The End…is all about the love….

St. Paul and Sir Paul were trying to tell me pretty much the same thing as I said goodbye to someone I loved very much and will miss for the rest of my life.

“And in the end the love you take
Is equal to the love you make…” – Paul McCartney

And in the end… (image courtesy Wikimedia)

My favorite uncle died a few days ago.

Rational, objective description sometimes is inadequate to explain people. Any such description of my Uncle Carl would use terms such as hard-working, plain-spoken, no-nonsense, tough-minded, straight-ahead.

Such a guy would not seem to be one who would inspire an outpouring of love and affection from large numbers of people. But Uncle Carl did. His visitation was packed and went on well past its scheduled two hour period. His funeral, a rite held in the Friends (Quaker) church he attended (his decision to join the Friends late in his life probably also seems anomalous given the above description) was a love fest of expressions of love and affection for a hard-working, plain-speaking, no-nonsense guy. Continue reading

Random thoughts about the record album – part 4: singers and songwriters, concepts and collections

The album was king, thanks to male singer-songwriters (Crosby, Stills, Nash, James Taylor), female singer-songwriters (King, Simon, Mitchell) and bands like Pink Floyd (Dark Side of the Moon) andThe Eagles (Hotel California).

“You take the risk of being rejected. If you have pretensions to be an artist of any kind, you have to take the risk of people rejecting you and thinking you’re an arsehole.” – Roger Waters

(Read part 1, part, 2, part 3)

Pink Floyd suggested that Newton’s theory of light composition has validity (image courtesy Wikimedia)

After the artistic (and influence) success of the Beach Boys’ Pet Sounds and the stupendous artistic and commercial success of the Beatles’ Sgt. Pepper, the appetite of record buying audiences for “full length works” was well whetted. Musical artists of the next decade or so found themselves faced, however, with a choice. Did they, as many bands did, follow the “concept” approach introduced to rock audiences by Brian Wilson? Was there another path?

Under normal circumstances that “other path” might have been to follow the example of Bob Dylan, choosing to record albums of original songs without any overt conceptual framework. Certainly Dylan was pointing out that “other way” with his albums Highway 61 Revisited and Blonde on Blonde.

Dylan had retreated from the world after his motorcycle accident in mid 1966, but his work still cast a long shadow. Continue reading

Random thoughts about the record album – part 3: the Beach Boys and the album as art and artifact

Sgt. Pepper’s gets a lot of credit for launching the “concept album,” but it never would have happened without Brian Wilson and Pet Sounds.

“We were fed up with being the Beatles. We really hated that fucking four little mop-top approach. We were not boys, we were men … and thought of ourselves as artists rather than just performers.” – Paul McCartney on the impetus behind Sgt. Pepper

(Read Part 1, Part 2)

Brian Wilson (image courtesy imdb)

Once the Beatles’ Rubber Soul moved the rock audience to begin buying albums rather than singles, artists felt emboldened to make their own attempts to create albums with thematic unity and all original material. Record companies, impressed with Rubber Soul’s sales figures, felt emboldened to allow artists to attempt to duplicate the Beatles’ sales.

And thus rock’s album era was born.

The term most people throw around when discussing thematically unified music collections from this era is concept album. It can be a tricky term, and critics sometimes argue about whether a particular album qualifies or who did/did not implement the form in rock history (it is widely conceded that Woody Guthrie created the genre with his 1940 album Dust Bowl Ballads).

There is consensus about one fact: whether rock’s first concept album was Little Deuce Coupe (1963) or Pet Sounds (1966), the guy who deserves credit for making the concept album rock music’s statement of choice is Brian Wilson. Continue reading

Want to save local news? Kill off local newspapers. Really.

Consider this verdict based on the evidence of economics: Local print newspapers ought to die. Now. That’s what one observer believes, and he’s pretty convincing.

CATEGORY: JournalismNewspapers are on their deathbeds now, burdened by several diseases associated with print. Their physical infrastructure — printing presses, distribution means such as delivery trucks, the large buildings that typically house them (and heating, cooling and electrical costs), news stands, and single-copy racks — is too expensive to maintain. The advertising revenue that system once gleaned in bucketloads is now merely a trickle.

Newspapers’ core product — presumably valuable local news — is insufficient to fill the space around the ads, so fluff of little or no value to local readers — wire copy, advice columns, national and international news, crossword puzzles, sports agate copy, and so on — occupies the remaining space.

Ben Thompson, who writes and speaks about strategy and business, argues to save local news, everything not associated with local news ought to be stripped away. A journalist entrepreneur focused solely on local news could fund that operation with subscriptions — not advertising, he says.

