Quotulatiousness

October 28, 2012

The Two Scotts pick this week’s NFL matchups

Filed under: Football, Humour, Media — Tags: , , , — Nicholas @ 10:55

Scott Reid and Scott Feschuk get serious about something … but not football, of course:

New York Giants (plus 2) at Dallas

Scott Reid: I have no way of knowing but I like to imagine that deep down, Tony Romo and Eli Manning loathe one another.

Romo’s hatred would be all bound up in his feelings of insecurity and gross inadequacy (not unlike your own feelings toward me, Mr. Feschuk). Manning probably just hates the dimples. My fondest hope is that deep in the fourth quarter of this week’s matchup – after the Giants gain a 10-point lead – Romo breaks down on television and begins to sob uncontrollably, confronted with the awful truth that he’ll never best his rival. Manning, meanwhile, will make Jessica Simpson jokes and snicker about the hands-off approach of John Mara. Eventually Romo cracks completely and beats Manning savagely with a Gatorade bottle – leaving Eli dead and himself condemned to a life behind bars. In no way would this scenario make Mike Vick the best starting quarterback in the NFC East. Pick: New York.

Scott Feschuk: That’s all very interesting but I have a more important question: What man would ever agree to date Taylor Swift? You’d have to know right from the get-go that everything that happens is basically fodder for her next three albums, right? Wouldn’t it get awkward pretty quick?

You and Taylor Swift are in bed.

You: That was amazing. Let’s do it again.

[Swift opens her journal and starts writing.]

You: What are you doing?

Taylor: Oh, nothing. What rhymes with horndog?

You: Are you writing a song about me and our relationship?

Taylor: What? No. No, of course not!

You: Then who are these guys? [Points to drummer, guitarist and fiddler in bed with them.]

Taylor: Take five, fellas. I need to work on the bridge anyways.

Pick: New York.

October 23, 2012

Unnamed band about to get big media exposure through the “Streisand Effect”

Filed under: Business, Law, Media — Tags: , , — Nicholas @ 11:09

Ken at Popehat is looking for pro bono legal help for a music fan site that after years of faithful service to an unnamed band is now being “cease-and-desist”-ed by the band’s new management:

It’s time to put out the Popehat Signal on behalf of a threatened web site.

Today, I’m looking for pro bono help (or help at a modest rate) for the proprietor of a fansite for a band. The proprietor of the fansite has been running it for years, promoting the band and its appearances to its fans. Apparently the members of the band knew of this and were cool with it — until recently, when they hired new management, who used a Los Angeles area attorney to send a threatening cease-and-desist issue.

One has to assume that $BAND (or more likely the new management team) has never heard of the Streisand Effect, because they’re risking a classic case of it through this kind of action.

The Streisand effect is the phenomenon whereby an attempt to hide or remove a piece of information has the unintended consequence of publicizing the information more widely, usually facilitated by the internet. The term is a modern expression of the older phenomenon that banning or censoring something often makes that item or information more desirable, and leads to it being actively sought out to a greater extent than it would have otherwise been.

It is named after American entertainer Barbra Streisand, whose attempt in 2003 to suppress photographs of her residence inadvertently generated further publicity. Similar attempts have been made, for example, in cease-and-desist letters, to suppress numbers, files and websites. Instead of being suppressed, the information receives extensive publicity and media extensions such as videos and spoof songs, often being widely mirrored across the Internet or distributed on file-sharing networks.

October 10, 2012

Macdonell on the Heights

Filed under: Cancon, History, Military — Tags: , , , — Nicholas @ 16:50

One of my favourite Stan Rogers songs is “Macdonell on the Heights”. Here’s the history behind the song, courtesy of the Niagara 1812 Legacy Council:

John Macdonell was born in April 1785 in Scotland. At the age of seven he came with his family to Canada where at the age of 23 he became a lawyer. He later earned a seat in the legislature and in September 1811 he was appointed attorney-general.

Macdonell was not loved by all, especially William Baldwin who duelled with the attorney-general, but his position brought him closer to Isaac Brock, who asked Macdonell to serve as his aide. Macdonell was a lieutenant-colonel in the York Militia where he served as Brock’s aide with energy and poise.

During the Battle of Queenston Heights Macdonell was not far behind Brock, who had left in the early hours from Fort George to the site of the American invasion. It was not long after Brock’s failed advance up the heights that Macdonell led his own desperate charge to retake the redan battery. Macdonell’s small force did push the Americans back briefly, but a musket ball hit Macdonell’s horse, which reared up as a second musket ball struck Macdonell’s back. Macdonell was shot four times but it did not prevent him from attempting to stand and continue the attack. Fellow officers pulled the lieutenant-colonel from the battlefield as the attack failed to capture the redan battery.

