Author Archive

Book Review: Nick Hornby’s “Juliet, Naked”

Nick Hornby is Exhibit A in defense of the crusty old adage “write what you know.” He built his reputation on a pair of books that traded on his twin obsessions – football (the autobiographical Fever Pitch) and pop music (his debut novel High Fidelity) – while exploring the impacts of such fixations on interpersonal relationships. His next novel, the brilliant About a Boy (1998), didn’t explore fandom directly, though one of its main characters was a former pop singer who used the residual income from his one big hit to keep the world at bay.

Since then, Hornby has broadened his thematic horizons to encompass religious fervor (How To Be Good), suicide and therapy (A Long Way Down), and teen pregnancy (the “young adult” novel Slam) – all, unfortunately, with returns considerably diminished from his earlier work. In fact, his most essential work of the last decade was a nonfiction immersion into his music fandom: the essay collection Songbook (titled 31 Songs outside the U.S.), which explores his emotional attachments to tunes by artists ranging from O.V. Wright to Royksopp. Any Popdose loyalist who has not already picked up a copy of Songbook should do so immediately.

With all that in mind, it was welcome news indeed when Penguin’s Riverhead Books subsidiary announced that Hornby’s new novel would return him to the world of those who create and devour popular music. Indeed, the setup of Juliet, Naked is almost impossibly juicy … at least from the perspective of a 21st-century music writer like me (and many of you). If you read the excerpt we posted here last week, you already know that Duncan is an obsessive fan of singer-songwriter Tucker Crowe, who walked away from his middling career under mysterious circumstances 20 years ago and has since become the subject of endless conjecture about his past and present lives. As leader of the “Crowologists,” and administrator of a website devoted to picking apart every detail of the singer’s career, Duncan receives a preview copy of a new CD featuring “naked” demos from Crowe’s most acclaimed (and final) album, Juliet. (more…)

The Popdose Interview: Neil Finn

The new benefit album from Neil Finn’s 7 Worlds Collide collective, The Sun Came Out, doesn’t aspire to the sorts of Grand Gestures that mark so many multi-artist charity compilations. Instead, its charms are subdued and homespun, and its songs (such as “Learn to Crawl”) are intoxicating in their low-key tunefulness. Those same qualities, along with an enormous generosity of spirit, are the ones that have sustained Finn through three decades as a recording artist — perhaps the most underrated artist of his era, as we are prone to suggest frequently here at Popdose.

The album comes by those characteristics naturally. Finn and his family opened their home (and his home studio) in New Zealand for three weeks last Christmastime to most of the crew from the previous 7 Worlds incarnation — Johnny Marr, Ed O’Brien and Phil Selway from Radiohead, Sebastian Steinberg, Lisa Germano — as well as newbies including Wilco, KT Tunstall, and down-under singer-songwriters Don McGlashan, Bic Runga, and Glenn Richards. The sessions were, by all accounts, full of frivolity, on-the-spot collaboration, and various forms (this being the holiday season) of good cheer; they also marked a musical reunion for various Finn family members including brother Tim, sons Liam and Elroy, and — singing on record for the first time — Neil’s wife Sharon.

In addition to preparing and publicizing The Sun Came Out (which emerges tomorrow in the U.S.), Finn has been readying a new Crowded House album for release this winter and has recently found time to play a few gigs (with and without his 7 Worlds compatriots) in London and Los Angeles. His interview with Popdose, patched in from New Zealand through his U.S. publicist’s office (thus saving your intrepid interviewer a whopping phone bill), found him answering queries about the minutiae of long-past Crowded House gigs as well as reader questions ranging from the profound to the ridiculous. (Sadly, dear reader who calls himself “maxus,” he had no answer whatsoever for the question, “Imagine if writing songs in flat keys suddenly became a major felony. How would you imagine a day in Neil Finn’s Violent Life of Crime, circa September 2010?”) Here’s a live clip from the first 7 Worlds Collide project: (more…)

Political Culture: In Defense of … ACORN?

