Mandates work.
That's the story this week. Fewer than 1% of United Airlines employees refused to get vaccinated when told they needed to get the jab to keep their jobs. That's right, out of 67,000 employees, only 593 refused to get the shot. Two months ago, only 70% of the airline's employees were vaccinated, now only 1% are not.
But it's not only United. Tyson Foods reported that 91% of its employees are now vaccinated, and the deadline has not yet arrived. As for the New York health system, it went from 75% to 92% today. Many individual hospitals are even higher. St. Barnabas in the Bronx went from 80% to 97%. Mohawk Valley went from 70% to 95.6%. https://wapo.st/3uyvp0p
What drove the increase? Economics!
"Of Vaccine Mandates and Facing Reality": https://nyti.ms/2Yo3a8V
"The point is that most vaccine resistance isn't about deep concerns, but it often involves assertions of the right to give (misguided perceptions of) self-interest priority over the public interest. So, luckily, many resisters fold as soon as the calculus of self-interest reverses, and refusing to take their shots has immediate, tangible financial costs."
Turns out when it comes to money, people will bite the bullet, get the shot. You read about people sacrificing their jobs, but they're a distinct minority.
As for the mentality of the true believers, you must read this article in "Vox":
"Why people who don't trust vaccines are embracing unproven drugs - Inside the upside-down world where Covid-19 vaccines are dangerous and ivermectin is saving lives": https://bit.ly/3FfVaay
"'People listen to people "from their group" and whom they think they can trust,' David Dunning, a professor of psychology at the University of Michigan, told me. 'People really don't know what science is, and so do you feel you can trust the person giving you advice, rather than appraising their expertise, becomes the thing.'"
It's about cults. You always twist the facts to support your position. The doomsday cult waits for the world to end, and then when it doesn't they're joyous, because of their belief the rest of the world was saved!
"In communities of hardened vaccine skeptics, new information isn't necessarily treated as an opportunity to reassess their beliefs. Instead, new facts are seen either as affirmation of what this community already believes or as a distraction that should be dismissed because it doesn't neatly sort into their anti-vaccine narrative."
And:
"That theory holds that, within the American right, the concepts of loyalty and betrayal are more influential to their worldview than on the American left. Staying true to your group is a powerful pull for conservatives.
For these folks, facts mean nothing; membership and identity, everything,' Bernstein said over email. 'Groupishness, in-/out-group differentiation ... is much stronger on the right.'"
In other words, there's no chance of convincing these hard core deniers with logic, it just won't work, they're invested in their position, facts don't matter.
But money does.
As does the ability to function in a society. If you make life hard enough, people will get the shot. You can't smoke in a theatre, in almost any public place, and you shouldn't be allowed inside one if you're not vaccinated. Turns out most people want vaccine mandates, it's just that politicians lack the will.
And then we have the strange case of California...
The Republicans thought they would dethrone Newsom and turn the Golden State into a Covid-19 free-for-all like Florida or Texas. But their efforts resulted in a debacle, Newsom won almost three-quarters of the vote. And thus emboldened, he declared that all students must be vaccinated. Elections have consequences, the people spoke and it turns out the Republicans are in an even worse position in California, whose inoculation rate is so high and Covid prevention laws so tough that the state's infection and death rate are consistently amongst the lowest in the nation.
We need more politicians to do what is right as opposed to what is wrong because they're afraid of a minority of their constituents.
We need more vaccine mandates.
We need to make life so hard for the unvaccinated that they decide to get the shot to their benefit.
Mandates work, we need more!
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Saturday 2 October 2021
The Many Saints Of Newark
(Spoiler alert: Yes, some plot points of "The Many Saints of Newark" are revealed below, but they're not super-significant and if you bother to watch this turkey you won't care. As for "The Squid Game," I haven't finished so don't be a jerk and e-mail me about it, STAY SILENT!)
It's terrible.
The hottest show on television today is "The Squid Game." Netflix expects it to be the most viewed show on the service ever! But I didn't see an iota of advance publicity, there was no hype, its popularity is being driven by word of mouth, unlike "The Many Saints Of Newark."
I've watched some Korean TV. It's different. It's slower, the characters can be stylized, and if you asked me if it had international appeal, that Americans would be tuning in to see this dystopian drama in a foreign language, I would have said NO WAY! And to tell you the truth, I'm only halfway through and I still don't get the mania, but I'm going to finish it, because I want to be part of the discussion, in a world where the only communal touchpoints are generated by politics, it's good to have something available to all that we all watch and talk about.
No one will be talking about "The Many Saints of Newark," unless to remark how bad it is, if that.
So for over a year, we've been subjected to hype on this prequel to "The Sopranos." Did we need it, did we want it? No. But we were certainly intrigued. The hype centered over the casting of Michael Gandolfini as his father, Tony Soprano, at a young age, and contrary to the sledgehammer of publicity his role is pretty small, he pulls it off somewhat believably, better than most of the scene chewers in this two hour waste of time.
It's almost a comedy. NONE of the performances ring true. Oh, they did a good job of casting people who look like their elder selves, but they'd have been better off focusing on their acting ability. Especially laughable is the young Silvio Dante, who has got all of Little Steven's mannerisms down, but ends up looking like a cartoon.
As for Ray Liotta... His plastic surgery has settled in and he no longer looks like a goon and he's okay, but really as the brother, not as "Hollywood Dick" Moltisanti. And Liotta's performance is better than every other one except for Vera Farmiga's as Livia Soprano, but even she has scenes that ring completely untrue, like when she's speaking with the guidance counselor.
So the film begins with Hollywood Dick returning from Italy with his new bride and you're already confused, WHO IS WHO? It takes half an hour or more to realize Hollywood Dick is Christopher's grandfather. And Christopher's father "Dickie" not only doesn't ring true, you can't understand what is going on in his life, he's got Giuseppina in an apartment but is he still married and then when Johnny Soprano comes home from prison he's talking about a new baby as if it's his and if you're not confused, you wrote the damn script.
And the focus is on imagery rather than script or performance. Then again, it doesn't always ring true. There's a cab ride where the meter stick is so worn out it couldn't possibly be contemporary, it looks like the relic it is.
And we don't even know what year we're in!
Sure, it starts off in 1967, but then Tony is a teenager and there's no mention of year and you're really not sure, not that you care.
James Gandolfini as Tony Soprano had an inner anger that was always visible. And he was rarely over the top, unlike Big Dick and Little Dick. As for Junior... I love Corey Stoll, he was great in "House of Cards," but he looks like a Jewish accountant here, not a member of the Mafia.
And they all hang out but the context, what they're doing, is never really explained. The other Mafia families, the Blacks moving in on their territory. Actually, the only performance that rings true most of the time is Leslie Odom, Jr.'s, after he's back from down south, he's got that edge, that inner anger. As for Little Dick, aka "Dickie," killing people... He looks like a guy who'd confess instantly, weary of a nervous breakdown, he's not a cold-blooded killer.
So what we see here is David Chase is not the genius.
I was always surprised that the guy who took over "Northern Exposure," which resulted in a step down in quality, could generate something as good as "The Sopranos." Obviously it was the peripheral people, like Terence Winter, who was not involved in this abomination.
I never would have gone to a theatre to see this. Covid or no, especially with the bad reviews. This is just an expensive TV movie. That no one really wants to see. A curio. You truly can't go home anymore. Thank god James Gandolfini is dead and couldn't participate in this piece of crap, it would stain his legacy. It remains intact. Unfortunately, James is still dead.
Big Pussy, Paulie Walnuts, Christopher... All the original characters had a core of evil. It might be wrapped in niceness when out in public, but there was no doubt these people would do what it took to protect their business, to survive. And they were a family, and Tony was quite obviously the boss. Who exactly is the boss here? Dickie doesn't live up to the role, certainly not hothead Johnny, who seems to be modeling his role on James Caan's in "The Godfather."
This movie was promoted in a positively old school way. And the old school is dead. Word was out on this turd long before the average citizen could see it. The hype didn't matter, it was instantly disregarded, you can't pull the wool over the audience's eyes today. You've got to focus on the product. TV is still not like music. Sure, there's a lot of product, but nowhere near the amount there is in music, where 60,000 tracks are uploaded to Spotify every week. So if you're on the big platform people will give you a chance and if the show is any good they'll tell others and you'll have a viral hit. This is what has happened again and again and again, from "Stranger Things" to "Tiger King"...
It's hysterical to watch old Hollywood burn right in front of our eyes. They're gonna blame it on Covid, but the truth is everybody is accessible online, and it turns out two-dimensional actors are not that interesting, we don't want to model our behavior after them. And then the Silicon Valley titans disrupted the old industry, built on fraud, not paying investors and profit participants, and not investing in the future either. The old Hollywood moguls were crooks, playing a game of street ball. It wasn't about education, it was sharp elbows, how else does a hairdresser like Jon Peters get to run a studio and ultimately lose billions?
So now the studio heads are faceless. And when they try to move forward, the rest of old Hollywood freaks out. Yes, your product has to be on the flat screen, day and date, wake up to the present. As for the agencies bitching... Their money doesn't come from movies and music anymore anyway, it comes from sports and other non-Hollywood elements of their behemoth operations. Sure, they prepared for the future, give them credit, but the glamour of the movie business does not pay the bills. As for the leverage of the stars... For years they've been unable to open pictures. Scarlett Johansson was lucky she was in a superhero movie, and did you see that Disney settled with her? They don't want a precedent.
The action is in series, not movies, and it's all on the flat screen. "The Many Saints of Newark" even leaves us hanging in the end. What we really needed was a series, thank god we didn't get one.
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It's terrible.
The hottest show on television today is "The Squid Game." Netflix expects it to be the most viewed show on the service ever! But I didn't see an iota of advance publicity, there was no hype, its popularity is being driven by word of mouth, unlike "The Many Saints Of Newark."
I've watched some Korean TV. It's different. It's slower, the characters can be stylized, and if you asked me if it had international appeal, that Americans would be tuning in to see this dystopian drama in a foreign language, I would have said NO WAY! And to tell you the truth, I'm only halfway through and I still don't get the mania, but I'm going to finish it, because I want to be part of the discussion, in a world where the only communal touchpoints are generated by politics, it's good to have something available to all that we all watch and talk about.
No one will be talking about "The Many Saints of Newark," unless to remark how bad it is, if that.
So for over a year, we've been subjected to hype on this prequel to "The Sopranos." Did we need it, did we want it? No. But we were certainly intrigued. The hype centered over the casting of Michael Gandolfini as his father, Tony Soprano, at a young age, and contrary to the sledgehammer of publicity his role is pretty small, he pulls it off somewhat believably, better than most of the scene chewers in this two hour waste of time.
It's almost a comedy. NONE of the performances ring true. Oh, they did a good job of casting people who look like their elder selves, but they'd have been better off focusing on their acting ability. Especially laughable is the young Silvio Dante, who has got all of Little Steven's mannerisms down, but ends up looking like a cartoon.
As for Ray Liotta... His plastic surgery has settled in and he no longer looks like a goon and he's okay, but really as the brother, not as "Hollywood Dick" Moltisanti. And Liotta's performance is better than every other one except for Vera Farmiga's as Livia Soprano, but even she has scenes that ring completely untrue, like when she's speaking with the guidance counselor.
So the film begins with Hollywood Dick returning from Italy with his new bride and you're already confused, WHO IS WHO? It takes half an hour or more to realize Hollywood Dick is Christopher's grandfather. And Christopher's father "Dickie" not only doesn't ring true, you can't understand what is going on in his life, he's got Giuseppina in an apartment but is he still married and then when Johnny Soprano comes home from prison he's talking about a new baby as if it's his and if you're not confused, you wrote the damn script.
And the focus is on imagery rather than script or performance. Then again, it doesn't always ring true. There's a cab ride where the meter stick is so worn out it couldn't possibly be contemporary, it looks like the relic it is.
And we don't even know what year we're in!
Sure, it starts off in 1967, but then Tony is a teenager and there's no mention of year and you're really not sure, not that you care.
James Gandolfini as Tony Soprano had an inner anger that was always visible. And he was rarely over the top, unlike Big Dick and Little Dick. As for Junior... I love Corey Stoll, he was great in "House of Cards," but he looks like a Jewish accountant here, not a member of the Mafia.
