Showing posts with label pop. Show all posts
Showing posts with label pop. Show all posts

Friday, October 30, 2009

Layer 213 Family, Friends, Politicians, Presidents, Expenses, Democracy, Admissions and the Age of Crappy Music



Back home after several wonderful days in gorgeous Devon, and what's new in the world? Eldest granddaughter had her 5th birthday, and a brilliant all-afternoon party attended by her parents, her uncle and aunt, her little sister and baby cousin, her cat, her guinea pigs, her mum's dog who now lives with her uncle, her aunt's new and very playful puppy, and her grandparents, one of whom was late arriving back from Devon owing to great granny not feeling very well, and of course due to the ever-atrocious traffic.

Aunt had baked a superb birthday cake, and there were cards and presents galore. One very happy and chatty little girl had a ball the whole day long. Dad had given himself a day off work for this very important occasion, which fortuitously fell during half term week. It seems more and more fathers are now questioning their work/life balance and saying to themselves that they owe it to themselves to enjoy more time with their family, especially on important occasions, as much as they owe it to their loved ones.

So what else is new in the world? I have a very dear and wonderful friend who's spending time in hospital, one who's just spent a couple of days in Paris enjoying the city in warm sunshine, and another who's just popped over to Brittany for a couple of half term days with two of his lovely daughters. I have a friend who's just getting ready to fly out to Nigeria for a month or so, another who will soon be flying out to Thailand, and another who's organising a musical soiree for a select group of friends who are willing to play and sing songs of their own choosing by way of entertaining one another. Should be interesting!

Meanwhile, ex-Home Secretary Jacqui Smith was on Question Time, showing a lot of gall for a woman who might soon find herself in court for her ludicrously false expenses claims. How come she's still an MP and still appearing on QT? Oh well, if it's OK to invite Nick Griffin . . . Although she's given an apology of sorts she still reeks of an attitude that can only be summed up as New Labour - the professional hard-faced machine politician, clinging on to a career that's in ruins, thoroughly disgraced but determined to remain in post and in the public eye. Just like New Labour.

On the same programme the ever-cuddly John Sergeant strongly endorsed Tony Blair's canditature for the EU's Presidency, which immediately signals that this is a man who's a ridiculous twat of the first order, and in truth about as cuddly as a rotund little ball of fresh doggydoo.



How many more of these supposedly intelligent commentators and politicians can't see that Bliar is thoroughly detested throughout Britain and Europe, and not just by the leftist element of the chattering classes? That he's a war criminal? That to endorse him for this high office is tantamount to signalling to the world that you're an unreformed New Labour lickspittle and a halfwit of the first order?

Gordon Brown for one. Yes, our Prime Minister, who's a well-known Blair hater, who has more reason than most to know about Blair's egomaniacal and psychopathic tendencies, has strongly endorsed Blair to be the top man in Europe. For fuck's sake, Gordo - you're in a big enough hole! Stop fucking digging! What more can this man possibly do to alert the rest of the world to the fact that he's an idiot who no longer cares about getting re-elected? Clearly he wants to completely destroy the Labour Party and to be the only New Labour prime minister never to be elected to that post. How can anyone vote for a man like Brown who clearly lies through his teeth and recommends the vile Tony Blair for the European presidency?

Timothy Garton Ash wrote an interesting column yesterday about the EU job and its potential candidates -

http://www.guardian.co.uk/commentisfree/2009/oct/28/president-of-europe-foreign-policy

This EU job is no presidency. It will rely on another. And it won't be Blair
As any reader of the Guardian knows, many on the British left are apoplectic at the prospect, above all because of Iraq ("war criminal", and so on). So are many mainland Europeans, especially those that opposed the Iraq war.
There is, however, one who fits the bill – although he'd need some persuading to take it on. This is Martti Ahtisaari, the former president of Finland, UN international mediator and last year's winner of the Nobel peace prize. Ahtisaari has the stature, gravitas and experience for the job. An elder statesman, he would have avuncular authority with the current generation of EU heads of government. He is an excellent chair, without being even remotely chairmanic. He would be taken seriously in world capitals without anyone feeling that he was stealing their limelight. As the co-chair of the European council on foreign relations, he has already spent a couple of years thinking hard about what a European foreign policy should look like.
But it's not just about Blair, is it? Why on earth would any Europhile want a Brit to be the first to hold this high office when Britain has constantly been the backslider and the opter-out as far as Europe is concerned? Bloody hell - we've even refused to join the Euro!

