Tuesday, July 29th, 2014 - by PJ Lifestyle Comment of the Day
As noted in a song by the brilliant musical humorist Anna Russell several decades ago, some people prefer a full-time career in victimhood to happiness:
(Set at 6 minutes 18 seconds; if it doesn’t go there automatically as instructed in the link, that’s where her song “Miserable” is.)
The Mamas & The Papas noted something similar in “Glad to be Unhappy” which is one of their less well-known but rather witty songs:
As many of these full-time professional victims (with their gobs of ill-gotten cash, obscenely expensive New Age therapists on call, and multiple stormy love affairs and messy divorces and devastated offspring left in their wake) know, constant complaining about certain kinds of problems (sometimes known as “diseases of the rich”) makes you popular with a certain illegitimately powerful political crowd, and pays a pretty good salary too.
Women’s frustration at being used as pretty props in music videos isn’t new and isn’t limited to country music. One of Lily Allen’s recent offerings, “Hard Out Here”, makes the same point as Maddie and Tae do in their debut, “Girl in a Country Song”—women aren’t just ornamental—but Maddie and Tae do it better. By using role reversal and putting the boys in the painted-on cutoff jeans, they successfully achieve the absurd to skewer the use of women as props. Lily Allen’s raunchy choreography and slow-motion closeups didn’t provide enough contrast to typical music videos to achieve the skewering. Plus, Allen’s song was about female physical exploitation in general yet all of her backup dancers doing the crotch slapping choreography were women of color. On the whole, her video leaned more to the hypocritical than the satirical.
Here are both videos for comparison. Allen’s “Hard Out Here” is after the jump as it is NSFW.
Whether you’re seeking salvation or inner peace, a god to worship or add to your home-made altar, the pop culture pantheon is at your disposal so that you may pick and choose the gods and tools of worship to service your every emotional, spiritual, and even material need.
10. Harry Potter
When they aren’t re-reading their holy texts, Potterheads commune at MuggleNet to chat about their god, study their faith and perform the usual acts of tithing. According to the Facebook page “Being a POTTERHEAD” (which is classified as a non-profit organization),
Harry Potter has reached out to 200 countries, spoke out in 69 languages, and has touched the lives of 400 million people. It is the phenomenon that ignores race, age, gender and religion and has brought us all together despite our differences.
Also known as Potterholics, Potterites and Pottermaniacs, Potterheads should never be confused with potheads as their allegiance is strictly Wizard, not weed.
Big honor for Billy Joel, set to become only the sixth recipient of the Library of Congress Gershwin Prize for Popular Song. Details:
“Billy Joel is a storyteller of the highest order,” Librarian of Congress James H. Billlington said in a statement.
“There is an intimacy to his song writing that bridges the gap between the listener and the worlds he shares through music.”
Joel, whose career has spanned 50 years, is one of the most popular recording artists and has had 33 top-40 hits. His multiple Grammy wins include song and album of the year in 1978 for “Just the Way You Are.”
I’m an unabashed fan of Joel’s, the overplayed (and overwritten) “Piano Man” aside. The five slick studio albums — and one intriguing concert album — he put out between 1977 and 1983 showed that video had not yet killed the radio star.
After ’83 things were… not so good.
An Innocent Man was an instant classic. But we had to wait two long years until ’85 for the inevitable Greatest Hits collection, and its pair of underwhelming new singles tacked on at the end like an embarrassing afterthought. He still generated a couple hits from 1986′s The Bridge, which was so godawful he fired longtime producer Phil Ramone, then teamed up with Foreigner’s Mick Jones for Storm Front in 1989 with mixed results. His last album of new popular music, River of Dreams, was released 21 years ago. I gave it a full listen for the first time in years, and while it’s far from his best material, it’s aged better than the previous two albums. Sadly, it’s been a long time since I even gave up waiting for a new album.
His pre-Stranger albums were all fine, but definitely the work of a talented singer-songwriter who was still finding his voice.
Pop culture has become as much of a religious powerhouse as Judaism, Christianity, Buddhism or any other faith. Don’t believe me? Sit in a college classroom. Better yet, attend a fan convention or simply rent the film Trekkies. Films, shows, bands, comic books and their like have become, for some, sources of spiritual nourishment. Do you feel the power?
12. What was once DVR-able is now weekly appointment television.
“Appointment TV” doesn’t begin to describe your weekly ritual. All pressing engagements are pushed aside, phones are silenced, and ritual food is laid out on the coffee table to be partaken in as the ceremony commences. You still DVR the show for good measure, being sure to re-watch at least once, if not multiple times in deep study so that you may discuss the meanings of both text and subtext with fellow fans.
