Overlooked Gem: Here With Me

The Killers are the last Great American Rock Band. Or they were. There are no Great American Rock Bands anymore. There are bands making great rock music, but they lack the cultural cachet that for decades defined the term "Rock Star". The Killers have been the last band to enjoy this success. They were enjoying Rock's last gasp around the same time The Kings of Leon rocketed to fame, but The Kings didn't have quite the staying power, while the Killers had three mega successful albums, enough to be among the defining voices of the decade when I came of age.

And then, nothing.

Their fourth album, "Battle Born" was, by my estimation, their best, with ready made singles and eye popping videos that nonetheless failed to capture the popular imagination in the way they deserved. Was it just the decline of Rock? The Killers were pretty pop to begin with.

For whatever reason, this beautiful song, with its beautiful video directed by Tim Burton, failed to gain any traction - it didn't even make it onto their greatest hits compilation, which is a sin, because its a gorgeous song, and the video is Burton's best work in a decade. For it to have less than a tenth of the views that Katy Perry regularly merits is a sin. Watch and listen, you're welcome:

Ali LIstens: Back to the Future



When I was younger, a hundred self important VH1 specials told me that music represented our culture in ways that no other artistic medium could. They lied.

Culture has changed a lot in my lifetime. Music has not. As I write the most popular song in the country is "Uptown Funk", a lovely little ditty cobbled together from thirty year old classics like "Jungle Love" and "Give it to me Baby" (Say Whaaaaat?), like the wet dream of an A&R guy from 1985: "Like Prince, but safer." The last few years also gave us "All About That Base", "Blurred Lines" and "Get Lucky", and a bunch more Bruno Mars to help us live in the past.

Anyone with a passing knowledge of pop history or mass culture should know something's askew right now. Pop music as we know it has a pretty short history. It's new enough that some of our grandparents remember its infancy, from Fred Astaire to Elvis Presley to the Beatles and Beyond. Through the decades pop has had two key tenets: It's youth oriented, and its all about novelty.

Those rules apply to almost all mass-consumed products in the 20th century. Novelty is the reason the iPad 2 was offered in different colours, with little else to distinguish it from the previous model. Novelty is the cornerstone of consumerism. And young people are almost always on the receiving end of the these gimmicks, because they have disposable income and no better way to spend their time.

This is the way its supposed to be, the way it has been for most of my life, and my parents' too. Young people feel like they own pop culture, like their parents are squares and their tunes are the music of revolution. Then you hit your mid twenties and realize Barbra Streisand can sing like a motherfucker and maybe mom had okay taste after all.

The wheel goes round and round: Elvis scandalized parents with his fabulous hips, the Beatles made them uncomfortable with their long hair, Zeppelin and the Stones scared them to death with sex, drugs and Satanism. Madonna was a hussy, Rappers were cop killers and the wheels on the bus went round and round. "Parents just don't understand" has been the unwritten rule of popular music for ages.

And yet...

When was the last time anything was truly shocking? The Wrecking Ball video? Anaconda? They're all pretty tame compared to what Prince and Madonna were doing decades ago (okay, fine I'll link to a sexy video if you promise to come right back) , to say nothing of the truly revolutionary spirit of acts like Neil Young or Public Enemy.

Kids these days may loathe the idea of "old" singers staying too long in the spotlight, but they're hypocritical in a way their parents were not:

Elvis sounded nothing like Fred Astaire.
Zeppelin sounded nothing like Frank Sinatra
N.W.A sounded nothing like Marvin Gaye

But

Lady Gaga looks and sounds an awful lot like Madonna, but tamer
Bruno Mars sounds a lot like Prince / Michael / Morris / Rick / insert-funk-legend-here, but more accessible.
Pharell Williams is paying seven million dollars because "Blurred Lines" - the song of the summer of 2013 - sounds virtually indistinguishable from Marvin Gaye's "Got to Give it Up"

But the hate lobbed in the direction of legacy acts (one legacy act in particular) is shockingly wrong footed. Madonna is told to leave the playground she built, because of her age, but to make room for who? Lady Gaga, Beyoncé, Miley...all acts that owe her a huge debt and have no interest in building on her legacy, merely reducing it to its simplest moving parts (Sex! Shock! Girlpower!). I'm a millennial with a middle-aged soul, so forgive me for saying anyone who was shocked by Miley's twerking, three decades after Prince sang that he wants to "fuck the taste out of your mouth"  is damn soft.

