Posts Tagged ‘rock’
“It is difficult to get a man to understand something, when his salary depends upon his not understanding it”*…
You could fill a small library with books on right-wing populism. Some authors argue that these movements emerged in reaction to relatively recent events, such as the financial crisis of 2007-09 or the advent of social media. Others look to longer-lasting regional trends, like European integration or racial politics in America.
Thomas Piketty, an economist, became famous for a book that analysed 200 years of data on wealth inequality in a wide range of countries. This month he published a paper, co-written by Amory Gethin and Clara Martínez-Toledano, which applies a similar approach to the relationship between demography and ideology. Its findings imply that the electoral victories of Donald Trump and the Brexit campaign in 2016 were not an abrupt departure from precedent, but rather the consequence of a 60-year-old international trend.
In a paper in 2018 Mr Piketty noted that elites in Britain, France and America were split between intellectuals who backed left-of-centre parties—he dubbed them the “Brahmin left”—and businesspeople who preferred right-wing ones (the “merchant right”). His new work expands this study from three Western democracies to 21. It combines data on parties’ policy positions with surveys that show how vote choices varied between demographic groups.
The paper finds that income and education began diverging as predictors of ideology long ago. In 1955 both the richest and the most educated voters tended to support conservative parties. Conversely, both poorer and less-educated people mostly chose labour or social-democratic ones.
Today, wealthy people still lean to the right. In contrast, the relationship between education and ideology began to reverse as early as the 1960s. Every year, the 10% of voters with the most years of schooling gravitated towards left-wing parties, while the remaining 90% slid the other way. By 2000, this had gone on for so long that, as a group, the most educated voters became more left-wing than their less-educated peers. The gap has only grown since then.
This trend is strikingly consistent. It developed just as fast in the 20th century as in the 21st, and appears in almost every Western democracy studied. This includes both two-party systems and proportional ones, in which green parties now lure educated voters, and nativist parties attract the less educated. Such breadth and regularity make the rise of right-wing populists like Mr Trump—and of left-of-centre technocrats like Emmanuel Macron or Justin Trudeau—look like a historical inevitability.
Although the authors do not identify a cause for this trend, the simplest explanation is that it stems from growing educational attainment. In 1950 less than 10% of eligible voters in America and Europe had graduated from college. Any party relying on this group for support would have had scant hope of winning elections. In contrast, more than a third of Western adults today have degrees, which is enough to anchor a victorious coalition. And once candidates and parties began catering to educated voters—who often put living in a liberal society above lowering their tax bills—rival politicians could start winning elections by taking the opposite position.
From the always-illuminating Economist Graphic Detail, a new paper by Thomas Piketty makes the rise of right-wing populism and a progressive left look like a historical inevitability: “Educated voters’ leftward shift is surprisingly old and international.”
* Upton Sinclair
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As we ruminate on representation, we might recall that it was on this date in 1956 that city authorities in the California beach town of Santa Cruz announced a total ban on the public performance or playing of rock and roll music, calling it “detrimental to both the health and morals of our youth and community.”
It may seem obvious now that Santa Cruz’s ban on “Rock-and-roll and other forms of frenzied music” was doomed to fail, but it was hardly the only such attempt. Just two weeks later in its June 18, 1956 issue, Time magazine reported on similar bans recently enacted in Asbury Park, New Jersey, and in San Antonio, Texas, where the city council’s fear of “undesirable elements” echoed the not-so-thinly-veiled concerns of Santa Cruz authorities over the racially integrated nature of the event that prompted the rock-and-roll ban… (source)
“I daydream about a high school where everybody plays the harmonica”*…
In the late 1960s, as the general manager of Don Wehr’s Music City in San Francisco, Reese Marin sold guitars, drums, keyboards, and amps to the biggest psychedelic rock bands of the late 1960s. His customers ranged from Big Brother and the Holding Company and Quicksilver Messenger Service to Jefferson Airplane and The Grateful Dead. Guitarists as musically diverse as Carlos Santana and Steve Miller could find what they were looking for at Don Wehr’s; so did jazz virtuosos George Benson and Barney Kessel, who would walk down Columbus Avenue from Broadway in North Beach—where the jazz clubs competed with strip joints for tourists—whenever they were in town.
These legends were some of the most demanding and finicky musicians on the planet. So it should have been easy for Marin to sell a couple of $5 harmonicas to Lee Oskar, whose melodic riffs on hits like “Cisco Kid,” “The World is a Ghetto,” and “Low Rider” gave one of the biggest bands of the 1970s, WAR, its signature sound. Oskar, however, heard imperfections in his chosen instrument that Marin didn’t know existed. Oskar was not tentative in his quest for what he considered a “gig-worthy” harmonica. “I spent all my money on harmonicas,” Oskar told me recently, “just to find 1 out of 10 that was any good.”