Glenn Beck scored another pelt for his demagoguery-fur coat this week, when Congress voted to cut all federal funding for the community-organizing group ACORN in the wake of those seedy undercover videos Beck has been pitching all month. (Hope Glenn realizes that demagoguery fur starts to smell like old tires when you weep on it too much.) I’m sure Beck is very proud of himself for finally landing a solid punch on this target, considering that his fellow conservatives hadn’t been able to lay a glove on the group despite flailing away at it for years. But I’d suggest that, in the context of all the other Republican ugliness of the last several months, their Javert-like pursuit eventually is going to wind up saying a lot more about them than it does about ACORN.

Mind you, I’ve got no sympathy whatsoever for those staffers who offered all sorts of untoward advice to a couple of right-wing David O. Selznicks pretending to be a pimp and a ho engaged in human trafficking. And the fact that similar scenarios played out in a couple of different ACORN offices suggests an organization with some serious boundary issues when it comes to dealing with the more illegal and/or despicable aspects of inner-city life. (I don’t care that surreptitious videotaping is a nasty thing to do, and I don’t want to hear about entrapment. Is there no clause in the ACORN training manual stipulating that staffers might occasionally use the simple phrase “I’m sorry, but I’m going to have to ask you to leave”?)

ACORN certainly deserves some time in the penalty box for its staffers’ transgressions – a nice grilling at a congressional hearing, perhaps, or a period of J. Edgar Hoover-like oversight of all the organization’s activities that receive federal funding. Unfortunately, de-funding the group entirely, and ending its participation in next year’s Census, will do considerably more damage to the cause of American democracy than it will do to ACORN. And the method used by Congress to implement that penalty – using legislation specifically to punish a single organization — reeks of Democratic flop sweat, not to mention a desperation to avoid the sorts of scandals that laid Republicans low in 2006.

The fact that we reached this point at all is a tribute to the Republicans’ obsessiveness, and their well-rehearsed ability to keep picking at a scab until it finally bleeds. Indeed, the ACORN brouhaha – in which years of fruitless attempts to tar the group with allegations of voter fraud have finally resulted in a scandal that has nothing whatsoever to do with votes or elections — is a slightly (but only slightly) less tawdry rerun of Ken Starr’s progression from Whitewater to Paula Jones to Monica Lewinsky. That, too, was a relentless quest to pin something – anything! – on an institution whose very existence offended the right wing.

At least the harassment of ACORN is slightly (but, again, only slightly) more rational than the pursuit of Clinton was. After all, while ACORN is not an arm of the Democratic Party, the constituency it serves is a key part of the Democratic base of voters, and ACORN’s success in registering millions of lower-income, inner-city, mostly African-American voters over the years has directly benefited Democratic politicians. Such voter-registration drives proved to be a sharp thorn in the side of Karl Rove’s push for a “permanent Republican majority” – to the point where Rove and his minions instigated a major scandal of their own by pressuring U.S. Attorneys to prosecute bogus allegations of voter fraud, then replacing prosecutors who refused to do so.

The “ACORN” acronym didn’t become a household word during the Bushies’ 2004-06 PR campaign – perhaps because ACORN’s reputation was sufficiently high, and the importance of its activism to America’s inner cities sufficiently well established, that the Bush administration itself steered more than $14 million to ACORN over its two terms in office. It wasn’t until after the U.S. Attorneys scandal had helped shame Rove and Alberto Gonzales out of the White House — and until an African-American and former community organizer had become a leading candidate for the presidency – that Republicans latched onto ACORN as a symbol of the sort of … how to phrase this delicately … black hooliganism that Democrats were counting on to wrest power from its rightful (and Right-full) owners.

Oh, I’m sorry – did I just accuse Republicans of exploiting racial insecurities in an effort to attract white voters?

Here’s what ACORN actually does. Founded by a group of lower-income Arkansas mothers in 1970 to press for subsidized school lunches, veterans’ rights and funding for hospital emergency rooms, ACORN has blossomed into the nation’s biggest community-organizing group. It has half a million dues-paying members, and chapters nationwide that employ more than 1,000 staffers. In the last four years alone, ACORN has designed, and lobbied successfully for, minimum-wage increases in five states, and is currently active in seven more. The organization also has led legal efforts in several states that have forced major banks to limit the interest and fees they charge to homeowners, and ACORN has spearheaded legislation in nine states to end predatory-lending practices.

