"The fighter still remains"

Lefty had a question recently: Do you have a “special song” that is tied to an event in your life? I feel there are LOTS of songs that bring me specifically to a time and place, from Etta James’ At Last, which was played at Carol’s and my wedding after our five-year off-and-on courtship to Albinoni’s Adagio sung by my church choir three weeks before my friend Arlene died of cancer. There are probably hundreds of these.

Since Paul Simon’s birthday is today, I thought I’d note the effect of the songs of Simon & Garfunkel on me.

Album: Wednesday Morning 3 A.M.
Not so much, since I got it well after its 1964 release, maybe not until 1968.

Album: Sounds of Silence
We read the poem Richard Cory by Edwin Arlington Robinson in English class in junior high, and we were struck that, in the song, the protagonist, even after Cory’s suicide, STILL sings:
But I work in his factory
And I curse the life I’m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.
Was the worker suicidal as well? When you’re 13 or 14, this is heavy stuff.

Album: Parsley, Sage, Rosemary and Thyme
It was my father who bought this, not for me or my sisters, but for himself.
The 59th Street Bridge Song (Feelin’ Groovy): possibly the first S&G song I owned personally, from a Columbia compilation album, Best of ’66; covers of Homeward Bound (by Chad & Jeremy) and Cloudy (by The Cyrkle, who had a hit with Simon’s Red Rubber Ball) was on it, too. So, I got to appreciate Paul as a WRITER.
The Big Bright Green Pleasure Machine: I got razzed about this title.
A Simple Desultory Philippic (or How I Was Robert McNamara’d Into Submission: I was obsessed with this song, playing it over and over. (It has a Beatles reference, and it rocks.) When I got the S&G box set, the album was heavily represented, but to my disappointment, this song was not on it.
7 O’Clock News/Silent Night: My father’s favorite song. “In Chicago Richard Speck, accused murderer of nine student nurses, was brought before a grand jury today for indictment.” I remembered that case very well, and knew that there were eight nurses who died, as one was able to hide. So the codification of wrong information on the album really bugged me; a librarian, even then.

Album: Bookends
Voices of Old People: “I’d give, without regret, $100 for that picture.” Been there.
Mrs. Robinson: Since I never saw The Graduate until fairly recently, I mused on the meaning of this song for decades.
Punky’s Dilemma: “Old Roger draft-dodger, Leavin’ by the basement door, Everybody knows what he’s Tippy-toeing down there for.” Talkin’ about being razzed.
At the Zoo: Like many of these songs, I knew/know all the lyrics. My high school friend Carol HATED this song.

Album: Bridge Over Troubled Waters
My sister’s boyfriend had bought her the Bridge single. What I remember now is that the single was in a different key from the album cut; can’t remember which was higher. Or maybe it was different tape speeds, but the versions are not quite the same.
Cecilia: Among the group of the left-of-center, anti-war folks I hung out with in high school was Cecily, who I’m still friends with.
The Boxer: Another song I knew well, and eventually experienced “a comeon from the whores on 7th avenue” as described here. (I may have been lonesome, but I took no comfort there.)
Why Don’t You Write Me: A paean to everyone back home during my freshman year of college.

The solo Paul was even more significant. I’ll have to do that sometime.
ROG

ROG

Peace

I’m sure that you heard about that Academy-Award winning guy receiving the Nobel Peace Prize. But do you know who got this year’s Ig Nobel Peace Prize? Why, it was the Air Force Wright Laboratory, Dayton, Ohio, USA, for instigating research & development on a chemical weapon — the so-called “gay bomb” — that will make enemy soldiers become sexually irresistible to each other. In 2004, the Ig Nobel Prize in this category was won by Daisuke Inoue of Hyogo, Japan, for inventing karaoke, thereby providing an entirely new way for people to learn to tolerate each other.

The Ig Nobel Prize: you can waste the whole afternoon reading this stuff.
***
Local kid on JEOPARDY! tonight.

ROG

ROG

DMV and Immigration QUESTIONS

If you’re not from New York state, you may not be familiar with this issue. If you ARE from NYS, you can’t help but know about it.

From a September 21, 2007 press release by the governor:
“Governor Eliot Spitzer and Department of Motor Vehicles (DMV) Commissioner David Swarts today announced an administrative policy change that will give all New Yorkers the opportunity to apply for state driver licenses without regard to immigration status. Tied to the policy change, the Governor and Commissioner also announced plans to implement a new regime of anti-fraud measures to increase the security of the licensing system as a new population of New Yorkers comes into the system.”

What this means is that Spitzer’s new DMV procedures will allow illegal immigrants to get driver licenses, which would, among other things, increase their employment opportunities. This has set off a firestorm of criticism, some of which has been captured here.

Basically, the reductivist positions are that those opposing the measure are racist xenophobes who want to keep marginalizing the immigrant population, while those supporting the proposal are not only weakening a well-recognized form of identification, but making the country safe for terrorists.