Marin says Oskar was exaggerating, but not by much. He was actually behind the counter when Oskar made his first of many visits to Don Wehr’s and asked to play all of the harmonicas the store had in stock in C, A, F, G, and E—the keys where rock bands live and die. On any given day, Marin maintained an inventory of 10 to 20 harmonicas in each key for each model they sold. That was a lot of harmonicas for Oskar to put his mouth on, so Marin decided to be firm. “I said, ‘You can’t play ’em unless you buy ’em,’” Marin told me, “and he said, ‘I don’t mind.’”
Shrugging, Marin rang him up, then Oskar proceeded to play every single harmonica on the sales counter, which he then divided into two piles—one for the gig-worthy harmonicas and another for the rejects, which were 80 to 90 percent of the total. “When he was done, I said, ‘Lee, what do you want me to do with all these harmonicas?’ and he said, ‘I don’t really care. I can’t use them.’” Marin ended up giving away a lot of used Lee Oskar-played harmonicas. “Lee did this over and over, every time he was in town,” says Marin. “It was crazy.”
Until relatively recently, playing a harmonica was sort of crazy, too, since doing so was essentially the same thing as destroying it. For harmonicas like the Hohner Marine Bands Oskar road-tested that day at Don Wehr’s, a player’s saliva would soak into the wood inside the instrument, causing it to swell. At the end of a gig, the wood would dry out and shrink. This process would repeat itself over and over, until the wood had swelled and shrunk so many times it would split and splinter, often causing a player’s lips to bleed. “I used to hack off the ends of the combs on my harmonicas with a carpet knife,” recalls Steve Baker, a London-born harmonica player and an authority on the Marine Band. Most players would never do that, of course, content to just toss their worn-out wrecks in the trash.
For Hohner, this must have seemed like a very good business model. After all, the Marine Band had been Hohner’s most popular harmonica brand almost since 1896, the year it was introduced. In the United States, in the first half of the 20th century, American folk musicians and blues artists alike embraced the Marine Band as their own, giving the instrument originally designed to play traditional German folk tunes an aura of cool. With sales soaring after World War II, Hohner found itself making an instrument everybody wanted, even though it needed to be replaced regularly. How could a manufacturer’s product get any better than that?
Well, answered harmonica players and a small but influential community of harmonica customizers, how about an instrument that doesn’t wear out, is built to be serviced and tuned to a musician’s needs, and is made out of materials that don’t cause our lips to bleed?
In the 1970s, Lee Oskar and Steve Baker were at the forefront of a movement to get those questions answered…
In the 1970s, Hohner, the world’s largest harmonica manufacturer, changed its flagship model– and in the process, its signature sound. A few musicians and harp customizers waged a quiet rebellion. And they won. The full (and elegantly told) story: “The Return of the Harmonica.”
* Richard Brautigan
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As we blow, we might recall that it was on this date in 1979 that the classic film Rock and Roll High School was first publicly shown. (Some sources report that the movie opened on August 4 or August 24 of that year– and “officially,” one of those dates is likely right. But according to director Allan Arkush, in an interview with The Village Voice, the movie played in April in Texas and New Mexico, and did not reach New York City– and national consciousness– until August.)
A Roger Corman production featuring a remarkable cast, it is nonetheless probably best remembered as “the movie with The Ramones.” Amusingly, Corman originally wanted Cheap Trick or Todd Rundgren to play the band, but schedules didn’t mesh, so he was forced to find an alternative… at which point Paul Bartel (who played a key role in the film) suggested The Ramones.
“Now I wanna remind everyone of the House of Mouse Rules: No smoking. No villainous schemes. And no guests eating other guests.”*…
In addition to being home to men with questionable decision-making skills, Florida also seems to have some issues with bizarre animal behavior, whether it’s freezing iguanas dropping from trees or alligators battling pythons in the Everglades. When it comes to those animals, however, Floridians can truly put the blame on non-natives. Neither pythons nor green iguanas made the Sunshine State their home until we brought them there as pets.
In fact, there are lots of problematic invasive species that have spread through the pet trade, from predatory fish that can drag themselves between bodies of water to a crayfish that clones itself to reproduce. Those high-profile cases lead to some obvious questions, like whether pets really are more likely to be invasive and, if so, why?
Two Swiss researchers, Jérôme Gippeta and Cleo Bertelsmeier have now attempted to answer these questions. And their conclusion is that yes, our pets are more likely to be problems.
To answer the question of whether pets really are problematic, the researchers generated some basic statistics for different groups of animals (mammals, birds, reptiles, amphibians, and fish). These included estimates of the total number of species, as well as the number of those that are classified as invasive and the number that are part of the pet trade.
