Posts Tagged ‘Morrissey’

Song-Off Jr.: Fast Food Burgers

fastfood

As people eat more meals outside the home, they consume more calories, less fiber, and more fat. Commodity prices have fallen so low that the fast food industry has greatly increased its portion sizes, without reducing profits, in order to attract customers. The size of a burger has become one of its main selling points. Wendy’s offers the Triple Decker; Burger King, the Great American; and Hardee’s sells a hamburger called the Monster. The Little Caesars slogan “Big! Big!” now applies not just to the industry’s portions, but to its customers. Over the past forty years in the United States, per capita consumption of carbonated soft drinks has more than quadrupled. During the late 1950s the typical soft drink order at a fast food restaurant contained about eight ounces of soda; today a “Child” order of Coke at McDonald’s is twelve ounces. A “Large” Coke is thirty-two ounces-and about 310 calories. In 1972, McDonald’s added Large French Fries to its menu; twenty years later, the chain added Super Size Fries, a serving three times larger than what McDonald’s offered a generation ago. Super Size Fries have 610 calories and 29 grams of fat. At Carl’s Jr. restaurants, an order of CrissCut Fries and a Double Western Bacon Cheeseburger boasts 73 grams of fat — more fat than ten of the chain’s milk shakes.

–from Fast Food Nation by Eric Schlosser

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Bootleg City: Evan Dando and the Lemonheads

To celebrate/exploit the release of Varshons, the new covers album by Evan Dando’s Lemonheads, Bootleg City is covering its own covers-filled edition from July 27, 2007. Of course, back in those days there was no Popdose.

“But Mayor Cass,” the children always ask, “where did people go when they wanted to download music for free and write comments underneath the accompanying text that was only tangentially related to said text?”

“My my!” I answer. “What big words you have in your … um … don’t tell me … starts with a V …”

That’s when their smiles usually vanish. “Fine, we’ll dumb it down for you, old man. What was it called before it was called Popdose?

Kids. They really do say the darnedest, most f**ked-up bulls**t.

For those who don’t know, before there was Popdose there was Jefitoblog, and whenever its creator, Popdose’s Jeff Giles, was foolish enough to allow guest writers to contribute, he’d often have to upload all their MP3s for them along with all their text. Uploading MP3s is a time-consuming, hand-cramping, soul-fisting process. Don’t get me wrong, it’s fun being mayor of Bootleg City, but if there was a way to charge you people a nonreading tax so I could buy some child labor that would upload the MP3s for me, I’d do it in a heartbeat. (Of course I wouldn’t underpay them. I love those little octothorp ampersand percent sign exclamation points.)

However, I’m glad Jeff no longer has to upload songs for me, because (1) he does more for Popdose than you’ll ever know and deserves our eternal gratitude, and (2) I don’t trust him one bit with my stuff. Never have, never will. The real Jeff Giles writes for Newsweek — who does this “Jeff DeWester” impostor think he is?

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Bootleg City: Material Issue in Cleveland, May ‘91

Back in 1992, my girlfriend received a 16th-birthday mix tape from a friend of ours named Tai. There were no artists or song titles listed on the cassette label, making the tape something of a mystery gift. My girlfriend and I listened to it while driving (because when you’re 16 you just drive, regardless of whether or not there’s a Point B), and later I borrowed the tape so I could dub the songs I liked onto a cassette of my own.

Since I didn’t know the titles of the songs I was adding to my collection, I made up my own: the Stone Roses’ “Elephant Stone” was listed as “In My Dreams”; the Hummingbirds’ “Everything You Said” became “Your Picture”; the Blue Hearts’ “Train-Train” turned into a single “Train”; Blake Babies’ “Out There” was rechristened “I Know It’s Stupid”; and Morrissey’s “Mute Witness” morphed into “That She Saw” (yes, I know I was reaching with that one). One track I did manage to name correctly was “Valerie Loves Me,” by Chicago power-pop trio Material Issue. I could’ve sworn they were British all those years ago, probably because of lead singer Jim Ellison’s English-accent affectations, as all power pop seems to lead back to the words and music of Lennon and McCartney, even though you couldn’t hear their accents when they sang.

This week’s bootleg is a radio broadcast of Material Issue playing at the Empire Concert Club in Cleveland, Ohio, on May 9, 1991. Back then they were promoting their debut album, International Pop Overthrow, whose title has since been borrowed for an annual traveling power-pop festival: the 2009 edition arrived in Chicago on April 16 and leaves town on Sunday, then starts back up in Milwaukee next Thursday. The bootleg is brought to you by Addicted to Vinyl’s Matt Wardlaw, a friend of Popdose and a heck of a nice guy. Here’s what he has to say about the venue and the concerts it hosted that aired on local radio:

“The Empire Concert Club was a great though short-lived club here in Cleveland that was only open for a couple of years at the beginning of the ’90s. In that time they did close to 100 live concert broadcasts with legendary rock station WMMS. Some of the more memorable broadcasts included shows from Cracker, King’s X, Sarah McLachlan (her first show in Cleveland), Rik Emmett, Matthew Sweet, and this show from Material Issue. Personally, I enjoyed the broadcasts because they featured a lot of artists like Material Issue who had new and fresh sounds for music fans to latch onto at a time when you could still hear that kind of thing on the radio; these live broadcasts captured many of the artists as they were about to explode on a national level. Great club, great bands — so how did it end? The Empire got nailed for filling the venue beyond capacity during a Buddy Guy concert — not their first offense — and they were penalized by having their capacity reduced by half, which led to an eventual shuttering of the club. Empire co-owner Tony Ciulla resurfaced a short time later as part of the management team for Trent Reznor’s Nothing Records.”