One religious collective, ARISE, sent out this notice this week:
Gov. Spitzer’s rule change around immigrant access to a New York State Driver’s License has, as I am sure you have heard, generated a political firestorm and a flood of anti-immigrant rhetorical venom.

ARISE clergy made public statements supporting Gov. Spitzer on moral, religious, legal, security, and economic grounds at a press event last Monday, October 1, in Albany, and received pretty good coverage, but since then the anti-Spitzer forces have been very successful getting their anti-immigrant message into the headlines with heated but unfounded claims about security, legality, and terrorism.

To provide a measured and thoughtful reply, and to amplify rational and humane and fair messages about the overheated driver’s license controversy, ARISE is participating in two events:

1. PRAYER VIGIL FOR FRANK MEROLA, leading spokesperson for county clerks opposing Spitzer’s rule change.
Friday, Oct 12, 10:30am
Rensselaer County Clerk’s Office
Across from Emma Willard statue, near 2nd & Congress in downtown Troy
This event is co-sponsored by NY State Labor Religion Coalition, Labor Council for Latin American Advancement (LCLAA), Emmaus House, Capital District Worker Center, and ARISE (list in formation).

2. STATE PRESS CONFERENCE for allies supporting the driver’s license rule change: good for public safety, good for homeland security, good for legal process, and good for working families in NYS
Monday, Oct 15, 12 noon
LCA Press Room, 130 Legislative Office Building

A prayer vigil: love that tactic.

But here’s the thing: I see both sides. Changing the driver’s ID may be problematic, especially when the state is trying to make the case to the federal government that the driver’s ID is as good as a passport when going to Canada, Mexico and the Caribbean. On the other hand, allowing people a better chance to earn a living wage is a concern for me.

So what do YOU think?

(Hmm, today is the traditional Columbus Day.)

ROG

ROG

I Have a Headache

This one in particular:

I made the mistake of reading some of the comments on some of the YouTube videos about racism. There’s some weird stuff in the videos themselves, but the opinions of some people – oy. Try the conversation about racism in Alberta, for one. Or better still, don’t bother.

There’s a December 2006 CNN poll on racism shows that most Americans do see lingering racism — in others.

Meanwhile, Hispanic Business magazine reports that bias costs companies billions. So, bigotry is not just wrong, it’s expensive.

Not so incidentally, John Mellencamp has a new song called Jena:

It can also be found on his website. BTW, the name of the town is pronounced Gina, not Jenna.

Anyway, I think every once in a while, the fact that we’re still dealing with this stuff makes me feel as though my head were in a vise.

But I don’t think the answer is to pretend that we don’t SEE differences in race, because we do, just like we see red hair or a burka. It’s how we ACCEPT differences, in my view.

ROG

ROG

Kill More Of Your Idols

Back in JANUARY, I summarized the first half of the book Kill Your Idols, edited by Jim DeRogatis and Carmel Carrillo, about classic albums that were overpraised. I promised the rest the following month. Well, the book then disappeared in my home office, until my wife tidied up (mostly HER stuff, I might add), and I found it again.

Patti Smith, Horses. Arista, 1975. By Melanie Haupt.
The writer’s point: I really want to like it, but I just can’t get down with it.
My point: Actually, I tend to agree. I bought this, on LP, and listened to it several times, trying to “get” it, but I don’t.

Bob Marley and the Wailers, Exodus. Island, 1977. By Dave Chamberlain
The writer’s point: overly commercial, not his best effort, lacks fire.
My point: I don’t know the other albums well enough to say, but I enjoy it on its own merits.

Fleetwood Mac, Rumours. Reprise, 1977. By Jim Walsh.
The writer’s point: Actually, I don’t know WHAT the point is. Mostly, how he wants to get a gun so he can kill the members of the band, I think.
My point: I own it on vinyl. There are a few songs on here I actually like (Go Your Own Way) – I know people who would disagree – but I am surprised that it became the utter phenomenon it did.

Paul McCartney - Ram
Paul McCartney, Ram. Capitol, 1971. By Tom Phalen.
The writer’s point: bombastic, over-produced weak songs.
My point: OK, it’s definitely a goofy album, and even at the time of its release, it took some heat, so I’m surprised it’s even included in the book. That said, I enjoyed it well enough, and don’t care that Paul swiped stuff from his previous band.

John Lennon/Yoko Ono, Double Fantasy. Geffen, 1980. By Allison Stewart.
The writer’s point: The album is impossible to separate from the events of December 8, 1980. Lennon’s contributions were moving, if slightly cloying. But Ono’s atonality interrupts even that.
My point: Yes, 12/8/80 is all over it. I liked that John was (finally) comfortable in his skin. And I sorta like Kiss Kiss Kiss. But truth to tell, I haven’t listened to it in so long, that except for the Makin’ Whoopie swipe I’m Your Angel, I can’t even REMEMBER the Yoko songs.