Continue reading

Chronicles Part 1: Bob Dylan being Bob Dylan

Dylan gonna be Dylan. But in his memoir he reminds us why he’s Dylan.

“I’d come from a long ways off and had started a long ways down. But now destiny was about to manifest itself. I felt like it was looking right at me and nobody else.” – Bob Dylan

Early Bob Dylan (image courtesy CBS News)

Bob Dylan’s memoir Chronicles: Part 1 is a book I came to with a good bit of skepticism. One reason for my skepticism that comes from having read Dylan’s novel Tarantula, a book I found self-indulgent and (perhaps) purposely off-putting.

Another reason for skepticism comes from having read David Hajdu’s Positively 4th Street, a well researched book whose view of Dylan is less than sanguine, portraying Dylan as opportunistic, self-centered, and callous.

My last reason for skepticism comes from having seen a number of interviews with Dylan where he is evasive, defensive, and at times downright hostile to reporters and interviewers asking him questions about his life and work.  Continue reading

Betrayal of trust: surviving sexual abuse in the age of Trump

Having that man as president is like having to face my attacker all over again. Every. Single. Day.

by Lea Booth

I read last week’s article here, and comments on it, about a pedophile who managed to hide within boundaries of what should be a safe environment. The man in question was a school teacher and coach at the junior high/middle school I attended. I’ve heard discussions of “why was I not chosen,” “how could I have trusted, even admired, this person” and “what if it had been me.”

There are even people who have expressed doubts about why the victims would wait 30 years to come forward. Such conjecture does what is often done with victims of abuse or rape – cast doubt on their accounts of what they endured. At a time when the focus on campus rape has, rightfully, increased, and people in power believe they can treat women as less than human, I’ve been having flashbacks and issues arising from being raped almost forty years ago. Continue reading

Don’t Pass Me By… because everybody loves Ringo….

“Don’t Pass Me By” is a rollicking faux country blues honk and the fiddle part is as crazy as Ringo says. It’s charming, funny, and totally Ringo. For a first effort, it’s pretty impressive.

“It was great to get my first song down, one that I had written. It was a very exciting time for me and everyone was really helpful, and recording that crazy violinist was a thrilling moment.” – Ringo Starr

Ringo around the time of the White Album (image courtesy Drummerworld)

There’s that scene from Family Guyof course. Ringo comes into the studio and informs his band mates that he’s written a song. John, Paul, and George talk sweetly and encouragingly to him, then take his lyrics and stick them on the refrigerator (as one might for a kindergartner).

Seth MacFarlane’s snark about Ringo’s talents is part of the long history of criticisms that have been leveled at Ringo over the years; the running gag has always been that Ringo is the luckiest guy in the history of rock. While his acting ability has received praise, Ringo’s musical ability has been knocked repeatedly – and as a songwriter, he’s sometimes been treated by critics as he is in MacFarlane’s cartoon.

Perhaps that is what makes “Don’t Pass Me By” so interesting in retrospect. As a first song, and it was his first, it’s got charm – and goofiness. In other words, it’s pure Ringo. Continue reading

Freedom of the press means little if audiences are trapped in bubbles

A free press won’t amount to squat as long as it has audiences who hear only what they want to hear, read only what their Facebook-sculpted algorithms tell them to read, and worship blissfully at the Church of Confirmation Bias.

It’s nice, I suppose, in this era of Trumpian Twitter bashing of the press, that journalists trumpet right back about bolstering freedom of the press, citing its absolutely necessity to the survival, let alone the maintenance, of democracy in the Republic.

google-bubbleIt’s nice, I suppose, that a satirical comedian hosts a “Not the White House Correspondents Association Dinner” (in prime time, no less) to, as she said, “celebrate the freedom of the press.” (She did this, of course, while occasionally mocking pack journalism and chiding CNN for not “setting free” its high-priced on-air talent to be journalists instead of entertainers).

It’s nice, I suppose, that the failing New York Times headlined the actual Donald-less White House correspondents’ dinner with us vs. them gusto: “For Journalists, Annual Dinner Serves Up Catharsis and Resolve.”

And it’s nice, I suppose, that the famed, once-young lions of an earlier Golden Age, Woodward and Bernstein, were trotted out at the latter dinner to extol the virtues of a free and vigilant press.