-------------------------------------------------


Roy Hattersley wrote a good column yesterday about the expenses scandal, in which he concluded,
The crisis of confidence in politics and politicians is not the result of Douglas Hogg claiming parliamentary expenses for cleaning out his moat. It is the product of politicians failing to debate the merits of a society in which one family lives in a moated grange while another survives in a bed and breakfast hostel.

If it becomes only possible to become an MP by making material sacrifices, there will be more conviction politicians. It is because the House of Commons has increasingly become a career, rather than a vocation, that a proportion (a small proportion) of members behave like bankers in search of a bonus.
http://www.guardian.co.uk/commentisfree/2009/oct/28/kellys-irrational-expenses-rules-appease

.........................................

Hattersley writes about financial inequality, whereas in today's paper Simon Jenkins writes about educational inequality and elitism -

Holy texts and lineage are no way to assemble state schools

The primitive barring of a child on ethnic grounds is the nadir of the pursuit of 'choice'. Pupils should go local, warts and all

http://www.guardian.co.uk/commentisfree/belief/2009/oct/29/schools-admissions-labour-policy-jewish
Soon we shall cry, come back 11-plus, all is forgiven. The spectacle of the supreme court trying this week to decide whether racial purity should be the basis for admission to state education shows how close we still are to the dark ages. If I had to choose between putting my child through a test of the three Rs or trying to prove his mother's maternal bloodline, give me the three Rs any day.

The case of the London Jewish Free School (JFS), now before the supreme court, should never have been brought to trial. There is something primitive about religious adherence or ethnicity conferring privilege in state education. That this should be the result of Labour government legislation is extraordinary.

The 2006 act governing school admissions clearly states that, where a school is oversubscribed, its governors may discriminate by selecting on grounds of religion. This has driven a coach and horses through the comprehensive principle that state pupils go to their local school, as happens in most normal democratic countries.

I am against eccentricity or exclusivity being validated with public money.

It is preferable for a state school admission system to be based on locality. Schools are cohering local institutions, for richer, for poorer, and that is how admission is determined across most of the globe. If aptitude or ability are to be criteria, as was the ambition of the 11-plus, let the test be public and fair. It is not reasonable for admission to be based on parental class, background, faith or group affiliation. Those who want such schools can pay for them. Many do. It is a free country.

When I went to primary school, I went with everyone from my village.

Through the 1980s and 1990s, the discipline of local catchment eroded, as white flight sought ever more devious ways of avoiding high-immigrant inner-city schools. Successive governments introduced the concept of "choice", and middle-class parents besieged church schools as havens of collective security. These schools were oversubscribed and found themselves not chosen but doing the choosing. Admissions criteria – and covert charging – became the rage.

The pews of London churches with school nominations were soon packed with desperate parents. Others were emptied of their congregations. In 2006, the government attempted to legislate that a mere 20% of places in church schools should go to non-worshippers. By then the pass had been sold, and even that was too many for the church lobby. The minister, Alan Johnson, capitulated as, more recently, has Ed Balls. Across a third of English schools, the Labour party has handed back to the church the keys to the door of the bourgeoisie.

Urban vicars, with hundreds of desirable school places in their pockets, are the new, mostly regressive, social engineers. Their discretion is remarkable. Some allow prospective parents who go to weekend "second home" churches in the country to include this in their attendance score.

From the moment "choice of school" gained traction under John Major, the old tensions resumed.

