Tag Archives: Bruce Springsteen

Jingoism Versus Activism: The Difference Between Country and Rock Regarding 9/11

Rock and roll has long had a history of activism, political commentary and “calling out” those in power who are abusing their positions. Folk music was the catalyst for this, then country music somewhat picked up the banner. In the 1960s, however, political discussion in music became the domain of rock music.

The Vietnam War was the spark that lit this fire. As young men from the U. S. were sent to their potential doom in someone else’s battle, many rock artists and groups pointed out the ludicrous nature of this endeavor. Perhaps the best example of this was in the Crosby, Stills and Nash classic “Ohio,” which took on the dual tangent of the Kent State Massacre and the involvement of the U. S. military in the quagmire in Asia.

From then on, rock music took on several political targets. The birth of punk was in direct rebellion against the “corporate” nature of the music industry and government. Soul, funk, R&B and rap showed how life ACTUALLY was on the streets of inner-city America, despite the glowing terms of what the politicians said. Country, for the most part, took off into a “star-spangled” obedience of those in charge, refusing to question anything about everything.

As we approach the 20th anniversary of 9/11, this divergence has never been more apparent. While country music continues wrapping itself in the jingoism and faux patriotism that they do so well, rock music actually points out where there are problems in the system. This is pointed out in the work especially well in the music that came out from artists and groups after the attacks of that fateful day.

Many of the songs from rock musicians tried to tell the stories of those from the perspective of people who actually were in the situation that 9/11 presented. Bruce Springsteen and the E Street Band gave us “The Rising,” a song focused on a firefighter who attempted to rescue those in the World Trade Center after the attack. Yellowcard did the same thing in their song “Believe,” writing about the rescue workers who faced the challenges of the destruction.

Sleater-Kinney, Rush, and Paul McCartney all presented songs about the attacks of 9/11. My Chemical Romance actually was formed after the 9/11 tragedy, with their first song “Skylines and Turnstiles” written by vocalist Gerald Way after he witnessed the Twin Towers fall on that day. Rappers stepped up with their own contributions, including The Beastie Boys, Twista and Faith Evans, Eminem, and 50 Cent, while other singer/songwriters like Tori Amos, Sheryl Crow, John Hiatt, and Melissa Etheridge added in their contributions.

So, what about country music?

Toby Keith - CBS News

Much like the rest of its sophomoric output, country music wrapped itself in imagery of the flag, the “righteousness” of religion and the “kick assery” that the badass U. S. of A. was going to inflict on ANYONE (they weren’t very particular, to be honest) that crossed their path. There were several artists who epitomized this moronic, Neanderthal mindset.

Toby Keith was perhaps the worst of them all, with his idiotic “Courtesy of the Red, White and Blue.” The song’s subtitle is “The Angry American” and Keith brought out about every trope there was about idiotic Americans and their perceived “exceptionalism.” Keith wasn’t the only one who fell to this mindset, however. The Oak Ridge Boys, Alan Jackson, and The Charlie Daniels Band were just a few of those who chose to go uber-patriotic instead of actually caring about the people involved and what brought about the situation (and this isn’t even mentioning Lee Greenwood’s “God Bless the U. S. A.” and its “God only supports godly Americans” idiocy).

This perhaps is more of a demonstration of the division of the musical genres by political calling more than anything else. For the most part, those that hew conservative (or vote Republican) want to “rally around the flag” and trumpet about their patriotism rather than actually doing something about the situation. Those that hew to the liberal side (or vote Democratic) find stories in the midst of the overarching situation and choose to tell those stories in an attempt to effect change, both political and otherwise, through their musical endeavors.

Sure, there are those that don’t match up with these thoughts. In the rock world, there is Ted Nugent…no more needs to be said. Kid Rock has also shown his asshattery through his words and stances. Country is also changing, with artists such as Willie Nelson, Jason Isbell, The Chicks, Maren Morris, Kacey Musgraves, The Highwomen and many others demonstrating with their actions that they are progressive-minded people.

Popular music and the arts as a whole are reflective of what the situation is in the country or city-state, something that has been true since the Greeks first offered their poetry, dramas and music for the citizens of Athens. This nation has been polarized since at least the day of the 9/11 attacks and, as a result, particular arenas of the arts have been “claimed” by those for their purposes. It isn’t surprising, then, that country music went to the chest-thumping, flag waving side (although Johnny Cash was reportedly quite liberal in his thought process), and that rock music went to actually trying to question why things happened the way they did.

The problem is that there won’t be a cure for this. The camps are entrenched in their beliefs, although you will have those that “rage against the machine” and demonstrate their individualism. Instead of being the unifying force that many think the attacks of 9/11 were, they have actually laid wide open the crevasse that exists between both sides – and this extends to the arts and music especially.

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Five In, Five Out – Making Changes to the Rock & Roll Hall of Fame

Everyone currently is ensconced in discussions about who will be the Class of 2021 for the Rock & Roll Hall of Fame. I am going to step onto a rail that I often do not like to look, however. Imagine the scenario: suddenly John Sykes, the Chairman of the Rock Hall, has become incapacitated and you have been put in charge as only the third Chairman of the Rock & Roll Hall of Fame. For your first day, you can, on a ONE TIME ONLY basis, add five artists or groups to the Rock Hall. The trick is…you also must remove five artists or groups from the pantheon of rock gods.

Usually, I am not one who enjoys these mental exercises. Besides the fact that it is demeaning to an artist or group that worked their ass off to reach this pinnacle in their career, it also is a worthless use of brainpower because it isn’t going to change anything. At the end of the day, what I am thinking is not going to change what has already gone before – about the only way I am going to fix that is becoming good friends with Doctor Emmett Brown and tooling around in his DeLorean for a few hours.

It is human nature, however, to wonder about an “alternate history,” something that does fascinate me. There are plenty of books out there that offer a supposition of what the course of humanity would have been if a particular point in history changed. It is something that is also done in the military (wargaming is all about trying to deduce what would happen IF), in business and in gaming (figuring out what an opponent will do from different approaches).

One of my favorite streaming shows was The Man in the High Castle, the Amazon Video adaptation of the Philip K. Dick book. In that show, the Axis Powers won the Second World War and divvied up the States of America. A huge chunk of U. S. became a Nazi territory, the Pacific states were occupied by imperial Japan and a thin strip down the Rocky Mountains was left as an “Unclaimed Territory” that was essentially a “no man’s land” for those who looked to continue the war against the Axis. It was a terrifyingly realistic possibility, including the way that Dick saw how easy it would be for “Americans” to turn against their own, especially with a ruling Nazi Party or Imperial Japanese Army occupying the country.

What if the South had won the Civil War? What if John F. Kennedy had not been assassinated? What if 9/11 had not happened? These are things that many minds have considered, some realistically and some for dramatic effect. While it does not even come close to some of these monumental historical events in the human timeline, it is why I decided to change my mind and take on the question of the Rock & Roll Hall of Fame, at least on this occasion.

The only rule I held myself to is that, in my opinion, that the change I was making would be an IMPROVEMENT to the Rock Hall. I am not going to be intellectually lazy and say “(insert artist/group here) isn’t RAWK enough to be inducted” or “they don’t play RAWK music.” People who make this argument are simultaneously intellectually bereft and have no understanding of “rock and roll” history. I’ll try my best to make the argument for whoever I put in and whoever I take out – but it will not be based on the genre of music they do.

Let’s get it started, shall we?

Judas Priest IN – Bon Jovi OUT

There is plenty of other hard rock/metal bands that had much more impact and relevance on the development of the genre than Bon Jovi. A few of them are the aforementioned Judas Priest, Motorhead, Iron Maiden (on the ballot this year), Slayer, Anthrax, and Thin Lizzy, among many others. Judas Priest has, for 50 years, been the standard bearer for the music and, as such, they deserve to receive the acclaim they deserve while they all are still able to enjoy it.