Compared to all that, it seems an afterthought to mention that during the last election cycle alone, ACORN registered 1.3 million new inner-city voters. But as far as Republicans are concerned, voter registration may as well be all ACORN does, because it has the most immediate impact on their electoral prospects. Since the Voting Rights Act passed in 1965, it has been no secret that Republicans are desperate to drive down the African-American vote By Any Means Necessary. In 2000, those means included purging 50,000 registered voters off the rolls in Florida – a key element in Bush’s “victory” there. In 2004, those means included Ohio’s Republican secretary of state arranging for far too few voting machines in African-American precincts, resulting in long lines and thousands of voters either turning away in frustration or being locked out of their polling places at the end of the night. All of that doesn’t even take into account robocalls that lie to inner-city voters about changes in the locations of polling places or in the dates for voting; rumors that are planted about police looking for parole violators at the polls, and documented cases of “security guards” being paid by the GOP to intimidate black voters; and, of course, the Republicans’ repeated efforts to impose enhanced voter-identification requirements without providing poor people with sufficient means to obtain such IDs.

And now ACORN. The group seemed last year like a useful tool for Republicans attempting to belittle Barack Obama’s own work as a community organizer; this year, the continuing drumbeat of criticism of the group served mostly as one more means (among many) of de-legitimizing Obama’s victory among the ever-shrinking, yet ever-more-rabid Republican base. The trouble for the GOP, however, has been that ACORN never was shown to have engaged in significant voter fraud. In the isolated cases of false names being registered by ACORN “stringers,” who were paid by the number of signatures they obtained, ACORN itself reported the violations and threw out the improper registrations.

Of course, none of that has mattered to Beck and the other Fox News blowhards, who diligently search for fresh meat for the baying teabaggers. They’ve kept up their attacks, and finally they’ve found a way to document an ACORN impropriety. And … nobody’s surprised. Nobody’s surprised because the relentlessly bad press ACORN has received over the last year – for no good reason except Republicans playing politics – had left it, even before this month, with a soiled reputation and few vocal defenders. The American public, which famously can’t even place Iraq on a map, knows nothing of ACORN except what the Republicans have told them (enabled, of course, by the mainstream media, which played the voter-fraud allegations for considerably more than they were worth last fall). And when ACORN employees finally did do something worthy of those attacks, Democrats overreacted in a craven effort to save themselves from being tarnished along with the group.

So, fine. ACORN now is crippled in the public eye (and deservedly so, at least for a while), but more importantly it is crippled in its financial ability to engage in the laudable activities that have served inner-city communities for 40 years. And now Glenn Beck, and the Republican Party that steps to his tune, can go off in search of other people and institutions to toss into the coliseum with their ravenous beast base.

But in the context of “he’s an Arab” and “palling around with terrorists” and the birthers and “you lie!” and the Joker-face posters and the assault weapons at town halls and all the rest of it, the Republican Party’s ACORN obsession sure looks like it’s grounded in something uglier than pure, zero-sum partisan politics. President Obama, for obvious reasons, isn’t allowed to agree with Jimmy Carter, but if you don’t think there’s a racial component in the tactics and language of the disloyal opposition, you’re kidding yourself. Is power so important to the GOP that it’s worth engaging in morally repugnant and even illegal activities to ensure that Americans of a particular race don’t get a chance to vote (or hold high office)? And does the vitality of conservative ideals require politicians and pundits to stoke racial fears, and to convince millions that their own president is somehow the “other,” in a way that utterly shreds our character as a people?

And, most frighteningly, now that you’ve done all this (and finally succeeded in bringing down one of your targets), what’s your next move?

