Posts Tagged ‘music’

Van Morrison continues his attack on lockdowns and government overreach on his tremendous new album

Posted: May 22, 2022 by John Ruberry in covid, culture, entertainment, media, News/opinion, opinion/news, politics, vaccine mandates
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By John Ruberry

When one looks back the great artists–and I dislike this term–of the classic rock era of the mid-1960s thru the early 1970s, the usual big names to come to mind, the Beatles, the Who, the Rolling Stones, Creedence Clearwater Revival, and Bob Dylan. 

One name–and he just released his 43rd studio album last week–is generally overlooked. And that artist is Van Morrison, also known as Van the Man and the Belfast Cowboy. Oh sure, he’s recorded some memorable hits, such as “Brown Eyed Girl,” along with “Moondance” and “Have I Told You Lately.” Before Morrison’s first album, Blowin’ Your Mind, was released in 1967, he was the frontman for Them. That band’s anthemic “Gloria” deservedly appears on many best-ever song lists. 

But Morrison isn’t a much of a self-promoter–he doesn’t do many interviews and he’s not the best media conversationalist–even though Van the Man’s lyrics are generally eloquent and articulate. 

Two years ago Morrison began attracting media attention for his impassioned opposition to COVID-19 lockdowns, which, during the height of them, prevented Van, who turns 77 this summer, from performing live.

Morrison just concluded a short USA tour, a British tour begins Monday. 

In 2020, Morrison released three anti-lockdown songs, “Born to Be Free” and “As I Walked Out,” as well as “No More Lockdown.” That same year Eric Clapton recorded a Morrison-penned anti-lockdown song, “Stand and Deliver.” Clapton, who celebrated his 77th birthday in March, was diagnosed with COVID-19 last week. Hey, no reasonable person believes COVID is un-catchable. 

Those anti-lockdown songs led Northern Ireland’s health minister, Robin Swann, to write a Rolling Stone op-ed attacking Morrison, where Swann declared, “Some of what is he saying is actually dangerous.”

Last year in Belfast, after four of his concerts were cancelled, Morrison led a “Robin Swann is very dangerous” chant at a banquet. Because of the chant, Swann sued Morrison.

Which brings us to “Dangerous,” the opening track of Morrison’s brand-new album, What’s It Gonna Take?

Somebody said I was dangerous
I said something bad, but it must’ve been good
Somebody said I was dangerous
I must be getting close to the truth, alright, alright

But Morrison isn’t done with lockdowns, as the first ten songs of this 15-song effort attack COVID-19 restrictions on varying levels.

On the title track, Morrison opines,

Politicians don’t represent the people
Government doesn’t represent us at all
Government takes and ruins all our business
Big tax about to take it all.

In life, I’ve learned that sometimes life is just blah blah blah. Really, because that’s another great tune here, entitled of course, “Sometimes It’s Just Blah Blah Blah.”

How do you like the new normal?
Tell me, how is that going for you?
How did you overcome the restrictions?
How do you handle the news?
Do you still think the government’s not lying to you?
Oh, has the penny dropped yet?
Seems there’s no way out of this impasse
Is it something we’ll live to regret?

What’s It Gonna Take? is absolutely an essential musical release but I suspect it will be savaged by the critics, most of whom are liberals. Morrison’s prior collection, a double album, Latest Record Project, Volume 1, also blew the whistle on lockdown restrictions, as well as social media–quite obviously so on the song “Why Are You On Facebook?” It’s a good album, albeit a bit long, but still far better than the swill that passes as 21st century music. And the critics for the most part hated that Latest Record Project, Volume 1.

As recently as 2017 Morrison described himself as apolitical. Clearly, at least in regards to COVID lockdowns and government overreach, he is now a strident libertarian. 

Rock music, with few exceptions, hasn’t been the soundtrack of rebellion for decades. It’s ironic that the most rebellious rocker today–or perhaps he’s a bluesman?–is a man in his late 70s, the Belfast Cowboy, Van Morrison.

Here’s one final brilliant lyrical excerpt from Van’s latest album, this time from “Damage and Recovery.”

Snowflakes hiding in their houses
Most of us need to get right back to work
Money doesn’t grow on trees
Jobs don’t thrive on barren ground
Narrow-minded politics
So-called social scientist tricks
Telling lies, they’re meant to be
Watching morons on TV.