October 9, 2012

Geddy Lee and Alex Lifeson interviewed by Premier Guitar

Filed under: Cancon, Media — Tags: , , — Nicholas @ 12:25

Shawn Hammond talks to two-thirds of Rush in the November issue of Premier Guitar magazine:

If there’s one band on the planet that’s made it cool for musicians to be … well, uncool, it’s Rush. Because let’s face it — the intelligent, chops-heavy prog rock that Geddy Lee (vocals/bass/keyboards), Alex Lifeson (guitars), and Neil Peart (drums/lyrics) have become synonymous with over the last 30-plus years will never completely escape the stigma of being considered overwrought, stodgy, and even nerdy.

But with 1980’s “The Spirit of Radio” — a tune that the Rock and Roll Hall of Fame ranked as one of the top 500 most genre-defining — the dudes raked in fame and glory with brainy, multisyllabic bashing of the very industry and medium that made their careers possible, and they did it over a backdrop of swirling pull-off licks, distorted bass, and tour de force drumming that was somehow still catchy. Their encore? The next year they pilloried modern society at large with “Tom Sawyer” — a chops-laden, darkly futuristic anthem that even hardcore deriders of prog can’t help but dig.

Today, Rush is arguably the longest running, most original, and most influential progressive rock band ever. Their influence can be heard in major bands ranging from Pantera to Smashing Pumpkins, Primus, Death Cab for Cutie, the Mars Volta, Coheed and Cambria, and countless others. And yet, through innumerable musical fads they’ve remained staunchly committed to big ideas, grand arrangements, and stellar, instantly identifiable musicianship — rich, unorthodox chording, odd-meter riffing, and ethereal solos from Lifeson, and a finger-busting mix of Jack Bruce’s beef, Jaco Pastorius’ finesse, and a funk master’s groove from Lee. But they’ve also been flexible and open-minded enough to not come across as stagnant and stubborn. In the process, they’ve managed to get more radio play than just about any of their peers, scoring bona fide hits with songs like “Fly by Night,” “Closer to the Heart,” “Freewill,” “Limelight,” and the aforementioned classics. But even when their collective open-mindedness led to sonic evolutions that didn’t sit well with some longtime fans — specifically, the synth-heavy output from 1982–1989 that seemed to push Lifeson into a more atmospheric and textural approach — the band has remained unapologetically forward-looking.

September 14, 2012

The Bob Dylan interview within the Bob Dylan interview

Filed under: Media, Politics, USA — Tags: , , , , — Nicholas @ 10:53

I haven’t read Rolling Stone for decades, so I don’t know if this interview is typical of their house style these days:

Dylan talks about his new album, a bit about his apparent belief that the soul of a dead Hell’s Angel named Bobby Zimmerman (Dylan’s own birth name) took over his body in the 1960s (really, and I can’t explain it either), Dylan’s annoyance with people who attack him for using lines from other poets in his songs, and many other interesting things.

But around 10 percent of the interview is dedicated to a bizarre performance from interlocutor Mikal Gilmore seeming desperate to get Bob Dylan to say that he thinks criticism of Barack Obama is based on racism, say he voted for Obama, or say he really likes Obama.

Dylan leads into it with an impassioned and intelligent discussion of how the stain of slavery shapes this nation. “This country is just too fucked up about color….People at each others throats because they are of a different color. It’s the height of insanity, and it will hold any nation back — or any neighborhood back….It’s a country founded on the backs of slaves….If slavery had been given up in a more peaceful way, America would be far ahead today.”

This gives Gilmore his hook: didn’t Obama change all that? And isn’t it so that people who don’t like him don’t like him because of race? Gilmore takes five different swings at getting Dylan to agree. Some of Dylan’s responses: “They did the same thing to Bush, didn’t they? They did the same thing to Clinton, too, and Jimmy Carter before that….Eisenhower was accused of being un-American. And wasn’t Nixon a socialist? Look what he did in China. They’ll say bad things about the next guy too.” On Gilmore’s fourth attempt, Dylan just resorts to: “Do you want me to repeat what I just said, word for word? What are you talking about? People loved the guy when he was elected. So what are we talking about? People changing their minds?”

September 12, 2012

Geddy Lee talks to Peter Mansbridge

Filed under: Cancon, Media — Tags: , , , — Nicholas @ 08:21

Update:

September 8, 2012

Rush wins “Album of the Year” at first Progressive Music Awards

Filed under: Britain, Cancon, Media — Tags: , , , — Nicholas @ 00:22

In a “how is this possibly the first time” event, Rush won the Album of the Year award for Clockwork Angels.