And they all hang out but the context, what they're doing, is never really explained. The other Mafia families, the Blacks moving in on their territory. Actually, the only performance that rings true most of the time is Leslie Odom, Jr.'s, after he's back from down south, he's got that edge, that inner anger. As for Little Dick, aka "Dickie," killing people... He looks like a guy who'd confess instantly, weary of a nervous breakdown, he's not a cold-blooded killer.
So what we see here is David Chase is not the genius.
I was always surprised that the guy who took over "Northern Exposure," which resulted in a step down in quality, could generate something as good as "The Sopranos." Obviously it was the peripheral people, like Terence Winter, who was not involved in this abomination.
I never would have gone to a theatre to see this. Covid or no, especially with the bad reviews. This is just an expensive TV movie. That no one really wants to see. A curio. You truly can't go home anymore. Thank god James Gandolfini is dead and couldn't participate in this piece of crap, it would stain his legacy. It remains intact. Unfortunately, James is still dead.
Big Pussy, Paulie Walnuts, Christopher... All the original characters had a core of evil. It might be wrapped in niceness when out in public, but there was no doubt these people would do what it took to protect their business, to survive. And they were a family, and Tony was quite obviously the boss. Who exactly is the boss here? Dickie doesn't live up to the role, certainly not hothead Johnny, who seems to be modeling his role on James Caan's in "The Godfather."
This movie was promoted in a positively old school way. And the old school is dead. Word was out on this turd long before the average citizen could see it. The hype didn't matter, it was instantly disregarded, you can't pull the wool over the audience's eyes today. You've got to focus on the product. TV is still not like music. Sure, there's a lot of product, but nowhere near the amount there is in music, where 60,000 tracks are uploaded to Spotify every week. So if you're on the big platform people will give you a chance and if the show is any good they'll tell others and you'll have a viral hit. This is what has happened again and again and again, from "Stranger Things" to "Tiger King"...
It's hysterical to watch old Hollywood burn right in front of our eyes. They're gonna blame it on Covid, but the truth is everybody is accessible online, and it turns out two-dimensional actors are not that interesting, we don't want to model our behavior after them. And then the Silicon Valley titans disrupted the old industry, built on fraud, not paying investors and profit participants, and not investing in the future either. The old Hollywood moguls were crooks, playing a game of street ball. It wasn't about education, it was sharp elbows, how else does a hairdresser like Jon Peters get to run a studio and ultimately lose billions?
So now the studio heads are faceless. And when they try to move forward, the rest of old Hollywood freaks out. Yes, your product has to be on the flat screen, day and date, wake up to the present. As for the agencies bitching... Their money doesn't come from movies and music anymore anyway, it comes from sports and other non-Hollywood elements of their behemoth operations. Sure, they prepared for the future, give them credit, but the glamour of the movie business does not pay the bills. As for the leverage of the stars... For years they've been unable to open pictures. Scarlett Johansson was lucky she was in a superhero movie, and did you see that Disney settled with her? They don't want a precedent.
The action is in series, not movies, and it's all on the flat screen. "The Many Saints of Newark" even leaves us hanging in the end. What we really needed was a series, thank god we didn't get one.
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Thursday 30 September 2021
Mailbag
From: Dave Frey
Subject: Re: Re-The New Mad Dogs & Englishmen Movie
Hi Bob,
As a promoter it's rare to get props so I really appreciate you mentioning Lockn' in your Learning To Live Together letter. During my 7-year run with Pete Shapiro our thing was to try to present once-in-a-lifetime artist collaborations. We had some big ideas and swung hard at them, like pairing Clapton with TTB (and Whitlock, Bramlett, Keys et al) to do Layla. That incarnation of our idea never got off the ground, but the TTB next one, Mad Dogs did. I'd seen Mad Dogs & Englishmen at the Evanston Theater on Central St when I was 11 and then bought the record. Pete, who's younger, got it but didn't connect like I did so he gave me the rope. I first tried to pair Joe with TTB and we got close, but sadly Joe died and the idea did too.
Later on Wayne called and said Derek & Susan were still up for it as a celebration. So again Pete gave me the rope and we worked out a deal and secured Leon. My next inquiry was to The Boss who wasn't available, and when Paulo Nutini didn't work out the focus switched to different singers doing their own interpretations. That's when Wayne Forte really stepped up and we confirmed Rita Coolidge, Chris Stainton, Claudia Lennear, Chris Robinson, Dave Mason, John Bell, and others, and don't forget Susan Freaking Tedeschi, Wayne was totally immersed, he even put up show posters!
Pete reminded me the budget was spiraling; "did I know what I was doing?" On a financial basis… it was out of control, sorry Pete. But Shapiro's always been a great music film and video producer https://fans.live and he had the foresight to bring in (and vouch for) Jesse Lauter to document everything. Jesse found the original photographer Linda Wolf who we also flew in, Linda recently released a great book called "Cocker Power." She and Mary Beth Aungier became invaluable because I couldn't stop. They were tasked with the Easter Egg hunt and they found Bobby Torres, Pamela Polland, Bobby Jones, Don Preston, Donna Washburn, Jim Price, Daniel and Matthew Moore, and others. Some had been out of the game for years and wouldn't come. Not Keltner, he wasn't going to travel but said not to worry, the show would have "the pocket" because Leon and Stainton were there (and don't forget Kofi Burbridge too!). Steve Martin stepped up too and got Chuck Blackwell and Sandy Konikoff's info from Leon. Leon officially passed the baton to Derek who did what he does so well, he became the wizard, the eye of the hurricane, and a master music director.
At the rehearsals everyone seemed so happy to be together again, it was like a good high-school reunion. But there were serious challenges too. Marketing learned it was hard to message, sprawling, obscure, few knew what it was, especially without Joe. Then the day before doors a derecho storm hit the site and we lost Thursday. Our incredible crew recovered the site, re-permitted everything, and then Pete and I pushed most of those bands into shorter sets on Friday. No one slept for 3-days.
Come Friday night I stopped to breathe and my wife and I watched the show from out in the crowd. Everyone killed it of course, but when Leon sang "Mad Dogs & Englishmen" on his own, and we used two spotlights, one on Leon and the other on a center stage mic where Joe would have stood, there were few dry eyes in the crowd. I know it's an old trick, and I sure hope it was captured on Jesses film. Afterward Leon shared that he was grateful because the show got him and Joe in touch again. The last thing he told me was to thank my mom for letting me see the movie at such a young age. So thank you mom, and thank you Bob for the acknowledgement.
Dave Frey
Lockn' LLC & Lockn' Farm LLC
Managing Member / Owner
P.S. And after all this time I still run into people that say they had no idea what they were about to see, but that MD&E then became one of their favorite shows ever. But to be candid, the show lost a fortune and raised my blood pressure, considerably.
_______________________________________
From: Wayne Forte
Subject: Re: The New Mad Dogs & Englishmen Movie
It is extremely satisfying to know that you watched our documentary as closely as you did and more so that you truly enjoyed it. While we (our director, co-producer, editor and I) would have loved nothing more than to tell all the individual stories in depth, it would then have been an over 3 hour film. To that end, we were advised from the start, by multiple people, that we should not make a documentary film longer than 1 hour! Well, that was definitely not going to work for us so, as 1st time director and producers, we proceeded to tell the story we had planned to tell, however bearing in mind, though it was a tough decision, that 'shorter' may be better than 'longer'.
We also had some comments from the 'peanut gallery' that there should be more 'live performance' in the film (bear in mind that very few people have actually seen the final doc so goodness knows where those comments were coming from!?).
In the end, suffice to say, there were a number of things we wanted to have included that we finally had to leave on the editing room floor, in order to get the doc to under 2 hours (and there were hours and hours more of interviews and live performance which had to be left out).
We, as '1st timers', learned the lesson of toiling for hours and hours and days and days (which led to months and months then years), agonizing over what to leave out and what to include. And, as you pointed out, it did take years for us to raise the funds to finally complete the project, all while we were slowly working on piecing the film together (6 years total - 1 year of being turned down, 3-4 years of fundraising, including 2-3 years of license clearances, mostly due to COVID, and for me, add another year of setting up the actual concert event with the festival producers). In fact, after a year of being turned down by both corporations as well as individuals we finally decided to take the 'DIY' route, similarly as we had done with both the Tedeschi Trucks Band as well as The Derek Trucks Band prior, and proceed with the project independently by raising the funds ourselves. And, while there were many, many 'non-believers' along the way (both corporate as well as individuals), there were also the 'believers' who understood what we were attempting to achieve and produce, or at least believed in us, the team of creators, and were willing to financially support the project. As they say, 'it takes a village', however it takes 'people' to make the village and without them, there would be no film.
However, from the beginning (that is, following the huge success of and reaction to the live event), we all felt that this film HAD to be made and the story HAD to be told, not for 'the money' but for Joe, for Leon, for the Mad Dogs and for the history of music (something which has resided in the back of my mind for 6 years now).
Given the amount of time, care and effort involved in this project (and a certain amount of 'love') it is nice to know that the efforts have already been appreciated.
Thanks again.
_______________________________________
From: JD
Subject: Re: Re-The New Mad Dogs & Englishmen Movie
BOB
I second every word of Elton's letter. Mad Dogs and Englishmen was source of mad inspiration for me and Leon's writing and playing cannot be over estimated. Try playing "Song For You" and you'll get a wee sample of his brilliance. Thank you and thanks Elton for sending the big Amen to one of the giants on whose shoulder we stand.
JD Souther
_______________________________________
From: Andrew Oldham
Subject: Re: Re-The New Mad Dogs & Englishmen Movie
Bob;
They were rehearsing in Westport CT, i was living, well, transposing, on nearby Ridgefield Rd.
Manager Nigel Thomas and Man of War Denny Cordell brought Joe over for a meet and greet. Nobody accepred my standard supper, Stouffer's Beef Stew bathed in Vodka, and the silence in the living room was grim.
Then Joe spoke, "So this is what's between Boston and New York?"
Bless you Joe and all the wings you sung on...
Everbest, o
_______________________________________
From: Michael Des Barres
Subject: Tweet by Michael Des Barres on Twitter
Leon Russell statue installed at Church Studio youtu.be/RY1nzdO4QZ8 via @YouTube? Richly deserved. The prince of Peace…& Rock 'n' roll.??
_______________________________________
From: Terri Haram
Subject: Re: The New Mad Dogs & Englishmen Movie
Hi Bob,
I just wanted to make a comment about Tedeschi and Trucks. A few years back I went to see them at the Ryman. I was in town working, saw they were playing and was able to score a ticket, front row on the side. It was my first and only Ryman show. I was glad a friend had convinced me to go. I was completely blown away.
Live music always gives me an emotional and sometimes physical (I'm a bit of a cry baby when the music moves me) response. I don't believe I stopped crying through the entire show. I was just so moved. I was on the side of the stage where Derek plays so was fortunate to be so close and watch him (through tears) the entire night. He as well as others in the band saw how moved I was. At the end of the first set I yelled out for a pic (yes I am that person!). How did I not notice Derek doesn't use a pic? I was mortified! Derek, the kind soul that his is didn't just laugh and blow me off. He reached down, tore the set list off the stage and brought it over to me. I couldn't believe it. Such a great gesture!! I was going to be a fan after that concert, but because of Derek's kindness, knowing I was having an emotional and physical response to the music, I will be a fan for a lifetime!!
Buy the ticket, take the ride!!
Terri H.
_______________________________________
From: Craig Anderton
Subject: Barking up the wrong tree
With older recordings that were done in analog studios, I think comparing CD or SACD to vinyl is missing a very important point. The comparison should be what sounds closest to the analog master tape. To my ears, SACD does that better than vinyl or CD. SACD has the most inherently "analog" sound.
I believe one reason why SACD sounds better than CDs, and closest to analog tape, is due to the output filtering.
CDs have a brutally sharp output filter in order to pass frequencies below 20 kHz, while totally suppressing the 44.1 kHz clock signal.