Bon Jovi did little to have an impact on the genre. Basically, all Bon Jovi had was sales, which is not supposed to be a criterion for induction into the Rock Hall. It is reported that, upon hearing that the band had been nominated in 2018, Bon Jovi said “About fucking time.” That is not someone who is showing respect for the honor that induction into the Rock Hall is. If it had been my choice, they would have been waiting for a while longer, if not permanently.

Warren Zevon IN – Laura Nyro OUT

Zevon was one of the developers of the “California sound” that became prevalent in the 1970s. Many of the prominent artists from that decade – Jackson Browne, Linda Ronstadt, The Eagles, Bonnie Raitt, Bruce Springsteen and others – collaborated with him on his and their music or they performed his song. His storytelling and lyrical content were beyond compare; very few writers could come up with the twists of storytelling that Zevon could concoct.

Can you name a song that Laura Nyro had her hands on, either as a songwriter or as a performer? I know Nyro is one of those that is staked to the whipping post when it comes to inductions that the Rock Hall has made, but I have literally gone through her discography and cannot recall ever playing one of her songs or a song she wrote. It seems to me that Nyro was one of those inductions made by the Rock Hall to appear more “artistic.” That isn’t always a good idea.

Tina Turner IN – Stevie Nicks OUT

Tina Turner completely reinvented herself from her 60s image. In the 80s, she became a strong, vibrant performer who completely stunned audiences with the power of her work. It was such a departure from her previously inducted self (with Ike Turner, something that she might want to forget, too) that it more than deserves a second induction as a solo artist.

While Nicks is a tremendous performer, her solo work wasn’t that outstanding, to be honest. Already in with Fleetwood Mac, I do not believe that her solo efforts were that groundbreaking…entertaining, yes, but not groundbreaking. If you do not think Turner is a qualified choice for a second induction, then you would have to argue that Diana Ross as a solo performer was more deserving. Either Turner or Ross should have been the first female double inductee, not Nicks.

Kraftwerk IN – The Lovin’ Spoonful OUT

One of the biggest oversights by the Rock Hall has been its inability to induct the German band Kraftwerk into its hallowed halls. If there is a group that is identified with electronic rock – keyboard-based music – it would be Kraftwerk. Outside of Europe, however, the group had a difficult time finding success, especially in the U. S. This may be the exact reason that they have yet to be inducted into the Rock Hall despite being nominated six times and influencing entire generations of performers with their innovation.

The Lovin’ Spoonful were the beneficiaries of timing. Inducted in 2000, the band was around in an era when the Rock Hall voters were already through the truly immortal artists and were beginning to scramble around a bit to find qualified inductees to honor. In the years prior to the induction of The Lovin’ Spoonful, such questionable choices as Gene Vincent, Lloyd Price, Dusty Springfield, and Del Shannon were ushered into the Rock Hall. Just because you were struggling to come up with inductees should not be a reason to put someone in.

Joan Jett IN – Joan Jett OUT

I am sure that you are looking at that and saying, “How could you do that?” The simple fact is that Jett deserves to be in the Rock Hall. She was just inducted with the wrong group.

Jett’s work with The Runaways was by far more deserving of induction into the Rock Hall than Jett’s work with The Blackhearts (sure the guys in The Blackhearts enjoy hearing someone say that). The Runaways carried on the work of Fanny, The Pleasure Seekers, Janis Joplin, and Grace Slick to the next level – an all-female band that wrote their own stuff and played their own instruments. They were the forerunners to The Go-Go’s, The Bangles, The Donnas and several other all-female groups that have had great success following the glass-shattering by The Runaways.

I would rather see all those that I said should be “in” be inducted in their own right and leave the others in, too. They have earned the right to be called a “Rock & Roll Hall of Fame inductee” regardless of my personal thoughts. But if we are going to play the “alternate reality” game, who would you put in and take out?

Turning Back the Clock with New Releases from Bruce Springsteen, Prince

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If it seems like you’ve stepped into the DeLorean from the movie Back to the Future when you look at the Billboard Album charts, you would be correct. Later this week, Madonna’s new record Madame X will ascend to the top of the charts. Likewise, veteran rocker Bruce Springsteen will be there in the second slot with a collection of western swing and acoustic tunes on his album Western Stars. Finally, the late Prince will make his own appearance as his estate releases his Originals CD, a collection of demos that the Purple One performed and gave to other artists for their own success.

All three of these artists were highly influential on the development of MTV – you know, that channel that used to show music videos before it devolved into a reality show hub of hedonistic and oversexed muscle heads from New Jersey and knocked up teenagers before they head to porn to make a living. And Madge and “The Boss” have been in this position before – in 1985, with her Like a Virgin album taking down his Born in the U.S.A. in February of that year. Since I’ve never had a great affection for Madge, however, we’re going to focus on the two men in this look back in time, Prince and Springsteen, and what they bring to the table.

PrinceOriginals

For better or worse, the late Prince’s estate is continuing to release materials from “The Vault,” which supposedly contained thousands of Prince’s outtakes from studio sessions that either he never felt should be released, that he didn’t consider good enough for release or that he felt he could still work on and improve. Last year, The Prince Estate released Piano and a Microphone 1983, a stark piece of work that showed Prince’s creative process but also highly early drafts of songs he could have made better. Reviews for that were mixed because of these facts and those arguments will be revived for his new CD.

On Originals, The Prince Estate has cobbled together 15 songs that Prince originally wrote and put down on tape, but then did the unexpected. Whether he planned on it (and, with some of the songs, it was planned) or whether it was out of the blue, Prince gave the songs and, perhaps most importantly, the credit for creation to other artists. This is unheard of in the industry; the most valuable right that an artist can have is the songwriting credit, which gives a lifetime of royalties for performance and playback.

The CD begins with two songs that were readily recognizable as Prince songs but were made famous by others. “Sex Shooter” (done in the move Purple Rain by Apollonia 6) and “Jungle Love” (performed OUTSTANDINGLY by Morris Day and the Time in the same film) sound as if they could have come off the movie soundtrack. While “Sex Shooter” sounds more come hither with Apollonia and her backing singers, Prince does give the structure of the song. The same can be said for “Jungle Love,” but it is arguable that Day and Jesse Johnson, the guitarist on the song, provided the swagger that it would eventually earn.

The third song on the CD is arguably the most noteworthy of the songs on the collection and shows how artists collaborate well. “Manic Monday,” which an infatuated Prince gave to Susanna Hoffs of the Bangles, is a powerful piece of pop craftsmanship in the hands of the Purple One. All Hoffs and the Bangles had to do was fill in some blanks, changing some of the piano tracks and adding in the four-part harmonies that they were famous for.

What are the jewels of Originals, however, are the lesser-known tracks. Tunes that were recorded by Vanity 6 (“Make-Up”), Mazarati (“100MPH”) and – believe it or not – Kenny Rogers (“You’re My Love”) could have used a little support from their Creator, but he was happy to just be able to try to help his proteges/friends. And, to finish off the record, the simply amazing recording of his version of the song he would give not only to Sinead O’Connor (and would make her an international superstar) but also to The Family, “Nothing Compares 2 U” closes the album with a smash.

Even though I am an unabashed Prince fan, I STILL feel a sense that we aren’t supposed to be hearing these pieces, however. Much like when Microphone came out last year, it almost seems as if you’re infringing on the private thoughts and noodling of an artist in a creative process, not someone who was laying down a track for the public to hear. On these songs, Prince was giving the framework to the performers who would later make them smashes. He WASN’T doing it for himself and he probably never intended for them to be heard, content in staying in the shadows and allowing his friends to shine on their own.

Does this mean I am going to stop purchasing the new releases when The Prince Estate puts them out? HELL NO! Originals is an outstanding piece of musical history and, arguably, should have been released last year instead of Microphone. It shows that Prince was quite altruistic with his creative output (for whatever reason that may be) and it did help some artists become big and big artists become huge because of his involvement. It also shows that he could have made these songs hits on his own, but he decided they were better in the hands of others – truly a man who knew his boundaries.