Veteran rock band Genesis have been honoured at the first Progressive Music Awards, alongside other bands including Pink Floyd and Rush.

Genesis members Mike Rutherford and Tony Banks picked up the lifetime achievement award at a ceremony at Kew Gardens on Wednesday.

Keyboard legend and ex-Yes member Rick Wakeman was given the Prog God Award.

The awards, created by Prog Magazine, were hosted by BBC Newsnight presenter Gavin Esler.

Prog rock, which grew out of 1960s psychedelia, was originally associated with 70s bands including Pink Floyd, Genesis, Yes and King Crimson.

[. . .]

Canadian rock band Rush’s latest concept album, Clockwork Angels, was named Album Of The Year.

With its dystopian steampunk theme, the three-piece’s 19th studio album has earned rapturous reviews, even in the mainstream press.

Describing it as Rush’s “most solid and compelling set of songs in years”, The Guardian went on to say: “Those who worship at the temple of Rush will be in raptures; for those who remain agnostic, there may well be enough here to justify a leap of faith.”

It was also a handy reminder to me that I hadn’t actually bought the album yet: it was on sale in the Canadian iTunes store for $6.99. Sold.

August 30, 2012

21st century problems: who inherits your digital property?

Filed under: Books, Law, Media, Technology — Tags: , , , , — Nicholas @ 08:37

Unless medical science has a solution up their collective sleeves, we’re all going to die (eventually). It may be an individual shock, but humans have been dying forever — it’s the unwelcome end of the trip. As a result, we’ve evolved ways to redistribute the property of deceased members of our families and communities. When the issues were as simple as who got Uncle Grog’s club and who got his loincloth, we came up with solutions.

Fast forward to our becoming-ever-more-digital age, and not all of our property is tangible: we’re becoming “owners” of digital property that may be as valuable as our physical possessions. What happens to our music libraries, e-book collections, social media accounts, and all the other non-physical things we’ve bought and used during our lives?

Someone who owned 10,000 hardcover books and the same number of vinyl records could bequeath them to descendants, but legal experts say passing on iTunes and Kindle libraries would be much more complicated.

And one’s heirs stand to lose huge sums of money. “I find it hard to imagine a situation where a family would be OK with losing a collection of 10,000 books and songs,” says Evan Carroll, co-author of “Your Digital Afterlife.” “Legally dividing one account among several heirs would also be extremely difficult.”

Part of the problem is that with digital content, one doesn’t have the same rights as with print books and CDs. Customers own a license to use the digital files — but they don’t actually own them.

[. . .]

Most digital content exists in a legal black hole. “The law is light years away from catching up with the types of assets we have in the 21st Century,” says Wheatley-Liss. In recent years, Connecticut, Rhode Island, Indiana, Oklahoma and Idaho passed laws to allow executors and relatives access to email and social networking accounts of those who’ve died, but the regulations don’t cover digital files purchased.

Apple and Amazon did not respond to requests for comment.

August 29, 2012

QotD: Government funding for the arts “stinks in God’s nostrils”

Filed under: Books, Government, Media, Politics, Quotations — Tags: , , , , — Nicholas @ 15:14

There’s at least a third reason to stop state funding of the arts, and it’s the one I take most seriously as a literary scholar and writer. In the 17th century, a great religious dissenter, Roger Williams (educated at Cambridge, exiled from the Massachusetts Bay Colony), wrote the first case for total separation of church and state in the English language. Forced worship, said Williams, “stinks in God’s nostrils” as an affront to individual liberty and autonomy; worse still, it subjugated theology to politics.

Something similar holds true with painting, music, writing, video and all other forms of creative expression. Forced funding of the arts — in whatever trivial amounts and indirect ways — implicates citizens in culture they might openly despise or blissfully ignore. And such mandatory tithing effectively turns creators and institutions lucky enough to win momentary favour from bureaucrats into either well-trained dogs or witting instruments of the powerful and well-connected. Independence works quite well for churches and the press. It works even more wonderfully in the arts.

