The FBI has information that indicatesassociates of President Donald Trump communicated with suspected Russian operatives to possiblycoordinate the release of information damaging to Hillary Clinton’s campaign, US officials told CNN.
Huh? Could this lede be any more vague? This lede is all may have — which leaves open the possibility of may not have.
The story, reported by Pamela Brown, Evan Perez, Jim Sciutto, and Shimon Prokupecz, contains unnamed sources in 10 of the story’s 18 paragraphs. The FBI director is named, but only in reference to stories reported earlier. White House spokesman Sean Spicer and Kremlin spokesman Dmitry Peskov are named, but only in chiding the findings of the story. Two paragraphs near the end of the story contain no sources and appear to be the conclusions of the reporters.
“I do not want people to be very agreeable, as it saves me the trouble of liking them a great deal.” – Jane Austen
Various news sources, both here in America and elsewhere, are claiming that Jane Austen, doyenne of English respectability, has become a heroine to the despicable group called by the all-too-euphemistic moniker the alt-right.
Jane Austen (image courtesy biography.com)
For any rational person (and my beloved Miss Austen was nothing if not rational) her embrace by such loathsome characters is both horrifying and bizarre. Conservative as she was (Austen found her contemporary Byron’s behavior wild and reprehensible, for example, violating as it did the established social mores of Regency England), Austen undoubtedly would have found the behavior of a number of the more well known figures of the alt-right movement equally reprehensible. One has a difficult time, indeed, imagining Miss Austen feeling able to tolerate being on the same planet, much less in the same room with creatures such as Richard Spencer and Milo Yiannopoulos.
The alt-right loves them some Jane, though – for reasons that mystify anyone capable of reading Austen’s work intelligently. Continue reading →
I could offer several excuses for why I quit Words and Music, a book I had high hopes for (Morley is one of the great experts on contemporary pop), but the simple truth is I hated it.
“Writing about music is like dancing about architecture.” – attributed variously, most likely by Martin Mull
Martin Mull (image courtesy Wikimedia)
As I have explained previously, my 2017 reading list is devoted to reading books about music. I have covered only three books so far, Larry Kane’s latest Beatles’ book When They Were Boys, the Billie Holiday memoir Lady Sings the Blues and Peter Guralnick’s excellent study of roots music, Lost Highway. (I’ve also written a number of essays about Beatles’ songs and a book review or two.)
I’m currently about 100 pages into a very good book on Bob Dylan, Joan and Mimi Baez, and Richard Farina, David Hajdu’s Positively 4th Street. I turned to this book after spending several days trying to read another book, a book I looked forward to reading, as I noted in this description from my reading list essay:
Paul Morley, Words and Music: A History of Pop in the Shape of a City – Morley is one of rock’s most trenchant critics and in this book he speculates about whether pop is at the end of its lifespan. Any book that calls for opinions from both Madonna and Wittgenstein is must reading.
I read about 40 pages of Morley’s book before putting it aside and taking up the Dylan/Baez book. I could offer several excuses for why I quit Words and Music, a book I had high hopes for (Morley is one of the great experts on contemporary pop), but the simple truth is I hated it. Continue reading →
The scream at the end – “no reply!” – is one of the bleakest moments in the breakup song genre.
Beatles ’65 (image courtesy Wikimedia)
“It was my version of “Silhouettes”: I had that image of walking down the street and seeing her silhouetted in the window and not answering the phone, although I never called a girl on the phone in my life. Because phones weren’t part of the English child’s life.” – John Lennon on “No Reply”
This was going to be another essay.
I had planned to write about what I am convinced is the greatest single ever released – “Strawberry Fields Forever” b/w “Penny Lane.” But that was going nowhere (though I can see what I want to say, I can’t quite seem to say it yet, which betrays a lot about my love of the Fabs) so I turn to another favorite, the opening song on both the British release Beatles for Sale or, if you were an 8th grade nerd like me, Beatles ’65.