Continue reading

Random thoughts about the record album – part 2: the Beatles up the ante…

“Full grown men, full of emotion and on top of the world. Meet the Beatles.” – Rob Sheffield, Rolling Stone 

Bob Dylan and the Beatles, dedicated followers of fashion (image courtesy Jewish Currents)

(Part 1 here)

When Bob Dylan met the Beatles in late August of 1964, the exchange was significant for both artistic and cultural reasons. The artistic reasons should be obvious: the two most significant artistic forces of the sixties cross pollinated in significant ways. For Dylan, the seed was planted that led him to shock the folk music world by going electric, and making his decision to do so public, at the Newport Folk Festival, folk music’s most prestigious event. Dylan’s act freed him from the traditions and restraints of the folk genre and allowed him to embrace rock stardom (whether that was in his best interest is open to debate).

What did Dylan give the Beatles?

Well, he gave them marijuana (whether that was in their best interest is debatable). And he also fascinated them as they fascinated him.

The result of that mutual fascination changed the record buying habits of their target audiences.

Continue reading

Cry Baby Cry…darkness in the nursery

“Cry Baby Cry” is exactly what we would expect a nursery rhyme to be: a charming sing-a-long with a dark message at its core.

“…I think I got them from an advert – ‘Cry baby cry, make your mother buy’. I’ve been playing it over on the piano. I’ve let it go now. It’ll come back if I really want it. I do get up from the piano as if I have been in a trance.” – John Lennon speaking to Hunter Davies

John said that a commercial gave him the idea for “Cry Baby Cry.”

John, White Album period (image courtesy Eyeglasses Warehouse)

That may be true. We know, however, from both In His Own Write and A Spaniard in the Works that Lennon was attracted to both fairy tales such as those of the Brothers Grimm and nonsense verse like that of Edward Lear or Lewis Carroll. What “Cry Baby Cry”  gives us is John playing with the conventions of the nursery rhyme.

All of these forms – the fairy tale, nonsense verse, and nursery rhyme – come from the need ordinary people have to comment on political, social, and psychological issues peculiar to the cultural contexts in which they were written. Fairy tales were ways for children to learn about life’s dark and sad events such as kidnapping, murder, and deadly accidents; nonsense verse allowed writers to explore complex – and often taboo – subjects such as sexual deviance and mental illness; nursery rhymes most often provided common people with clever ways to comment on political issues (such as  the tempestuous rule of Henry VIII’s daughter Queen Mary in”Mary Quite Contrary). Continue reading

My mentor, the pedophile [UPDATED]

What do we do when those who meant so much to us are found guilty of the worst of crimes? There, but for the grace of God, go I…

Thomas CridlebaughPart 1 of a series.

Many of us, if we were lucky, had people in our lives when we were young who shaped us, molded us – important, vitally influential characters without whom we would be less than we are. Teachers, coaches, perhaps church leaders, family friends or relatives – we learn values from these figures that we never unlearn, and we can feel their presence, if we concentrate, decades later, in both our most pivotal and banal moments.

Can you name the five most influential people in the history of your life? I can, sort of. There’s about a ten-way tie for fifth, but the first four are my grandparents, my former teacher and now S&R colleague Jim Booth, and a junior high coach and teacher I’ll call Mr. C. This post is about him, and it’s one I have dreaded writing because I really have no idea what to do with my feelings.

Like a lot of kids in their early teens, I had no idea who I was. Continue reading

Random thoughts about record albums – part 1: Dylan’s LP idea…

…and how the invention of vinyl changed music forever.

“I agonized about making a record, but I wouldn’t have wanted to make singles, 45’s – the kind of songs they played on the radio. Folksingers, jazz artists, and classical musicians made LP’s, long-playing records with heaps of songs in the grooves – they forged identities and tipped the scales, gave more of the big picture. LP’s were like the force of gravity.” – Bob Dylan, Chronicles, Vol. One

Bob Dylan (image courtesy Mojo Magazine)

I’m about 50 pages into Dylan’s memoir Chronicles, Vol. 1. The quote above leapt out at me last night as I was reading. It seems a prescient comment from our latest literature Nobelist, given that he was one of those about to usher in the record album as art form.

Dylan’s preoccupation with making LP’s rather than singles (we still use the term album, though the operative word for a single is “track” these days) seems, on the face of it, in line with his preoccupations: he didn’t see himself as, nor did he want to be, a “hit maker.” That would have been selling out to commercial forces (stop me if you’ve heard that one before) that, as a budding artist (stop me if you’ve heard that one before), Dylan disdained. It might cost him that “force of gravity” he desired.