But its not just music where we see this trend, which points to something much bigger. The rush to reappropriate old properties--from comic books, to movies to television and back again--is running rampant through this culture. Plenty of people complain about how Hollywood isn't offering anything new, but the truth is, these movies, these shows, this music, all of it gets made because the masses are buying them.

You'll hear theorists say that "People like what's familiar". Since when? Wasn't novelty the order of the day for the last five decades? The short answer is to that question is "yes". The long answer involves explaining the rise and fall of the Ford Motor company in the early 20th century, and since you don't really care about that stuff, you just have to trust me.

Speaking of films, what's the first hint that a movie is set in a particular decade? The clothing.
Now can you name any two years separated by two decades whose clothing was so utterly indistinguishable as 2015 and 1995? Bet you a nickel that you can't. 1960s fashion looks nothing like the 1940s or the 1980s. The 1950s are similarly indistinguishable from the 1970s, as the 70's are from the 90's, but that's when it stops. Chunky heels may be out, but I guarantee someone looking through Vogue twenty years from now wouldn't be able to guess for certain what decade we're in.  What has changed, fashion wise, are all throwbacks. "That's so Mad Men" you might say about a new dress, or "So eighties!"

This is a culture curiously divorced from our own moment in time, like none has been in recent memory.

Why?

Because we are afraid.

I may have lied at the top of this article. I said that music didn't reflect culture anymore, what I meant was that music never reflects culture, but cultural fixations. Why are we so obsessed with the past?

Because the present is a goddamn mystery. I'm not talking about dirty politics or poverty or racial divides or environmental destruction. You can find great, popular songs about those things from our parents' era a lot easier than you can from Beyoncé or her contemporaries.

I'm talking about how the internet, and all the technology that lives off it has completely changed the world so quickly we haven't quite adapted to it yet. Social media drives people farther apart, while online pornography is there at the click of a button (fine, here's another sexy video to reward the focus it took to read this far). Everything you ever wanted to see, and some things that you don't but will click on anyway are barking at you from the sidelines of every page you go to. Meanwhile, the things we were taught to hold dear to - friendships, a sense of belonging, even our own identity, has been untethered from reality. These tenets of humanity are strangely intangible in the age of the internet, floating in a digital realm we haven't got a grip on.

We need a sense of control, of belonging, of identity, which this new world order so insidiously inhibits. As a culture, we've gone back into the womb, like a groundhog who saw its own shadow and settled in for very long winter.

"What about the millenials?" you may ask. Most of the kids who love Uptown Funk and Born This Way are too young to be nostalgic for a time before the internet. How does this apply to them?

I'll tell you. It's a simple answer that bodes well for the future of humanity: because those are great songs. Specifically - "Jungle Love" and "Express Yourself" are great songs. And their enduring popularity shows that even as the world around us has exploded, we haven't lost that most basic human emotion that connects us to a great beat.

Ali Listens: The Best Song of 2014

So, its a little late for an entry like this, being as we are now well into 2015. However, this just needs to be said. The best song of 2014 was:

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Strand of Oaks, Goshen '97!!!!!

"What?" you may say. "Who?" "Which one's the title and which one's the artist?"
Settle down dear, all will become clear in due course.

First of all, here it is:

 

 

Do you hear the frustration? The fear? The hope? The Rock 'n' Roll?

I've been contemplating for a while what the difference is between Pop and Rock music, beyond the definitional, namely that "Pop" music is what popular and (new) Rock hasn't been popular for a very long time. I might just devote an entire post to how today's audience is determined to crawl back into the womb of "classic" sounds, but that's for another time.

The point is, Rock music isn't about what's popular. Its about what's true, or at least it should be. Rock history is littered with male power fantasy garbage (here's to you, Motley Crue), but at heart those were pop songs that were just pretending.