SpringsteenWesternStars

Another performer also known for letting other artists make hits out of his songs is Bruce Springsteen. Such artists as Patti Smith and 10,000 Maniacs (“Because the Night”), Manfred Mann’s Earth Band (“Blinded By the Light”), the Pointer Sisters (“Fire”) and even the late Natalie Cole (“Pink Cadillac”) have recorded his songs, entrenching him as one of the great songwriters of our time. But artists are going to have a hard time remaking anything from “The Boss’” most recent work.

Western Stars is a love letter from Springsteen to the “California sound” of music from the 70s that fused country and rock into a softer sound. To be honest, though, it misses the mark in that area. It isn’t an ode to the sounds of Fleetwood Mac, Jackson Browne, the Eagles and Linda Ronstadt; in fact, it’s difficult to determine just WHAT sound Springsteen is going for on the CD.

Springsteen uses way too much orchestration for it to be a “country rock” album in the vein of those 70s artists. But it doesn’t quite reach all the way to country music nor western swing music. There seems to be but one reason for the CD to be in existence…Springsteen’s gravitas as an artist.

It isn’t like Springsteen hasn’t done some off the beaten path material in the past. After the success of The River, people were expecting a massive smash from “The Boss.” Instead, Springsteen gave them a stark, four-track album of acoustic material that was artistically outstanding in Nebraska. He would repeat this style of acoustic music a little more than a decade later on The Ghost of Tom Joad (the title an homage to John Steinbeck’s novel The Grapes of Wrath about the western dust bowls of the 1930s).

SpringsteenWestern

But this effort from Springsteen lacks something. On both Nebraska and Tom Joad, there was a heart and a passion to the music that made it sound like Springsteen was invested in the work. With Western Stars, it sounds like Springsteen is going through the motions, not really putting his all into the music and content to tread the same musical boards he’s walked before.

This isn’t to say that there aren’t some good pieces among the 13 tracks on the CD. “The Wayfarer,” “Drive Fast (The Stuntman)” and “Chasin’ Wild Horses” evoke some of what Springsteen might have been attempting to do with the album. The rest, though, have an overdone quality, especially with the sweeping orchestral arrangements that you never heard on a Jackson Browne or Warren Zevon (another troubadour responsible for the “California sound”) song.

At 69, Springsteen has earned the right to do whatever the fuck he wants to do when it comes to his music. And, if you’re like me, you’ll be there to pick it up when he puts it out for the public. But for those who were looking at Western Stars as an album in the strain of the Eagles or some other stalwart of the “California sound,” you’ll be a bit disappointed.

Protests Only Work When It Hurts…

It’s funny the things that will come up when you’re in the process of moving. During me and my wife’s latest move from the foothills of North Carolina to the Gulf Coast of Florida, I happened across probably one of the more disappointing moments from this year (at least until possibly the election in November)…

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Now, the seats weren’t fantastic – in fact, they were at the other end of the arena from where the stage was situated. But they were square on with the stage and would have offered a great opportunity to see much of the crowd enjoying the show from Bruce, one of the legendary performers in rock history (I could tell stories about seeing him in 1980 for a six-plus hour show, but we’ll save that for another time). My wife and I were eagerly anticipating the show as it had been many years since either of us had been able to see “The Boss” in action.

Then the North Carolina General Assembly and asswipe Governor Pat McCrory got their panties in a bunch.

In February, the Charlotte City Council passed an ordinance extending protections to the lesbian/bisexual/gay/transgender (LGBT) community. A part of this ordinance – and the issue that sparked the most controversy – was the provision for allowing people to use the restroom of their gender identity, rather than that of whichever sex they were born. In essence, the ordinance allowed those who were in the process of shifting from one sex to another to use the restroom of that other sex (male transgendered individuals could use female restrooms and vice versa).

The response by McCrory and the GOP-dominated North Carolina legislature (which has been gerrymandered to make it virtually impossible for a balanced legislature to occur – witness the THREE TIMES that the federal government has called the state’s legislative districts unconstitutional) was immediate. Convening a special session of the General Assembly (one outside the normal working times of the legislative body), McCrory and his henchmen pushed through HB2, a bill that was so overreaching in its aim it was destined for the “unconstitutional” bin almost from the start.

Not only did that bill immediately set that “all people” had to use the restroom of the birth sex, but it also removed the right for minorities and the LGBT community to sue through the state court system for discrimination. It included a provision that prevented individual cities from enacting their own laws that differentiated from state statutes. With many Democratic representatives protesting by leaving the voting floor, the statute passed through the General Assembly with only about 12 HOURS of overall discussion.

This was the end of March and, within days, the impact was felt. Several local productions in theaters around the Tar Heel State reported that the rights holders to significant stage productions (plays) were pulling their approval for performance over the bill. The streaming provider Hulu pulled the production of a program they had set for airing out of North Carolina over the bill and PayPal suspended expansion of its operations center in the state. This was but the tip of the iceberg, however.

allstarcanceled

Many entertainment artists have also pulled out of shows that they were scheduled to perform, including “The Boss,” Pearl Jam, Boston, Bryan Adams, Ani DiFranco, Ringo Starr, Nick Jonas and Demi Lovato and Cirque du Soleil. The real thunder came down, however, over the past couple of months, first with the National Basketball Association’s removal of the 2017 NBA All-Star Game from Charlotte. Then, just yesterday, the National Collegiate Athletics Association (NCAA) removed SEVEN championship games or playoff sites from the state, citing the law as the reason. All totaled, the loss of business regarding all of these repercussions could total to as much as half a billion dollars by the year anniversary of HB2’s passage, with the NBA All-Star Game accounting for about $100 million of that total, and could even impact future business in the state.

The reason this came back to me was not only a result of the move. Finding that ticket stub for an unused concert was simply the catalyst for a reply to model Kate Upton’s Twitter hissy fit over athletes not standing for the National Anthem. Of course, over the weekend was the opening weekend of the National Football League season (and the 15th anniversary of 9/11, just coincidentally) and, following in the footsteps of San Francisco 49ers quarterback Colin Kaepernick’s continuing protest against inequality in the United States, some players either did not stand for, knelt in protest or displayed the “Black Power” salute as the National Anthem played. This bunched Upton’s panties, who stated, “This is unacceptable. You should be proud to be an American. Especially on 9/11 when we should support each other.”

The continued attention being drawn to what has now become a movement (hey, if a subject catches the nation’s attention for more than two years – yes, it’s been that long since the death of Michael Brown in Ferguson, widely considered the spur – it is a movement) is only done when a protest has an impact. Kaepernick has been vocal in the past regarding the issues of black people in the United States and their treatment at the hands of law enforcement, but no one was paying any attention to what he was saying. It wasn’t until his act of defiance of not standing for the National Anthem – and attention was drawn to the fact that he was doing it – that there became a national conversation (admittedly sometimes not about what Kaepernick wanted to talk about, as with Upton’s attempt at using her First Amendment rights by silencing Kaepernick’s, but still there was discussion).

nflprotest

For a protest to have an impact, there are a couple of things that it should have. It has to have some financial teeth, some fiscal bite, that pushes some to reconsider their positions (it also has to have a side that understands those fiscal implications – apparently North Carolina Republicans are morons if they issue this response). Along with that, it should have some emotional impact on people. There were plenty that were upset over Springsteen’s decision to not perform in North Carolina, just as there are more than likely many upset that Demi Lovato didn’t come to North Carolina or that LeBron James won’t be making an appearance during the NBA All-Star Game in the state. A protest only works when it hurts, either physically or emotionally. That is what makes a protest enact the change that comes about (eventually) with issues.

I’m putting those unused Bruce Springsteen tickets back in the desk as a reminder to myself for a couple of reasons. One, something has to be lost (in some cases) for a protest to have its desired effect, and Two, there is the ability to protest at all levels, from the richest of us all to the poorest. It will be some time before the protests of the actions in North Carolina and the national discussion of inequality are adequately addressed, but hopefully it is sooner than later.