There are a couple of references to “Gates,” as in Bill Gates, a COVID-alarmist. A couple of weeks ago, the Microsoft founder and self-appointed virus expert said about COVID-19, “We didn’t understand that it’s a fairly low fatality rate and that it’s a disease mainly in the elderly, kind of like flu is, although a bit different than that.”

Wow. Two years ago, if someone posted that sentence on Facebook or Twitter, they’d probably have their accounts suspended.

Morrison was right in 2020 about lockdowns and Gates was wrong.

There’s a little bit of Van Morrison in all of us. There’s a lot of Van Morrison in all thinking people.

What’s It Gonna Take? is available for download on iTunes and for purchase in the CD format on Amazon, where, as of this writing, the reviews are fairly good. And you can buy it or stream it from the Van Morrison official website.

UPDATE May 31, 2022:

Yesterday multiple United Kingdom news outlets reported that Morrison has turned the tables on Robin Swann. He’s suing the Northern Ireland health minister.

John Ruberry regularly blogs at Marathon Pundit, he’s married to Mrs. Marathon Pundit. Morrison’s “Have I Told You Lately” plays on their wedding video.

Conservatives need to defend others in free speech battle

Posted: January 3, 2021 by John Ruberry in culture, News/opinion, politics
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By John Ruberry

Free speech is under harsh attack in America courtesy of wokeism. Such warnings about free speech are nothing new–but in the past much of the danger has been imagined. For instance I was in college when The Clash released Combat Rock. On the opening track, “Know Your Rights,” Joe Strummer sings of those rights, “all three of them.” The third right is “free speech,” with a caveat. That right could be used if “you’re not dumb enough to actually try it.” Assuming that Strummer was addressing his core audience, American and British youths of the early 1980s, what he said was at best a gross exaggeration.

Not so in 2021.

I received the inspiration for this post by listenening to Ben Shapiro’s December 24 podcast, Goodbye, 2020.

Shapiro is among the many commentators who predict a purge–my word, not his–of dissident voices, meaning conservative ones, on social media such as Twitter, beginning with Donald Trump as soon as he’s not president.

Absurdly, people like Jack Dorsey, the CEO of Twitter, still claim that social media is a neutral conduit of information. Twitter for a while prevented the posting and distribution of the New York Post’s Hunter Biden laptop story on the microblogging platform claiming that the laptop details were hacked and illegally obtained. Wrong on both counts. Twitter had no problem with Tweets linking to the New York Times story about Trump’s income tax returns–those returns may have been obtained by hacking. Regardless how those returns were accessed the person who did so broke the law.

What to do?

Forge alliances.

“Well first of all we’re going to have to rely on people, believe or not, who are moderate liberals,” Shapiro said in that podcast, “who are sick of watching the Overton window shut.”

And that means conservative have to defend those liberals who cross the cancel culture.

An incident on Twitter comes to mind. Three years ago in this space I reviewed the documentary XTC-This Is Pop, which was about the spectacular rock back that emerged in England in the late 1970s. That post got a lot of retweets, including one from the XTC Fans Twitter page, run by the now-dissolved group’s former leader, Andy Partridge. A committed liberal, Partridge’s Tweets, although often sarcastic, were entertaining and usually well-thought out, whether it was about music, religion, or politics.

In 2019 some people with too much time on their hands accused Partridge of anti-Semitism after a series of Tweets–not well-thought out this time–about American Middle East policy that devolved into an online shouting match about Israel and religion. Partridge, a strident atheist, went a little too far, I admit, but taken into context with his overall sardonic attitude, those Tweets weren’t a big deal to me. I planned to write a blog post on Marathon Pundit defending him, but then Partridge cancelled himself on Twitter by deleting the XTC Fans account and I moved on to other things.

One of those Twitter accounts Partridge engaged with was “Jon Devin Nunes’ Prostate.”

You know, some people take Twitter too seriously.

Back to Partridge. No one knows why he deleted his account–perhaps he decided that he was spending too much time on social media. He certainly broke a Twitter rule of mine: Never feed online trolls.

I believe if Partridge wasn’t an older white male a Twitter mob would not have bothered to object to those controversial Tweets. For instance the media, with a few exceptions, have not called to task Georgia US Senate candidate Raphael Warnock for his anti-Israel comments.