If pets were no more or less likely to be invasive, you’d expect to see the invasive ones occupy similar fractions of both the pet trade and the total number of species in that group. But that’s not what we see in any of the groups. Invasive mammal species were present at five times the rate in the pet trade as they are in the wild around the globe. There was a similar result in birds; for amphibians, invasive species were eight times more common in the pet trade and about 10 times more common in fish.
Overall, invasive species were 7.4 times more likely to be kept as pets than you’d expect based on their frequency among vertebrate populations.
But cause and effect can be difficult to disentangle. Do we choose species that are more likely to be invasive as pets? Or have pets ended up with more opportunities to invade new environments because we transport them around the world?…
Spoiler alert: it’s the former… A new study finds the factors making them easier to keep also help them spread: “Unfortunately, we like pets that are likely to be invasive species.”
* Mickey Mouse
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As we ponder proliferation, we might recall that it was on this date in 1964 that a different kind of “invader,” the Beatles, set a record: they became the first artists to hold all top 5 spots on the Billboard Hot 100 on the same week, on April 4, 1964.
#1. Can’t Buy Me Love
#2. Twist and Shout
#3. She Loves You
#4. I Want to Hold Your Hand
#5. Please Please Me.
More Beatles on the Charts that week: #31 – I Saw Her Standing There, #41 – From Me To You, #46 – Do You Want To Know a Secret, #58 – All My Loving, #65 – You Can’t Do That, #68 – Roll Over Beethoven, #79 – Thank You Girl
At the time, the best-selling piece of Beatles merchandise was the “I Love Ringo” button.
“Don’t hate the media; become the media”*…
Punk Planet was a 16,000 print run punk zine, based in Chicago, Illinois, that focused most of its energy on looking at punk subculture rather than punk as simply another genre of music to which teenagers listen. In addition to covering music, Punk Planet also covered visual arts and a wide variety of progressive issues — including media criticism, feminism, and labor issues.
The most notable features in Punk Planet were the interviews and album reviews. The interviews generally ran two or three pages, and tended to focus on the motivations of the artist (or organizer, activist, or whoever) being interviewed. Punk Planet aimed to be more inclusive than the well-known zine Maximum Rock and Roll, and tried to review nearly all the records it received, so long as the record label wasn’t owned or partially owned by a major label. This led to a review section typically longer than thirty pages, covering a variety of musical styles. Although much of the music thus reviewed was, expectedly, aggressive rock, the reviews also covered country, folk, hip-hop, indie rock, and other genres. The Punk Planet reviews section also encompassed independently released comics, zines, and DVDs…
The first issue of the zine was published in May 1994, in part as a response to the perception that Maximum Rock and Roll was becoming too elitist. In September 2006, Punk Planet had printed 75 issues of their bi-monthly publication, and in the fall of 2004 launched a book publishing arm, Punk Planet Books, in conjunction with the New York-based small press Akashic Books…
A number of poor distribution deals and the collapse of the Independent Press Association resulted in mounting debts for the editors. As a result, issue 80 was shipped with a cover reading: “This is the final issue of Punk Planet, after this the fight is yours.” Subsidiary business Punk Planet books remains in business…
The annals of punk, the subculture as much as the genre– the invaluable Internet Archive (@internetarchive) has digitized and made the full run available: “Punk Planet Archive.”
* Jello Biafra
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As we travel in time, we might recall that this date in 1959 was “the day the music died”: the day that a plane crash near Clear Lake, Iowa killed Buddy Holly, Ritchie Valens, J.P. Richardson (aka, The Big Bopper), and pilot Roger Peterson.
If Beethoven had been killed in a plane crash at the age of 22, it would have changed the history of music… and of aviation.
– Tom Stoppard
“Some things cost more than you realize”*…
A demo tape made by the band On A Friday is poised to hit the auction block of Omega Auctions on January 26. The TDK cassette tape has recordings of six tracks, three of which the auction house claims have not been heard yet: “Promise Me,” “Boy In A Box” and “These Chains.” The tape was recorded sometime before 1991, which we know because that’s the year that they signed with EMI Records and decided to change their name to Radiohead. The tape was given to a friend of the band and is expected to fetch £2,000, so if you’re a fan of the band and you want to make sure this one existing copy doesn’t get purchased by some insipid owner of a pharmaceutical company, now is the time to creep on over to the auction site and ready a bid…
Radiohead’s demo tape from their school band days is coming up for bid: “Exit Music (for an Auction)” More details at the BBC.
[Via the ever-illuminating Numlock News]
* Radiohead
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As we ruminate on roots, we might spare a thought for Steve Wahrer, drummer and vocalist of the Minneapolis-based (!) surf rock group The Trashmen– best known for their (one) hit, “Surfin’ Bird,” a 1963 mash-up of two R&B hits by The Rivingtons, “The Bird’s the Word” and “Papa-Oom-Mow-Mow.” Wahrer died, at age 47, on this date in 1989 (of throat cancer).