Rail Against a Theocratic Government? Start with The GOP’s Vision for the United States…

It wasn’t always this way. There was a time when the Republican Party was one that stood up for business interests, be they the street corner “mom and pop” shops or the monolithic companies such as General Motors or General Electric that employed thousands of workers. They stood for a strong defense, a military that was prepared to do battle anywhere but wasn’t wasted on piddling matters that weren’t of our nation’s interests. They also could, at one point in their history, be the spark of what were some of the great movements in the United States, changing what would be the course of our nation.

So what happened to the “Grand Old Party,” the GOP, the Republicans? Religion, and in particular the zealous “Religious Right” is what happened to them. (And this guy? Your guess is as good as mine…)

Over the past few weeks, a couple of states in this country – both with Republican leadership in their legislatures and Republican governors – have passed some of the most heinous laws this country has seen since the Jim Crow days following the close of the Civil War.

Bathroom

In North Carolina, Governor Pat McCrory (who has that same sheepish “look what I got away with” bullshit smirk that President George Bush [Bush II] had) signed into law HB 2, officially titled the “Public Facilities Privacy and Security Act.” Much like other Republican bullshit laws like the “Patriot Act” or the “Troubled Asset Relief Program,” HB 2 was a move by the GOP-led General Assembly to thwart an ordnance that was passed by the city of Charlotte – and only applicable in that city, it must be stated – that allowed for transgender persons to use the bathroom facilities of the sex that they identified with (as such, a man in the process of switching to being a female would use the ladies’ room and vice versa). Calling a special session of the General Assembly to Raleigh (at a minimum cost of $42,000 per day for a state currently running a budget deficit), the GOP felt this HAD to be addressed.

The law specifically outlawed transgendered people from using the restroom of their changed sex, saying that they had to use the facilities of the sex they were identified with on their birth certificate (which of these GOP assholes is going to be the guardian at the gate?). Not only was this an abomination, the General Assembly went further in stripping the rights from lesbian, gay, bisexual and transgendered people (LGBT) from state anti-discrimination protections (although they were never mentioned in any discrimination laws previously), including job protection and housing requirements. Finally – and as a last “fuck you” to the people of North Carolina – the General Assembly made it law that no city can raise their minimum wage over what the state deems correct (this is irritating enough on its own).

North Carolina doesn’t take the prize for being the biggest bigots on the block, however. Mississippi voted through the “Religious Freedom Restoration Act (see what I mean about bullshit titling?),” through a bicameral system dominated by Republicans. In that act, the bill allows for the out-and-out discrimination against LGBT people by businesses based on religious reasons. The bill was signed into law by another Republican, Governor Phil Bryant, and is now in effect in the state.

TheProblem

Other states with Republicans running things have gotten wise and decided it wasn’t worth screwing up business dealings with other states for the potential to have such “religious freedom” laws on the books. Arizona, Georgia, Idaho, Maine and Ohio have decided that the ability to have businesses welcomed in the state, movies and television shows filmed inside their borders or athletic events contested in their arenas is better than being a social outcast. This is something that North Carolina is learning and Mississippi will probably be learning soon.

In North Carolina, the National Basketball Association is considering the removal of the 2017 NBA All-Star Game and the All-Star Game Weekend festivities from the city, with Basketball Hall of Fame member Charles Barkley seconding those statements. The NCAA is looking at its 2017 and 2018 college sports tournaments, which could host at least 20 games at venues in the state, and whether it will hold those games at those arenas. PayPal has decided against opening a global operations center in Charlotte over the passage of the law (which was to have provided 500 jobs) as Apple, IBM and Google have also lined up in opposition to the law. The streaming television provider Hulu pulled production of its pilot for a new show, Crushed, from the state and, on Friday, Rock & Roll Hall of Fame member Bruce Springsteen canceled a concert in Greensboro, citing the oppressive new law as the reason. All of these individual items could cost the state hundreds of millions of dollars in revenues and it is probably just the tip of the iceberg.

The Republican Party enjoys talking about how they dislike the theocratic government of Iran or the hideous atrocities that groups like ISIS inflict on their people in the name of religion, but let’s start with them as a zealous religious group that would look to install a theocratic reign of terror should they be allowed everything they would like to see installed (nullification of Roe v. Wade would just be the beginning). The different “religious freedom” laws are about as ludicrous as it gets as NO ONE is infringing on the freedom of ANY religion in this country. Last I checked, you could freely walk around the streets of Anywhere, USA, with a Bible, Book of Mormon, Qur’an or Torah without anyone accosting you. You can gather anywhere – a park, a home, a school or even an actual house of worship that isn’t taxed by said government – without the danger of having the government shut it down. You can even – shock of shocks – WEAR A PENDANT DECLARING YOUR FAITH openly in public. So quit with this bullshit of “religious freedom” and call it what it is – the new way of saying “racial or personal bigotry.”

Since the civil rights movement of the 1960s, the GOP has slowly been eaten away by the “religious right,” and it has been a slow process. It started against those who were “different” – minorities, gays (this was also the time of the Stonewall Riots in 1969), “foreigners” (screw the fact that many in this country were maybe one or two generations removed from being a foreigner themselves) or “hippies” who were against the Vietnam War. As the 70s came along, that “Religious Right” became capitalized as the GOP discovered that it was a sizeable force that presented several things that a political party likes – a solid voting bloc that won’t sway and, in most cases, quite affluent to be able to support the party financially.

That “Religious Right” became the “Moral Majority” that spewed its vile verbosity across the country in the 1980s, perpetuated by President Ronald Reagan and George Bush (Bush I). With such hucksters as Jim Bakker, Jerry Falwell, Oral Roberts (who once famously said that “God would call him home if he didn’t raise $6 million” in a certain time frame – when it didn’t happen, no one called him on his bullshit), Benny Hinn and others piping their drivel across cable networks, their power continued to grow (never mind that they couldn’t keep their privates in their pants if their lives depended on it). While it might seem it calmed in the 1990s, it only changed its face into the Neo-Conservatives.

ReligiousRight

Those “conservatives” (and I will use that term because there are SOME conservatives out there who are aghast that their GOP has been overrun by religious zealots) have destroyed what was once a party that did things, that tried to run a country. These “conservatives” now want to deny everyone anything (including gay marriage and any other rights), put Christianity as the only religion of the land and, in essence, become the same theocracy they say they preach against (they have their “perfect leader” in Rafael Eduardo Cruz). This isn’t a political party, this is a religious movement that is impersonating a political organization, not the Republican Party or GOP that was around after World War II.

Fortunately, the world is changing. There are fewer and fewer of these brain-dead religious zealots pandering to a close-minded bigoted electorate who still want to look in the bathrooms and bedrooms and keep an eye on what people do, but it isn’t dwindling quickly enough. It’s time to let the GOP know that their archaic social stances will keep them from ever being considered seriously as a political entity. Within a generation, either the GOP will have grudgingly entered the 21st century or they will have died a painful death (they may very well be in those death throes now). If it brings an end to this bigotry masquerading as “religious freedom,” then I’m all for it.

A Treatise Remembering the Thin White Duke

Many years ago, I was but a wee one who was still trying to forge my identity, my signature, my own style, if you will. At that age perhaps it was a bit young to even think about things like that, but everything you go through at that age would help hammer you into what you will become. I always had an interest in the space program – this was a time after NASA had landed astronaut Neil Armstrong on the moon, but also just after the failure of Apollo 13 put the kibosh on moon missions for a period. I also was beginning to build an interest in music, although in the beginning only one format was made available.

My mom and father were both avowed country music fans – to the point of using that line from The Blues Brothers where Joliet Jake and Elwood ask the woman what type of music was played in the honky tonk bar they’ve arrived at and she says, “Both types:  country and western” – so there wasn’t much beyond the staples of the time in the house:  Conway Twitty, Tammy Wynette, Loretta Lynn…you know, the basics. If there was some “renegade” country music played, it was George Jones or perhaps Johnny Cash, Waylon Jennings or something along that level. I always knew that there was something else out there, especially when I poked around through my mom’s album collection and saw bands that looked nothing like the country artists she listened to, folks like The Supremes, The Temptations, The Four Tops, Jefferson Airplane…I knew someday I had to hear those groups.