There will be other efforts to silence dissidents on social media. Mostly against conservatives. But against liberals too.

Conservatism must embrace free speech. And that means relying on for allies, not just the moderate liberals that Shapiro spoke of, but also center-line liberals too in order to fight this crucial battle. And keep in mind no political ideology is always correct.

As for the fundamentalist far-left, the tiny tail wagging the cultural dog these days, I believe they’ve already isolated themselves, as Isaac Asimov said of the 1960s radicals, into a “no-man’s land of the spirit.” Think of the bleating sheep in George Orwell’s Animal Farm.

But right now in the culture wars the far-left is winning.

Fight back.

John Ruberry regularly blogs at Marathon Pundit.

An appreciation of The Divine Comedy band

Posted: December 13, 2020 by John Ruberry in culture, entertainment, media
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By John Ruberry

Listening to music is a serendipitous adventure. And it was on one of those journeys I uncovered another great band that you’ve probably never heard of, The Divine Comedy. Last year before the post was swallowed up by a memory hole at Da Tech Guy, I profiled another undeservedly unknown band, the Rainmakers. Only I first encountered the Rainmakers on a local radio station years ago.

I discovered The Divine Comedy when I downloaded the “Inspired by the Kinks” compilation on Apple iTunes. A great collection, yes, and easily the standout cut for me was “The National Express,” a satirical look at a ride on the eponymous company’s bus line.

Unknown? As this is an American blog with, I believe, a predominately American readership, that’s true. But The Divine Comedy has scored hits in Europe, particularly in Great Britain and Ireland, which is understandable as the band’s only constant member is Neil Hannon, who is from Northern Ireland.

As great as “The National Express” is, there’s just one small issue in my opinion. I’m a huge Kinks fan, but unless you count that British band’s last big hit, “Come Dancing,” it doesn’t sound like any other Kinks tune.

Listen for yourself!

The Divine Comedy’s first album, since cancelled by Hannon, was the R.E.M. inspired Fanfare for the Comic Muse, which was released in 1990. The only place it seems to be available is on YouTube. If you somehow find a copy of it at a rummage sale or used record store, grab it if it’s priced cheap, as it is probably a collector’s item.

The band then “regenerated” three years later into a chamber pop, or if you prefer Britpop band, for Liberation. Actually I prefer the moniker baroque pop. Regardless of the name, what kind of music am I talking about? Think along the lines of “Penny Lane” by the Beatles, “Senses Working Overtime” or “Easter Theatre” by XTC, or “Never My Love” by The Association, the glimmering song that was used with such beautiful yet chilling effect in the final episode of the most recent season of Outlander. Oh, throw in a bit of Cole Porter too. Back to Liberation: My favorite song from that collection is “The Pop Singer’s Fear of the Pollen Count,” which is cleary inspired by the Beach Boys. Yes, I suffer from allergies too so I can commiserate.

Hannon, who writes nearly all of the band’s songs, is a clever lyricist who brings wit and even snarkiness to many of his songs. The Divine Comedy’s melodies are striking and the musicianship is superb.

Here’s a snippet from “Catherine the Great.”

With her military might
She could defeat anyone that she liked
And she looked so bloody good on a horse
They couldn’t wait
For her to invade
Catherine the Great.

Yes, there is a sly reference here to the historical gossip that the Empress of Russia died from a mishap during carnal relations with a stallion.

“The Frog Princess” incorporates strains of “La Marseillaise” into it.

One more Divine Comedy favorite of mine is “Gin Soaked Boy” from the 1999 compilation A Secret History…The Best of the Divine Comedy, which might be good place for you to see if The Divine Comedy is for you. Or you can begin as I did on Apple Music with their “Essentials” and “Next Steps” collections.

Of the band’s dozen studio albums Fin de Siècle, which contains “The National Express,” is my favorite. If you prefer to see what the Divine Comedy is up to now, its latest album is Office Politics. The track I enjoy the most on this collection is “Philip and Steve’s Furniture Removal Company.” It’s about a proposed sitcom and its theme song, both devised by Hannon, in which minimalist classical composers, Philip Glass and Steve Reich, operate a furniture removal business in the 1960s in New York.

Silly? Of course. Brilliant? Definitely.