Vinyl has to deal with preamps that use the RIAA curve. This introduces massive amounts of equalization on playback (up to 20 dB of bass boost and up to -20 dB of treble cut!). It basically "undoes" the massive amounts of bass cut and treble boost applied to the record to try and overcome vinyl's lack of bass response and surface noise.
However...SACD's clock frequency is so high that even the most gentle, neutral filters can remove the clock signal from the output.
So I believe the difference people hear among these various technologies is more about the difference among reconstruction filters, not the technology per se. With SACD, audio goes through much less, and much gentler, processing between the playback medium and your ears.
Vinyl does not accurately reproduce the sound of analog tape. Vinyl is a signal processor, but it processes the sound in a way that some people like.
Craig
_______________________________________
From: Robert Heiblim
Subject: Re: Eagles MoFi Vinyl
Oh oh Bob, you are showing signs of audiophilia! No worries, I too am a recovering audiophile. This is not to be confused with what overlays this which is the luxury market for scarce goods also inhabited by audio lovers. You are right of course that you have to spend more than on a Bluetooth speaker, but you can get grand sound for the prices you mention as my friend and speaker designer Andrew Jones for example makes some great sound at reasonable prices.
The differences you hear and real. Of course much depends on your room, your particular set-up, the actual recording you are listening to and its mastering, etc., the gear and personal taste! This of course is part of the fun isn't it? Many things we all love are the basis of arguments, discussions and fights like music itself, cars, wine, fine cigars and lovers. All things we debate but in the end have fun with.
I see many old friends and acquaintances weighing in like Joel Selvin or Michael Fremer. They are right in many ways, but I have been here since the beginning of digital and my take is a bit different.
My friend Dr. Anazawa of Denon/Nippon Columbia and his team built the first digital recorder. As he told me, it would take at least 30 years for everyone to learn how to use the system. New methods of miking the instruments, new ways to mix and master. He accurately predicted to me that producers would use the extra dynamic range for volume at first rather than quality. How right he was and early CDs sure show this.
Much has been learned and developed. I was involved in the sale of the first PCM100 to Record Factory in 1975, we have gone far beyond that now and from 14 bit to 24 bit with much better filtering and other tech. Answers to your concerns about bass or high frequency issues.
On the other hand I too love vinyl, but not for the sound per se but the ritual. It takes involvement. It makes you listen more and getting up to move the tonearm or change the disc, it is easier to listen to ALL the tracks while pressing a button on your device is so easy. Vinyl is showing the love of music and listening. As you know over 80% of the music sales are streaming, but more than 90% of the listening too so while I respect that some digital music is tiring to listen to that is not a blanket condition.
It does not matter to me. What matters is the love of the music. With so many types and artists and approaches there is room for every opinion.
Just get some decent sound!
thanks for posting.
Robert
_______________________________________
From: Preston Bealle
Subject: Beach Boys---i had the same 1966 trip to LA that you did, but from New Canaan
My Dad took us out there, and he knew everyone, so I sat at a Dodger game with Jack Benny, Cary Grant, and Mervyn LeRoy in Walter O'Malley's box. We went on the Batman set and Robin tried to pick up my sister and get her away from my parents for the night.
One year later, my Dad says "We're moving to LA". He became vice president of the Dodgers. He was apologizing for removing me from high school in 9th grade and starting over, across the country. Having seen it, as you did, I said "What? Are you kidding? Let's go tomorrow!" Loved it ever since and spend the winters out there now.
Preston
Darien, CT
_______________________________________
From: Lee Kelley
Subject: Re: The Path
Bob,
This rings so true to me. Playing drums since I was 8 years but growing up in a time where most parents didn't see music as a viable living. They were great with me playing in the house everyday for hours and supported school band through high school. They told me I had to get something to fall back IF music wasn't in the cards.
Instead, I learned playing in bands/with others from watching one of the best East Coast regional bands, Sugarcreek. When Sugarcreek broke up in 1990 and leader, Rick Lee, wanted to form a new band, he picked me while in my senior year into getting my BA in English.
During those college years, we studied the Joseph Campbell book, "The Power Of Myth." The idea of "Follow Your Bliss" was instilled in me and is to this day.
Anyway, after getting "Too Much SyLviA" up and running as a variety band, my parents saw it was viable although unconventional. They became even more supportive of my path than ever before.
January 2022 will mark my 25th year in Nashville; 24 years on the road with national acts and going into my 3rd year with Hank Williams Jr.
I kind of believe that we don't really pick music as much as music picks us. If you watch the "Count Me In" drummer doc on Netflix, my launching pad was identical to Taylor Hawkins'
Follow Your Bliss!!
Sincerely,
Lee Kelley
Lebanon, TN
www.leekelleyondrums.com
_______________________________________
Subject: Thank you very much....
Bob,
Thank you so much for taking a serious critical listen to the new Mobile Fidelity vinyl and SACD releases. I really appreciate your enthusiasm, as it is obvious our entire high-end audio community reads. Actually, I received more comments from record industry executives, hi-fi manufacturers, customers, and other high-end audio writers than I have ever received from any previous critique.
Our industry is mostly filled with writers who tend to forget the most important part of music listening. It's fun! Always getting caught up in the technological jargon and using ridiculous adjectives people do not understand. But your ability to cut to the chase, tell compelling stories, and make people laugh or smile, is one of the keys to your tremendous success. Honestly, I wish more audiophile writers would take a page out of your playbook.
As you know we have some great releases coming soon that I expect will really turn you on. While we hang our hats in a crazy audiophile world, we are all just extreme lovers of great music, and our goals are simple: to provide the best quality pressings to the music lovers who value the art.
If you have any additional comments please do not hesitate to reach out to me directly.
Much appreciated.
Catch you on the flip side,
Josh
Josh Bizar
Music Direct/Mobile Fidelity Sound Lab
_______________________________________
From: Jim Horn
Subject: Jim Horn dead
I'm very much ALIVE and don't appreciate you sending out emails saying I'm dead. You need to correct this ASAP!
A VERY MUCH ALIVE JIM HORN
Subject: Re: Re-The New Mad Dogs & Englishmen Movie
Hi Bob,
As a promoter it's rare to get props so I really appreciate you mentioning Lockn' in your Learning To Live Together letter. During my 7-year run with Pete Shapiro our thing was to try to present once-in-a-lifetime artist collaborations. We had some big ideas and swung hard at them, like pairing Clapton with TTB (and Whitlock, Bramlett, Keys et al) to do Layla. That incarnation of our idea never got off the ground, but the TTB next one, Mad Dogs did. I'd seen Mad Dogs & Englishmen at the Evanston Theater on Central St when I was 11 and then bought the record. Pete, who's younger, got it but didn't connect like I did so he gave me the rope. I first tried to pair Joe with TTB and we got close, but sadly Joe died and the idea did too.
Later on Wayne called and said Derek & Susan were still up for it as a celebration. So again Pete gave me the rope and we worked out a deal and secured Leon. My next inquiry was to The Boss who wasn't available, and when Paulo Nutini didn't work out the focus switched to different singers doing their own interpretations. That's when Wayne Forte really stepped up and we confirmed Rita Coolidge, Chris Stainton, Claudia Lennear, Chris Robinson, Dave Mason, John Bell, and others, and don't forget Susan Freaking Tedeschi, Wayne was totally immersed, he even put up show posters!
Pete reminded me the budget was spiraling; "did I know what I was doing?" On a financial basis… it was out of control, sorry Pete. But Shapiro's always been a great music film and video producer https://fans.live and he had the foresight to bring in (and vouch for) Jesse Lauter to document everything. Jesse found the original photographer Linda Wolf who we also flew in, Linda recently released a great book called "Cocker Power." She and Mary Beth Aungier became invaluable because I couldn't stop. They were tasked with the Easter Egg hunt and they found Bobby Torres, Pamela Polland, Bobby Jones, Don Preston, Donna Washburn, Jim Price, Daniel and Matthew Moore, and others. Some had been out of the game for years and wouldn't come. Not Keltner, he wasn't going to travel but said not to worry, the show would have "the pocket" because Leon and Stainton were there (and don't forget Kofi Burbridge too!). Steve Martin stepped up too and got Chuck Blackwell and Sandy Konikoff's info from Leon. Leon officially passed the baton to Derek who did what he does so well, he became the wizard, the eye of the hurricane, and a master music director.
At the rehearsals everyone seemed so happy to be together again, it was like a good high-school reunion. But there were serious challenges too. Marketing learned it was hard to message, sprawling, obscure, few knew what it was, especially without Joe. Then the day before doors a derecho storm hit the site and we lost Thursday. Our incredible crew recovered the site, re-permitted everything, and then Pete and I pushed most of those bands into shorter sets on Friday. No one slept for 3-days.
Come Friday night I stopped to breathe and my wife and I watched the show from out in the crowd. Everyone killed it of course, but when Leon sang "Mad Dogs & Englishmen" on his own, and we used two spotlights, one on Leon and the other on a center stage mic where Joe would have stood, there were few dry eyes in the crowd. I know it's an old trick, and I sure hope it was captured on Jesses film. Afterward Leon shared that he was grateful because the show got him and Joe in touch again. The last thing he told me was to thank my mom for letting me see the movie at such a young age. So thank you mom, and thank you Bob for the acknowledgement.
Dave Frey
Lockn' LLC & Lockn' Farm LLC
Managing Member / Owner
P.S. And after all this time I still run into people that say they had no idea what they were about to see, but that MD&E then became one of their favorite shows ever. But to be candid, the show lost a fortune and raised my blood pressure, considerably.
_______________________________________
From: Wayne Forte
Subject: Re: The New Mad Dogs & Englishmen Movie
It is extremely satisfying to know that you watched our documentary as closely as you did and more so that you truly enjoyed it. While we (our director, co-producer, editor and I) would have loved nothing more than to tell all the individual stories in depth, it would then have been an over 3 hour film. To that end, we were advised from the start, by multiple people, that we should not make a documentary film longer than 1 hour! Well, that was definitely not going to work for us so, as 1st time director and producers, we proceeded to tell the story we had planned to tell, however bearing in mind, though it was a tough decision, that 'shorter' may be better than 'longer'.
We also had some comments from the 'peanut gallery' that there should be more 'live performance' in the film (bear in mind that very few people have actually seen the final doc so goodness knows where those comments were coming from!?).
In the end, suffice to say, there were a number of things we wanted to have included that we finally had to leave on the editing room floor, in order to get the doc to under 2 hours (and there were hours and hours more of interviews and live performance which had to be left out).
We, as '1st timers', learned the lesson of toiling for hours and hours and days and days (which led to months and months then years), agonizing over what to leave out and what to include. And, as you pointed out, it did take years for us to raise the funds to finally complete the project, all while we were slowly working on piecing the film together (6 years total - 1 year of being turned down, 3-4 years of fundraising, including 2-3 years of license clearances, mostly due to COVID, and for me, add another year of setting up the actual concert event with the festival producers). In fact, after a year of being turned down by both corporations as well as individuals we finally decided to take the 'DIY' route, similarly as we had done with both the Tedeschi Trucks Band as well as The Derek Trucks Band prior, and proceed with the project independently by raising the funds ourselves. And, while there were many, many 'non-believers' along the way (both corporate as well as individuals), there were also the 'believers' who understood what we were attempting to achieve and produce, or at least believed in us, the team of creators, and were willing to financially support the project. As they say, 'it takes a village', however it takes 'people' to make the village and without them, there would be no film.
However, from the beginning (that is, following the huge success of and reaction to the live event), we all felt that this film HAD to be made and the story HAD to be told, not for 'the money' but for Joe, for Leon, for the Mad Dogs and for the history of music (something which has resided in the back of my mind for 6 years now).
Given the amount of time, care and effort involved in this project (and a certain amount of 'love') it is nice to know that the efforts have already been appreciated.
Thanks again.
_______________________________________
From: JD
Subject: Re: Re-The New Mad Dogs & Englishmen Movie
BOB
I second every word of Elton's letter. Mad Dogs and Englishmen was source of mad inspiration for me and Leon's writing and playing cannot be over estimated. Try playing "Song For You" and you'll get a wee sample of his brilliance. Thank you and thanks Elton for sending the big Amen to one of the giants on whose shoulder we stand.