The 11-plus was abolished because thousands of middle-class parents were enraged at being denied access to their local grammar school when a child failed the exam. That was why the Tories swore never to reintroduce it and accepted comprehensive education – until leaders arrived who had forgotten, or never known, the battles of the 1960s.

Now to have parents roaming the country looking for an ever "better" school reopens the can of worms that 11-plus selection tried, but failed, to close. Allied to the pernicious league tables, so-called choice has left popular schools and eager parents in an unholy alliance to maintain the quality of intake and reject unsuitable pupils. Both know that it is enrolment that separates star schools from sink ones.

As schools get ever more cunning in selecting bright pupils, it is easy to see what happens next. The public will protest and the government will insist on a national admissions test to promise a level playing field. It may not be called the 11-plus, but that is what it will be.

Children should go to their local school, primary and secondary, warts and all. It does not matter how a school is run, but it does matter how the state allots places in what are public institutions. Labour's crude attempt to ingratiate itself with middle-class voters has ended in a ridiculous court case. If tests there must be, let them be proper ones, not recitations of holy texts or mother's birth certificates.
Some of the comments on CiF after Simon's piece are well worth reading too.

...............................................

Seamus Milne wrote a good column yesterday with the heading,

Spying on us doesn't protect democracy. It undermines it

By branding protesters and mainstream Muslim activists as extremists, the police are effectively criminalising dissent

He concludes,
[This] is a timely reminder of the self-serving tendency to fantasy among intelligence organisations. Unleashing such people on those exercising their right to protest or take part in non-violent politics has got nothing to do with the defence of the democratic process – it's an assault on democracy.
http://www.guardian.co.uk/commentisfree/libertycentral/2009/oct/28/spying-doesnt-protect-democracy
....................................

On the music front, Lynsey Hanley wrote a column in which she says this,
There are few more obvious signs to be found of the revolution in opportunities for working-class people born between 1945 and 1970 than in the backgrounds of pop stars of the period.

Pop is in danger of becoming another of the closed-shop professions that anyone without the breeding or the nous finds it impossible to enter. The charts are strewn with posh pop stars who could, frankly, have found gainful employment at the higher end of the civil service. What do Florence and the Machine, La Roux, Will Young, and Lily Allen have in common? A private education, of course, which affords them the galloping confidence and social network required to make their way in whichever field they choose to excel in.

Then there are the state-educated artists – Amy Winehouse, Adele, Katie Melua, the Noisettes – who learned the same tricks at the specialist Brit School in Croydon. The result of such fame-farming is that you end up with the Kooks when what we really need for inspiration are actual kooks.

The one bucket-educated, self-made current star who has managed to steer his way through pop's Krypton Factor course completely on his own terms, without contacts, industry polish or the aid of reality television, is Dizzee Rascal.


How can pop stars any longer be at once the great inspirers and the great transformers when, thanks to stage schools and Simon Cowell, they're subject to a weekly time-and-motion study worthy of the Model-T Ford? Most of the Top 40 is guff at the moment to anyone over the age of 15 . . .
It's good to read this total condemnation of contemporary 'pop music' from someone who's clearly not just a grumpy old man [or woman].

http://www.guardian.co.uk/commentisfree/2009/oct/28/top-of-the-pops

...................................

And on the subject of music, try this -

http://www.telegraph.co.uk/news/newstopics/religion/6453463/Vicar-attacks-Princess-Diana-funeral-culture-for-pop-songs-at-funerals.html

Read what Guardian readers think about it here -

http://www.guardian.co.uk/commentisfree/belief/poll/2009/oct/29/religion
.

Wednesday, September 9, 2009

Layer 193 . 09.09.09 and Beatlemania

.
Beatlemania – A Girl Thing

High on the news agenda today is the release of the entire works of the Beatles on digitally remastered CDs. For several days now there's been high excitement and sheer hype, as well as lots of documentaries and magazine articles, about the Beatles. There's also going to be an announcement that Apple (computers) are going to start selling Beatles tracks on iTunes.