Fortunately, that day came much sooner than either my mom or father ever thought would be possible. My father had another son by another woman, my half-brother Monty, who sometimes came around when he was “in the area.” On one of those trips, my half-brother and I ended up riding around in his Monte Carlo, for no apparent reason, when he finally said to me, “Hey, you like space…here’s something you should check out.” He pulled out a cassette and popped it into the player. After a few moments, the intro to David Bowie’s “Space Oddity” and its fade-in synthesizers gently entered my mind for the first time.

From the first listen to that song, I was hooked not only on the artist but on the music. The guitars, the lyrical storytelling, everything was there that was in country music, it just seemed better in this format. Monty would move on a few days later – leaving the cassette with me – and I would wear it out. I only saw him a few more times over my young life and, to this day, do not actually know whether he is alive or not.

When I heard about the death of David Bowie this morning from cancer at the age of 69, I remembered that time long ago in my life and how much that Bowie had been interlaced with my existence. The days of “Space Oddity”, of course, begat the Ziggy Stardust Era of Bowie’s work, where he took on the persona of an outer space alien that came to Earth. The music that emerged from that era – “Starman,” “Jean Genie” and “John, I’m Only Dancing” being particularly memorable – seemed to be something that others in what was called “rock music” weren’t doing.

Then came the stage of Bowie’s career that I particularly enjoyed. Blending the sounds of rock, soul, German and synthesizer music, the Thin White Duke epitomized the cool of the 70s. Supposedly an offshoot of his character from the film The Man Who Fell to Earth, the Duke was a distantly cool but always in tune person. Unfortunately, Bowie probably was able to draw the ability to conceive such a character – as I learned later in life – because of massive amounts of drug use (while drug use can help artistic performance and development, it can also be the destroyer of those same worlds).

Fortunately for Bowie, he was able to emerge on the other side for what was arguably his greatest phase of his career. Following a few Brian Eno/German influenced albums (especially Low and Lodger), the 80s would be where Bowie would truly bloom. Perhaps because of the video element added by MTV – or perhaps because of his own development as an artist – Bowie would crank out his finest work in this decade. Scary Monsters (and Super Freaks), Let’s Dance, Tonight and his work with Queen on “Under Pressure,” his Live Aid performance and his duet with Mick Jagger on “Dancin’ In The Street” all gave Bowie the credit as an artist that he truly deserved. He was inducted into the Rock and Roll Hall of Fame in 1996 and, over the two decades since then, has simply delighted us fans with everything he ever did (and this is completely glossing over all the work he did in films and on stage as an actor).

And I’ve been fortunate enough to have been there for most all of it.

Bowie was formative in my early years and during my career in radio. That era of the 1980s was his heyday and was the apex of my career in Album Oriented Rock (AOR) radio and, in reflecting back on those times, it always seemed as if Bowie was just ever so slightly ahead of the curve, as he had been since his days of “Space Oddity” and Ziggy Stardust. Even after I left the radio business, his later work still had that artistic edge, looking forward to the next big thing, that was always the benchmark of Bowie’s life and career, whether it was in music, acting, art or a myriad of other areas he would dip his fingers into.

Perhaps it is a sign of age, or the passing of time, when we begin to lose our heroes, be they athletic, musical, acting or even familial, that it begins to hurt the worst. Even from my time in radio, I’ve been unfortunate to see men younger than me pass away:  Jani Lane of Warrant and Scott Weiland of Stone Temple Pilots are two who come to mind off the bat, but their deaths were from their own problems and issues. Even some of the greats that I thought I’d have in my old age, like Stevie Ray Vaughan, were unable to join me in potentially making it to my rocking chair. Lemmy just passed and some of the others, like Bruce Springsteen and others, are on the other side of 60; hell, Bono only has a few years on me!

David Bowie led one of the most remarkable lives that mankind can even imagine. He was at the forefront of his generation, but he was also mindful of his place in the world. He was an artist, but he also appreciated the beauty in the work of others. The world is a much darker place without the visage of the Thin White Duke looking down upon it.

So Who SHOULD Be In The Rock & Roll Hall of Fame?

Last week, the nominations came out for the 2016 Rock & Roll Hall of Fame and, at the very end of my thoughts, I posited the question, “Who should have been nominated?” Mind you, the list of nominees was outstanding overall: longtime overlooked acts such as Chicago, Deep Purple and Yes getting nominated again (and three bands that I believe are long overdue the honor), newcomers like Janet Jackson, The Cars and Cheap Trick (all no votes) and outside shots such as The J.B.’s (another vote in from me), Chic (no) and N.W.A. (yes). However, there were several other artists that should have been on this year’s ballot if not already inducted into the Rock & Roll Hall of Fame.

The Rock & Roll Hall of Fame is personal to me because of my long love affair with music. Despite the factor that I could never play an instrument with any high level of competence, I admire those that can create art out of music, words, melodies and thoughts. While it could be said that writing is something like that, the songwriter and/or musician is an artist that encompasses different aspects, pulling them into one cohesive idea. Thus, I’ve always been a huge fan of music overall and rock music in particular.

My first introduction to rock music dates back to someone who, unfortunately, I don’t know if they’re still alive. The year was 1971 and, riding around in a car with my half-brother Monty (his real name could have been Montague, don’t really remember) on a hot summer day, saw him pop a cassette into the tape deck. Suddenly the mystifying tones of David Bowie’s “Space Oddity” came pounding out of the speakers and, as I listened to the words and music, I was transported (you have to remember, these were the heady days of NASA’s Apollo space program) to being “Major Tom” and traveling through space myself.

From there, it was a quick indoctrination into the world of music. My mother had the classics – Johnny Cash, Merle Haggard, Waylon and Willie and others – from the country music side, but she also had such gems as The Temptations, The Supremes and other R&B acts from the 60s in the record cabinet. My investigations in the rock music genre touched on Santana, The Who, Crosby, Stills, Nash and Young and James Taylor, then began to branch out into the harder edged rock of ZZ Top, KISS and Led Zeppelin, among others (on a personal note, was always more of a Rolling Stones guy than the Beatles).

As the mid-70s passed, punk rock became the next touchstone. The Sex Pistols, New York Dolls, The Ramones – these were the gates to pass through on the way to adulthood. As I reached high school, not only was it the disco era but it was almost time for the double shotgun-blast of the New Wave from England and MTV, opening the world even further (and we cannot go on without also recognizing the New Wave of British Heavy Metal). As I had to be a part of the music scene, I did the only logical thing a person with little to no musical talent could do – I became a DJ.

Through the 1980s and well into the 1990s, I plugged along as a DJ at pretty much every radio format that you could think of doing. Album-Oriented Rock (AOR), Top 40, easy listening, R&B, adult contemporary, news/talk – about the only thing I didn’t do was country (much like “country” music today, there’s a thin line between what was country music then and pop music). Along the way, there were some great times had in the conduct of my job and…well, let’s just save those stories for another time.

Hopefully you see that who gets in the Rock & Roll Hall of Fame is important, at least to me. It isn’t “live or die” important, mind you, but it is something that I want to show my son one day and say, “Yeah, I saw them, they were great.” Maybe we will sit down and listen to a CD or, pray tell, if we still have vinyl by then, an album, and talk about music and its history. He’s got a great musical ear, however, so he may be entertaining me with his music rather than our just listening to it.

OK, getting sappy here…

My criteria for putting someone in the Rock & Roll Hall of Fame would be somewhat along the lines of what poker uses for its Hall of Fame. These are the criteria that I would use in putting someone in the Rock Hall:

1. Length of career with sustained critical or commercial excellence
2. Influence on a genre of music or on several artists
3. Respect from fellow musicians

Pretty simple, wouldn’t you say? Alas, there are some glaring errors in the Rock & Roll Hall of Fame. How about some of these artists, bands and contributors?