JD Souther
_______________________________________
From: Andrew Oldham
Subject: Re: Re-The New Mad Dogs & Englishmen Movie
Bob;
They were rehearsing in Westport CT, i was living, well, transposing, on nearby Ridgefield Rd.
Manager Nigel Thomas and Man of War Denny Cordell brought Joe over for a meet and greet. Nobody accepred my standard supper, Stouffer's Beef Stew bathed in Vodka, and the silence in the living room was grim.
Then Joe spoke, "So this is what's between Boston and New York?"
Bless you Joe and all the wings you sung on...
Everbest, o
_______________________________________
From: Michael Des Barres
Subject: Tweet by Michael Des Barres on Twitter
Leon Russell statue installed at Church Studio youtu.be/RY1nzdO4QZ8 via @YouTube? Richly deserved. The prince of Peace…& Rock 'n' roll.??
_______________________________________
From: Terri Haram
Subject: Re: The New Mad Dogs & Englishmen Movie
Hi Bob,
I just wanted to make a comment about Tedeschi and Trucks. A few years back I went to see them at the Ryman. I was in town working, saw they were playing and was able to score a ticket, front row on the side. It was my first and only Ryman show. I was glad a friend had convinced me to go. I was completely blown away.
Live music always gives me an emotional and sometimes physical (I'm a bit of a cry baby when the music moves me) response. I don't believe I stopped crying through the entire show. I was just so moved. I was on the side of the stage where Derek plays so was fortunate to be so close and watch him (through tears) the entire night. He as well as others in the band saw how moved I was. At the end of the first set I yelled out for a pic (yes I am that person!). How did I not notice Derek doesn't use a pic? I was mortified! Derek, the kind soul that his is didn't just laugh and blow me off. He reached down, tore the set list off the stage and brought it over to me. I couldn't believe it. Such a great gesture!! I was going to be a fan after that concert, but because of Derek's kindness, knowing I was having an emotional and physical response to the music, I will be a fan for a lifetime!!
Buy the ticket, take the ride!!
Terri H.
_______________________________________
From: Craig Anderton
Subject: Barking up the wrong tree
With older recordings that were done in analog studios, I think comparing CD or SACD to vinyl is missing a very important point. The comparison should be what sounds closest to the analog master tape. To my ears, SACD does that better than vinyl or CD. SACD has the most inherently "analog" sound.
I believe one reason why SACD sounds better than CDs, and closest to analog tape, is due to the output filtering.
CDs have a brutally sharp output filter in order to pass frequencies below 20 kHz, while totally suppressing the 44.1 kHz clock signal.
Vinyl has to deal with preamps that use the RIAA curve. This introduces massive amounts of equalization on playback (up to 20 dB of bass boost and up to -20 dB of treble cut!). It basically "undoes" the massive amounts of bass cut and treble boost applied to the record to try and overcome vinyl's lack of bass response and surface noise.
However...SACD's clock frequency is so high that even the most gentle, neutral filters can remove the clock signal from the output.
So I believe the difference people hear among these various technologies is more about the difference among reconstruction filters, not the technology per se. With SACD, audio goes through much less, and much gentler, processing between the playback medium and your ears.
Vinyl does not accurately reproduce the sound of analog tape. Vinyl is a signal processor, but it processes the sound in a way that some people like.
Craig
_______________________________________
From: Robert Heiblim
Subject: Re: Eagles MoFi Vinyl
Oh oh Bob, you are showing signs of audiophilia! No worries, I too am a recovering audiophile. This is not to be confused with what overlays this which is the luxury market for scarce goods also inhabited by audio lovers. You are right of course that you have to spend more than on a Bluetooth speaker, but you can get grand sound for the prices you mention as my friend and speaker designer Andrew Jones for example makes some great sound at reasonable prices.
The differences you hear and real. Of course much depends on your room, your particular set-up, the actual recording you are listening to and its mastering, etc., the gear and personal taste! This of course is part of the fun isn't it? Many things we all love are the basis of arguments, discussions and fights like music itself, cars, wine, fine cigars and lovers. All things we debate but in the end have fun with.
I see many old friends and acquaintances weighing in like Joel Selvin or Michael Fremer. They are right in many ways, but I have been here since the beginning of digital and my take is a bit different.
My friend Dr. Anazawa of Denon/Nippon Columbia and his team built the first digital recorder. As he told me, it would take at least 30 years for everyone to learn how to use the system. New methods of miking the instruments, new ways to mix and master. He accurately predicted to me that producers would use the extra dynamic range for volume at first rather than quality. How right he was and early CDs sure show this.
Much has been learned and developed. I was involved in the sale of the first PCM100 to Record Factory in 1975, we have gone far beyond that now and from 14 bit to 24 bit with much better filtering and other tech. Answers to your concerns about bass or high frequency issues.
On the other hand I too love vinyl, but not for the sound per se but the ritual. It takes involvement. It makes you listen more and getting up to move the tonearm or change the disc, it is easier to listen to ALL the tracks while pressing a button on your device is so easy. Vinyl is showing the love of music and listening. As you know over 80% of the music sales are streaming, but more than 90% of the listening too so while I respect that some digital music is tiring to listen to that is not a blanket condition.
It does not matter to me. What matters is the love of the music. With so many types and artists and approaches there is room for every opinion.
Just get some decent sound!
thanks for posting.
Robert
_______________________________________
From: Preston Bealle
Subject: Beach Boys---i had the same 1966 trip to LA that you did, but from New Canaan
My Dad took us out there, and he knew everyone, so I sat at a Dodger game with Jack Benny, Cary Grant, and Mervyn LeRoy in Walter O'Malley's box. We went on the Batman set and Robin tried to pick up my sister and get her away from my parents for the night.
One year later, my Dad says "We're moving to LA". He became vice president of the Dodgers. He was apologizing for removing me from high school in 9th grade and starting over, across the country. Having seen it, as you did, I said "What? Are you kidding? Let's go tomorrow!" Loved it ever since and spend the winters out there now.
Preston
Darien, CT
_______________________________________
From: Lee Kelley
Subject: Re: The Path
Bob,
This rings so true to me. Playing drums since I was 8 years but growing up in a time where most parents didn't see music as a viable living. They were great with me playing in the house everyday for hours and supported school band through high school. They told me I had to get something to fall back IF music wasn't in the cards.
Instead, I learned playing in bands/with others from watching one of the best East Coast regional bands, Sugarcreek. When Sugarcreek broke up in 1990 and leader, Rick Lee, wanted to form a new band, he picked me while in my senior year into getting my BA in English.
During those college years, we studied the Joseph Campbell book, "The Power Of Myth." The idea of "Follow Your Bliss" was instilled in me and is to this day.
Anyway, after getting "Too Much SyLviA" up and running as a variety band, my parents saw it was viable although unconventional. They became even more supportive of my path than ever before.
January 2022 will mark my 25th year in Nashville; 24 years on the road with national acts and going into my 3rd year with Hank Williams Jr.
I kind of believe that we don't really pick music as much as music picks us. If you watch the "Count Me In" drummer doc on Netflix, my launching pad was identical to Taylor Hawkins'
Follow Your Bliss!!
Sincerely,
Lee Kelley
Lebanon, TN
www.leekelleyondrums.com
_______________________________________
Subject: Thank you very much....
Bob,
Thank you so much for taking a serious critical listen to the new Mobile Fidelity vinyl and SACD releases. I really appreciate your enthusiasm, as it is obvious our entire high-end audio community reads. Actually, I received more comments from record industry executives, hi-fi manufacturers, customers, and other high-end audio writers than I have ever received from any previous critique.
Our industry is mostly filled with writers who tend to forget the most important part of music listening. It's fun! Always getting caught up in the technological jargon and using ridiculous adjectives people do not understand. But your ability to cut to the chase, tell compelling stories, and make people laugh or smile, is one of the keys to your tremendous success. Honestly, I wish more audiophile writers would take a page out of your playbook.
As you know we have some great releases coming soon that I expect will really turn you on. While we hang our hats in a crazy audiophile world, we are all just extreme lovers of great music, and our goals are simple: to provide the best quality pressings to the music lovers who value the art.
If you have any additional comments please do not hesitate to reach out to me directly.
Much appreciated.
Catch you on the flip side,
Josh
Josh Bizar
Music Direct/Mobile Fidelity Sound Lab
_______________________________________
From: Jim Horn
Subject: Jim Horn dead
I'm very much ALIVE and don't appreciate you sending out emails saying I'm dead. You need to correct this ASAP!
A VERY MUCH ALIVE JIM HORN
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Dennis Arfa-This Week's Podcast
Dennis Arfa is CEO of Artist Group International where he is the agent for Billy Joel, Metallica, Def Leppard and many more. Arfa is a student of the game who knows where all the dollars in a deal are buried. We cover everything from the role of the agent in the world of overall touring deals to the duties of an agent to the evolution of Arfa's company and his career. This is a must listen for those interested in the touring business, it includes up to date information you'll want to know!
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/
https://podcasts.apple.com/us/podcast/the-bob-lefsetz-podcast/id1316200737
https://open.spotify.com/episode/4MqsN1qGpUdYHx5OCLJU5I?si=pUyLN9eFTRiOH6brKvheVg&dl_branch=1
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/the-bob-lefsetz-podcast
https://www.stitcher.com/show/the-bob-lefsetz-podcast
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https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/
https://podcasts.apple.com/us/podcast/the-bob-lefsetz-podcast/id1316200737
https://open.spotify.com/episode/4MqsN1qGpUdYHx5OCLJU5I?si=pUyLN9eFTRiOH6brKvheVg&dl_branch=1
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/the-bob-lefsetz-podcast
https://www.stitcher.com/show/the-bob-lefsetz-podcast
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Wednesday 29 September 2021
Best Series On Amazon Prime-In Order
A. This includes platforms subscribed to via Amazon Prime, like Acorn, BritBox and MHz Choice.
B. This is a first pass, the rankings are fluid.
C. Reviews do their best to reveal as few plot points as possible.
D. Foreign shows should be watched with subtitles. It's easy to go into the settings and choose them.
1. SPIRAL
The best cop show on streaming TV period. The seasons get better in quality, both in image and story, not that the initial 2005-6 episodes are not satisfying. You must watch from the beginning, in order, because the characters and their relationships evolve. Thierry Godard plays a completely different role than he does in "A French Village" and you can't take your eyes off him or his costar, Caroline Proust, who is certainly beautiful, then again if you watch enough French television you find her in roles where she's mousy and at times unrecognizable. And the left field star is the judge, Philippe Duclos. This is one of the biggest international hits extant, it's only the Americans who are clueless, but they're catching on. Watch it.
Viewing: MHz Choice
2. A FRENCH VILLAGE
One of the best streaming series available. It's the story of a French town occupied by the Nazis during World War II. Audrey Fleurot delivers a riveting, far-ranging performance. And the Nazis... The Resistance in the mountains doesn't play true enough, but this series will affect you viscerally, you'll start asking what you'd do in the same situation. You'll get addicted.
Viewing: MHz Choice
3. THE BUREAU
The French CIA. One of the best streaming shows extant. The first season is a bit slow, but then... You'll be tense, on the edge of your seat, this is as good, if not better, than any drama that's played on the big screen in years.
Viewing: Sundance Now
4. LINE OF DUTY
On multiple services, this is the #1 show in the U.K. right now. It's a procedural about the anti-corruption division of the police pursuing "bent coppers." The seasons all connect and it's phenomenal. There is some violence, but that's not what the show is about. A unique look at the cops with fantastic acting, it's a must-see.
Reviews: https://bit.ly/3kUtIY8 and Season 6: https://bit.ly/3B6v6MA
Viewing: Seasons 1-4 Amazon Prime Video
Season 5 Acorn
Season 6 BritBox
Seasons 1-5 can be viewed via Hulu
5. THE BRIDGE (BRON/BROEN)
Danish and Swedish cops work on crimes together... The first season has the same plot as the first season of "The Tunnel," but the rest are unique. Sofia Helin as Saga, the Swedish cop on the spectrum, is so good, you can't take your eyes off her, you'll start talking like her, it'll become an inside joke. Great acting depicting three-dimensional characters and interesting plots to boot. There's nothing this good on American television right now, nothing! "The Bridge" has been shown in over a hundred countries, it's been remade not only in the U.K./France, but there have been USA/Mexico, Estonia/Russia, Malaysia/Singapore and Germany/Austria remakes. But you've got to watch the original, really.
