Why Do Women Put Up with Us?

I’ve thought about it before but, over the past couple of weeks, I’ve really begun to wonder in depth how the female part of the species homo sapiens puts up with the male gender. Let’s get beyond the usual stuff – leaving the toilet seat up, “men are from Mars, women are from Venus” generalities – and get down to the brass tacks. In a couple of instances of late from the news, things would be much different if there was a female mind in charge.

ErinAndrews

Earlier this week, Fox Sports sportscaster Erin Andrews was awarded by a Tennessee jury $55 million in damages stemming from a 2008 incident with a “fan.” In that situation, the pervert reversed the peephole in Andrews’ hotel room door in Nashville, TN, and videotaped (with his cellphone) Andrews in the nude as she prepared for her broadcasting duties with her then employer ESPN. The only way the videos were ever found out about was because the asshole decided to try to sell them to TMZ, that great bastion of journalism.

Of course the perv was found and convicted, spending 27 months in jail (far too short if you ask me), but the damage was done. Andrews spent a great deal of time and money in trying to remove them from the internet – something that is virtually impossible – and eventually filed a civil lawsuit against the criminal and the hotel for their negligence (it was alleged that the hotel gave the man extensive information as to Andrews’ whereabouts in the hotel, even putting him in a nearby room to hers). After two weeks of testimony – which included a tearful Andrews recounting, over two days of testimony, how the situation still affects her today in taunts when she is on college campuses and one of the executives of the hotel actually WATCHING THE VIDEO DURING A DINNER MEETING during the trial (for which the executive vehemently apologized – afterwards) – Andrews was awarded $55 million, although she’ll probably never see a nickel of the money (and it probably wasn’t about that, at least for Andrews).

Kesha

While there is a bit of “good” (hey, there’s still a nude video of Andrews out there if you really want to find it) news in that case, another case that has come up isn’t as pleasant. The pop star Kesha’s battle against record producer Dr. Luke was resolved (temporarily) of late, with the courts barring Kesha from doing any recording without it coming from work between her and the producer, whom she claims signed her to a contract at an extremely young age under the influence of drugs. Kesha has also alleged that Dr. Luke raped her and, throughout their working relationship, continually berated her verbally, emotionally and continued the sexual abuse.

The music industry has divided itself along the natural lines, the industry bigwigs on the side of Luke and the performers on the side of Kesha. Taylor Swift (whom I normally wouldn’t give the time of day) stepped up with $250,000 to help support Kesha during a “trying time,” and other artists such as multi-Grammy Award winner Adele, Demi Lovato, Snoop Dogg, Kelly Clarkson (who stated her former management “blackmailed” her into working with Luke) and actor Mariska Hargitay (Law & Order:  SVU), herself a longtime anti-rape and domestic violence advocate, have voiced support. Lady Gaga has firmly announced her support, recounting her story of her early days in the recording industry and how she, like Kesha, was attacked by a male who was supposed to be helping her career rather than relieving one of his “tensions.”

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These are but two of the more visible cases of where men continue to subject women to degrading situations. I am positive that it happens literally millions of times per day across the United States and around the world, whether it is something as seemingly innocent as a “darlin’” when a subordinate performs a task to literally and physically raping a woman while they work with or for a male superior. It shouldn’t happen and it has to be asked why women allow it to continue?

There are, for lack of a better term, the “fantasies” of women taking over in culture and changing it through the utilization of their own powers. There is a classic Greek play called Lysistrata by the Greek playwright Aristophanes in which women, upset with the ongoing fighting in the Peloponnesian War, withhold carnal pleasures from their husbands until the fighting is stopped. It is arguable, however, that the Church put a quick kibosh on that and, over the next 2000-3000 years, women went into the shadows.

IcelandWomenStrike1975

In 1975, however, women finally took a stand, at least in one nation. In Iceland, women went on strike – that’s right, every woman, whether a traffic cop, housewife, bank clerk or mother – walking off their jobs and out of their homes. The resulting 25,000-plus women (astonishing considering the island nation’s population was only about 200,000 at that time) shut down the country and were able to win concessions from the government. The next year, equal pay laws were passed in Iceland and, in 1980, Vigdis Finnbogadottir was the world’s first elected female president and won reelection in 1988.

Here in the United States, women either do not understand the power they wield or do not want to “rock the boat” on the situation. If the female of our species were to achieve something along the lines of what the Icelandic women did, the impact on the United States – not only economically but politically, culturally and socially – would be seismic.

