases: tell.

Saturday, May 5, 2007

Top 8 Songs: Week Ending May 5, 2007

1. "Borderline," Joni Mitchell (from Turbulent Indigo)
2. "Outside Looking In," Mary Chapin Carpenter (from Stones in the Road)
3. "F**k Me Pumps," Amy Winehouse (from Frank)
4. "Sunken Waltz," Calexico (from Feast of Wire)
5. "Sound of Silver," LCD Soundsystem (from Sound of Silver)
6. "The Last Time I Saw William," Alannah Myles (from Rockinghorse)
7. "Whatever Lola Wants," Mel Tormé (from Mel Tormé's Finest Hour)
8. "Just Friends," Amy Winehouse (from Back to Black)

Friday, May 4, 2007

Review: Atlantis--Hymns for Disco


K-OS
Atlantis: Hymns for Disco
EMI Music Canada



I've long held the belief that the Canadians have been working on an insidious bid for North American domination, and that their infiltration of the pop/subculture zeitgeist is a key component of their plan. Sure, it sounds kind of crazy, but when you really think about it, it isn't all that far fetched. There's Monty Hall, Anna Paquin, Eugene Levy, Dave Thomas, Catherine O'Hara, John Candy, Martin Short, and Rick Moranis, Neil Young, Leonard Cohen, Joni Mitchell*, Alanis Morrisette, Avril Lavigne, Frank Gehry, Deborah Cox, Men Without Hats, Robert MacNeil, Alex Trebek--and, of course, K-OS.

K-OS is revered in his native Canada (and abroad) for his deft rapping skills, expressive singing, and fairly inventive fusion of hip-hop, reggae, R&B, blues, and alt-rock, as well as for the more positive message his lyrics convey. His first two albums, Exit and Joyful Rebellion, were well received (the latter went platinum); his third, Atlantis: Hymns for Disco, seems poised to make a name for itself--and its creator--here in the States. The reason for this has to do with the disc's more pop-friendly production (the doo-wop chord progression and classic crossover strings of "The Rain," for example).

Because I'm the lyric whore that I am, I have to say that while I find the lyrics refreshing (no bitches or bling?)--startlingly incisive at times, even ("...from a ecclesiastic kid who was afraid to be black/imagine that type of ghetto/it still isn't settled..."--"Ballad of Noah")--sometimes they linger too long in the Valley of the Overwrought ("...'Cause when this higher road comes down, we'll be born forever"--"Highway 7"). Most of the time, however, he manages to merge his existential muse with the music ("Sunday Morning," "Mirror in the Sky," "Black Ice - Hymn for Disco"), which makes good for thought and booty-shaking.

At the end of the day, Atlantis rides the line between good-time revelry and fragments of self-awareness to forge one of the most eclectic and intriguing statements hip-hop has had in quite some time. That the work was created by a Canadian only strengthens my earlier argument of the imminent Canadian takeover. Go on and laugh, but...they're applying for visas as you read this.


* The author is an ardent Joni Mitchell fan.

Wednesday, May 2, 2007

About a Girl (Whatever Lola Wants)

Yesterday, I mentioned that I'd recently visited Switzerland. Here is the reason why:



The P.Y.T-in-question is my nearly eleven-month-old niece, Lola. Her parents (also known as "my couple") Val and Astrid were kind enough to buy me a ticket to visit her (and, I guess, them) in their new home in Basel, Switzerland.

The story is a longer one, so let's see what I can do about brevity: Val and I met twelve years ago, when we both worked at Kinko's in San Francisco's Marina district. I met Astrid a few years later and have grown as close to her as I am with her husband. We reunited when they moved to Brooklyn (the result of my Why-Brooklyn-Rocks tour) in the summer of 2001, and lived about a five-minute bike ride away from each other. Ah, those were good times...

Fast forward to late-October 2006, when I visited them in our old neighborhood (Fort Greene/Clinton Hill) and learned that Astrid was pregnant. (As my friend Craig would say, "Huzzah!") The announcement was followed by another: that I would be known to their then-unborn child as...Aunt lef. (Val, Lola's dad--and the moniker's architect--has quite the wicked sense of humor. A full explanation of the whys and what-fors has yet to be offered, but I suspect it has something to do with his attempt to make a more suitably gay man of me; he was the one who administered the gay quiz I referenced in "Proud without Pride.")

Little over a year after the announcement (and four months after Lola's birth), Astrid's company gave her a promotion. With the promotion, came a relocation package--for a move to Basel, Switzerland. In addition to the promotion came the additional benefit of being a mere two-and-a-half hours away from Astrid's parents (who live in Germany)--a far easier commute than the one required to get there from New York. So they did what the sensible do: got with the (relocation) program.

The last time I'd seen little Lola, she was all of six-weeks-old and still a little dazed; the girl I encountered when I visited was a responsive, curious, and ambulatory little force of nature. My natural instinct was to scoop her up and spoil the hell out of her, but the sensible aunt in me prevailed and decided to give her time to get used to my presence in her world. It was hard, but I held it together, and she eventually came around--and both aunt and niece had a blast.

This is a story about a girl--a girl named Lola, who turned me into a spaz when her parents announced that she was coming--whose birth brought me more joy than I ever could have expected--who turned me into mush the moment I first held her, and whose bright eyes, inebriating smile, and evolving character has turned me into the type of guy that writes embarrassing tales of adoration like the one you're reading. It's Lola's world--and Aunt lef couldn't be happier to be a part of it.