Review: https://bit.ly/3og6I7S
Viewing: Topic
6. THE AMERICANS
Like "Bosch," this is one of the few series that gets better as it unfolds. Discard the fact that it was on FX originally, this is a first class, first rate show. Forget that Keri Russell was once Felicity. This is Russian spies in America and look out for supporting actors Noah Emmerich and Alison Wright, they're superb. You will think about this show when it's over. Also, unlike almost all long-running series, the ending is satisfying.
Viewing: Amazon Prime Video
7. THE A-WORD
I could watch this show every night. (Same deal with "Ozark," even though they couldn't be more different.) Joe is a young child who is autistic, he's addicted to music, and he and his extended family live in the Lake District in England, with a landscape so beautiful you can't wait to go there. This story is very common, parents have a child, they know something is wrong, they must ultimately confront the fact the kid is autistic and then cope. You can't fix autistic, there is no operation. Then again, every kid has their special qualities and generates love. The combination of the parents' issues, mixed in with the extended family and neighbors, makes for riveting television. No one is trying to get rich, this is about living your life and coping. Positively excellent.
Review: https://bit.ly/2XUtOWt and Season 3: https://bit.ly/3kSBuSd
Viewing: Seasons 1&2 Amazon Prime
Season 3 SundanceTV via your cable provider
8. BOSCH
A police drama based on the Michael Connelly books that stars Titus Welliver and a host of character actors. It's gritty, it twists and turns and is wholly gratifying. You won't be intellectually challenged, but you'll love the ride.
Review: https://bit.ly/3oko0k4 and Season 6: https://bit.ly/2XZd68z
Viewing: Amazon Prime Video
9. SRUGIM
Unmarried Orthodox Jews in Jerusalem trying to find their way in love, religion and career. The Israelis (and the Danes!) make the best television in the world, and this lives up to the billing. There are no superheroes, no special effects, just a group of friends trying to figure things out. Yes, they are Orthodox, but they are not the black hat-type. They wear regular clothes, live normal lives, but they observe the Sabbath and adhere to other traditions. At times you'll be elated, at times you'll find your heart breaking, but this is life, and it doesn't matter where you live, what religion you are, ultimately it's the same. This is about the script and the acting, not the images, which are relatively flat and washed out, but isn't that how it is in the heat of the desert?
Review: https://bit.ly/3uoUhYe
Viewing: Season 3: Amazon Prime Video Seasons 1&2 and all three seasons now on the Roku Channel and tubi
10. TRAPPED
Genius Icelandic TV starring Ólafur Darri Ólafsson as an endearing, but lumbering policeman in season one trying to find a murderer in an icy fjord community. In season 2 a foreman at the local power plant dies and... I absolutely loved this series, highly recommended. Slow, but satisfying
Viewing: Amazon Prime
11. FOLLOW THE MONEY-BEDRAG
Addictive Nordic noir. There are three connected seasons and you'll love them all.
Viewing: Topic
12. TRANSPARENT
You don't have to be Jewish to dig "Transparent," but it helps. If you're interested in family dynamics, sibling rivalries, interpersonal relationships, you'll love "Transparent." However, it may take you a couple of episodes to get into it.
Review: https://bit.ly/39Nb4en
Viewing: Amazon Prime Video
13. THE MARVELOUS MRS. MAISEL
Sometimes the tone wavers, it becomes less than believable, subsequent seasons are not as good as the first, but if you like historical dramas of the mid-century, the twentieth century, you should enjoy this. Once again, you don't have to be Jewish, but it helps. Meanwhile, Rachel Brosnahan, who was self-controlled and meek in "House of Cards" is exuberant and excellent here, playing a wannabe Jewish comic even though she isn't Jewish. Can you go against the family wishes? Can you afford to disappoint your parents? Do you have enough strength to do it your way? Watch and find out.
Review: https://bit.ly/3ilskff and Season 3: https://bit.ly/3kSKsif
Viewing: Amazon Prime Video
14. THE TUNNEL
A French/English crime show whose first season is lifted directly from the Danish/Swedish show "The Bridge"... I thought this was positively great, until I saw the original...
Review: https://bit.ly/3ATHTlv
Viewing: Amazon Prime Video
15. ZEROZEROZERO
The brainchild of Roberto Saviano, who is responsible for "Gomorrah," which got caught up in the Weinstein sale and disappeared but is now streamable on HBO Max. This is a road movie, in some ways akin to "The Wages of Fear" or Friedkin's underrated "Sorcerer." We travel from country to country trying to deliver the product... The imagery is a ten and so is the journey. The meaning is not really there, but the experience is top-notch, this needs to be seen.
Review: https://bit.ly/3F3V31W
Viewing: Amazon Prime Video
16. AUTONOMIES
A fantastic Israeli series set in an alternative world where the Orthodox live separately from the less observant, it's another visceral Israeli watch that draws you in. Who do you obey, the rabbi or the law? What is the right thing to do, what will you sacrifice?
Viewing: Topic
17. DEUTSCHLAND '83, '86 AND '89
This is a trilogy concerning East German spies from the nation's heyday until its fall. The tone can vary wildly, from deadly serious to comical, but the series is ultimately very rewarding, the peek into East German life feels very real.
Viewing: Acorn for '83 and '86 or watch all three on Hulu
18. THE ATTACHÉ
Israeli musician follows his wife to Paris for her gig and they encounter terrorism and it all feels real, especially the tug and pull of the wife's family, meddling in the marriage.
Viewing: Acorn
19. HIDDEN
Another U.K. whodunit with creepy characters and family drama that will keep you watching.
Acorn
20. DEADWATER FELL
The always great David Tennant in a murder mystery in a small town in Scotland...watch "Broadchurch" first, but if you're a fan of this U.K. stuff you'll love this.
Acorn
21. WHEN THE DUST SETTLES
There's a terrorist attack in a restaurant, how do the disconnected yet affected cope with this? You get backstory, you get hopes and dreams... There are better series, but this is a very good one (and it's Danish!)
Viewing: Topic
22. KEEPING FAITH
Eve Myles as an attorney with a duplicitous husband involved in nefarious affairs. The show is not as good as Myles, by the same token Myles is as good as it gets, you can't take your eyes off of her! Shot in Wales, I can't say that I loved it throughout, but the final, third season, is a triumph, and that's so rare.
Review: https://bit.ly/3mgRGMG
Acorn
23. THE HOUR
50s TV news show with politics, both office and governmental/world, and murder. The marvelous Ben Whishaw is excellent as usual, it's fun to get a peek into the 50s both in image and political issues, but it just doesn't feel real.
Viewing: Acorn
24. THE RETURNED
The dead reappear, but to call it a zombie show would be unfair. It's French, the production qualities are high, the show is very watchable, but at times it's a bit slow and unbelievable. I wouldn't put it at the top of your list, but if you want more French television...
Viewing: Sundance Now
25. PATRIOT
Bizarre and nearly inexplicable, watch half an episode and you'll know whether this is up your alley. What you've got here is big business mixed with foreign intrigue and interstitial music played on the guitar by the star. Whacked. And a bit slow. But those who've seen it comprise a cult of fans who always talk about it.
Viewing: Amazon Prime Video
26. LONG STRANGE TRIP
Overrated Grateful Dead documentary that somehow misses the mark. The early days are done well, after that...
Review: https://bit.ly/2XZ7v22
Viewing: Amazon Prime Video
27. GOLIATH
First season is great, after that beware. Billy Bob Thornton is phenomenal, as is his costar Nina Arianda. And the cinematography is brilliant too. "Goliath" is a legal drama that becomes less satisfying as the seasons roll on. This is middlebrow fare.
Review: https://bit.ly/3m9lCKu and Season 4: https://bit.ly/39SDNhP
Viewing: Amazon Prime Video
28. I LOVE DICK
A Jill/Joey Soloway production just like "Transparent." If you are into the art scene, you'll love this. And unless you are, or are into foreign drama, beware. This stars Kathryn Hahn, who Soloway has helped make a major star.
Review: https://bit.ly/3AUkpNp
Viewing: Amazon Prime Video
29. HOMECOMING
Overhyped and overrated. Julia Roberts is great, but the plot is convoluted, unbelievable and ultimately unsatisfying. Real world sci-fi, if I tell you any more I'll ruin it. But you don't need to see it.
Viewing: Amazon Prime Video
30. ARDE MADRID
This is a whacked comedy/drama set in Spain in the sixties starring Debi Mazar as Ava Gardner with the Perons living next door, angry about the noise she's generating while Franco lurks in the background. Can be an endurance test, but the twists in character are interesting.
MHz Choice
31. FORTITUDE
I love Scandinavian dramas, but I could only make it through the first season of this. Once Dennis Quaid appeared, I was out. It was a step down in quality, it was akin to an American show. What you've got here is mysterious deaths in the bleak Norwegian Arctic. There are many great shows with similar settings, this is not one of them.
Viewing: Amazon Prime Video
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B. This is a first pass, the rankings are fluid.
C. Reviews do their best to reveal as few plot points as possible.
D. Foreign shows should be watched with subtitles. It's easy to go into the settings and choose them.
1. SPIRAL
The best cop show on streaming TV period. The seasons get better in quality, both in image and story, not that the initial 2005-6 episodes are not satisfying. You must watch from the beginning, in order, because the characters and their relationships evolve. Thierry Godard plays a completely different role than he does in "A French Village" and you can't take your eyes off him or his costar, Caroline Proust, who is certainly beautiful, then again if you watch enough French television you find her in roles where she's mousy and at times unrecognizable. And the left field star is the judge, Philippe Duclos. This is one of the biggest international hits extant, it's only the Americans who are clueless, but they're catching on. Watch it.
Viewing: MHz Choice
2. A FRENCH VILLAGE
One of the best streaming series available. It's the story of a French town occupied by the Nazis during World War II. Audrey Fleurot delivers a riveting, far-ranging performance. And the Nazis... The Resistance in the mountains doesn't play true enough, but this series will affect you viscerally, you'll start asking what you'd do in the same situation. You'll get addicted.
Viewing: MHz Choice
3. THE BUREAU
The French CIA. One of the best streaming shows extant. The first season is a bit slow, but then... You'll be tense, on the edge of your seat, this is as good, if not better, than any drama that's played on the big screen in years.
Viewing: Sundance Now
4. LINE OF DUTY
On multiple services, this is the #1 show in the U.K. right now. It's a procedural about the anti-corruption division of the police pursuing "bent coppers." The seasons all connect and it's phenomenal. There is some violence, but that's not what the show is about. A unique look at the cops with fantastic acting, it's a must-see.
Reviews: https://bit.ly/3kUtIY8 and Season 6: https://bit.ly/3B6v6MA
Viewing: Seasons 1-4 Amazon Prime Video
Season 5 Acorn
Season 6 BritBox
Seasons 1-5 can be viewed via Hulu
5. THE BRIDGE (BRON/BROEN)
Danish and Swedish cops work on crimes together... The first season has the same plot as the first season of "The Tunnel," but the rest are unique. Sofia Helin as Saga, the Swedish cop on the spectrum, is so good, you can't take your eyes off her, you'll start talking like her, it'll become an inside joke. Great acting depicting three-dimensional characters and interesting plots to boot. There's nothing this good on American television right now, nothing! "The Bridge" has been shown in over a hundred countries, it's been remade not only in the U.K./France, but there have been USA/Mexico, Estonia/Russia, Malaysia/Singapore and Germany/Austria remakes. But you've got to watch the original, really.
Review: https://bit.ly/3og6I7S
Viewing: Topic
6. THE AMERICANS
Like "Bosch," this is one of the few series that gets better as it unfolds. Discard the fact that it was on FX originally, this is a first class, first rate show. Forget that Keri Russell was once Felicity. This is Russian spies in America and look out for supporting actors Noah Emmerich and Alison Wright, they're superb. You will think about this show when it's over. Also, unlike almost all long-running series, the ending is satisfying.
