If there’s one thing Lenin loved, it was Good Vibrations.
Technically, the Beach Boys used an offshoot of the theremin called the electro-theremin, but we’re really splitting hairs here.
The Library of Congress added its yearly 25 choices to the National Recording Registry. Interesting choices throughout, including the greatest song ever used in a political campaign (not to mention actually made famous by the candidate).
Tonight’s exploration of American culture’s underbelly is brought to you by Roger Hallmark and The Thrasher Brothers, who I think had the most sophisticated response to Iranian Revolution imaginable.
In what is the greatest deal in the world, you can buy Tammy Wynette’s custom 1977 Lincoln limo for $7950.
And check out that interior!
I wonder what kind of mileage that thing gets? 2 mpg?
Here’s some Tammy and George for your Saturday night. If I only had her gallons of hairspray, I could light them on fire and get the 14 feet of snow out of my driveway. And speaking of The Possum, he’s about to embark on his last ever tour. I hope he lives up to his reputation and doesn’t show up to his last ever show.
First, I love the 70s. Second, what kind of pain went into singing “Golden Ring” together after the divorce? Wow.
When I think of a nice bedtime story, I think of Trotskyite music reviews. Here’s a lovely review of the new Alicia Keys from noted music publication World Socialist Web Site:
“Girl on Fire” is the album’s most recognizable single and its title track. One hears it everywhere. The song lifts a section of its melody from Berlin’s 1986 power ballad “Take My Breath Away.” Like that song, the single features its share of melodramatic qualities, as Keys’ reaching vocals herald the triumphs of a girl—any girl will do—against the odds. A repetitive and bombastic work.
“Girl on Fire” was also the song played by Keys during her recent performance at President Barack Obama’s Second Inaugural ball. As the president and his wife looked on, Keys sang and changed her song’s lyrics to celebrate them. “He’s living in a world and it’s on fire,” Keys sang, “filled with catastrophe. But he knows he can find a way.” “Everybody knows Michelle is his girl,” she added, “together they run the world.”
This was pretty shameful, although predictable as well. Keys belongs to an affluent layer for whom race, gender and sexuality—and themselves, mostly—are the chief concerns in life and who have no difficulty at this point accommodating themselves to the actions of the Obama administration. Unfortunately, in fact, they hardly give the matter a thought. Such an accommodation with power and money, however, does not go hand in hand with serious artistry and an important treatment of life.
Is it any wonder so much of this music feels so thoroughly empty?
Happy 51st birthday to Axl Rose…
Finished in 1947 and lost to readers until now, House of Earth is Woody Guthrie’s only fully realized novel—a powerful portrait of Dust Bowl America, filled with the homespun lyricism and authenticity that have made his songs a part of our national consciousness. It is the story of an ordinary couple’s dreams of a better life and their search for love and meaning in a corrupt world.
Tike and Ella May Hamlin struggle to plant roots in the arid land of the Texas Panhandle. The husband and wife live in a precarious wooden farm shack, but Tike yearns for a sturdy house that will protect them from the treacherous elements. Thanks to a five-cent government pamphlet, Tike has the know-how to build a simple adobe dwelling, a structure made from the land itself—fireproof, windproof, Dust Bowl–proof. A house of earth.
Though they are one with the farm and with each other, the land on which Tike and Ella May live and work is not theirs. Due to larger forces beyond their control—including ranching conglomerates and banks—their adobe house remains painfully out of reach.
A story of rural realism and progressive activism, and in many ways a companion piece to Guthrie’s folk anthem “This Land Is Your Land,” House of Earth is a searing portrait of hardship and hope set against a ravaged landscape. Combining the moral urgency and narrative drive of John Steinbeck with the erotic frankness of D. H. Lawrence, here is a powerful tale of America from one of our greatest artists.
I’m curious as to this “erotic frankness of D.H. Lawrence bit. This could be disastrous. But whatever, I’m glad it’s available. Certainly would a read, since at the very least I imagine the prose flows quickly.
Hope you all are having as good a Saturday night as Zevon did when writing “Carmelita.”
A good Saturday night song.
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