Nick Gillespie, featured guest for “Economist Debates: Arts Funding”, The Economist, 2012-08-29

August 23, 2012

Al Stewart live: “A Child’s View of the Eisenhower Years”

Filed under: History, Media, USA — Tags: , , , — Nicholas @ 11:34

August 22, 2012

Nash the (gay, conservative) Slash

Filed under: Cancon, Media, Politics — Tags: , , — Nicholas @ 10:16

I’ve always liked the music of Nash the Slash, but I didn’t know much about him — but that’s not uncommon when the artist performs his music while wrapped in bandages so you can’t see his face. Apparently he’s that rarest of creatures: a gay Canadian conservative:

The music industry has been dominated by left-leaning causes since the days of Woody Guthrie and Pete Seeger, not to mention the countless artists who’ve been influenced by Bob Dylan and Neil Young. In Canada, rock stars came out in droves for the funeral of NDP leader Jack Layton, but it’s hard to find one musician who would openly admit to supporting Stephen Harper. While country star Paul Brandt performed at the 2008 Conservative convention and Nova Scotia’s The Trews have a song called Highway of Heroes that’s been adopted by the Tories, neither would agree to an interview about their political views.

“I feel that conservatives are pragmatic and more fiscally responsible [than the Liberals],” says Nash the Slash, the late-’70s-era experimental Canadian artist who has recorded with Neil Young’s famed producer, Daniel Lanois. “I think the left is more carved into stone in some of their intractability and I may get flack for that, but I don’t care. You never see conservatives out there parading at the G20 summit — we tend to be less demonstrative.”

Politically, Nash the Slash’s career tells an interesting story, as he’s also an outspoken gay musician who lives in Leslieville (a Toronto neighbourhood often painted as left-leaning) and used to hoist the occasional beer with Layton. Still, the musician voted for the conservative-minded Rob Ford over gay liberal candidate George Smitherman in Toronto’s 2010 mayoral election, and isn’t afraid to flaunt his right-wing leanings.

“I voted for Rob Ford because I believe in fiscal responsibility and you can call him a bumbling fool, but guess what? We’re not going to have any money to support the gay Pride parade unless we get our books straight,” he says. “If we don’t conserve our money, eventually, we’re all going to turn into Greece.”

It’s not surprising that outspoken right-wing rockers such as Nash the Slash are hard to find, though. Even when conservative politicians reach out to the music world, they tend to find their hands slapped back.

Wikipedia entry for Nash the Slash.

Since 1979 Nash has always performed with surgical bandages covering his face. “During a gig at The Edge in the late ’70s to raise awareness of the threat from the Three Mile Island disaster, he walked on stage wearing bandages dipped in phosphorus paint and exclaimed: “look, this is what happens to you”. The bandages became his trademark.” Prior to 1979, Nash performed three times on TV Ontario’s Nightmusic Concert, first as a solo artist (a live broadcast which was never re-aired), then with FM (Nash and Cameron Hawkins), then again as a solo artist. In all of these appearances Nash wore his typical black tuxedo, top hat, and dark sunglasses, but wore no bandages.

Born Jeff Plewman (as given in copyright depositions at the Library of Congress), he has attempted to keep his true identity the subject of some speculation. In a 1981 interview with the UK magazine Smash Hits, Nash’s response to a question about his real name was “Nashville Thebodiah Slasher”. By never officially confirming or denying his name, some fans came to believe Nash to be an alter ego of Ben Mink, who replaced him as FM’s violinist in 1978. This is a common misconception but he has been photographed onstage with Ben Mink.

August 20, 2012

Punks as snobs

Filed under: Europe, Law, Media, Religion, Russia — Tags: , , , — Nicholas @ 09:06

Always willing to explore the contrarian position, Brendan O’Neill explains why Pussy Riot’s legal issues have gotten so much attention in the west:

Pussy Riot’s closing statements in their trial for blasphemy confirmed that they have not only inherited the original punk movement’s thrashing guitars and in-yer-face sensibility; they have also effusively embraced its art-school snobbishness.

Punk, in its original incarnation, was always as much a screech of rage against the “sheeple” as it was a two-fingered salute to the powers-that-be. Think Johnny Rotten wailing “They made you a moron!” in the Sex Pistols’ “God Save the Queen”. “Don’t be told what you want / Don’t be told what you need”, sang Rotten, expressing the core belief of punk — that the vast bulk of the masses, effectively everyone except the punks, had been moulded into a moron by the man.

The same snobbish thinking animates Pussy Riot today. In her closing statement, Nadezhda Tolokonnikova bemoaned the “enforced civic passivity of the bulk of the population” in Russia. She said the Russian regime “easily manipulates public opinion” — which sounds like an attack on the regime but it is also a sly salvo against the Russian masses, who must have minds like putty if they can be so easily manipulated. In contrast to this civil slavishness, Pussy Riot are all about “authentic genuineness and simplicity”, said Tolokonnikova.

[. . .]