Viewing: Amazon Prime Video
7. THE A-WORD
I could watch this show every night. (Same deal with "Ozark," even though they couldn't be more different.) Joe is a young child who is autistic, he's addicted to music, and he and his extended family live in the Lake District in England, with a landscape so beautiful you can't wait to go there. This story is very common, parents have a child, they know something is wrong, they must ultimately confront the fact the kid is autistic and then cope. You can't fix autistic, there is no operation. Then again, every kid has their special qualities and generates love. The combination of the parents' issues, mixed in with the extended family and neighbors, makes for riveting television. No one is trying to get rich, this is about living your life and coping. Positively excellent.
Review: https://bit.ly/2XUtOWt and Season 3: https://bit.ly/3kSBuSd
Viewing: Seasons 1&2 Amazon Prime
Season 3 SundanceTV via your cable provider
8. BOSCH
A police drama based on the Michael Connelly books that stars Titus Welliver and a host of character actors. It's gritty, it twists and turns and is wholly gratifying. You won't be intellectually challenged, but you'll love the ride.
Review: https://bit.ly/3oko0k4 and Season 6: https://bit.ly/2XZd68z
Viewing: Amazon Prime Video
9. SRUGIM
Unmarried Orthodox Jews in Jerusalem trying to find their way in love, religion and career. The Israelis (and the Danes!) make the best television in the world, and this lives up to the billing. There are no superheroes, no special effects, just a group of friends trying to figure things out. Yes, they are Orthodox, but they are not the black hat-type. They wear regular clothes, live normal lives, but they observe the Sabbath and adhere to other traditions. At times you'll be elated, at times you'll find your heart breaking, but this is life, and it doesn't matter where you live, what religion you are, ultimately it's the same. This is about the script and the acting, not the images, which are relatively flat and washed out, but isn't that how it is in the heat of the desert?
Review: https://bit.ly/3uoUhYe
Viewing: Season 3: Amazon Prime Video Seasons 1&2 and all three seasons now on the Roku Channel and tubi
10. TRAPPED
Genius Icelandic TV starring Ólafur Darri Ólafsson as an endearing, but lumbering policeman in season one trying to find a murderer in an icy fjord community. In season 2 a foreman at the local power plant dies and... I absolutely loved this series, highly recommended. Slow, but satisfying
Viewing: Amazon Prime
11. FOLLOW THE MONEY-BEDRAG
Addictive Nordic noir. There are three connected seasons and you'll love them all.
Viewing: Topic
12. TRANSPARENT
You don't have to be Jewish to dig "Transparent," but it helps. If you're interested in family dynamics, sibling rivalries, interpersonal relationships, you'll love "Transparent." However, it may take you a couple of episodes to get into it.
Review: https://bit.ly/39Nb4en
Viewing: Amazon Prime Video
13. THE MARVELOUS MRS. MAISEL
Sometimes the tone wavers, it becomes less than believable, subsequent seasons are not as good as the first, but if you like historical dramas of the mid-century, the twentieth century, you should enjoy this. Once again, you don't have to be Jewish, but it helps. Meanwhile, Rachel Brosnahan, who was self-controlled and meek in "House of Cards" is exuberant and excellent here, playing a wannabe Jewish comic even though she isn't Jewish. Can you go against the family wishes? Can you afford to disappoint your parents? Do you have enough strength to do it your way? Watch and find out.
Review: https://bit.ly/3ilskff and Season 3: https://bit.ly/3kSKsif
Viewing: Amazon Prime Video
14. THE TUNNEL
A French/English crime show whose first season is lifted directly from the Danish/Swedish show "The Bridge"... I thought this was positively great, until I saw the original...
Review: https://bit.ly/3ATHTlv
Viewing: Amazon Prime Video
15. ZEROZEROZERO
The brainchild of Roberto Saviano, who is responsible for "Gomorrah," which got caught up in the Weinstein sale and disappeared but is now streamable on HBO Max. This is a road movie, in some ways akin to "The Wages of Fear" or Friedkin's underrated "Sorcerer." We travel from country to country trying to deliver the product... The imagery is a ten and so is the journey. The meaning is not really there, but the experience is top-notch, this needs to be seen.
Review: https://bit.ly/3F3V31W
Viewing: Amazon Prime Video
16. AUTONOMIES
A fantastic Israeli series set in an alternative world where the Orthodox live separately from the less observant, it's another visceral Israeli watch that draws you in. Who do you obey, the rabbi or the law? What is the right thing to do, what will you sacrifice?
Viewing: Topic
17. DEUTSCHLAND '83, '86 AND '89
This is a trilogy concerning East German spies from the nation's heyday until its fall. The tone can vary wildly, from deadly serious to comical, but the series is ultimately very rewarding, the peek into East German life feels very real.
Viewing: Acorn for '83 and '86 or watch all three on Hulu
18. THE ATTACHÉ
Israeli musician follows his wife to Paris for her gig and they encounter terrorism and it all feels real, especially the tug and pull of the wife's family, meddling in the marriage.
Viewing: Acorn
19. HIDDEN
Another U.K. whodunit with creepy characters and family drama that will keep you watching.
Acorn
20. DEADWATER FELL
The always great David Tennant in a murder mystery in a small town in Scotland...watch "Broadchurch" first, but if you're a fan of this U.K. stuff you'll love this.
Acorn
21. WHEN THE DUST SETTLES
There's a terrorist attack in a restaurant, how do the disconnected yet affected cope with this? You get backstory, you get hopes and dreams... There are better series, but this is a very good one (and it's Danish!)
Viewing: Topic
22. KEEPING FAITH
Eve Myles as an attorney with a duplicitous husband involved in nefarious affairs. The show is not as good as Myles, by the same token Myles is as good as it gets, you can't take your eyes off of her! Shot in Wales, I can't say that I loved it throughout, but the final, third season, is a triumph, and that's so rare.
Review: https://bit.ly/3mgRGMG
Acorn
23. THE HOUR
50s TV news show with politics, both office and governmental/world, and murder. The marvelous Ben Whishaw is excellent as usual, it's fun to get a peek into the 50s both in image and political issues, but it just doesn't feel real.
Viewing: Acorn
24. THE RETURNED
The dead reappear, but to call it a zombie show would be unfair. It's French, the production qualities are high, the show is very watchable, but at times it's a bit slow and unbelievable. I wouldn't put it at the top of your list, but if you want more French television...
Viewing: Sundance Now
25. PATRIOT
Bizarre and nearly inexplicable, watch half an episode and you'll know whether this is up your alley. What you've got here is big business mixed with foreign intrigue and interstitial music played on the guitar by the star. Whacked. And a bit slow. But those who've seen it comprise a cult of fans who always talk about it.
Viewing: Amazon Prime Video
26. LONG STRANGE TRIP
Overrated Grateful Dead documentary that somehow misses the mark. The early days are done well, after that...
Review: https://bit.ly/2XZ7v22
Viewing: Amazon Prime Video
27. GOLIATH
First season is great, after that beware. Billy Bob Thornton is phenomenal, as is his costar Nina Arianda. And the cinematography is brilliant too. "Goliath" is a legal drama that becomes less satisfying as the seasons roll on. This is middlebrow fare.
Review: https://bit.ly/3m9lCKu and Season 4: https://bit.ly/39SDNhP
Viewing: Amazon Prime Video
28. I LOVE DICK
A Jill/Joey Soloway production just like "Transparent." If you are into the art scene, you'll love this. And unless you are, or are into foreign drama, beware. This stars Kathryn Hahn, who Soloway has helped make a major star.
Review: https://bit.ly/3AUkpNp
Viewing: Amazon Prime Video
29. HOMECOMING
Overhyped and overrated. Julia Roberts is great, but the plot is convoluted, unbelievable and ultimately unsatisfying. Real world sci-fi, if I tell you any more I'll ruin it. But you don't need to see it.
Viewing: Amazon Prime Video
30. ARDE MADRID
This is a whacked comedy/drama set in Spain in the sixties starring Debi Mazar as Ava Gardner with the Perons living next door, angry about the noise she's generating while Franco lurks in the background. Can be an endurance test, but the twists in character are interesting.
MHz Choice
31. FORTITUDE
I love Scandinavian dramas, but I could only make it through the first season of this. Once Dennis Quaid appeared, I was out. It was a step down in quality, it was akin to an American show. What you've got here is mysterious deaths in the bleak Norwegian Arctic. There are many great shows with similar settings, this is not one of them.
Viewing: Amazon Prime Video
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Tuesday 28 September 2021
Duets Playlist
https://spoti.fi/39ICZMq
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Re-The New Mad Dogs & Englishmen Movie
Dear Bob, thank you for the article on Leon. It warmed my heart. As you know I adored his style of playing, singing and songwriting. He was a one off and treated me with incredible kindness when I came to America. He took me on tour with him and I was able to watch the maestro every evening. What a beautiful experience it was!
So glad that other musicians are playing homage to him.Great musicians and singers.
To be honest you have to be good to play his stuff. Derek Trucks is a beautiful man and an incredible guitarist as you so rightly point out. In fact DT plays on one of my upcoming album tracks. Tedeschi Trucks keep soulful music alive amongst many others.
Their tribute to "Layla" being a recent example. This is the music that inspired me and thousands of other musicians/singers. Joe Cocker was an extraordinary singer and performer. The rendition of "The Letter" has been shown many times to new artists that I encounter. They always make me play it again. Also the backing vocalists are sublime. Ditto Bobby Keys. Going to shows like "Mad Dogs" made you feel superhuman after you left. Your whole being became joyful and full of love.
When I did "The Union" with Leon, I took HIM on tour and we played big arenas the likes of which he had not played for many years. When he came on stage at every concert he got a standing ovation. During the barren years he had lost his self worth as an artist.
I was SO happy to give him his belief back. The album came in at number 4. He got into the Rock And Roll Hall Of Fame. The Songwriters Hall Of Fame. His star was shining again. Alas his health had long deteriorated long before we started the album. He was unable to take advantage of his resurrection, so to speak. But, he got his self respect back which was all I ever wanted.
By writing about him you help keep the magic alive. Thank you so for doing that.
He was a true musical genius. And, I still think about him, talk about him and play his music on my radio shows.
I send buckets of love to you Bob.
Elton x
__________________________________________
Hey Bob, Mad Dogs! The Best. I grew up with that record, found the movie on DVD a decade ago. It is the most compelling music ever and the movie? I couldn't stop watching it. Being a young musician in LA at the time those people were heroes of mine. Jim Gordon, Jim Keltner, Leon, Russell, Rita Coolidge, I mean with Carl Radle on bass and Chris Stainton on keyboards? A few friends of mine knew Don Preston. Did you know they took the band into A&M studio after rehearsals before they hit the road? Henry Lewy recorded it. I know a big time engineer/producer that was the second engineer, he's got a 1/4 of the roughs. He even said that night was the best music he has ever heard. I keep telling him to dig the tape out of his closet!
Marty Walsh
__________________________________________
I remember seeing this movie with my brother and some friends in the early 70's when it came out. I was in 10th or 11th grade. I thought it was one of the best rock documentaries ever. Became big fans of Cocker and Russell after this. And since seeing it I never found another person who saw it.
Over the years I've had people talk to me about "rockumentaries" that we each had seen and when I mentioned this movie I just got blank stares. So much so that I began to wonder did I dream that? Was I just confusing it with something else? Over the last 15 years I have searched the internet for a copy of the movie all to no avail. Guess I never looked in the right place. A couple of years ago I found a DVD copy of the movie on eBay and bought it immediately. Alas, I wasn't crazy.
This music was fantastic. I remember you saying you actually saw this show live and I was so jealous. I actually met Rita Coolidge in 2017 when she came to see the band I was in play a couple of shows. I really wanted to ask her about this tour but I thought of your constant advice about when you meet a star don't talk about their work so I didn't. She did say she loved the stuff we had written and we should absolutely record it, so what more did I need in my musical life. Frickin' Rita Coolidge liked it and saw us more than once!
So I got that going for me.
Loved, loved, loved this piece and will definitely check out the documentary. Thanks for the trip down memory lane.
Charlie Vanture
Member of the now-retired Sarah Mac Band
__________________________________________
Cool man! Glad you liked it. I played bass in tedeschi trucks in that show. Was one of the best shows I've ever been a part of, and I've been part of a few. Was super powerful to be around those people and yes, sue and derek and chris Robinson are genuine stars.