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Book Excerpt: Nick Hornby’s “Juliet, Naked”

If you’re a loyal Popdose reader who’s read (or seen) High Fidelity or About a Boy – or who has reveled in Songbook, his prose tribute to some of his favorite tunes — then you’re already well aware that Nick Hornby is One Of Us. Has any other novelist even approached his keen yet effortless portrayals of pop fandom, in all its minutiae and benign obsession? The great news is that, after several novels in which Hornby throttled back that fandom in an effort to make broader statements about the human condition — or, at least, the middle-class English form of it — he returns to the new-release racks next week with a novel that offers the best of both his worlds. We’ll have a review of Juliet, Naked in this space next Thursday. Until then, enjoy this sneak peek at the first chapter … and if you’re as curious to find out what happens next as we think you’ll be, pick up the book when it’s released on Tuesday.

……………………………………

They had flown from England to Minneapolis to look at a toilet. The simple truth of this only struck Annie when they were actually inside it: apart from the graffiti on the walls, some of which made some kind of reference to the toilet’s importance in musical history, it was dank, dark, smelly and entirely unremarkable. Americans were very good at making the most of their heritage, but there wasn’t much even they could do here. (more…)

Popdose Flashback: Indigo Girls, “Indigo Girls”

Hey, guys, remember that girl in college? The one whose intellect was sometimes intimidating, but sometimes eye-roll-inducing, depending on how far she ventured into cliché? The one you thought about dating, but probably never did, and if you didn’t you figured, well, she’s probably gay anyway?

If you’re buying into my obnoxious stereotype so far – and if you’re part of the distaff sector of the species, I sincerely apologize for it — then you know where this is going. Because if you’re old like me, you sat around with your buddies and called that girl “Janis Ian.” But by the time I got to graduate school in 1990, her name was “Indigo Girl.”

This album is why. And at this point I’ll pull out of the Neanderthal mentality of my opening and state, simply, that Indigo Girls was one of the finest major-label debuts of the ’80s. Its long-term impact is undeniable, not only upon the duo’s career but upon an entire generation of female singer-songwriters who gained a path to popularity on the radio and the concert stage in part because of its success. (more…)

Calling All Questions: Neil Finn

Reader questions are becoming almost de rigueur for our higher-profile Popdose Interviews, so we thought some of you might like to be part of our upcoming conversation with one of our very favorite artists, Neil Finn. Submit your questions here before midnight on Monday, and we’ll fit in as many as he can (or is willing to) answer. Feel free to touch on the Split Enz years, the Crowded House era, his solo work, or his many collaborations with Tim, Liam and the whole Finn brood — including the new 7 Worlds Collide album, The Sun Came Out, which itself dawns on September 29 and benefits Oxfam.

Have at it! And we’ll say “Hi” to Neil for ya.

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The Popdose Interview: Janis Ian

Janis Ian is in career-retrospective mode lately, but she’s handling it – as usual – in thoroughly modern fashion. The confessional singer/songwriter, creator of the boomer-icon hits “Society’s Child” and “At Seventeen,” has long since abandoned the major-label merry-go-ground – she’s been releasing new music on her own Rude Girl imprint for more than a decade. Nevertheless, she is getting the “Essential” treatment from Sony/Legacy with a two-disc anthology that arrived in stores and online last week. But there’s a twist: The Essential Janis Ian is essentially a reprint of a compilation titled Best of Janis Ian: The Autobiography Collection, which she self-released last year in conjunction with her critically acclaimed memoir, Society’s Child: My Autobiography.

The book begins with a clear-eyed portrait of her troubled upbringing as the child of leftists under constant FBI surveillance, and her early blossoming as a songwriter – her first song, a haunting Childe-ballad update titled “Hair of Spun Gold,” was published in the folk-music periodical Broadside when she was 12. She recorded the controversial, interracial-romance drama “Society’s Child” when she was 15; the single had to be re-released twice before it became a Top 20 hit in 1967, despite being banned by radio stations across the South, and Ian recounts a live performance that engendered so much racial hatred that she briefly feared for her life. Here she is performing the song on The Smothers Brothers Comedy Hour. (more…)

Political Culture: Gimme Some Truth

The words were spoken in London, casually, almost flippantly, and were directed at an audience that was sure to treat them in the spirit they were intended. It was not until the words traveled to the United States, and were heard by an audience of narrow-minded hypocrites for whom they were decidedly not intended, that they created a ruckus that led to censorship, destruction and even death threats.