“No Reply” opens both albums. This is one of those rare times that the British album and its American counterpart agree. That makes me very happy. Let’s leave it at that. Continue reading →
Successful artists feel constant commercial pressure to repeat their sales success – a pressure that can make any artist choose a safe route.
…so we beat on, boats against the current, borne ceaselessly into the past. – F. Scott Fitzgerald
David Bowie and Paul McCartney (image courtesy Pinterest)
I watched a couple of documentaries (thank you Open Culture) this week featuring rock stars from the classic era, one about a living musician, the other about one who has, alas, shuffled off this mortal coil. What I found most interesting about each of these films is the reminder that it is very difficult for any successful artist, especially for a David Bowie or Paul McCartney, who have enjoyed success at the highest level of their art, to move forward. In a popular art form such as rock music has been, part of the problem is commerce; one who is successful and whose art is embraced by a wide public sells much “plastic ware,” as Roger McGuinn and Chris Hillman wrote. They feel constant commercial pressure to repeat their sales success – a pressure that can make any artist choose a safe route.
Another, perhaps even greater part of the problem, especially for an artist like Bowie or McCartney, comes from those whose admiration (and money) made them acclaimed, and wealthy: fans. Any artist like Bowie or McCartney with a long career arc (given that the average length of a popular musical star’s career is 18 months, the nearly 50 year career of Bowie and the 50+ year career of McCartney are by any measure remarkable) is bound to have to deal with one of the strongest desires of fans as they, like their heroes, age – nostalgia for past works which form, after all, the soundtracks of their lives. Continue reading →
If what Lennon says is true, “I Wanna Be You Man” has a special place in rock history.
“It was a throwaway. The only two versions of the song were Ringo and the Rolling Stones. That shows how much importance we put on it: We weren’t going to give them anything great, right?” – John Lennon
Ringo sporting his Jean Paul Belmondo look (image courtesy Pinterest)
The composers of “I Wanna Be Your Man,” John Lennon and Paul McCartney, thought so little of the “Ringo song” on the British release With the Beatles (the American release came on Meet the Beatles) that they “gave” the song to the Rolling Stones who released it as their second single.
Neither John nor Paul thought much of the song, though it’s a nifty Beat music rave-up. Paul’s “I Saw Her Standing There,” from the same period, is a song of the same sort – much more familiar to (and popular with) the casual Beatles fan, but “I Wanna Be Your Man” has its own charm. As a tune it hearkens to the early days and is reminiscent of the Beatles’ Cavern shows in its rowdiness and “cellar full of noise” jocular machismo. Continue reading →
It was the first Beatles record I bought, but it wasn’t my favorite Beatles song.
“We wrote a lot of stuff together, one-on-one, eyeball to eyeball. Like in ‘I Want To Hold Your Hand,’ I remember when we got the chord that made the song. We were in Jane Asher’s house, downstairs in the cellar playing on the piano at the same time. And we had, ‘Oh you-u-u… got that something…’ And Paul hits this chord and I turn to him and say, ‘That’s it!’ I said, ‘Do that again!’ In those days, we really used to absolutely write like that – both playing into each other’s nose.” – John Lennon
Paul and John in 1964 (image courtesy Wikimedia)
I’d heard “She Loves You” in the fall of 1963, and, while the buddy I first heard it with (a story I have related before) mocked the song (as did the deejay who introduced it), I’d been immediately smitten, though I diplomatically kept my opinion to myself. Thereafter, when I listened to far away radio stations in big cities like Chicago and New York on my transistor radio at night when I was supposed to be going to sleep, I listened for “She Loves You.”
I think I may have heard it twice between that first time and the advent of what we know as Beatlemania. I freely admit that my memory of this period is fuzzy. I was in my 12th year and between the time I first heard “She Loves You” in mid-November and when I began hearing “I Want to Hold Your Hand” and other Beatles songs November 22, 1963 happened. Like most Americans I walked around in a dull daze for a while, so I hope I may be forgiven for an imperfect memory of the timeline of events. Continue reading →
And so The Beatles acquired a third great songwriter…
“‘Don’t Bother Me’ I wrote in a hotel in Bournemouth, where we were playing a summer season in 1963, as an exercise to see if I could write a song. I was sick in bed.” – George Harrison
George Harrison, ‘A Hard Day’s Night’ period (image courtesy imdb.com)
John Lennon and Paul McCartney have long been ranked among the premiere songwriters of the 20th century. That the pair both wrote for the same band is certainly a central element of the The Beatles’ standing in rock history. Any band with two great songwriters is certainly very, very lucky.