Tim Lefebvre
__________________________________________
I was lucky enough to be working at A@M records when the employees were invited to participate as audience members for the filming of the original video of Mad Dogs and Englishmen in Hollywood.
One of my fondest memories.
It was a joy to work for Herb and Jerry during those glory days on the lot at Sunset
and La Brea!
Lin in Honolulu
Howard Wolen
__________________________________________
I was there at ten years old!
Between them and Sly Stone I thought all bands were about community, then later I joined one.
What a lesson I am still smarting from.
John Payne
__________________________________________
The link!
This Diamond Ring was my first 45 and this one was where it all began for me.
So - the link is that Leon Russell did the arrangement for the song and, of course, Al Kooper who you just highlighted last week, shared writing credits as part of The Brill Building stable.
My earliest LPs included the 2nd "Joe Cocker" LP and not long after, Leon Russell's first. Saw MD&E at the Fillmore East and the album was a had-to-have as soon as it was released. The earliest incarnations of the jacket had a semi-floppy fold-up half. The entire cover was made from some unusual material, not quite cardboard but something glossy and thinner than a standard LP jacket.
And without Carl Radle's Oklahoma connection with Leon Russell, he'd have never been a Domino.
Leon Russell followed up the MD&E tour with a PBS special - The Homewood Session (recorded, or broadcast, the same night I saw the next to last Derek & The Dominoes US tour show at the Portchester Theater). An eye-opening peek at the creative Russell with entourage. https://www.youtube.com/watch?v=4bwMqliLXZQ
Alan
__________________________________________
That was the shit. Went to see Mad Dogs & Englishmen in a theater in Hollywood on acid, came out at midnight and went downtown for one of my first tattoos. That music sounds better today than the day they made it and while we are on the topic, it was pretty much the same time frame as the first "Delaney & Bonnie" album was popular and to me those two recordings were THE best of the era and of course those musicians often mixed and matched. Jesus our generation brought it like a mother fu**er. Gerry McGee's guitar on the Delany and Bonnie thing was hipper than anything old no mask Eric ever did once they got famous enough to be self destructive.
Larry Brown (guitar)
__________________________________________
I went to Franklin & Marshall College (Class of '71). Back in the late 60', early 70's, we had more major concerts per month than any college in the East Coast . Why? Because every major act that played Philly either Friday or Saturday would be offered to play Lancaster on the other night. Bill Honey was the Philly promoter who came up with the arrangement. Who else had Simon & Garfunkel in the afternoon and James Brown at night on the same day? I was on the F&M Student Union Board that booked the shows. Bill offered us The Grease Band ( Joe's 6 piece band) for $7,500. A good draw as Joe was getting great FM play from his solo albums. But what showed up at Lancaster Airport when I drove out to pick up Joe, was an old 1940's Constellation plane that spilled out with over 40 musicians, singers and " friends." Sure Leon ran the music, but no one was there to see him. It was Joe's show, 100%. They must have been losing many thousands of 1970 Dollars per day. Jerry Moss was underwriting it as the double album was selling millions. Years later, when Joe had a resurgence on Capital Records, we saw each other in a NYC club, and reminisced about the insanity of it all.
Marty Scott
__________________________________________
I saw mad Dogs and Englishmen at Winterland in San Francisco. My girlfriend liked Joe Cocker and we had previously seen him with the Grease Band at Fillmore West.
I can still picture them onstage with Leon playing guitar standing on top of the piano and me with my mouth hanging open going WTF is that! I could not take my eyes off Leon the whole night.
I went to see him on tour with his own band as well. I later found out about his history as a studio musician in Los Angeles and his being part of the Wrecking Crew.
I think Carney is my favorite album of Leon's.
Larry Green
__________________________________________
Bob, love the newsletter. But I'm an old friend of Jim Horn and I'm pretty sure I would've heard if he had died. In fact, Steve Cropper and I were talking about Jim just the other day and in the present tense (as in still circling the drain). If you know otherwise hit me back. But I'm pretty sure you got this wrong.
Thom Flora
__________________________________________
Leon and Shelter actually set up in Tulsa and their studio, The Church Studio, still stands today. After Leon, it was sold to Steve Ripley of The Tractors and then it passed through a few more hands in the late 00s before being purchased by the new owner, Teresa Knox. She and her husband are in the middle of restoring it into a functioning studio, along with adding an addition that will include a museum and event space. If you ever do make it to Oklahoma, make sure to stop in Tulsa. Get a tour of the studio and get a taste of our musical history. Like Leon was the in-demand studio musician that everyone in the know knew about but only had a flicker of mainstream success, Tulsa gets overlooked, but I've lost count of the number of touring musicians I've heard proclaim their affinity for this city after playing for a Tulsa crowd (or even better, in a legendary room like Cain's Ballroom).
Sarah Martin
__________________________________________
Leon had 3 studios in Oklahoma. One in his house in Tulsa. One at his lake house on Grand Lake. His main studio was in a converted Church in Tulsa. It sounded amazing. Dwight also had an unknown bass player play with him, Tom Petty. Leon signed two other locals, JJ Cale and the GAP band. GAP is short for Greenwood Archer and Pine. It was the location of the Black Wall Street and Tulsa's race mass murder. Leon never had a studio in OKC….that I know of.
Steve Ripley of Tractors and Bob Dylan fame purchased the Church when he moved back to Tulsa from California. I will send you Steve's radio show he did for the the Oklahoma Historical Society about Oklahoma music. It focused on Rock and Red Dirt.
Hope you are well.
Mike Busch
P.S. Here is a video of Dwight with Tom Petty playing bass.
https://youtu.be/l24DFbedbJ0
__________________________________________
The Shelter Records studio in Oklahoma was The Church Studio in TULSA (https://thechurchstudio.com/)! Please come visit Tulsa in late 2022 or 2023, check out the Woody Guthrie Center (https://woodyguthriecenter.org/) and the soon to open Bob Dylan Center (https://www.bobdylancenter.com/) and the Oklahoma Museum of Pop Culture (https://www.okpop.org/).
You can learn more about all those great Okie musicians you mentioned including some of the all-time great drummers (Chuck Blackwell in Mad Dogs and the LOCKN reunion, Jamie Oldaker, David Teegarden (https://teegardenstudios.com/), Jimmy Karstein and the amazing Jim Keltner), as well as J.J, Cale, The Gap Band, David Gates, Jesse Ed Davis and more.
You can take in a show at the historic Cain's Ballroom (https://www.cainsballroom.com/) and if you time it right, you can sit in on one of my Oklahoma Music History classes.
Twilley is still around, plus great art deco history, Greenwood/Black Wall Street (https://www.greenwoodrising.org/), and The Gathering Place (https://www.gatheringplace.org/). I'll even treat you to a show at the Hard Rock.
Randy Cale
Hard rock Tulsa
__________________________________________
I don't usually have much to say about music as I got out of DJing and went into news radio where I stayed employed for 34 years in Los Angeles. But before KNX & KFWB I was a construction worker in Tulsa and did a small bit of carpentry on the Church Studio that Leon built in 1972. It's not in Oklahoma City. Although I never met Leon the club scene at that time was a blast. Freddie King , El Roacho ,Gary Montgomery & Gary Busey. My construction worker buddy the late Buzz Clifford,himself a musician, knew all of them. Buzz went on to be a fabulous blues man but never made the charts again like he did with "Babysittin'Boogie"
They are restoring the Church Studio . You can read about it here:
https://thechurchstudio.com/church-studio-named-national-register/
I did say hello to Joe Cocker at the Byrds reunion show in Ventura.
John Brooks
KFWB-KNX 1979-2013
__________________________________________
We promoted Leon's last show with mad dogs at the swing auditorium in San Bernardino. I stood on the stage with my wife and my dog and watched how Leon ran the whole band. And an evening I'll never forget turned into the honor of currently representing the estate.
I think the movie is great and I am sure it will make the kind of impact that will help reawaken interest in Leon's music. We have many hours of unreleased material and what You realize is if it was happening, Leon was there, and his songs stand the test of time. You will be hearing a lot more Leon in the years to come.
Bill Siddons
__________________________________________
Hi Bob. Thank you for taking the time to watch and wax at length on my film Learning To Live Together: The Return of Mad Dogs & Englishmen. I'm honored by your reaction and touched that you connected so profoundly to it. I know a lot of that has to do with your fundamental relationship to this music- you actually got to experience the original Mad Dogs tour (at the Capitol Theatre no less, which makes a cameo in the film)! Not a lot of people can say that... You're in a special class, along with Jon Landau, Steve Earle, Bob Dylan...
But I think ultimately what your letter hits upon is the very reason Tedeschi Trucks needed to organize the only-ever reunion of the Mad Dogs (and why I needed to make a film about it... and I certainly was not alive when the original took place)- the music of Mad Dogs & Englishmen is some of the most sacred in the history of rock'n'roll. You say it yourself, "You'll ponder your own life path." "The music is bigger than the players." Amen, amen...
There was a piece I left out of the film, where Leon tells me a few hours before showtime that he hoped the audience that night would receive "the holy ghost." That they did (I've heard the trope "greatest concert I've ever been to" from many in reference to the reunion concert), and I'm fairly confident that "spirit" is captured in the film. You certainly hear it in the performances (I've watched/heard these edits/mixes hundreds, if not thousands, of times over and I'm still not tired of it). As much as I still mourn his loss, I really wasn't surprised that Leon passed so soon after the reunion. The Master of Space & Time himself needed to have this one last communion with this all-powerful music he dreamt up, this time with Derek at the helm. Sure the spirit has moved on to Susan, Derek, Chris Robinson ("superstars" in their own rite), but my hope is that some teenage singer or college-band sees my film and the spirit of Joe and Leon and Tedeschi Trucks passes on to them (like when the lead singer of my college band played me Mad Dogs for the first time), and they go on to create inspired music or art that has some impact on someone, not matter how big or small. Mission accomplished if that happens, because that's what it's all about...
As you note, it was a long-time coming for us- six years in the making actually (with a couple pauses and a pandemic thrown in), but I couldn't be more thrilled that the film will finally see the light of day. Major gratitude to Wayne Forte, Blake Budney, Derek and Susan for their tireless support and efforts, and the countless others who invested creative energy, finances or simply opened doors, made connections etc. It was a herculean task to get this film cleared (simply look at the Mad Dogs repertoire), but we got it done, and now the greater public can enjoy it soon, like you have.
Thanks again for watching and I think I would be remiss if I didn't mention we have our world premiere at the Woodstock Film Festival this Thursday September 30, will be in theatres nationwide later in October (you can follow @maddogsdoc on any social platform for updates), and will make our international premiere at the Raindance Film Festival in London on Halloween! We hope that reactions like yours will get it on a streaming platform in the near future, and that the film doesn't suffer the same fate as the original Mad Dogs documentary, which I own on LaserDisc...
Jesse Lauter
Director/Producer, Learning To Live Together: The Return of the Mad Dogs & Englishmen
So glad that other musicians are playing homage to him.Great musicians and singers.
To be honest you have to be good to play his stuff. Derek Trucks is a beautiful man and an incredible guitarist as you so rightly point out. In fact DT plays on one of my upcoming album tracks. Tedeschi Trucks keep soulful music alive amongst many others.
Their tribute to "Layla" being a recent example. This is the music that inspired me and thousands of other musicians/singers. Joe Cocker was an extraordinary singer and performer. The rendition of "The Letter" has been shown many times to new artists that I encounter. They always make me play it again. Also the backing vocalists are sublime. Ditto Bobby Keys. Going to shows like "Mad Dogs" made you feel superhuman after you left. Your whole being became joyful and full of love.
When I did "The Union" with Leon, I took HIM on tour and we played big arenas the likes of which he had not played for many years. When he came on stage at every concert he got a standing ovation. During the barren years he had lost his self worth as an artist.
I was SO happy to give him his belief back. The album came in at number 4. He got into the Rock And Roll Hall Of Fame. The Songwriters Hall Of Fame. His star was shining again. Alas his health had long deteriorated long before we started the album. He was unable to take advantage of his resurrection, so to speak. But, he got his self respect back which was all I ever wanted.