Real Rock'n'Roll is mired in the ugly stuff. It has its roots in pagan rituals on slave plantations. Misery is in its DNA. That's not to say that all Rock songs ought to be sad. Surely not. But they all must appreciate sadness. Happiness means nothing without the struggle from whence it is born. A great rock song doesn't have to be depressing, but it has to have the trace of a struggle in it.

Goshen '97 is the sound of a struggle. It gives no indication of where that struggle will take our protagonist - will he be victorious or will it all have been in vain? The song doesn't arrive at any destination, and it pre-empts the journey.

This song is about the moment you realize that the journey is necessary, that its possible, and that it actually started without you realizing it, while you were spinning your wheels in no particular direction.

At least that's what it means to me. Music is pretty subjective, and you can bet a song with the line "I was lonely, but I was having fun" hits all the trigger points for the person who wrote this about the emotional ravagement brought on by a Springsteen song.  At its heart, though that line represents that quintessential Rock'n'Roll pairing of regret and the joy of being alive. And speaking of joy:

"Then I found my Dad's old tape machine, that's when the magic began." I love musicians who love music. Almost as much as I love musicians who love life.  But flash forward another minute: "Before I was fat, drunk and mean, everything still lied ahead."

I would nominate that for single best line of songwriting of the year. Yes, better than "He toss my salad like his name Romaine." Better luck next year, Nicki. It's unexpected and it cuts like a knife. Likely the only time you've heard those words in life is when you're saying them to yourself, who has the courage to admit something like that out loud?

This isn't a song about facing the world, or even a song about the future. It's about the self. The conflict, the disappointment, the happy memories and the daunting next step.

Because, any contemplation of the future is ultimately a valuation of ourselves. The past - that's all about other people, circumstances that may or may not have been under our control. The present, likewise is cluttered with time and place.

But the future is all us. It's a question of Can? Will? Should?, and the answer always depends on how we feel about ourselves.

This singer is caught up with the past, disgusted with the present and contemplating the future based on these valuations. "I don't want to start all over again," he says. Well, that's not even an option, is it?

We don't ever go back, we just change direction. And for perfectly capturing the moment just preceding this realization, Strand of Oaks gets the humble honour of my top pick for best song of 2104.

The Power of Love: or, How I Learned to stop worrying and listen to Springsteen

 

 

My parents owned Born in the USA when I was a kid, but it was on Vinyl so I never heard it played. Our turntable was long since broken by the time I was born. When the music of Bruce Springsteen filled our halls, but it was the sound of Born to Run, Tunnel of Love and the Essential on compact disc (Born to Run had the distinction of being owned on both formats, Darkness, sadly, only vinyl).

Since then, I've been building my Springsteen library, and it wasn't until today that I heard the eighth track on Springsteen's most popular record for the first time.

And lo, came the tears from a dormant part of my brain that I had nearly forgotten existed. A vault of adolescent loneliness and abandonment was breached by a thirty year old song. Such is the power of Springsteen.

Growing up, I had three best friends: The first, was my neighbour, who didn't go to the same school as I did, didn't really have any of the same interests as I did, and whose friendship was based almost entirely on geography. The second, was my best friend from school -- Laura -- who was funny and energetic and strange in all the ways that I was. The third, and most important was my cousin, Victoria. She had a single mother, and no idea who her father was. It seems like she spent other week at my Grandma's house around the block, and consequently we were nearly sisters. There were sleepovers almost every weekend during the school year, and in summers by the lake we took joint responsibility for looking after our unruly younger boy cousins. Thick as thieves.

In high school things changed, and until yesterday I understood these changes solely in terms of how they made me feel about my friends. Best Friend #1 and I drifted apart, starting a little before high school. We never had much in common, so it wasn't really surprising, and I didn't give it much thought.

Friend #2 went to the same high school as I did, but decided early on that I was not cool enough to be her friend, which is baffling still because she was not cool. She was never cool. Our joint un-coolness was what drew us together in elementary school. But, when high school began and it was apparent that I did not represent valuable social real estate she moved on. I remember with striking clarity the day I found myself sitting alone in the cafeteria. It was the first day of a new semester, and  the handful of friends I usually sat with now had a different lunch than I. Laura approached and I, breathing a sigh of relief, waved to her. I wouldn't have to sit alone after all, thank goodness. She saw me, then pretended she didn't. I was hurt, angry and I never tried to engage her socially after that, except perhaps a little bit some mornings, when my mom drove her to school! I had all kinds of opinions about her after that.