Serious music fans know that “force of gravity” as authenticity. According to Dylan, authenticity lay in the album format.  Continue reading

In My Life: Lennon remembers…

There’s something Shakespearean about Lennon’s meditation on life and meaning.

“I think ‘In My Life’ was the first song that I wrote that was really, consciously about my life, and it was sparked by a remark a journalist and writer in England made after In His Own Write came out. I think ‘In My Life’ was after In His Own Write… But he said to me, ‘Why don’t you put some of the way you write in the book, as it were, in the songs? Or why don’t you put something about your childhood into the songs?’ Which came out later as ‘Penny Lane’ from Paul – although it was actually me who lived in Penny Lane – and Strawberry Fields.”  – John Lennon

Outtake for the Rubber Soul album cover (image courtesy “Yer Doin’ Great”

The marvelous Beatles Bible offers four John Lennon quotes about the composition of “In My Life.” Lennon considered it one of his most important songs for several reasons. It was the first song, he says, written about his life – the result, Lennon told multiple interviewers, of a comment by British journalist Kenneth Allsopp concerning Lennon’s first book, In His Own Write.

Another concern Lennon has was his ability to write melodies – something that his writing partner, Paul, was and is particularly adept at. “In My Life” is predominantly John’s melody (though he says Paul wrote the middle eight). Continue reading

S&R at 10: Still thinking, ’cause it ain’t illegal, and we want to keep it that way

Fanaticism consists in redoubling your effort when you have forgotten your aim— George Santayana, 1863-1952

We’re not fanatics here at Scholars & Rogues. As our founder, Sam Smith, writes today on our 10th anniversary, our unruly mob of scholars and rogues believes in a “fierce commitment to confronting challenging questions facing ourselves, our society and our communities.”

S&R-logo-originalMany, if not most, of those challenges arrive at our digital doorstep because those who are fanatics have lost both their aim and their minds. We, as do you, routinely witness assaults on common sense, on dignity, on respect, and on intelligent public discourse.

We’ve tried to be more than mere witnesses here. When we’ve seen stupidity, we’ve shouted, sometimes whispered, “Hey! That’s not right. Don’t do that.”

But that’s not enough. To again paraphrase my favorite fictional president, Andrew Shepard, those who have lost their way or their minds on an issue do two things and two things only: Telling you to be afraid of it, and telling you who’s to blame for it.

Continue reading

Music and Popular Culture

Carole, Joni, and Carly: sometimes it’s hard to be a woman…

“A young woman in the spring and summer of 1967 was walking toward a door just as that door was springing open. A stage was set for her adulthood that was so accommodatingly extreme—so whimsical, sensual, and urgent—that behavior that in any other era would carry a penalty for the daring was shielded and encouraged.” – Sheila Weller, Girls Like Us

Girls Like Us by Sheila Weller (image courtesy Goodreads)

Sheila Weller’s triple-decker biography (and I use this word advisedly) Girls Like Us gives readers a look inside the lives of three of the singer-songwriter era’s biggest stars: Carole King, Joni Mitchell, and Carly Simon. Weller’s book is well-researched and the reader learns a great deal about each of these major figures. What becomes a question for the astute reader as he/she progresses through the book is whether what is being learned is always useful or meaningful.

This is not to say that Weller’s book isn’t compelling reading, especially for music buffs, fans of any of these particular music legends, or Boomers nostalgic for the era in which King, Mitchell, and Simon did their finest work. It is.

What may not work for some readers is the focus of Weller’s biographical studies. That may be because the work of these three songwriters are feminine (and feminist) concerns. One certainly cannot argue that three writers known for highly personal and confessional songwriting are treated unfairly by the author’s looking at their artistic careers through the lens of their personal lives. What might be giving me (and may perhaps give other readers) pause is the level of detail that Weller goes into in exploring King’s, Mitchell’s, and Simon’s private lives. Continue reading

Love Me Do – the first one…

“Love Me Do” was their first song, but it was far from perfect…

“‘Love Me Do’ is Paul’s song. He wrote it when he was a teenager. Let me think. I might have helped on the middle eight, but I couldn’t swear to it. I do know he had the song around, in Hamburg, even, way, way before we were songwriters.” – John Lennon

“‘Love Me Do’ was completely co-written. It might have been my original idea but some of them really were 50-50s, and I think that one was. It was just Lennon and McCartney sitting down without either of us having a particularly original idea.” – Paul McCartney

John, Paul, George, and Ringo (image courtesy Wikimedia)

We know now (at least those of us who are American) that it was their first.