Warren Zevon – The singer-songwriter born in Chicago has been overlooked for far too long when it comes to the Rock Hall. Responsible for writing such songs as “Poor, Poor Pitiful Me” (covered by far too many artists to list but most notably by Rock & Roll Hall of Fame inductee Linda Ronstadt), Zevon was a part of the California scene in the mid-70s, working with such people as Jackson Browne, Neil Young, members of the Eagles and counting Bruce Springsteen amongst his admirers.

When it came to his own efforts, Zevon was beyond compare. Along with his iconic “Werewolves of London,” Zevon penned and performed such classics as “Lawyers, Guns and Money,” “Roland the Headless Thompson Gunner,” “Accidently Like a Martyr,” and “Keep Me in Your Heart,” which was nominated for a Grammy after Zevon’s death in 2003. With a career that spanned more than 30 years, commercial and critical success and the respect of your fellow musicians, there’s no one more deserving than Zevon for induction into the Hall.

Jimmy Buffett – Another product of the singer-songwriter era of the early 70s, Buffett is notable for forging his own path in the music industry. When I say his own path, I mean he created a whole GENRE of music that didn’t exist before – let’s call it “tropical rock,” music with a Caribbean/calypso/reggae/country feel that didn’t fit neatly into any of the “categories” of music in the 1970s (and still doesn’t today, to be honest). Buffett himself has said about that period, “I wasn’t country enough to be played on those stations and I wasn’t rock enough to be played on AOR.”

The way to beat that? Write a song like “Margaritaville” that transcended any charts, genres or radio stations. Today that song has led Buffett into the world of literature, casino and hotel ownership and a “40-year summer job” that the man still enjoys to this day as he approaches 70. He’s influenced a host of country musicians (the Zac Brown Band is a prime example) and, as owner of a recording studio and a record company (Mailboat Records) is ensuring that the “tropical rock” he created will have outlets for the future.

The Runaways – While Joan Jett went in with The Blackhearts last year, she really should have gone in with The Runaways because, without them, there is no Joan Jett.

The Runaways were “created” by producer Kim Fowley who, having drummer Sandy West and guitarist Jett in the fold, was looking to create a “jailbait” band of teenaged girls who could rock out just as well as any group of guys. First found by the group was Micki Steele, who didn’t last long but went on to join The Bangles, before gold was struck with guitar virtuoso Lita Ford, vocalist Cherie Currie and bassist Jackie Fox to fill out the roster. With the group lineup set, The Runaways broke ground as one of the first female hard rock/metal acts to ever have any success in the recording industry.

From the seminal track “Cherry Bomb” to other tunes such as “Queens of Noise” and “I Love Playin’ with Fire” (covered by Jett during her Blackheart days), the band earned a great deal of attention and respect in the industry. The members of the group went on to arguably better success as solo artists or in other creative endeavors, but they were the ones who helped to get such groups as The Bangles, The Go-Gos, Vixen and rock “chicks” like Pat Benatar, Chrissie Hynde and Deborah Harry (among many others) in the door. It is arguable that, without The Runaways, some if not all of these women wouldn’t have gotten into the industry.

Judas Priest – This is one of those omissions by the Rock & Roll Hall of Fame that is inexcusable. A band that has sold 45 million albums, generated rock anthems such as “Breaking the Law,” “You’ve Got Another Thing Comin’,” “Heading Out To The Highway,” “Living After Midnight”…I could go on, but you get the point. So what has kept them out?

Over the years, the band has been targeted in various arenas outside of music. They were accused of using subliminal messages in their album British Steel that allegedly caused two men to try to kill themselves. They’ve been targeted by conservative Christian groups for their musical content and singer Rob Halford has taken some sabbaticals from the band over the decades. But when you have a list of bands that were influenced by you such as Metallica, Megadeth and Pantera (among others), you’ve done your job well.

There are a slew of other artists that could be held up for consideration – The Carpenters, Kate Bush, Slayer, Bon Jovi, Thin Lizzy, Motorhead – and maybe they are just waiting for their time. There are also those “pop” artists that I am overlooking, but this is the Rock & Roll Hall of Fame, after all. If you’re waiting for a time that “works,” however, take it from someone who watches how these Halls of Fame work – if you don’t get in within your first couple of years of eligibility, your chances of getting in get worse as time goes by. All the artists listed here deserve to have their place in the pantheon of the Rock & Roll Hall of Fame…now will anyone listen and induct them?

2016 Rock & Roll Hall of Fame Nominations: Who Gets In?

It seems that there is a “Hall of Fame” for virtually every aspect of human existence. If you are into clowns, there is the International Clown Hall of Fame in Milwaukee, WI, that is in actuality a serious look at a funny industry. On the lighter side, there is a Recreational Vehicle and Manufactured Housing Hall of Fame in Elkhart, IN, the “Pig Hill Hall of Fame” in East Elijay, GA and the International Hamburger Hall of Fame in Daytona Beach, FL (look these up, you’ll enjoy the laugh). Whereas some of these exist with their tongue firmly planted in cheek, there are those that have the gravitas deserving of a memorial to excellence.

Where the Rock & Roll Hall of Fame in Cleveland, OH, lands is something that is debatable among Halls of Fame and music aficionados. In my opinion, it does honor, cherish and memorialize the greatest musicians and performers that have come through the genre. On the other hand you have my friend Mark, who believes that the Hall “is a totally lost cause and deserves to be burned to the ground…then the ground itself sewn with salt and dumped into Lake Erie.” As you can tell, just a little difference of opinion there.

Created in 1983 by a contingent of music biggest names (then-Atlantic Records founder and chairman Ahmet Ertegun, Rolling Stone founder Jann Wenner and several other prominent music executives), the Rock & Roll Hall of Fame didn’t get around to inducting members until 1986, when the inaugural class consisting of such luminaries as Chuck Berry, James Brown, Ray Charles, Fats Domino, The Everly Brothers, DJ Alan Freed, Buddy Holly, Jerry Lee Lewis and many others (here’s the list) were voted in as the inaugural class. Even after they started inducting members into the “Hall,” they lacked a physical location to properly acknowledge the inductees.

Although several cities with extensive ties to U. S. music history and the foundations of rock music, including Memphis, Detroit, Cincinnati and New York City were considered for the location, it was Cleveland that came up as the big winner in being named the home city of the Rock & Roll Hall of Fame in 1986 (Wenner was disappointed that New York didn’t get the Hall). Why did Cleveland, of all places, get the Hall? As it is with most things, it was money; Cleveland ponied up $65 million in public funding and more than 600,000 residents demonstrated their desire in signing a petition to bring the Hall to “America’s North Coast.”

Even with the money and the people in place, it would take another decade before the physical Rock & Roll Hall of Fame was built. In 1995, the I. M. Pei-designed building opened amid the fanfare of a huge concert that featured such rock luminaries as Bob Dylan, Aretha Franklin, Bruce Springsteen and Iggy Pop. Since then, it is estimated that more than 9 million visitors have made the trek to the Rock & Roll Hall of Fame to pay their respects to the legends of the industry.

Now in its 33rd year of existence, the Rock & Roll Hall of Fame has caused its share of controversy as well as celebration. For every rock legend like a Buddy Holly or Chuck Berry ensconced in rock music’s Mount Olympus, there are those such as Dinah Washington (1993), Earth, Wind and Fire (2000), Grandmaster Flash and the Furious Five (2007) and many others who aren’t exactly what you would think of when mentioning “rock music.” In particular, there is the Rock Hall’s recent moves toward recognizing “pop” music in its rolls (Madonna in 2008 and ABBA in 2010, to be precise) that seems to have angered rock “purists” beyond belief.