Friend #3 --the best friend, the family, the close-in-age sister I never had, topped them all for cruelty. She'd had a difficult life, in case you didn't pick up on that in her introduction as the bastard child who spent every other week at her grandmothers. Her mother was sick a lot, and depressed. Her family moved out of the city when she was just about to hit adolescence, finding herself in a brand spanking new subdivision where every house looks alike and she had to make new friends. When she did find out who her biological father was, it was a major disappointment. Any one of those factors would be enough to make a teen act out. Together, they were an H-bomb on her self esteem, and she acted out in ways we never would have thought possible - Stealing, lying, running away - the most egregious act of betrayal was falsely accusing her loving step-father of beating her, and taking that accusation to the authorities.

I can trace the trajectory of my feelings for her, like lines on a map: from concern, to anger, to pity, to relief, and finally to forgiveness (this is over a ten year period - and I'm happy to report that all's well that ends well and I'm going to be her maid of honour next year). I can do that for friends #1 and 2 also.

But until yesterday I never gave a thought to how all of this made me feel about myself. Which is where Springsteen comes in. Bobby Jean tells the story of a boy learning his best and only friend has left town without saying goodbye. "I wish I could have called. I wish I could have talked to you, not to change your mind, just to say good bye, Bobby Jean." Listening to it was like meeting my younger self, for the first time.

I spent a lot of time thinking about other people - how they were selfish, or stupid, or whatever - but I never had the perspective to see myself for what they had made me - alone. As far as I could tell, I was still the same person. It was them who had changed - who had sold out or betrayed me, who were selfish or superficial, but I never appreciated just what it did to me, how important it was to have one close friend, how empty we become when they're gone, and we're listening to the radio alone.

Something about this song took me back - A place, a time, a fully realized moment that I thought was lost to me, but got the chance to revisit. I listened to Bruce Springsteen and met myself.

This is why love music. This is why I pay money for music, and rant about how the industry has taken over the art. This is why I'm a true believer. If you're not, I feel sorry for you.

Music / Industry

Taylor Swift makes it in under the wire with 1989, and 2014 finally has one (1) album go platinum. The music industry isn't dead yet, but spectator's say it's breathing is pretty haggard. I disagree. The music industry is fine. It's the music that died. The internet may have ended the golden age of record buying, but the funny thing about money is that it throws its weight around the most when there is less of it to be had.

Now, every era has its talent and its hacks. Nostalgia has a way of buffing out the shitty stuff and convincing our parents that they really were the hippest generation, when in fact the number one song of 1967 was "Sugar, Honey Honey" by the Archies.

Still, you'd have to be a fool to pretend 1989 is in even the same ballpark as Sergeant Pepper, or The Wall, or even Rumours. There is no version of 2014 where a song like Neil Young's "Ohio" becomes a top forty hit (as it did in 1970), let alone captures the zeitgeist enough to change popular opinion about a major historical event. No matter the quality of popular music today, it is no longer important.

Money, on the other hand is always important. It has a way of exacting its influence no matter what. So when sales dry up, that's when the Industry roars to life and makes its interests clear. People aren't buying music anymore, so the Industry stopped selling it.

They're selling artists - no, not artists, personalities- to plug into the more lucrative game of product placement. The most obvious example is Beats, which has sponsored almost every major music video in recent years - at least every one with any kind of budget. You're supposed to look at Nicki Minaj and think: "If I own these speakers, I'm almost like a famous person." For the record, listening to mp3s with expensive headphones, is like buying an HD 70" flat screen so you can watch the Blair Witch Project in all its grainy glory.

Once again, commerce beat common sense. Dr. Dre is now a bazillionaire and Rock and Roll is dead.

I'm not here to rant about artists cashing a cheque. I'm sure Katy Perry works harder than anyone I know personally. I'm here to remind you that the Industry is a force of nature that even when incomes shrink - especially  when incomes shrink - cuts the fat and protects itself.

Beyonce got paid a reported $50,000,000 for her Pepsi ad (which, while I'm on it, "Embrace the past but live for now"- really? All that money and they couldn't come up with a better line?) So someone's making money.