Beatlemania was essentially a girl thing. Whereas - the Stones, the Animals, the Kinks, the Yardbirds, John Mayall's Bluesbreakers and Peter Green's Fleetwood Mac, being mainly scruffy and rough-looking long-haired  guys singing their interpretations of the blues and rhythm & blues in the early 60s, were primarily a bloke thing. I never knew a girl in the 60s who was a big blues fan. They did exist, and they went to gigs, but they were in the minority. Whereas the Beatles played to concerts that were overwhelmingly full of screaming teenage girls.

This is most apparent on the footage of the Ed Sullivan Show, where guys in the audience were vastly outnumbered by screaming girls. The few guys that are caught on camera sat in near-isolation and silence, and are practically immobile as the surrounding girls bounced around and screamed. Loudly!

The Beatles, post-Love Me Do with its bluesy harmonica – that's to say from their second single onwards - were primarily inspired by rock n roll, soul and Tamla. Which is not a bad thing! I loved those genres too. Theirs was more of a melodic, up-tempo, major chord kind of a thing; a Little Richard, Chuck Berry, Smokey Robinson, Holland Dozier Holland, Elvis, Carl Perkins, Lieber & Stoller, Berry Gordy and Buddy Holly kind of a thing.

'Merseybeat' was mainly a girl thing. Gerry & the Pacemakers, the Swinging Blue Jeans, Freddie and the Dreamers, Herman's Hermits and indeed the Merseybeats were pretty much a girl thing. They all produced some good records, and some good songs, but their appeal was primarily a girl thing, based on pretty boy looks, groovy clothes and catchy pop songs. Lots of guys got off on it as well. Lots of guys didn't 'get' the Stones, the Animals and the Fleetwood Mac.


Even by their fourth album, Beatles For Sale (1964), the Beatles were still recording for this 'LP' some classic rock n roll songs like Rock & Roll Music (Chuck Berry), Kansas City (Lieber-Stoller), Words of Love (Buddy Holly), Honey Don't (Carl Perkins) and Everybody's Trying to Be My Baby (Carl Perkins). At that time many of those songs were unknown to most Brits, and for that matter unknown to a lot of Americans too. The Beatles' recordings helped to popularise and promote them. The writers of those songs probably got rich on Beatles royalties alone.

For me the Beatles' best ever track was the sardonic 'Money', sung by John, and written by Bradford & Gordy.

"Money (That's What I Want)" is a 1959 hit single by Barrett Strong for the Tamla label, distributed by Anna Records. The song was written by Tamla founder Berry Gordy and Janie Bradford, and would become the first hit record for Gordy's Motown flagship label. - Wikipedia *
http://en.wikipedia.org/wiki/Money_%28That%27s_What_I_Want%29

-----------------------------------------------

Here's a weird website - http://www.guardian.co.uk/music/interactive/2009/sep/04/beatles-paul-morley

Paul Morley's an interesting guy. Too far up his own arse, but interesting.

http://www.guardian.co.uk/music/2009/sep/06/showing-off-the-beatles

http://www.buzzle.com/articles/304379.html

Why does this article (Imagine a world without the Beatles - Would anyone except Oasis notice the difference?) irritate me so much? It took a while to figure it out, but eventually I realised it's partly because of his writing style, but mainly because Mr M completely misses an important point.

He completely fails to mention an enormously important aspect of the Beatles' attraction, which is that they were extremely good looking (though Ringo was more what you'd called quirky or funky) and they were sexy as hell. Apparently. You can ask any girl from back then.

Of course Mr Morley wouldn't be aware of that because he was far too young at that time. Strange that he hasn't caught up in the meantime though.

http://en.wikipedia.org/wiki/Paul_Morley

I'll have to explain this as best I can, to the best of my memory. The Beatles' power and attraction came from a variety of sources, such as their charisma, their insolence, their charm, their iconoclasm (admitting to drug-taking!), their wit, and most of all their looks and their sexuality. None of these things had anything to do with their music.