In my opinion, “rock music” is a wide encompassing umbrella. While some may not believe that the legendary bluesman Robert Johnson (an original inductee in 1986) had an influence on the genre, his exclusion from the Hall would be laughable for an organization looking to honor those who created “rock music.” Even such artists as Grandmaster Flash, one of the groundbreaking musicians in the rap genre, deserves induction into the Hall for his contributions to, yes, “rock music.” While I might have some personal preference issues with some of those in the Hall (especially Madonna), I’m more of the line that they are worthy of their inclusion in the institution due to their overall contributions to music in general and sometimes even rock music.

The list of nominees for induction in 2016 to the Rock & Roll Hall of Fame once again reach across the decades and the genres. So who will have the best chance to get in this year? I’ve broken it down into three categories:  Shouldn’t Even Be Considered, Borderline Excellence and Sure Shot Legends.

Shouldn’t Even Be Considered

Chaka Khan – A long career in the industry best identified by her work with the seminal R&B group Rufus, but not exactly what I would call an indispensable musical artist. Without the ability to actually cite someone that she has had an extreme influence on – perhaps Nora Jones, maybe Alicia Keys? – Khan loses points on the “legend” scale. Add in the lack of longevity to her career and I’d have to say Khan shouldn’t be considered.

Chic – If this were a question as to voting in two of the members of the band – guitarist/producer Nile Rodgers and drummer Tony Thompson – then I’d be more than willing to welcome them into the Rock & Roll Hall of Fame. The problems are that Chic didn’t last all that long – they were one of the powerhouses of the Disco Era – but both Rodgers and Thompson’s greatest work came outside of their Chic days. Rodgers has been an outstanding producer across the entirety of the musical spectrum and Thompson laid down some of his best work with the rock super group Power Station. To put the entire band in when it was really Rodgers and Thompson who are deserving of the honor is a bit much.

Los Lobos – There is more than enough room in the Rock & Roll Hall of Fame to look at how different cultures had an impact on the formation of the genre. For their part, Los Lobos is one of those artists or groups that would have to be considered. Unfortunately, they fall short on several aspects, including influence on later artists and general impact in the history of rock. Their only #1 song in the U. S. was a remake of “La Bamba,” for crying out loud. Los Lobos, unfortunately, shouldn’t have even made this list.

Steve Miller – The thing about ANY “Hall of Fame” is that it isn’t a “Hall of the Pretty Good.” That same “level” of excellence needs to be used here with Steve Miller. Although Fly Like an Eagle was a legendary album and certain songs he created are very memorable, I don’t hear any artist over the past 20 years or so admitting how much of an influence Miller was on their careers. I can’t put someone in the Hall that was simply good at doing their job, as Miller was, thus he falls into this category.

The Spinners – Once again, a case of pretty good but not legendary. The Spinners actually should be praising those legendary R&B groups before them (The Temptations, The Four Tops, etc.) as there aren’t many that note them as a seminal influence in their formation. Also not very long-lived as a group.

The Smiths – This is one of those that is on the border between getting out of this ranking and into the “Borderline Excellence” grouping. The group has had a huge influence on many other rock acts following it, but to say it had a huge degree of success might be stretching the term. Morrissey probably had more of an effect as a solo artist than the band did as a whole and longevity has to be called into question.

Borderline Excellence

Cheap Trick – As a longtime fan of the band – they were a constant on radio stations and at parties when I was growing up – I’d like to give Cheap Trick more love than I believe the Hall voters are going to give them. The band was a regional act – highly successful in the Midwest – but didn’t exactly have the staying power as the 80s closed. They are also hugely overrated by VH1, who put them in at #25 of the Greatest Artists of Hard Rock. In fact, Cheap Trick has the potential to go from this category down to the previous one.

The Cars – Another one of those “great, but not immortal” bands that came out of the 1980s. Unless you count singer Ric Ocasek’s ability to pick up a stunning bride (model Paulina Porizkova), The Cars weren’t outstanding in any area. They showed up, they did the job and they took home the supermodels. There are many other people who are more deserving of a seat in the Rock & Roll Hall of Fame over this band.

Janet Jackson – This was a problematic one for me. Ask three different people where she should be, according to the rankings that we have here, and each of those three different people would probably put her in each category. She didn’t exactly blaze a trail – her brothers did that for her – and her music wasn’t exactly groundbreaking or influential. For a period there in the 80s, however, it was either her or Madonna reigning as the dominant female artist on the charts. For me, she falls into this category and perhaps one day might sway me to having her in the Hall.

Nine Inch Nails – Here we have another band that is thisclose to ticking over into the “Sure Shot Legends” group. Trent Reznor’s pet project for well over two decades, the band pushed the “industrial” rock movement forward and was the catalyst for a band such as Rammstein and much of the EDM movement today. Reznor is a talented musician who has won an Oscar for his score of the film The Social Network and is the recipient of other major awards; a couple more achievements like that and Nine Inch Nails will get in if not Reznor by himself.

Sure Shot Legends

Chicago – One of those bands that you say to yourself, “You mean they aren’t already in?” Chicago pioneered the jazz fusion rock that seemed to come out of the late 60s/early 70s, something that is still heard today in some of the music (Michael Buble or Adele comes to mind). For much of the 1970s and even the early 1980s, Chicago was a dominant force on the music scene. We’ll have to cut them some slack for the Peter Cetera Years, but it is high time that Chicago was a part of the biggest club in rock music.

Deep Purple – One of the most egregious errors ever committed by the Rock & Roll Hall of Fame has been the omission of this band from its rolls. The originators of “hard rock” or “heavy metal,” the band lasted from the late 60s into the 21st century, churning out bombastic rock all the way to the end. They also inspired many hard rock and metal bands that came out of the latter half of the 20th century. The only problem with putting Deep Purple in the Hall is which “Mark” do you put in? My vote goes to Deep Purple Mark II, which featured Ian Gillan, Jon Lord, Roger Glover, Ian Paice and Ritchie Blackmore as the members of the band and originators of such classics as “Smoke on the Water” and “Highway Star.”

The J.B.’s – If you’re going to have the singer for the group – legendary R&B performer James Brown – in the Rock & Roll Hall of Fame, you’ve got to have the band that backed him up. While Brown was renowned for the incendiary performances that he would leave on stage, somebody had to keep up with him on the musical side of the equation. The J.B.’s did exactly that, with saxophonist Maceo Parker and the Collins Brothers – William “Bootsy” and Phelps “Catfish” – eventually moving on to another landmark group, Parliament/Funkadelic in later years.

N.W.A. – This is probably my most controversial selection for election into the Hall. The originators of “gangsta rap,” N.W.A. still has their imprints on the music scene today. When they came out in the late 80s, their fist-to-the-face depiction of life in the inner city served as a reminder of what music can do when used as a tool for social change. It may be arguable whether “gangsta rap” effected that change at all, but it wasn’t for a lack of trying from N.W.A. and others. Add in the influence that the group had on other artists and N.W.A. should have been in the Hall long ago; they’ll probably get in this year on the steam generated from the film Straight Outta Compton.

Yes – Much like Chicago, “They aren’t in already?” The two bands are quite similar in that Yes was one of the first bands to push the “progressive rock” (or “prog rock”) sound that incorporated a great deal of keyboards and operatic flourishes. Yes was a “jam band” before jam bands were cool, often putting out individual songs that seemed as long as some artists’ albums. “I’ve Seen All Good People,” “Roundabout,” “Owner of a Lonely Heart” – the band was a critical and commercial success across the ages and, as such, deserves to be in the Hall.

The Rock & Roll Hall of Fame will allow for fans to vote on their website and that “fan vote” will be tabulated alongside ballots from other musical dignitaries to determine the final five or six who will walk through the doors in Cleveland to further rock immortality come April next year. Who will earn the honors? We’ll find out at the beginning of 2016.

Who should have been nominated? That, my friends, is a subject for another time…

Why I Chose Satellite Radio over Terrestrial Radio

SiriusXMLogo

There have been a couple of things that I have failed to pick up on when they came out. One, believe it or not, was cellphones. When they were becoming more popular in the 90s and even the 2000s, I told people I would never have one. “If it was really that important,” I would say, “they can call me at home. And if I’m not there, they can leave a message.” That lasted until I got my first cellphone and, as they say, the rest is history. Now I cannot imagine not having one.