Now we can see why Pussy Riot are so popular among many liberal opinion-formers here in the West — it is because both share a view of the little people as less culturally sophisticated and more easily forced into conformism than the commenting, bohemian, punkish sets. But of course, making snobbish statements and singing rubbish songs should not be a crime. Pussy Riot should be freed from prison immediately and allowed to continue expressing their loathing of Putin’s regime and their disgust with the Russian masses.

August 19, 2012

Dave Weigel’s “Who’s Who” of prog rock

Filed under: History, Media — Tags: , , , — Nicholas @ 20:04

Should you be interested enough to try delving deeper into that place on the music map marked as “Prog rock: Here be demons”, you could do worse than this list from Slate,

August 18, 2012

Prog rock today: looking back on the future

Filed under: History, Media — Tags: , , , , — Nicholas @ 00:05

The final installment of Dave Weigel’s history of prog rock at Slate:

This is what fascinates me about prog. The music is relentlessly futurist, with no nostalgia for anything in rock. Was there excess? I think we’ve answered that — there was horrible excess, and some of it involved the lead singer from the Who singing atop a giant rubber penis. In the U.K., the music press turned on prog, and turned viciously. Same thing in the States. “If you can’t have real quality,” wrote Lester Bangs of ELP, “why not go for quantity on a Byzantine scale, why not be pompous if you’re successful at it?” Bangs, played by Philip Seymour Hoffman, made it into Cameron Crowe’s ‘70s nostalgia film Almost Famous. ELP did not.

[. . .]

Pop’s move away from prog didn’t happen that quickly. It was slow and tortured and involved a ton of moving parts breaking around the same time. In the United States, where most of this music ended up being sold, progressive rock radio slowly, slowly was assimilated into the Borg of commercial networking. “The reason free-form, underground progressive ended up becoming unpopular is it was the ultimate ‘active’ format,” says Donna Halper. “It was aimed at music freaks who adored everything about the newest groups and didn’t ever wanna hear a hit. OK, fine, that makes up about 6 percent of your audience. But the mass audience wanted a middle ground.” A&R men stopped looking for “progressive” acts. Sire stopped promoting Renaissance and started schlepping the Ramones. “You’d put an album out, but they were expecting to sell so many thousand,” says Davy O’List. “I don’t think it hurt the live concert attendances, but it hurt overall.”

Culturally and lyrically, prog began as anti-“establishment” music. But compositionally, it rewarded long listens and worship of virtuosity. Punk deconstructed that. [. . .]

Prog, went the thinking, was an affront against sincerity. If you gussied a song up with strings, surely you were covering for a lack of feeling. That point was made countless times, usually in the same terms with which Bangs dismissed ELP. The originators of prog were trying to make simple pop songs irrelevant. The music that replaced prog copied that reaction — what had gone before was corrupt, and had to be destroyed.

That sensibility lasted longer than most medieval land wars. The occasional mainstream defender of prog always, always started in defense mode. In June, this year, Ted Leo published a confessional in Spin all about his love for Rush. It was packaged as a “confessional” because Rush were proggy, and you couldn’t endorse prog qua prog.

[. . .]

Rush, who came late to the prog wave (1974), have trimmed back the pretention while flaunting the virtuosity. As a reward, they can still play stadiums, in basically any country. They just happen to be the most sellable artists in a niche genre. Virtuoso metal and math rock, bands like Mastodon and Protest the Hero, have nestled into the same place. That’s one fractal of modern-day prog.

August 17, 2012

Prog rock still has those who poke fun… via @daveweigel

Filed under: History, Humour, Media — Tags: , , , — Nicholas @ 00:13

Although I’ve been happily linking to the prog rock series of articles at Slate, not everyone thinks that progressive rock is great. Here’s an “ad” put together by @SlateV for prog’s greatest hits (H/T to Dave Weigel himself):

And here’s James Lileks from a few years back:

It’s obvious from Note One that everyone involved in the effort had so much THC in their system you could dry-cure their phlegm and get a buzz off the resin, but instead of having the loose happy ho-di-hi-dee-ho cheer of a Cab Calloway reefer number, the songs are soaked with Art and Importance and Meaning. You can imagine the band members sitting down to hash out (sorry) the overarching themes of the album, how it should like start with Total Chaos man because those are the times in which we live with like war from the sky, okay, and then we’ll have flutes because flutes are peaceful like doves and my old lady can play that part because she like studied flute, man, in high school. The lyrics are all the same: AND THE KING OF QUEENS SAID TO THE EARTH THE HEIROPHANT SHALL NOW GIVE BIRTH / THE HOODED PRIESTS IN CHAMBERED LAIRS LEERED DOWN UPON THE LADIES FAIR / NEWWWW DAAAAY DAWNNNING!

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