He was a crossover hit before crossover was cool — one of the best blues guitarists of his generation a hit with rock ‘n roll fans. He played at Woodstock, partnered with his childhood idol Muddy Waters to produce 3 Grammy winning albums, made records with his keyboardist brother Edgar, and helped popularize the blues with a generation more attuned to the driving beat of the Rolling Stones than the laid back Delta blues of John Lee Hooker.
Johnny Winter was all that and more. His machine gun-like riffs soared above the stage, wailing, grinding, ultimately freed from convention to arrive whole and complete at the end of the measure. Listening to Winter’s solos was almost a spiritual experience that left one both exhilarated and exhausted at the end.
Winter’s enormous talent has been stilled. He died in Zurich while on a European tour. He was 70.
Winter may have become popular because of his rock interpretations of blues standards, and pop covers such as “Good Morning Little School Girl” and “Jumpin’ Jack Flash.” But he much preferred the Chicago-influenced blues he played in his youth. In the end, he went back to playing “pure” blues while his popularity only soared.
You’re not going to get through an obituary of Winter without the writer mentioning his albinism. The irony of a white man, with white hair and pink skin named “Winter” playing the music of black tragedy and pathos was not lost on Johnny or his brother Edgar, who sometimes joined him in concert and in collaborating on albums.
Growin’ up in school, I really got the bad end of the deal. People teased me and I got in a lot of fights. I was a pretty bluesy kid.” That alienation, he believed, gave him a kinship with the black blues musicians he idolized. “We both,” he explained, “had a problem with our skin being the wrong color.”
Rolling Stone paid tribute to Winter in a heartfelt remembrance. It was Rolling Stone that propelled Winter to stardom with a glowing portrait of him in 1968. Bluesman Michael Bloomfield read it, and asked the unknown musician to come on stage and play with he and Al Kooper during a concert at the legendary Filmore East. An exec with Columbia was in the audience and once Johnny gave a manic performance of “It’s My Own Fault,” Columbia had their man and Winter had a check for $600,000.
Rolling Stone comes pretty close to capturing Winter’s pedal-to-the-metal style:
It’s probably overly romantic to say that one can hear any sort of outsider’s howl in Winter’s playing, which first came to wider attention via a 1968 Rolling Stone article that praised him for some of the most “gutsiest, fluid guitar you ever heard,” but at its best, there’s a beautifully articulated flamboyance to his music. Faster and flashier than his blues god contemporary Eric Clapton, Winter’s musicianship — a hyperactive, high-octane intensity was his great blues innovation — had the electric flair of someone who was determined to take charge of how he was seen by others. It was as if his playing (and his gutsy singing) was a challenge to audiences. Okay, you’re looking at me? Then watch this.
The hard rock part of Winter’s career featured his discovery of another frantic and fabled guitarist in Rick Derringer. The group — Johnny Winter And — cut a live album in 1971 that, to this day, is considered one of the most high-octane examples of amphitheater rock ever recorded.
Jumpin’ Jack Flash captures Winter at his most manic and melodic:
One of the last live performances of Johnny Winter And was in 1973 in Connecticut. Winter’s signature song at the time was “Rock ‘N Roll Hoochie Koo,” later adopted by bandmate Derringer as his anthem.
Winter returned to his blues roots in the late 1970′s, churning out records and performing live in between bouts with heroin and prescription drug addiction. By the 1990′s he was clean and entered a new phase of his career, producing anthologies of his work as well as the occasional studio album. His last release was in 2011, titled simply “Roots.”
Although Winter never won a Grammy, he will probably win one posthumously for his upcoming “Step Back,” scheduled to arrive in September. It features the guitarists Eric Clapton, Billy Gibbons of ZZ Top and Joe Perry of Aerosmith.
That’s the kind of rarefied air Johnny Winter breathed for most of his professional life. He was admired by not only the greats of his generation, but the icons of past generations as well. This is a feat precious few musicians achieve and it speaks to Winter’s talent and dedication to the industry for 5 decades that so many from so many walks of life will miss him.
“Weird Al” Yankovic, America’s favorite musical parodist, has a new album out. It’s titled Mandatory Fun and it features such songs as “Tacky,” which is a parody of Pharrell Williams’s “Happy,” and “Word Crimes,” a send-up of both Robin Thicke’s “Blurred Lines” and poor grammar.
But, if you’re a fan of “Weird Al,” you don’t only like the songs. You like the videos, too. So, in honor of all that, here are the top ten “Weird Al” music videos.