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Live Music: Morrissey @ Webster Hall; the Grates and Micachu & the Shapes @ Pianos, 3/25/09

MorrisseyNew York City living, with its ever-expanding list of options, presents a reoccurring problem: What to do when you need or want to be in two places at once? Given the opportunity to see both legendary crooner Morrissey at Webster Hall for free and up-and-coming hype bands the Grates and Micachu & the Shapes for free, what does one do? Well, if you have experience covering festivals like CMJ, and enough money for cab fare, you do both.

Starting out at Webster Hall, the end of the set by openers the Courteeners was unsurprisingly Smiths-ish. At any other time and place, that might be perfectly fine, but as an opener for Morrissey? Who wants processed cheese when you can have cheddar?

Morrissey warmed the crowd up, once again, with a series of old video clips before his set. When the curtain dropped and the pompadoured singer took the stage, he asked, “I just have one soul searching question to ask you: Where the hell am I?” before jumping into Brooklyn bar dance hit, “This Charming Man.”

But, sadly enough, the same people that will likely bust a move to the song when it comes on at their local bar were noticeably less rapturous than the average Morrissey fanboy crowd. Were people there to say they saw Morrissey at a smaller venue than he usually plays, or where they simply there to see him?

Morrissey, however, was up to his normal tricks, casting shirts into the audience, whipping the mic around, brushing back his hair, and interjecting an air of mystery between songs with statements like, “I am a myth.” The set list was full of standard fare – “How Soon Is Now?” “Irish Blood, English Heart” “Billy Budd” – all of which were as aggressive as Morrissey has ever been, with the help of his current backing band. But lest we forget his reputation as the International Man of Misery, there was “Let Me Kiss You,” and “Seasick, Yet Still Docked” to tug at the heartstrings. (See below for a video of “Seasick, Yet Still Docked” from this show.)

Unfortunately, as he began mid-set standard “The Loop,” a cab and Piano’s were beckoning… (more…)

Song-Off Jr.: Morrissey’s Rhetorical Questions

If you’re so funny, then why are you on your own tonight?  And if you’re so clever, then why are you on your own tonight?  If you’re so very entertaining, then why are you on your own tonight?  If you’re so very good-looking, why do you sleep alone tonight? — Morrissey

The Smiths – “What Difference Does it Make?”

The Smiths – “How Soon is Now?”

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Which answer makes more sense?

View Results

Last time, The Dead Milkmen’s “Punk Rock Girl” absolutely stomped the hell out of Bad Manners’ “Skinhead Girl,” taking home the hearts of 81% of the voters.  Join us again next week as we dig some quarters out from underneath the couch cushions and do a few loads of laundry.

Jesus of Cool: Suedehead & Pigskin

I may be a bit slow on the uptake these days when it comes to television commercials — I don’t watch much live TV anymore, what with the TiVo and all. But after about four viewings of this commercial last night during the Phillies-Dodgers game, I finally identified what must be the most perplexing music placement in advertising history. Listen closely and enjoy, if you haven’t caught this one before…

In Memoriam: Jerry Finn

I’m stunned and saddened to hear the news that producer / mixer Jerry Finn passed away yesterday as a result of the effects of a brain hemorrhage which occurred last month. Given how important Finn’s work has been to the legacy of the genre referred to as punk-pop, I’m anticipating that there will be many tributes forthcoming on various websites, but I wanted to make sure that Popdose would be counted among that number.

I’ve gotta be honest with you: the name “Jerry Finn” didn’t really mean a whole lot to me until he was announced as the man who would be producing Morrissey’s You Are The Quarry album. I’m a Mozzer apologist from way back, but as much as I came to love 1997’s Maladjusted, I also knew that it was far from his best work. If the man was ever going to get off the greatest-hits circuit and earn back his status as a college-rock god who still had something to say that was worth hearing, he was going to need to step up his game. Enter Finn, who added a much needed crunch to Mozzer’s sound.

From the moment I heard the first single from You Are The Quarry“Irish Blood, English Heart” – it was obvious that Morrissey was back in a big way…and that if this album was to be a commercial success, then he would owe much of that success to Jerry Finn. And when the time came to write my review of You Are The Quarry, I took a step back, did my research on Finn’s background, and was flabbergasted to find that I had no less than a dozen albums in my collection which featured Finn’s name within their credits. (It was actually a little embarrassing. I’m usually much better at noticing production info.)

Is it overstating things to suggest that Jerry Finn is to punk-pop what Butch Vig was to grunge? Perhaps, but not by much. The guy had his fingers in a lot of pies over the course of his career, and a lot of those pies proved to be…well, okay, I’m going to abandon this pie metaphor, but suffice it to say that many, many millions of albums have been sold in the last decade or so that feature the name “Jerry Finn” as producer, mixer, or engineer. Green Day, Blink-182, Morrissey, AFI, and Alkaline Trio might be the most prominent names with which he’s been associated, but there’s much more to his resume than those folks. I guess it’s somehow appropriate that Finn’s last work was with the man who brought him to my attention in the first place: Morrissey, whose next record, tentatively titled Years of Refusal, is due to emerge in early 2009.

Here’s a collection of MP3s to pay tribute to the work of Jerry Finn. Frankly, it was a little spooky the way the titles of some of these songs lent themselves so perfectly to a farewell, but may he rest in peace, and may he not be forgotten. (more…)