Instead of only a handful of women being in elected seats of power in Washington, D. C., it is extremely possible that MORE women would be elected to those positions, maybe even a majority of the positions. Businesses would be led by strong, smart ladies who would be led by doing the right thing rather than JUST what the bottom line says. And perhaps we would show more consideration for our fellow persons, as it really does seem that the males of this species don’t really give a fuck beyond their own skin casing as to what others do.

But is it impossible for U. S. women to pull off what the Icelandic ladies did? U. S. women are a diverse lot – more so than the homogenous nation of Iceland – and perhaps they would have the same troubles that men have in this country of deciding a course of action. I would have hope, though, that they would have a better nature than the male gender does and would be able to work through situations rather than compare dick sizes.

WonderWomanHome

Trust me, I’m not advocating for a Diana Prince/Wonder Woman-like home of Themicyra here. We all have to work together on this traveling roadshow called Planet Earth. But a little more equality between the two genders – achieved through a Ladies’ Strike – would be able to bring us a bit closer to refining the country into the best version it can be – and isn’t that what we’re looking for the United States to be?

So here’s my challenge…Ladies! Time to stop what you’re doing! Moms, put the kids down! Make Dad take care of them for a day. Teachers, cops, mayors, professors, physicians, psychiatrists, astronomers to zoologists…plan one day for the “U. S. Women’s March and Strike,” bring the country to a standstill, march on your state’s capitals and bring about the change that is necessary for the country. Women have and have always had the power…it is time that power is demonstrated, much like your sisters did in Iceland more than 40 years ago. It’s time for women to truly step to the fore!

2016 Grammys: Who Will Win? Who Should Win?

Grammys

By now, most of you might have learned something about my background. If not, for 20-odd years of my life I worked in the radio industry as a music director and DJ. I worked in pretty much every format that you could imagine and reached what was, at that time, one of the Top 75 markets in the United States in North Carolina, a pretty nice achievement. I was also reaching that age that, if you weren’t working as the program director, in other areas of station management or on the morning or afternoon drive teams, you weren’t going to be sticking around the industry for much longer. Thus came one day when I woke up and decided to move on rather than have the door hit me in the ass somewhere down the road.

The love affair that I’ve had with the Grammys dates back prior to my days in radio, back to my love for music overall (something else that I’ve written about here) in my youth. As I grew up, the artists that I saw on television or heard on the radio became the things that I looked for in the record stores and tried to learn about through other media. In doing this, I also learned to find out about new music and artists and try to figure out what would be the “next big thing” in music. When it became a career in radio, that love of music made it seem more fun than actually having a job could ever be.

Time has gone on and, even though I don’t have a radio job that requires that I know every intimate detail about an artist as I used to have to know, I still love the music industry. I’d go back on the radio – even satellite radio (a gig on Radio Margaritaville or some of the other channels on SiriusXM Radio would be nirvana) – in a heartbeat if someone offered me a gig. Thus, when Grammys Weekend rolls around, you know where I will be come Monday evening and the awards show.

The artists that are nominated this year aren’t necessarily my favorites – and one, Taylor Swift, I would rather listen to two cats fighting in a box made of chalkboards and filled with aluminum foil than listen to – but even now I am still knowledgeable about their work. Therefore, I’ve scanned the Crystal Ball to see who will win the Grammys for the biggest prizes of the night and I will also offer up who I believe should have won the Grammy. To be honest, sometimes the National Academy of Recording Arts and Sciences (NARAS) is completely off base, either going too artistic or not really honoring the best work from the year…more often, it’s not honoring the best work of the year!

Lamar

ALBUM OF THE YEAR

Sound & Color, Alabama Shakes
To Pimp a Butterfly, Kendrick Lamar
1989, Taylor Swift
Traveller, Chris Stapleton
Beauty Behind the Madness, The Weeknd

Who Should Win:  While I am partial to Alabama Shakes and Brittany Howard’s bluesy guitar and howling-wolf vocals, Lamar would be the best artistic choice out of this mix. Lamar’s album dominated the R&B charts for the year and “Alright” was an excellent tune. I could also go for Stapleton or The Weeknd…anyone but who will probably get it.

Who Will Win:  Swift was basically shut out of the Grammys last year as “Shake it Off” won her exactly ZERO awards. The problem here is that Alabama Shakes and Singleton are basically going to cut up one side of the vote – the “rocker” vote – and Lamar and The Weeknd are going to divvy up the R&B side of the equation. That leaves the lane wide open for Swift to slip through the cracks (and she can do that easy – I’ve seen more curves on a 2X4) and steal this award. It would also shut up her fan base that says the Grammys don’t “respect” her as an artist (there’s a reason for that…Swift ISN’T one!).