On the musical front they sang well, they had great harmonies, they were original and inventive and eclectic. They were also aided and abetted by George Martin on the technical and creative front.

But how important were they musically? How much impact did they have on the history and the development of popular music? Let's start by considering the Stones and Hendrix, whose music was based on the blues and its derivative, rhythm and blues. Bear with this.

The Mississippi delta (acoustic blues) and urban Chicago (electric blues) were far more important than Liverpool or the Beatles in purely musical terms. The people who were the true originals and creative geniuses – those who created the templates and the musical standards for others to aim for – were a whole lot of  individuals ranging from Robert Johnson to Muddy Waters, and included blues and jazz greats such as John Lee Hooker, Louis Jordan, Cab Calloway, T-Bone Walker, Big Joe Turner, BB King, Ray Charles and Slim Gaillard.

Their legacy was picked up by the likes of Chuck Berry and Little Richard, and white guys like Eddie Cochran, Bill Hailey, Carl Perkins, Roy Orbison and Elvis, and turned into rock n roll.

The British bands that loved, admired and were inspired to follow in the blues tradition in the early 60s were the likes of Alexis Korner, John Mayall, the Stones, the Animals and Fleetwood Mac. Lennon was also into the blues. Hendrix took the blues to new levels of expression and musical genius.

McCartney was more of a Chuck Berry and Little Richard kind of a guy – in a line of great vocalists, great showmen and great rhythm kings, who were also great with words and witty lyrics. Which is not a put-down by any means. Those guys also had originality and genius, but of a type that began and ended with the individual performer and song-writer, working within genres that others had created and developed. They didn't create or develop a genre, unless you think Chuck was an improvement on Louis Jordan, for example, or Paul an improvement on Chuck.


The Beatles were never great as musicians or performers, except maybe in their Cavern and Hamburg days, when they were fresh, new, raw and exciting.

They wrote some great songs, were great entertainers, and with George Martin they made some great records. And above all they had that charisma, those good looks and they had sexuality. Girls wanted to kiss them and make love to them. Girls wet their knickers with excitement.

They were photogenic and they could fool around in front of news, documentary and feature film cameras. They knew how to charm and how to market themselves, and they played the role of 'Beatles' to perfection, until they got tired of it, and it all became too much of a strain, individually and collectively.

Ultimately they became rock and roll casualties, vacuous and remote. NB Polythene Pam, Maxwell's Silver Hammer and Octopus's Garden – all on Abbey Road, reckoned by some to be a great album. Jolly little ditties do not a great musician or great songwriter make.


Even worse were Two Of Us (Riding Nowhere!), Dig A Pony(even with its name-check of BB King and Matt Busby), I Me Mine, Let It Be, Maggie Mae, I Got A Feeling, One After 909, The Long and Winding Road and Get Back – all of them on Let It Be, the final album. No wonder they gave up after that.

All of those tracks are complete unlistenable rubbish, and insulting rubbish - to think that they expected people to pay full price for half-baked uncreative, derivative crap like that. George Harrison, bless him, made some jokey references to 12 bar blues, Chuck Berry and Elmore James on 'For You Blue', but nothing any of them could do could possibly redeem that appalling album. This was Paul's big beard phase. Please!

The one decent song from those Abysmal Road sessions was written by George and didn't make it on to the album – only on to the 'anthology' that was released much later – All Things Must Pass. Amen to that.

Sunrise doesn't last all morning
A cloudburst doesn't last all day
Seems my love is up and has left you with no warning
Its not always going to be this grey

All things must pass
All things must pass away

Sunset doesn't last all evening
A mind can blow those clouds away
After all this, my love is up and must be leaving
Its not always going to be this grey

All things must pass
All things must pass away
All things must pass
None of life's strings can last
So, I must be on my way
And face another day

Now the darkness only stays the night-time
In the morning it will fade away
Daylight is good at arriving at the right time
Its not always going to be this grey

All things must pass
All things must pass away
All things must pass
All things must pass away

This song became the starting point for George's great album of the same name, which he recorded immediately post-Beatles.