The second thing was satellite radio, in particular SiriusXM. For 16 years I worked in the radio industry as a DJ and a music director and I felt some loyalty to the industry, that it would be incredibly wrong to buy satellite radio and violate a personal bond with broadcasting and the radio industry as a whole. Hell, the radio station was free and, as long as I could put up with the DJ that came on every 20 minutes or so, I continued to listen. For the last few years, however, I have been an aficionado of satellite radio and I sincerely doubt that I will ever return to “terrestrial” radio.

As a former radio DJ, I knew the ins and outs of the business. I also knew how the music actually got on the air that we played for our listeners. As a music director, I would chart the requests we received each week, monitor the new music added to the station, try to predict what we would add to the station’s playlist and offer suggestions as to the new music we would add. Sometimes, especially in Album Oriented Rock (AOR), those songs were more predicated on the artist rather than any great musical achievement (in this late 80s/early 90s, this meant a lot of crappy music from Aerosmith and many others instead of truly groundbreaking work from bands like Nirvana and Faith No More). But there was a dirty little secret that does still exist, even in the programming of stations today.

Back in the 1950s Alan Freed, the legendary Cleveland DJ who coined the term “rock & roll,” was the man whom artists and record companies needed to sway to guarantee their single or album’s success. Through his radio programs in both Cleveland and later in New York (where he added television), Freed passed along to the youth of the 1950s (probably our mothers and fathers) what was supposed to be the best music in the United States. Freed himself was responsible for “breaking out” such artists as Bill Haley & the Comets, Chuck Berry, Little Richard and Fats Domino (Freed was partial to black artists, who would often write and perform songs only to see white artists cover them so they were “acceptable” to the white audiences, according to the record labels). The ability that Freed had to “make or break” careers came with a hefty price, however.

In 1958, Freed was accused of accepting money from the record companies to play and promote certain songs, known as “payola” (a mix of the words “payoff” and “Victrola”) and, to a lesser extent, accepted credits as an author or producer on some of the songs he was playing on the air, which was a conflict of interest if true (this was also the case for a man named Dick Clark, but that is a story for another time). He was immediately fired from his spot at WABC in New York and lost his television gigs also in 1959, although there was no law on the books that made what he did criminal.

In 1960, that was changed by the Federal Communications Commission (FCC) and, in a true miscarriage of justice, Freed was convicted on two counts of commercial bribery in 1962 (once again, despite there being no laws on the books at the time the alleged crimes were committed). Given a small fine and a suspended sentence, Freed would be blackballed by the major players in the music community; he would bounce around at smaller stations across the U. S. for the rest of his life, passing away in 1965.

While many would like to think that Freed was the only case of “payola” that has ever existed in the world of music, that isn’t the case. Although many DJs knew about the rules (the FCC put a punishment of a $10,000 fine and/or a year in prison for accepting payments from the record companies), there was a way around the new laws.

Instead of paying off the on-air talent themselves, record companies began to woo those with the power to get the music on the air with special “freebies” that, for all practical purposes, only looked like “promotional” tools. How many times have (or did) you dialed up a local radio station because they were giving away free tickets to a concert or an album or CD? How about special “concert trips” where you were whisked to a far-away show? These were the new “payola” (as some of these “freebies” ended up in station employees’ hands), just this time around those in charge decided to look the other way.

In the 1980s and 1990s (and even today), this was still the way the game was played. The record companies would call up one day a week (usually on a Monday, as Tuesday was the day adds were done to the station’s playlist after the labels released the latest albums) and try to woo you to play the latest music from the label’s artists. Using the “promotional” tools at their disposal, the A&R people would do everything short of sleeping with the DJs and music directors (although I heard of that too) to get their records on the air.

Although I left radio in the late 1990s, I still felt a tremendous bond with the industry, so much so that when Sirius satellite radio – and then XM – came about, I was about as “anti” as you could get.

The satellite radio industry began in 1990, when the FCC assigned frequencies for satellite radio (using digital sound) to use, even though there were no satellites in the air at the time and no one broadcasting in that format. In 2001, XM became the first satellite radio service and, in early 2002, Sirius joined in the battle. After spending billions refining their products and fighting against each other, the twosome decided to merge in 2007 and SiriusXM Radio came to life. As of this summer, SiriusXM can boast of roughly 28 million subscribers.

In the end, it was my lovely wife’s frustrations with terrestrial radio that brought about the changeover to satellite. After a particularly lengthy drive – in which she had spent much of it looking for a suitable radio station to listen to – we began to discuss getting satellite radio. Because we didn’t always know the stations when we were traveling, we thought that having a set schedule of stations to pick from would be more suitable to our lifestyles. As such, in 2010 we installed a SiriusXM receiver in our vehicle and the difference was immeasurable.

Normally when dealing with radio, you can find one station in each of the formats in a given “metro” area or city:  a Top 40 station, a Classic Rock station, a news/talk station, etc. With SiriusXM, you can pick pretty much any musical genre or era and have a place to go. Want to listen to Frank Sinatra? There’s several channels, including hits from the 1940s and 50s and a “Siriusly Sinatra” dedicated station. Feel like some rock music? There are almost two dozen stations there, covering everything from the 1950s to today. Country music has six channels, Christian music three…as you can see, it covers everything.

Then there is the pleasant respite from commercials that SiriusXM gives the listener. For the most part, every station on the SiriusXM dial is commercial-free radio (save for simulcasts of radio and/or television broadcasts). This means that you won’t be jumping around the radio dial, trying to find some music when your favorite radio station goes off on a five-minute commercial binge (like television, radio goes to commercial breaks at the same times – 10, 25, 40 and 50 minutes past the hour, in most cases). About the only reason you’ll leave a station is because you want to hear something different.

You need more? How about the vast libraries that the SiriusXM stations have put together. Due to the advent of digital music, the SiriusXM libraries play virtually anything that has been digitized for listening consumption. Because they also haven’t been corrupted by radio “consultants” nor the radio conglomerates (in one city my wife and I lived in, two radio groups controlled 15 stations that were in town), they will play things that you won’t hear on terrestrial radio; instead of hearing “Stairway to Heaven” for the third time in a week, you might hear instead a deep cut from Rainbow (grossly neglected in terrestrial radio, along with many other artists).

Finally, there are the host of specialty stations that SiriusXM delivers that would never appear on terrestrial radio. Channels that focus on the music of Bruce Springsteen, Pearl Jam, Elvis Presley, Willie Nelson, Pitbull, the Grateful Dead…these are all artists that have their own dedicated stations on SiriusXM (especially my favorite, Radio Margaritaville and Jimmy Buffett). There are also “limited engagement” stations that have featured Billy Joel, Tom Petty and Elton John in the past year. If you would like to listen to nothing but Howard Stern 24/7, there’s a place for that, as there is for the sports fanatic.

For the hour I spent in my vehicle today, here’s where I bounced around:  I started with Buffett, then moved over to the Hits station that played the latest from Fall Out Boy; after getting my son out of the car, I moved over to Octane, where Tesla was doing “Little Suzi” before dropping down the dial to First Wave (the 80s British synth pop era) and hearing the Human League. When I got home, I’d worked my way through the alternative stations, which had told me that one of my favorites in Florence and the Machine were about to play, before getting “back to the beach” on Radio Margaritaville. Tell me you could find that wide a range in terrestrial radio.

After once thinking that there was nothing better than terrestrial radio for as long as I did, I can now confidently say that there is no way I would ever think about not having SiriusXM in my vehicle or on my computer. The reasons listed previously should be enough, but there is also the ability to make up your own playlists (called MySiriusXM) that puts the cherry on top of the sundae. There are some questions about its compensation methods to the artists (something that I might get into sometime), but there’s more enjoyment than you’ll ever get out of terrestrial radio through the SiriusXM satellites circling our planet.