The Sex Pistols, Never Mind the Bollocks…Here’s the Sex Pistols. Warner Brothers, 1977. By Jim Testa.
The writer’s point: Except for Anarchy in the U.K. and God Save the Queen, he’s got the feeling that he’s been cheated.
My point: Agree. I find the rest all but unlistenable.

Dead Kennedys, Fresh Fruit For Rotting Vegetables. Alternative Tentacles, 1980. By Marco Leavitt (of Albany, NY).
The writer’s point: Hard to take because they take themselves so seriously, even when they’re trying to be humorous.
My point: Actually, I’ve never heard of this album.

Bruce Springsteen, Born to Run. Columbia, 1975. By David Sprague.
The writer’s point: The Newsweek/Time hype of this bloated album with characters devolved from his previous releases was muscled by the pre-release of every song to a rock station in Cleveland.
My point: O.K., it isn’t the messianic departure the hype suggested, and maybe is a bit overproduced in that Phil Spector way, but still enjoyable.

Bruce Springsteen, Born in the U.S.A. Columbia, 1984. By Rob O’Connor.
The writer’s point: Springsteen is corny, mundane, and conventional. He doesn’t recognize rock and roll as the rebellious forbidden fruit, and obviously never had a real job in his life. He intentionally misled people into misreading the title song, ripped off the other songs from other artists, and generally panders to his audience. The album sounds like mud.
My point: I was never hot on Dancing in the Dark, but that aside, I think this is an interesting, diverse piece of Americana.

Various Artists, My Greatest Exes. By Carmel Carrillo.
The writer’s point: Since I’m the co-editor of this book, I can write an indulgent chapter about music my ex-girlfriends like and dis them (the songs, and, by extension, the ex-girlfriends).
My point: Not worthy of comment.


Elvis Costello and the Attractions, Imperial Bedroom. Columbia, 1982, By Michael Corcoran.
The writer’s point: It’s trying to be Sgt. Pepper or at least Pet Sounds. Instead the album is bloated and pretentious.
My point: I was totally distracted by this sentence:
I was there when they unlocked the front door at Strawberry Records in Albany, New York, the day Imperial Bedroom came out. I KNEW this guy! He used to write for a variety of publications, some of which he put out himself, that he would drop off at FantaCo, the comic book store I worked at in that time period. Knew his then-girlfriend, too, who was MUCH younger. AND I used to buy albums at Strawberry’s, and at Just A Song, which was virtually in the same space before that.
As for the album, I just didn’t play it all that often. There were three or four great songs that stood out, but the rest, not so much.

U2, The Joshua Tree. Island, 1987. By Eric Waggoner and Bob Mehr.
The writers’ point: U2 hemorrhaged sincerity to produce “one of the most relentlessly banal albums in the pantheon of the greats.”
My point: As early as 1988, I had this album on my 20 desert albums. When I told that to someone, he thought it was too soon to tell. Fair enough; it’s still on my 20-30 desert albums.

Public Enemy, It Takes a Nation of Millions to Hold Us Back. Def Jam/Columbia, 1988. By Arsenio Orteza.
The writer’s point: Shrill noise similar to “Chinese water torture” with a 20-year-old message. And racist to boot.
My point: I have never owned this album, so feel unqualified to comment.

Nirvana, Nevermind. Geffen, 1991. By Anders Smith Lindell.
The writer’s point: It “made punk safe for the shopping mall.” The overdone soft/loud schtick wore out its welcome.
My point: This is first album that made me feel old. I thought the lyrics to Smells Like Teen Spirit were laughable or a parody, though I appreciated it musically. Upon more plays, I appreciated it more, though it DOES have too much of that soft/loud schtick.

The Smashing Pumpkins, Mellon Collie and the Infinite Sadness. Virgin, 1995. By Rick Reger.
The writer’s point: It was “designed to create the impression of ‘significance’ where, in fact, none existed. The scope of the album isn’t its strength, it’s its “fatal flaw”.
My point: I’ve never owned it, so can’t speak well enough of it.

Radiohead, OK Computer. Capitol, 1997. By David Menconi.
The writer’s point: Completely boring and unmoving, though marketed well.
My point: I bought it. I listened to it thrice. I don’t get it, either, though the last time, I heard it in 2- or 3-song chunks and it was (surprisingly) better.

Wilco, Yankee Hotel Foxtrot. Nonesuch, 2003. By Allison Augustyn.
The writer’s point: Tranquilizing, with a few catchy songs
My point: This was on my “to buy” list -I have other Wilco, which I like – but I haven’t yet.

That’s it, except for About the Contributors, which is a lot of fun, actually, because at least half of them have one or more albums on their Top Ten albums that someone else has royally panned.

ROG

ROG
Ramblin' with Roger
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