RECORD OF THE YEAR

“Really Love,” D’Angelo and the Vanguard
“Uptown Funk!” Mark Ronson featuring Bruno Mars
“Thinking Out Loud,” Ed Sheeran
“Blank Space,” Taylor Swift
“Can’t Feel My Face,” The Weeknd

Who Should Win:  I said it when it came out that “Uptown Funk!” was one of the catchiest pieces of music that I’ve ever heard; for the Grammy voters not to recognize Ronson and Mars for their work here would be unforgiveable.

Who Will Win:  I think the Grammy voters will agree with me here. The only problem is that the song may have been too far back in memory for some to recall how good it was. I could see The Weeknd possibly taking this or, in a real surprise, Sheeran for his ballad (the Grammy voters do like themselves a ballad to vote for).

SONG OF THE YEAR

“See You Again,” Wiz Khalifa featuring Charlie Puth
“Alright,” Kendrick Lamar
“Girl Crush,” Little Big Town
“Blank Space,” Taylor Swift
“Thinking Out Loud,” Ed Sheeran

Who Should Win:  The song that got me this year was the Khalifa/Puth duet from the movie Furious 7. The song’s usage, coupled with the death of actor Paul Walker, made it a tremendously poignant song and one that had an impact on many people. It was such a heart-wrencher that, during the People’s Choice Awards, actor Vin Diesel broke into song – and tears – singing this song to honor Walker as he accepted the award for Best Film.

Who Will Win:  If he is overlooked on the Album of the Year race, this is where Grammy voters will try to make it up to Lamar. It is also possible that this could be said to Sheeran, too, should he not win Record of the Year.

BEST NEW ARTIST

Courtney Barnett
James Bay
Sam Hunt
Tori Kelly
Meghan Trainor

Who Should Win:  Tori Kelly has perhaps the richest voice that I’ve heard in quite some time. She’s probably going to be the artist that has the best career out of this bunch, but that doesn’t mean anything right now. This is a category that once honored A Taste of Honey over Elvis Costello and The Cars, remember that.

Who Will Win:  It’s Trainor’s award to lose. She’s by far had the most commercial success with “All About That Bass” and her debut album and she does bring that “doo wop meets hip hop” sound that Grammy voters think is so unique (sorry, my sarcasm monster escaped). There’s sometimes you shouldn’t combine musical genres and this is one of them.

BEST POP VOCAL ALBUM

Piece by Piece, Kelly Clarkson
How Big, How Blue, How Beautiful, Florence + The Machine
Uptown Special, Mark Ronson
1989, Taylor Swift
Before This World, James Taylor

Who Should Win:  Readers will know that I have a tremendous admiration for Florence +The Machine and they should win this award hands down. How Big…, from start to finish, was the most complete work that the band has ever done and should be recognized (also wonder why it isn’t nominated in the Alternative category, but I digress). I’ve also enjoyed Clarkson for years, but this last album wasn’t her best work.

Who Will Win: Once again, if Swift doesn’t get any of the “big” awards, this would fall to her as a consolation prize. I could also see the Grammy voters pulling a fast one here, though.

James Taylor getting nominated in this category would be prime for one of those idiotic moments in Grammy history when someone is honored WAY past their prime (don’t get me wrong, this isn’t to say Taylor’s latest album isn’t any good, it just isn’t his best work) for their career. Other examples of this would be Steely Dan’s 2001 Grammy win for Album of the Year for Two Against One (over more deserving subjects as Eminem, Paul Simon, Radiohead and Beck) and the inaugural Hard Rock/Metal Performance Vocal or Instrumental Grammy in 1989, which went to Jethro Tull over Metallica (still one of the greatest tragedies in Grammy voting).

BEST ROCK ALBUM

Chaos and the Calm, James Bay
Kintsugi, Death Cab for Cutie
Mister Asylum, Highly Suspect
Drones, Muse
.5:  The Gray Chapter, Slipknot

Who Should Win:  One of the breakout bands of 2016, Highly Suspect should be the ones who walk on the stage on Monday night to pick up this award. Other than Best New Artist, however, Grammy voters are wont to giving out accolades to newcomers (unless said newcomer just blows everyone out of the water); they are more apt to vote for those that have paid their dues in the business. Hence…

Who Will Win:  This is an easy one for Muse to take home. Although Drones is quite a distance from their best work (I’ve always been partial to The Resistance myself), Muse has put the required time in and it is their time to be rewarded. With only one Grammy win, Slipknot (2006 for Best Metal Performance for “Before I Forget”) might also be in the mix.