As we all know, the Fabs didn’t have two great songwriters – they had three. The emergence of George Harrison’s songwriting talent only serves to reiterate that, as in so much of their lives and career, The Beatles were winners of whatever history’s equivalent of the Powerball is.
George, who was given the moniker “the quiet Beatle,” might better have been denominated “the independent Beatle.” Because he was younger (and remember, Paul, and George got together when they were very young and Paul had to sell John on allowing George to join the band that eventually became THE band), his status was predicated on 1) his guitar playing (which was better than anyone’s, not excluding John or Paul) and 2) his absolute commitment to the cause (which equaled John’s and Paul’s). Continue reading →
In “The Fool on the Hill” McCartney was writing about the Maharishi. And perhaps himself.
“He never listens to them… He knows that they’re the fools” – Paul McCartney
Paul McCartney, Fool on the Hill (image courtesy beatlesbyday.com)
Here’s the thing about Paul. As I have written before on more than one occasion, McCartney rubs a lot of people the wrong way. He’s the most musically gifted of The Beatles (though George Harrison fans would likely argue) and in some ways the most creative force in the band (which will likely make John Lennon fans see red). He has even been accused of being an occasional threat to Ringo’s self-esteem (unjustified) which seems unconscionable, especially to the most lovable Beatle’s fans.
Here’s some truth that I doubt anyone would deny: Paul was and is the most driven Beatle, the one who wanted/needed to achieve. In a very real way, that has made him odd man out, even within The Beatles. Even within that close knit band of brothers, he felt his differentness. Continue reading →
“There’s a Place” anticipates the musical breakthrough that would come for the band with 1965’s Rubber Soul.
“There…is a place/Where I can go/When I feel low/When I feel blue…” – John Lennon, Paul McCartney
The Beatles in all the Edenic glory (image courtesy Time.com)
The English composer and musicologist Wilfrid Mellers, in his now classic scholarly study of the Beatles, Twilight of the Gods, calls the early Beatles period, the period of screaming girls and “yeah, yeah, yeah,” their “Edenic” period. In his study, Mellers give particular attention to “There’s a Place,” the American “B-side” (there’s a quaint old term for you) to their iconic cover of the Isley Brothers’ “Twist and Shout.”
Given that the song wallows in obscurity in the Fabs’ canon, you must be wondering why Professor Mellers chose to give it serious scholarly attention and why I would choose it as the subject of of an essay. Other sources report that while John, Paul, George, and Ringo originally had high hopes for the song, that they themselves lost interest caused possibly by its having been a bit of a struggle for them to record. From being a song they expected to be their next #1, “There’s a Place” ended up as album filler and a B-side to a popular cover song.
As both Professor Mellers and I will argue, that’s a bad underestimation of what really is one of their finest early tunes. Continue reading →
Recent anti-Donald protests are hugely important, although maybe not for the reason you think.
I keep wanting to write an article on how similar Donald is to the Big Men of Africa, and I keep losing the will to live whenever I start … After all, the South African Truth Commission final report is a public document. If you want to know how this ends, go read it.
However, don’t think that he’s starting a new fascist state. This is about ties of blood.
If you look to Zimbabwe, Kenya, Nigeria … any of the places ruled by Big Men … they work with what they have to create a support base. The best way to do that is tribalism. Create an in-group derived from your own tribe. Then bind that tribe to you. And you do that through violence.
The in-group must be told they are superior to the out-group. Change the law to subject the out-group to brutal discrimination and suppression. Ensure that there is real violence.
Lennon once said that he likes the lyrics of “Across the Universe” perhaps the best of all the songs he wrote with The Beatles.