No, silly, I’m not saying that Natalie Maines is bigger than John Lennon (or Jesus, for that matter). What I am saying is that both of them – all three of them, actually – learned one very important lesson the hard way: Speaking your mind can be a very dangerous business. It can even get you killed.

Here at Popdose and throughout the Western world, this week’s (admittedly consumerist) Beatlemania revival has offered plenty of opportunities to reflect on their music, their influence … the astounding greed of their record label over a 45-year period … (Did EMI really have to sell the stereo and mono mixes separately, particularly considering that every album from Please Please Me to Revolver was short enough that they could have easily crammed both versions onto a single CD?) But as long as we’re sitting around dissecting the effects of the remastering process on “Happiness is a Warm Gun,” or tapping colored buttons in time to the scrolling visuals on the Rock Band version of “Revolution,” we may as well pause to marvel at the historical import of the Beatles’ efforts – and John’s in particular – to use their stardom to advance causes and engage in social commentary. In this, as in their music, they created a template that has been imitated and amended by generations of celebrities in their wake, for better and for worse. (more…)

Jesus of Cool: Popdose Picks the Beatles’ Best

Sick to death of Beatle hype? Too bad! Today’s the one before the one before 9/09, and you’re just gonna have to shine it on a little longer.

This weekend Entertainment Weekly came out with a vaguely interesting, vaguely infuriating list of the Fabs’ “50 best songs,” selected (it seems) by a panel of 10 EW writers (including that other, probably better-paid but infinitely less worthy Jeff Giles). The magazine’s crew did such a lousy job separating the Strawberry Fields from the Norwegian Wood that I figured, I can do better than that … heck, I’ll bet we all can!

And so here we are. Several of my Popdose colleagues have contributed their own lists, but this is no Popdose 100 – we weren’t organized enough this time to compile a comprehensive survey of our Beatle tastes. Still, there are a few generalizations to be reached, particularly on the popularity of such tracks as “A Day in the Life,” “Here Comes the Sun,” “Revolution,” and the Abbey Road medley. Please feel free – no, feel compelled – to offer your own best-of list in the comments, or at least to take potshots at ours. Me first, though (with each song’s EW ranking, if any, in parentheses): (more…)

Political Culture: Inglourious Democrats?

Like (I suspect) most viewers, I wasn’t too troubled by self-recrimination at the end of Quentin Tarantino’s must-see exercise in “Jewish revenge porn,” Inglourious Basterds. (The description comes from the Jewish Daily Forward, not from me.) I wasn’t worried about Q’s preposterous deviations from history, nor was I concerned that some Jewish folks might not appreciate – indeed, might be appalled by – their forebears’ cinematic transformation from victims to vigilantes. Screw the strictures of morality, the heavy burden of humanity! The way I figure it, most people leave the theater thinking just one thing: Man, if only the Jews had been able to open up a can of whoop-ass on those damn Nat-zees – that woulda been sweet.

My wife – a (sorta) Jewess who emerged from the film similarly exhilarated, and ready to grab a baseball bat for some impromptu strip-mall justice – recovered her faculties quickly and asked to stop in at Big Box Boox (i.e., Barnes & Noble) to pick up some chick lit. So she went off to fiction and I stopped at the bestseller rack, where I was confronted by an entirely different array of “revenge porn.” The titles included Mark Levin’s “conservative manifesto” Liberty and Tyranny (which leaves some question as to where his sympathies lie), Glenn Beck’s Common Sense (the first of two oxymorons in this column), Dick Morris’ Catastrophe and Michelle Malkin’s Culture of Corruption. The latter two tomes, which see fit to pass final judgment on the new administration, were released in June and July, respectively – which, even accounting for the sped-up timeline for publishing political books, means they were written no later than March or April … before the stimulus bill had even been signed into law. (more…)