And people are still making real music, but its not getting promoted, because the Industry knows no one will buy it. So they attach music to things that people do buy, and take a percentage.  Art and commerce are not making the sweet sweet love they used to, and we the public are getting the shaft.

There is great music out there: Phosphorescent's "Song For Zula" is one of the most beautiful songs I've ever heard. Do yourself a favour and click "Play" so you can listen as you read:

 

But no matter how great a song is, it's never going to hit the mainstream unless it can be used as an advertising jingle. How else can it recoup the cost of promotion?

Listening to Janelle Monae's Metropolis Suites is like meeting the lovechild of Peter Gabriel and Star Wars - after that lovechild was abandoned by the side of the road then nursed back to health by Andre 3000.* It's amazing. But its no coincidence that the closest that album got to a hit single was the song used in a Chevy ad.

So what happens when artists, who might be legitimately great, have to cow toe to their sponsors? What happens to society when our culture is dominated by advertising, an art form explicitly dedicated to promoting mindless consumption over independent thought? The revolutionary spirit of Rock and Roll has been squished under the rock of commerce, and if that doesn't scare you, let me answer the above question for you:

Twenty five years ago, Madonna - peace and blessings be upon her - released the video for Like a Prayer:

 

 The video involved burning crosses, controversy, and the end of her endorsement deal with Pepsi. It is also one of the great artistic coups in the history of pop music. Corporate sponsors would be weary of her edginess from then on out, but losing endorsement deals didn't matter, because she was selling millions of records. Back then it paid to shake up the system.

Would Madonna make the same decision in a world where she couldn't count on music sales to pad her fortune? We don't need a parallel universe to answer that question. All we need to do is look at Beyonce. Pepsi's latest fly-girl is always polite, always perfect looking, and never controversial. It no longer pays to be a revolutionary, but that doesn't mean that we as a culture don't still need them.

My parents had Neil Young, Bruce Springsteen, and, yes, Madonna. Are millennials capable of staring down a social problem and turning it into a hit song like their parents were? The Industry's not going to take a chance on finding out. Where's the top forty hit about Trayvon Martin?

I don't want to live in a world where the Like a Prayer video gets pulled in favour of this inane Pepsi ad, but that seems to be the direction we're heading in.

Alas, you get what you pay for.

*And seriously guys, get hip to the Archandroid already!

Ali for Hitcheddesigns: Booking the Band of Your Dreams

 

My personal favourite of all the articles I've written (for money):

 

For most, the question of music at a wedding boils down to a simple either/or: Hire a local band or find a DJ to play your favourite hits.

For people with an unlimited budget, though, getting the real thing is actually in the cards.
Sadly, I do not know any of these people, nor have I been invited to their weddings, but it’s fun to dream, and thanks to some wily, well-connected folks at priceonomics.com, we’ve got an actual price tag to attach to those dreams. If these superstars are in your price range, visit The Degy Booking Agency for more information.

If not, with tongue firmly in cheek, I invite you to consider the pros and cons of some very well paid wedding singers (all estimated prices exclude expenses and are subject to negotiation with the talent’s management):

The Diamond Circle:

Madonna: $1,000,000

Pros: Imagine, the Queen herself singing Like a Virgin as the garter is tossed! She’s got a huge catalogue with dance hits and ballads. Plus, True Blue and Cherish are two of the happiest love songs that ever existed.
Cons: She hasn’t performed True Blue or Cherish in more than twenty years, and there’s a good chance she’ll do something inappropriate/outrageous that will simultaneously overshadow the bride and infuriate her parents.

Bruce Springsteen: $1,000,000

Pros: Springsteen is the definition of cool. He gives 110% as a showman and his concerts are always great parties.
Cons: Faced with the sheer animal magnetism of The Boss, the bride may have second thoughts about marrying anyone else. In fact, most of his marriage songs are more “soul-crushing-life-of-regret” than “happily-ever-after”. Save this one for the tenth anniversary.

For more, read the whole article at http://hitcheddesigns.com/booking-the-band-of-your-dreams/ and http://hitcheddesigns.com/booking-the-band-of-your-dreams-part-ii/