“When you’ve seen beyond yourself, then you may find, peace of mind is waiting there.” – George Harrison
John and Yoko (image courtesy Vanity Fair)
Recent news reports have noted that the best selling book at Amazon is currently George Orwell’s classic novel of dystopian horror, 1984. Given our national circumstances, I suppose this could be seen as a positive, an effort on the part of at least some of the populace to educate themselves, even if a significant number of others in the populace (including me) wish that this sudden urge toward historical and cultural literacy had occurred before a certain November event.
Such, such is life, as the poet says. We seem only to want to listen to our poets and sages in times of distress.
There are some who, in the face of what certainly feels like imminent disaster, keep telling us that, to quote the mystic, “All shall be well.” It is difficult to the level of impossibility, however, to emulate the purity and power of a Julian of Norwich’s faith which is roughly the level of faith needed these days. What are we of little faith to do?
I learned of it from the Facebook page Conservative Daily. To hell with that page, no link. Thanks to my embrace of people at least as good-hearted as me however differently, people of widely differing viewpoints, I have the good fortune of seeing this kind of crap splatter across my screen on a regular basis, like I’ve just flown under a magpie’s flight path at exactly the wrong time.
For the moment, for the point I’m coming to, I actually don’t care if the claims in this particular case are true or not. The truth of the claims is beside the point. Continue reading →
George Harrison’s song “Piggies” from the White Album (written during another year of tumult, 1968) seems a perfect description of our present situation.
“When it gets down to having to use violence, then you are playing the system’s game…. The only thing they don’t know how to handle is non-violence and humor.” – John Lennon
George Harrison at the time of The Beatles’ White Album (image courtesy The Beatles Bible)
We seem to be living in what the Chinese curse calls “interesting times.” 2016 was one of the most turbulent years in modern American political history, and the turmoil attendant to the presidential election felt exacerbated by the deaths of some of popular music’s most important figures. The list still seems breathtaking: inimitable talents David Bowie, Prince, and George Michael; Eagles founder Glen Frey; Jefferson Airplane founder Paul Kantner; both Keith Emerson and Greg Lake of ELP; songwriter extraordinaire Leonard Cohen; funk genius Maurice White…. I’ll stop here out of a kind of emotional fatigue. For one like me, it was at the least a trying year, one which left me feeling that I was losing my country to people possessed by greed and at the same time losing so many musicians whose work provided me with joy, solace, and inspiration. Yes, anyone and everyone have to die. Like many others, I suspect, I have questioned why it had to be these anyones and everyones. (My apologies to both you and ee cummings for the digression.)
“They never fail who die in a great cause.” – George Gordon, Lord Byron
Statue of Byron at Missolonghi, Greece (image courtesy englishlanguageandhistory.com)
Today is Lord Byron’s 229th birthday.
Much of what is written about Byron focuses on his career as a poet and his life as a celebrity in Regency England. Part of the reason for that focus is that the life Byron led by both the standards of his own time and our own contemporary standards, scandalous.
His hedonistic lifestyle eventually made him such a social pariah in his homeland that he left England, as he claimed, forever. He probably did not think at the time that he would never return; he was only 28 years old. But in less than a decade he was dead, having achieved two things: he’d written his greatest poem, the brilliant epic satire Don Juan, and he’d joined the forces fighting for Greek independence from the Ottoman empire where he met his death from fever aided by incompetent doctors who likely gave him sepsis by bleeding him with non-sterile instruments.
The question, often debated, never resolved is, why did Byron risk – and lose – his life? Continue reading →
Despite every attempt to marginalize and discredit him, John Lennon still matters and always will.
” I can’t wake you up. You can wake you up. I can’t cure you. You can cure you.” – John Lennon
John Lennon (image courtesy Short List)
Mark Twain once described his novel The Adventures of Huckleberry Finn as “A book of mine where a sound heart and a deformed conscience come into collision and conscience suffers defeat.”
Twain’s quote sums up the complex personality of our newest Scrogue, John Lennon – a sound heart often in collision with a deformed conscience.