BEST ALTERNATIVE MUSIC ALBUM

Sound & Color, Alabama Shakes
Vulnicura, Bjork
The Waterfall, My Morning Jacket
Currents, Tame Impala
Star Wars, Wilco

Who Should Win:  I have to admit, I haven’t given this band much of a listen, but many in the industry say that Tame Impala is one of the big up and comers in the Alternative scene. Perhaps when I see them come up on Sirius XM I’ll give them a stronger listen because, at this point, they really have failed to grasp my attention – but, then again, I might not be the audience that they are targeting!

Who Will Win:  Once again, we come back to one of those “if you don’t…/then you will…” situations. If Alabama Shakes doesn’t garner Album of the Year, this is going to be their consolation prize.

KaseyMusgraves

BEST COUNTRY ALBUM

Montevallo, Sam Hunt
Pain Killer, Little Big Town
The Blade, Ashley Monroe
Pageant Material, Kacey Musgraves
Traveller, Chris Stapleton

Who Should Win:  In her sophomore effort, Musgraves has shown she is going to be a force to be reckoned with on the country music scene (and one of the few country artists that I like). She could have stuck close to what won her the Best Country Album Grammy in 2013 (for Same Trailer Different Park) but Musgraves instead chose to challenge herself by moving in a more artistic direction both lyrically and musically. In a genre that likes its artists to stay in their lanes, Musgraves is pretty refreshing.

Who Will Win:  Unfortunately for Musgraves, Stapleton is kind of unseating her in the “individuality” streak. A longtime bluegrass and country musician and writer who backed up such diverse artists as Adele and Brad Paisley and written songs with Peter Frampton, Sheryl Crow and Vince Gill, Stapleton finally decided to step out from the shadows and show himself. The resulting effort was Traveller which, if it doesn’t garner any big awards, should see the country side of the aisle recognize his efforts at the minimum.

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So what do you see as the big awards for the Grammys come Monday night? Or will you even be watching? Who knows, we may see Lady Gaga, during her tribute to late, legendary David Bowie, actually come out dressed as the Thin White Duke himself!

Mr. Robot a Unique Trip; Florence and the Machine’s Latest Rocks

The most fun thing about entertainment – be it movies, television, music, books, video games or whatever – is that individual tastes are accentuated. Because of this enhancement, there is virtually anything out there that people can digest and, perhaps, things that particular people avoid like the plague. Two things recently have raised my metaphorical radar in that they are excellently done and intriguing, at least to me.

Lately, television has been a bit of a wasteland for me. The last show that I REALLY got into was Leverage (as you already know) and it has been a trial to find something else to garner my attention. There’s only so many athletic events, historical shows (think Henry Rollins’ 10 Things You Don’t Know About…) and movies (VERY few) that you can watch before you would like to see something weekly that you feel invested in. On my DVR right now is the USA Network’s Dig (just waiting until the right moment – as in the announcement of a second season – to burn those off), but it will have to wait until the conclusion of USA’s Mr. Robot.

Mr. Robot is the story of a computer security drone named Elliot who shuffles through his humdrum life by day working for an omnipotent company called E Corporation (or “Evil Corp” to Elliot and his fellow employees – on a side note, the logo for Evil Corp is quite reminiscent of the Enron logo) and, by night, becomes a hacker vigilante who tries to right the wrongs in society. In the very first episode, Elliot finds out a local restauranteur is a pedophile and, rather than bribing the man with the information for a financial profit, turns him into the authorities.

It’s not enough for Elliot, however. He has a massive addiction to morphine, grinding up pills to snort them directly into his system, and counters it by taking anti-addiction medication to maintain a sense of stability. Elliot also is extremely antisocial, even around his childhood friend (and maybe a feeling of more from him) Angela, a manager at the security company that both work for.

Through their company’s work in providing computer security for Evil Corp, Angela and Elliot detect a hack during a DDoS (Distributed Denial of Service) attack that requires Elliot to fly with the head of the company to access Evil Corp’s massive computer database and eradicate a file before said attack ravages the Evil Corp systems. Elliot finds the particular bug file and, strangely, the file is directly addressed to whomever finds it. The file requests Elliot to leave it in the system, which Elliot does (with a few changes that put him in control of said file) and, from there, Elliot is off on a ride that he (and the audience) have no control over.

Elliot learns that the hack came from a group called “fsociety” (a clean version of “Fuck Society”) and its leader, a mysterious and legendary hacker by the name of Mr. Robot. Mr. Robot has a vision of leveling the playing field for all of mankind against the corporations and governments that “shackle” them through eradicating all records of debt that people have accumulated in their lives. Elliot, by the end of the first program, isn’t sure which side he wants to be playing for.