Most of us learned about it in that tidal wave of spring 1964 when it seemed that the Beatles released a new record every week. Many of them were fantastic – “I Want to Hold Your Hand,” “I Saw Her Standing There,” “She Loves You,” “Please Please Me,” “From Me to You,” “Twist and Shout,” “There’s a Place,” “Do You Want to Know a Secret?” It seemed like an endless stream of great song after great song, the releases of new singles coming sometimes only a week apart thanks to the Beatles’ tangled history of American deals.

So it was Tollie, a Vee-Jay subsidiary, that released “Love Me Do” in the US in April 1964.   Continue reading

The only way to defeat Trump and his supporters

It’s about tribalism. You cannot work with Trumpists. Period. You must defeat them and then fix the problems that handed them control.

It is useless to attempt to reason a man out of a thing he was never reasoned into. – Jonathan Swift

Since the moment of Campaign 2016 when it became clear that Donald Trump actually had a chance, a lot of people have done a lot of thinking and pontificating and punditofying and writing and hand-wringing about the reasons for his viability. On one end of the spectrum: Donald gave the drooling, racist, misogynist, xenophobic, ignorant, anti-intellectual, hillbillies a cynical, smirking, dog-whistling charlatan they could line up behind. On the other, we’ve had all manner of thoughtful, complex analyses about how economic anxiety (and utter despair) fueled the rise of a non-partisan populist backlash against a political establishment that has spent decades betraying those it represents.

Both versions are compelling because each was built on a measure of observable truth. Continue reading

ArtSunday: LIterature

The most famous novel set in NC, according to the Internet

There are some laudable choices: Alabama, Misissippi, Montana, Missouri, New York… But Nicholas Sparks?

“Nowadays people know the price of everything and the value of nothing.”  – Oscar Wilde, The Picture of Dorian Gray

Nicholas Sparks (image courtesy Wikimedia)

I saw an article this week that’s a pretty good explanation of where we are as a culture. Business Insider published an article called “The most famous book that takes place in every state” that purports to provide readers with – well, the information indicated in its title.  On the face of it this seems like a clever idea – it promotes reading and gives a little shout out to each state. Given the culture we live in, promoting reading is certainly a good idea, and giving every state a nod for its literary contributions is democratic in a way that we need more of.

Well, as Robert burns said in “To a Mouse,” “The best laid plans….” Though perhaps, given the BI article, Dave Marsh’s observation about Kiss Alive II is more apropos: “Here’s a bad idea gone wrong….”

Some of the results offered for “most famous book that takes place in every state” are laudable. Some are arguable. Some, however, are atrocious – ill-informed in ways that make one despair for the future.  Continue reading

Potholes and the Law of Attraction

By Tamara Enz

Tom

It’s spring in Ashland, Oregon. Winter in the west has been long, cold, and snowy. Most people are over it.

pothole-damageWalking through town yesterday, I stopped to enjoy the magnolia blossoms that are about to explode. They have escaped their protective bracts, but are uncertain about fully opening to the tepid sun. A massive camellia tree stands next to the magnolia. Camellia flowers are a color never seen anywhere else, red and pink and raspberry, but none of these.

As I stood admiring the tree, a man walked up next to me and commented on the flowers. I responded, “They’re beautiful.” He impulsively reached over, snapped one off, and handed it to me. Continue reading

A Hard Day’s Night…in search of the lost chord

One chord can change your life.

The Fabs tormenting the posh gent in A Hard Day’s Night (image courtesy Neatorama)

“There was no reason for Michael to be sad that morning, (the little wretch); everyone liked him, (the scab). He’d had a hard day’s night that day, for Michael was a Cocky Watchtower.” – John Lennon, In His Own Write (published March 1964)

“I was going home in the car and Dick Lester suggested the title Hard Day’s Night from something Ringo’d said. I had used it in In His Own Write but it was an off-the-cuff remark by Ringo. You know, one of those malapropisms. A Ringoism, where he said it not to be funny, just said it.” – John Lennon (1980 interview)

“”Well, there was something Ringo said the other day’… He said after a concert, ‘Phew, it’s been a hard day’s night.’ John and I went, ‘What? What did you just say?’ He said, ‘I’m bloody knackered, man, it’s been a hard day’s night.’ ‘Hard day’s night! Fucking brilliant! How does he think of ’em? Woehayy!’ So that came up in this brain-storming session, something Ringo said, ‘It was a hard day’s night.'” – Paul McCartney (1997 interview)

They began filming the movie A Hard Day’s Night only ten days after returning from their frenetic, triumphant first visit to America. Continue reading