The strange thing is that in those desperate last days, apart from George, who clearly knew the gig was up, they were still trying to hark back to their roots, and they half-heartedly recorded Rip It Up, Shake Rattle and Roll and Blue Suede Shoes – tracks which also appeared only on the Anthology CD. Paul even came up with an appalling ditty called Teddy Boy, which Lennon understandably and mercilessly took the piss out of, even as they were working on it. This rock n roll medley was a precursor to the rock and roll album Lennon subsequently released as a solo album, but on the anthology it just sounds like a very sad and pathetic, and nostalgic, attempt to recapture the glory days, or possibly the pre-glory days, when they were just the Prefab Four.

Paul, post-Beatles, never wrote a decent song. John became a recluse. He reinvented himself and was on the way to a new and better place, making good and original music, when he was shot.

George, the 'spiritual' one, did very well to move onwards and upwards and became a considerable artist in his own right, ultimately making some brilliant music as a Travelling Wilbury.

But if it's profundity, originality and sheer artistry you need and you're looking for, then post-60s it's not music influenced by the Beatles you go to. You have to look to the real masters of lyrics and melody and soulful expression - Dylan, Cohen, Jagger/Richards and Springsteen. Maybe a dash of Van Morrison and Neil Young as well.

What the Beatles did better than anybody before or since was make huge numbers of girls wet their knickers, and Paul Morley is seemingly oblivious to that crucial aspect of their career and their fame. This was a not inconsiderable talent.

Their music was good, and sometimes very good. They could sing, and they created great harmonies. They looked good, they dressed well, and on a good day they were droll and acerbic, vaguely anti-establishment and vaguely counter-culture, in a millionaire kind of a way. You couldn't ignore them.

But in the end, if you were a guy, you didn't really want to wear a 'Beatle suit', or have a Beatle haircut. Whereas you did want to be a Mod, or a Rocker, and later on a hippie. The Beatles were important, but not that important. They were 'lovable', or likeable, and extremely marketable, at least during the period that Brian Epstein was their manager and they were so desperate to be successful they willingly did as they were told.

After Epstein's death, and after Yoko's arrival on the scene, they became a bit of a shambles as far as music, creativity and band unity was concerned. No doubt the ego inflation and the drugs didn't really help either. The deadening and the paranoia were very apparent.

And in the end, what did it all amount to? John became a recluse and a homemaker whilst his so-called 'artist' wife got on with becoming a businesswoman who took care of the family business. Paul recorded Mull of Kintyre. Ringo disappeared to America.

George was the one who got better and better, as any true artist should. Paul could never have passed an audition to become a Wilbury. As far as musicianship and songwriting was concerned he was way below the level of Dylan, Roy Orbison and even Tom Petty.

Paul's inclination was towards Michael Jackson and, well, Linda. Nothing wrong with that. Just not very credible as an artist, which he certainly had been, in the beginning, alongside John, George and Ringo.

You can hear Paul's uninspired version of  George's All Things Must Pass on Spotify, a performance he did at the 'Concert for George'  - though personally I wouldn't bother.




http://en.wikipedia.org/wiki/All_Things_Must_Pass

http://searchwarp.com/swa363309.htm

http://www.guardian.co.uk/music/2009/sep/09/beatles-video-albums-game-launch


    Postscript – Money (from Wikipedia)

"I Need Some Money," a song John Lee Hooker may have been performing live for some time previous to 1959, has lyrics that are more than coincidentally similar to "Money (That's What I Want)". For example, even though the music is different, the first verses are:

"The best thing in life is free
But you can give it to the birds an' bees
I need some money, Need some money. Oh yeah, what I want"

versus:

"The best things in life are free
But you can keep 'em for the birds and bees
Now give me money, (that's what I want) that's what I want."

The question of which lyrics came first never seems to have been settled in any formal way; John Lee Hooker has full composition credits for "I Need Some Money", and it has been independently covered by other artists such as James Blood Ulmer and The Doors.

.