Lennon’s achievements as a songwriter and musician are indisputable. With his songwriting partner (and lifelong friend) Paul McCartney, he is arguably the premiere composer of the 20th century. As a solo artist he left a body of work that is alternately brilliant, haunting, and petulant. As a writer he is an experimenter of the first order, playing with language in ways that rival Joyce and Beckett.
Even as we enter an age of not just indifference but open hostility to artistic achievement, his genius is undeniable. “If there’s such a thing as a genius – I am one. And if there isn’t, I don’t care” he once said of himself. Continue reading →
What do we want from our art – novelty or originality?
“The… idea, then, is that every technology has a philosophy which is given expression in how the technology makes people use their minds, in what it makes us do with our bodies, in how it codifies the world, in which of our senses it amplifies, in which of our emotional and intellectual tendencies it disregards.” – Neil Postman
I think maybe it started with John Wayne.
The Duke and the King of Cool (image courtesy MovieMarket)
That icon of of Real America® appeared in beer commercials for Coors – even though he’d been dead about fifteen years. I won’t spoil your day by embedding one of these atrocities, but I’ll provide a link so you can enjoy the work of whatever weasels the Real American Beer Company® hired who foisted upon the American public this ad to sell their reconstituted dog urine.
Resurrecting the Silent Generation’s favorite cowboy wasn’t enough for our consumer culture, though. Ford Motor Company, looking to begin selling Real American Cars® again since they’d ceded that task to smarter, more forward thinking car makers from our Old Mortal Enemy®, Japan, decided to add some cool to their piece of junk – I mean innovative new car design by resurrecting a Baby Boomer icon (a guy so cool he got a name check in a Rolling Stones song), Steve McQueen. McQueen had been dead seventeen years.
And so we entered the era of the Undead cultural icon as marketing tool. Technology was harnessed to make us want to drink shitty beer because Hondo supposedly does or drive a shitty car because Frank Bullitt supposedly does. Continue reading →
Goldhead is the best kind of novel of its genre – it is a novel that provides a great ride even as it reiterates a great lesson.
“People start acting stupid when a lot of money is involved, even people you think you know.” – J. Haviland, Goldhead
Goldhead by J. Haviland (image courtesy Southern Yellow Pine Publishing)
J. Haviland’s novel Goldhead is a couple of things at once: it’s a caper story (the modern thread of the story follows a group of WWII vets hired in 1959 by a shady tycoon to find a lost Spanish galleon’s treasure); it’s a history lesson (Haviland creates a fictional explorer’s journal similar to that of Bartolomé de las Casas that tells a parallel story of a 16th century conquistador’s expedition driven aground on the Florida coast by a hurricane that ends in disaster for all but the chronicler). Overarching both these narratives is the lust for gold – a fortune in gold from the Spanish colonial era that drives the behavior of the conquistador and his crew as well as that of the WWII vets and their crooked boss.
The novel is composed in alternating chapters and alternates between the Spanish expedition and the 1959 treasure seekers. Two things become obvious for the reader as this alternating plot structure unfolds: Haviland handles this plot structure beautifully, and avarice and greed separated by 430 years act in exactly the same way upon 16th and 20th psyches. Continue reading →
“The people who screwed you on your way to rock stardom will screw you on your way down – the people you screwed will try to get even.” – Jay Breeze, The Rock and Roll Handbook
Would be Beatles circa 1975 – author at front right
I mentioned in my last essay that Larry Kane’s book When They Were Boys seemed problematic to me because Kane seemed to lack empathy with The Beatles even though he knew them rather intimately as a young reporter about the same age as the lads when he covered their 1964, ’65, and ’66 tours of America. It seems to me that Kane’s book is a possible example of what one person who commented on my piece thinks of when using the now bowdlerized term “fair and balanced“: in an effort to maintain “journalistic distance” and “objectivity,” reporters put themselves into the position of failing to admit (even embrace) their biases and accept their subjectivity. They thus set themselves up to make false equivalences that render what they mean to be “the accurate truth” neither accurate nor truthful.