Not to give away too much about the program (it is currently up to its seventh week on the USA Network), but it is as trippy as it is intriguing. Add in a Chinese hacker team known as the “Dark Army,” a Russian couple, with the husband being a high-ranking member of Evil Corp (and both with some sinister plot as well as slightly twisted minds) and a member of “the 1% of the 1%,” as Elliot learns, gangbanging drug dealers (remember, Elliot’s an addict) and various other twists and you might find your head spinning.

Part of the reason I like the program is those twists that you don’t see coming. It has a darkness to it that is realistic and, along with that point, the characters speak as a normal person would (you’re going to hear “shit,” “dickhead,” and other assorted vulgarities, including bleeps for where “fuck” has been uttered). But it is done naturally and in the flow of show so, to me at least, it is unnoticeable. There are some plot holes and reality checks during the proceedings, but the science behind the hacking and how complex computer and internet are – or how lacking they may be – is solid.

They couldn’t have cast anyone better than Rami Malek to play Elliot. He delivers on the character with some excellent acting in the role and his appearance – some of it HAS to be his own – give you the impression of someone who is dealing with an opiate addiction. I also really enjoy Christian Slater as Mr. Robot; he is able to play psychotic, caring, nurturing, demanding and rebellious, sometimes all within the same scene.

If you’ve got On Demand with your cable system, you might want to catch up with Mr. Robot as it is well worth the time spent (the first six episodes should be there). Once you’ve caught up, Mr. Robot airs on the USA Network on Wednesdays at 10PM Eastern Time.

On the musical front, I often despair. 2015 has been dominated by the post-teenage Disney chicks such as Ariana Grande, Demi Lovato and others that I just can’t get into fully. I can enjoy Jason Derulo and Bruno Mars, but other male vocalists just don’t capture my attention.  Nicki Minaj and Iggy Azalea aren’t exactly my taste and don’t even get me started on Taylor Swift. Never has someone done so much with so little talent, except maybe for a Kardashian. And she’s supposed to be what many consider a “fashion plate”; in my eyes, the clothes looked better on the hangar than on Swift (I’ve seen 2×4’s with more curves).

As such, I normally go to alternative music, although my penchants favor the hard rock/metal scene (and most of that, honestly, even bores me nowadays). Recently Florence Welch and her band, Florence and the Machine, released their third album called How Big, How Blue, How Beautiful. Many of you might not have heard of the band since their debut back in 2009, when the song “Dog Days Are Over” was a big hit on radio. But Florence and her gang aren’t easy to put into one of the nice little cubbyholes that music likes to use, hence the band’s difficulties over the past six years.

Their debut album Lungs was a treasure trove of different musical stylings that demonstrated the power of Florence and the Machine’s music and, in particular, Welch’s voice. Along with “Dog Days Are Over,” the song “Kiss with a Fist” and “Hurricane Drunk” were the outstanding tracks that showed the promise of the band. They were rewarded with being nominated in 2011 for Best New Artist at the Grammys, an award that went to Esperanza Spaulding (who?) over the group, the rapper Drake, the folk band Mumford and Sons and even Justin Bieber.

The follow-up to Lungs, 2011’s Ceremonials, was an even bigger hit for Florence and the Machine, allowing for the group to really take their time before stepping into the studios for their next effort (that and the closure of their record company, Universal Republic Records, helped to give that time). Going back to the studio last year following the breakup of Welch’s then-relationship, How Big, How Blue, How Beautiful was recorded and released in June 2015, with the band touring the major music festivals, including last weekend’s Lollapalooza show in Chicago.

The musical stylings of How Big, How Blue, How Beautiful, run the gamut. On the first single, “Ship to Wreck,” Florence and the Machine echo Morrissey, albeit with a few more guitars and a lot more power. “What Kind of Man” is a rocker that sounds as if the Tower of Power horn section was imported for backup, while “Caught” and “Delilah” capture the attention of the listener. Along the way, Welch’s powerful and emotional vocals rule the roost, evoking memories of a more-rock oriented Kate Bush or, for a more contemporary comparison, Adele. In fact, a sing-off between Welch and Adele would probably lead to a stalemate as both blow speakers out with their vocal talent.

All three of the albums are well worth owning, but How Big, How Blue, How Beautiful is the way to go for a complete look at the power and potential of Florence and the Machine. Be sure to get the extended version as it contains “Make up Your Mind” (another outstanding song) and the demo version of the title track, showing the development of the song from incarnation to finished product. You can’t miss out on what should prove to be the album that takes Florence and the Machine further into the consciousness of music audiences.