Oh yes, I said “regenerated” earlier. Regeneration is the title of the Divine Comedy’s 2001 album. Perhaps not coincidentally Hannon contributed a couple of solo tracks, “Song for Ten” and “Love Don’t Roam” to Doctor Who: Original Television Soundtrack from 2006.

In addition to Apple Music works by The Divine Comedy are also available on Amazon.

John Ruberry regularly blogs at Marathon Pundit.

In Lady A music battle big crushes little when white privilege meets wokeness

Posted: July 12, 2020 by John Ruberry in culture, media, News/opinion, politics, Uncomfortable Truths
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By John Ruberry

Up until a few weeks ago the country trio Lady Antebellum barely registered on my radar. While I do enjoy country music my interest is mostly focused on the Americana genre. As for the country music you hear on most FM radio stations, most of it is formulaic garbage, mediocre pop tunes delivered with a drawl. And that is the type of drivel Lady Antebellum delivers. And it’s not just me who feels that way. In 2010–that year will come back soon in this story–a sub-headline on Slate named Lady Antebellum “the world’s dullest band.”

But their name caught my attention. Even before wokeness became a political movement I thought “Lady Antebellum” was an odd choice of a moniker, as it refers to what some Lost Cause of the Confederacy propagandists viewed as the good old days of the pre-Civil War South. On those infrequent occasions when word came up, until very recently, it referred to plantation manor homes, which of course were staffed by slaves and were financed by agricultural goods produced by slaves. Those good old says weren’t good at all.

According to the band they decided on Lady Antebellum after a photo shoot at one of those mansions.

But after the killing of George Floyd and the protests, some of them of violent, Lady Antebellum announced they were now Lady A.

But as you probably heard there is already a Lady A, Seattle blues artist Anita White, who has been using the name for decades. But she isn’t a superstar or even a star. When White spoke up–that should have been the coda of the new name for the artists-formerly-known-as-Lady Antebellum. Their wokeness compelled the name change. They are white and Anita White is black. Their wokeness should have compelled them to brainstorm for yet another name. Now the former Lady Antebellum is suing White to prevent her performing as Lady A.

There was briefly an informal co-existence agreement between the two Lady As after the group’s name change. But that’s not working out. If you type “Lady A” into the search box on iTunes and Spotify, it’s the new Lady A who appears, not the blue singer. The same result comes at at YouTube.

White now wants $10 million from the Lady A trio–with half going to Black Lives Matter and some charities. The ex-Lady Antebellum calls that demand “exorbitant.” The band has possessed the trademark for “Lady A” since 2010. While I’m not going to pretend, as a non-lawyer, to completely understand the legal side of this dispute, the law appears to favor the band.

Even if the law didn’t, the band has significant financial resources that White doesn’t. For her part, she told Entertainment Weekly that she offered a compromise, “I had suggested on the Zoom call [between the band and her] that they go by the Band Lady A, or Lady A the Band, and I could be Lady A the Artist, but they didn’t want to do that.”

There are a number of lessons in this story that exemplify why our society is so messed up.

There has not been heavy coverage of this suit outside of the entertainment media and Seattle news sources despite the race angle. Conservative websites have been reporting on this story. Now imagine if Lady A the Band were conservative Republicans. This battle would be the lead story on CNN and MSNBC. There would be a constant drumbeat of stories from them–and of course the New York Times and the rest of the legacy media, which of course takes its cue from the Times.

Lady A the Artist told Rolling Stone, “They claim to be allies and that they wanted to change their name out of the racist connotation, and then they sue a black woman for the new name.”

So here is more proof for you that the mainstream media is not interested so much in reporting the news but instead advancing their narrative that America is systemically racist–and conservative Republicans even more so.

Let’s talk common sense. Just because something is legal that doesn’t make it moral. Charles Dickens’ character Mr. Bumble phrased it best in Oliver Twist, “If the law supposes that, the law is a ass–a idiot.” Well maybe that’s an overreach, but there are three idiots in Band Lady A.

I support Peter Sagal’s idea. He hosts NPR’s quiz show Wait…Wait…Don’t Tell Me! “There is a simple solution to this problem, though,” he said. “Lady A the Band should just go by Lady A-Hole.”

That works for me.

I just typed “Lady A-Hole” into the iTunes search box. Nothing relevant comes up.

Go for it.

John Ruberry regularly blogs at Marathon Pundit.

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