By writing about him you help keep the magic alive. Thank you so for doing that.
He was a true musical genius. And, I still think about him, talk about him and play his music on my radio shows.
I send buckets of love to you Bob.
Elton x
__________________________________________
Hey Bob, Mad Dogs! The Best. I grew up with that record, found the movie on DVD a decade ago. It is the most compelling music ever and the movie? I couldn't stop watching it. Being a young musician in LA at the time those people were heroes of mine. Jim Gordon, Jim Keltner, Leon, Russell, Rita Coolidge, I mean with Carl Radle on bass and Chris Stainton on keyboards? A few friends of mine knew Don Preston. Did you know they took the band into A&M studio after rehearsals before they hit the road? Henry Lewy recorded it. I know a big time engineer/producer that was the second engineer, he's got a 1/4 of the roughs. He even said that night was the best music he has ever heard. I keep telling him to dig the tape out of his closet!
Marty Walsh
__________________________________________
I remember seeing this movie with my brother and some friends in the early 70's when it came out. I was in 10th or 11th grade. I thought it was one of the best rock documentaries ever. Became big fans of Cocker and Russell after this. And since seeing it I never found another person who saw it.
Over the years I've had people talk to me about "rockumentaries" that we each had seen and when I mentioned this movie I just got blank stares. So much so that I began to wonder did I dream that? Was I just confusing it with something else? Over the last 15 years I have searched the internet for a copy of the movie all to no avail. Guess I never looked in the right place. A couple of years ago I found a DVD copy of the movie on eBay and bought it immediately. Alas, I wasn't crazy.
This music was fantastic. I remember you saying you actually saw this show live and I was so jealous. I actually met Rita Coolidge in 2017 when she came to see the band I was in play a couple of shows. I really wanted to ask her about this tour but I thought of your constant advice about when you meet a star don't talk about their work so I didn't. She did say she loved the stuff we had written and we should absolutely record it, so what more did I need in my musical life. Frickin' Rita Coolidge liked it and saw us more than once!
So I got that going for me.
Loved, loved, loved this piece and will definitely check out the documentary. Thanks for the trip down memory lane.
Charlie Vanture
Member of the now-retired Sarah Mac Band
__________________________________________
Cool man! Glad you liked it. I played bass in tedeschi trucks in that show. Was one of the best shows I've ever been a part of, and I've been part of a few. Was super powerful to be around those people and yes, sue and derek and chris Robinson are genuine stars.
Tim Lefebvre
__________________________________________
I was lucky enough to be working at A@M records when the employees were invited to participate as audience members for the filming of the original video of Mad Dogs and Englishmen in Hollywood.
One of my fondest memories.
It was a joy to work for Herb and Jerry during those glory days on the lot at Sunset
and La Brea!
Lin in Honolulu
Howard Wolen
__________________________________________
I was there at ten years old!
Between them and Sly Stone I thought all bands were about community, then later I joined one.
What a lesson I am still smarting from.
John Payne
__________________________________________
The link!
This Diamond Ring was my first 45 and this one was where it all began for me.
So - the link is that Leon Russell did the arrangement for the song and, of course, Al Kooper who you just highlighted last week, shared writing credits as part of The Brill Building stable.
My earliest LPs included the 2nd "Joe Cocker" LP and not long after, Leon Russell's first. Saw MD&E at the Fillmore East and the album was a had-to-have as soon as it was released. The earliest incarnations of the jacket had a semi-floppy fold-up half. The entire cover was made from some unusual material, not quite cardboard but something glossy and thinner than a standard LP jacket.
And without Carl Radle's Oklahoma connection with Leon Russell, he'd have never been a Domino.
Leon Russell followed up the MD&E tour with a PBS special - The Homewood Session (recorded, or broadcast, the same night I saw the next to last Derek & The Dominoes US tour show at the Portchester Theater). An eye-opening peek at the creative Russell with entourage. https://www.youtube.com/watch?v=4bwMqliLXZQ
Alan
__________________________________________
That was the shit. Went to see Mad Dogs & Englishmen in a theater in Hollywood on acid, came out at midnight and went downtown for one of my first tattoos. That music sounds better today than the day they made it and while we are on the topic, it was pretty much the same time frame as the first "Delaney & Bonnie" album was popular and to me those two recordings were THE best of the era and of course those musicians often mixed and matched. Jesus our generation brought it like a mother fu**er. Gerry McGee's guitar on the Delany and Bonnie thing was hipper than anything old no mask Eric ever did once they got famous enough to be self destructive.
Larry Brown (guitar)
__________________________________________
I went to Franklin & Marshall College (Class of '71). Back in the late 60', early 70's, we had more major concerts per month than any college in the East Coast . Why? Because every major act that played Philly either Friday or Saturday would be offered to play Lancaster on the other night. Bill Honey was the Philly promoter who came up with the arrangement. Who else had Simon & Garfunkel in the afternoon and James Brown at night on the same day? I was on the F&M Student Union Board that booked the shows. Bill offered us The Grease Band ( Joe's 6 piece band) for $7,500. A good draw as Joe was getting great FM play from his solo albums. But what showed up at Lancaster Airport when I drove out to pick up Joe, was an old 1940's Constellation plane that spilled out with over 40 musicians, singers and " friends." Sure Leon ran the music, but no one was there to see him. It was Joe's show, 100%. They must have been losing many thousands of 1970 Dollars per day. Jerry Moss was underwriting it as the double album was selling millions. Years later, when Joe had a resurgence on Capital Records, we saw each other in a NYC club, and reminisced about the insanity of it all.
Marty Scott
__________________________________________
I saw mad Dogs and Englishmen at Winterland in San Francisco. My girlfriend liked Joe Cocker and we had previously seen him with the Grease Band at Fillmore West.
I can still picture them onstage with Leon playing guitar standing on top of the piano and me with my mouth hanging open going WTF is that! I could not take my eyes off Leon the whole night.
I went to see him on tour with his own band as well. I later found out about his history as a studio musician in Los Angeles and his being part of the Wrecking Crew.
I think Carney is my favorite album of Leon's.
Larry Green
__________________________________________
Bob, love the newsletter. But I'm an old friend of Jim Horn and I'm pretty sure I would've heard if he had died. In fact, Steve Cropper and I were talking about Jim just the other day and in the present tense (as in still circling the drain). If you know otherwise hit me back. But I'm pretty sure you got this wrong.
Thom Flora
__________________________________________
Leon and Shelter actually set up in Tulsa and their studio, The Church Studio, still stands today. After Leon, it was sold to Steve Ripley of The Tractors and then it passed through a few more hands in the late 00s before being purchased by the new owner, Teresa Knox. She and her husband are in the middle of restoring it into a functioning studio, along with adding an addition that will include a museum and event space. If you ever do make it to Oklahoma, make sure to stop in Tulsa. Get a tour of the studio and get a taste of our musical history. Like Leon was the in-demand studio musician that everyone in the know knew about but only had a flicker of mainstream success, Tulsa gets overlooked, but I've lost count of the number of touring musicians I've heard proclaim their affinity for this city after playing for a Tulsa crowd (or even better, in a legendary room like Cain's Ballroom).
Sarah Martin
__________________________________________
Leon had 3 studios in Oklahoma. One in his house in Tulsa. One at his lake house on Grand Lake. His main studio was in a converted Church in Tulsa. It sounded amazing. Dwight also had an unknown bass player play with him, Tom Petty. Leon signed two other locals, JJ Cale and the GAP band. GAP is short for Greenwood Archer and Pine. It was the location of the Black Wall Street and Tulsa's race mass murder. Leon never had a studio in OKC….that I know of.
Steve Ripley of Tractors and Bob Dylan fame purchased the Church when he moved back to Tulsa from California. I will send you Steve's radio show he did for the the Oklahoma Historical Society about Oklahoma music. It focused on Rock and Red Dirt.
Hope you are well.
Mike Busch
P.S. Here is a video of Dwight with Tom Petty playing bass.
https://youtu.be/l24DFbedbJ0
__________________________________________
The Shelter Records studio in Oklahoma was The Church Studio in TULSA (https://thechurchstudio.com/)! Please come visit Tulsa in late 2022 or 2023, check out the Woody Guthrie Center (https://woodyguthriecenter.org/) and the soon to open Bob Dylan Center (https://www.bobdylancenter.com/) and the Oklahoma Museum of Pop Culture (https://www.okpop.org/).
You can learn more about all those great Okie musicians you mentioned including some of the all-time great drummers (Chuck Blackwell in Mad Dogs and the LOCKN reunion, Jamie Oldaker, David Teegarden (https://teegardenstudios.com/), Jimmy Karstein and the amazing Jim Keltner), as well as J.J, Cale, The Gap Band, David Gates, Jesse Ed Davis and more.
You can take in a show at the historic Cain's Ballroom (https://www.cainsballroom.com/) and if you time it right, you can sit in on one of my Oklahoma Music History classes.
Twilley is still around, plus great art deco history, Greenwood/Black Wall Street (https://www.greenwoodrising.org/), and The Gathering Place (https://www.gatheringplace.org/). I'll even treat you to a show at the Hard Rock.
Randy Cale
Hard rock Tulsa
__________________________________________
I don't usually have much to say about music as I got out of DJing and went into news radio where I stayed employed for 34 years in Los Angeles. But before KNX & KFWB I was a construction worker in Tulsa and did a small bit of carpentry on the Church Studio that Leon built in 1972. It's not in Oklahoma City. Although I never met Leon the club scene at that time was a blast. Freddie King , El Roacho ,Gary Montgomery & Gary Busey. My construction worker buddy the late Buzz Clifford,himself a musician, knew all of them. Buzz went on to be a fabulous blues man but never made the charts again like he did with "Babysittin'Boogie"
They are restoring the Church Studio . You can read about it here:
https://thechurchstudio.com/church-studio-named-national-register/
I did say hello to Joe Cocker at the Byrds reunion show in Ventura.
John Brooks
KFWB-KNX 1979-2013
__________________________________________
We promoted Leon's last show with mad dogs at the swing auditorium in San Bernardino. I stood on the stage with my wife and my dog and watched how Leon ran the whole band. And an evening I'll never forget turned into the honor of currently representing the estate.
I think the movie is great and I am sure it will make the kind of impact that will help reawaken interest in Leon's music. We have many hours of unreleased material and what You realize is if it was happening, Leon was there, and his songs stand the test of time. You will be hearing a lot more Leon in the years to come.
Bill Siddons
__________________________________________
Hi Bob. Thank you for taking the time to watch and wax at length on my film Learning To Live Together: The Return of Mad Dogs & Englishmen. I'm honored by your reaction and touched that you connected so profoundly to it. I know a lot of that has to do with your fundamental relationship to this music- you actually got to experience the original Mad Dogs tour (at the Capitol Theatre no less, which makes a cameo in the film)! Not a lot of people can say that... You're in a special class, along with Jon Landau, Steve Earle, Bob Dylan...
But I think ultimately what your letter hits upon is the very reason Tedeschi Trucks needed to organize the only-ever reunion of the Mad Dogs (and why I needed to make a film about it... and I certainly was not alive when the original took place)- the music of Mad Dogs & Englishmen is some of the most sacred in the history of rock'n'roll. You say it yourself, "You'll ponder your own life path." "The music is bigger than the players." Amen, amen...
There was a piece I left out of the film, where Leon tells me a few hours before showtime that he hoped the audience that night would receive "the holy ghost." That they did (I've heard the trope "greatest concert I've ever been to" from many in reference to the reunion concert), and I'm fairly confident that "spirit" is captured in the film. You certainly hear it in the performances (I've watched/heard these edits/mixes hundreds, if not thousands, of times over and I'm still not tired of it). As much as I still mourn his loss, I really wasn't surprised that Leon passed so soon after the reunion. The Master of Space & Time himself needed to have this one last communion with this all-powerful music he dreamt up, this time with Derek at the helm. Sure the spirit has moved on to Susan, Derek, Chris Robinson ("superstars" in their own rite), but my hope is that some teenage singer or college-band sees my film and the spirit of Joe and Leon and Tedeschi Trucks passes on to them (like when the lead singer of my college band played me Mad Dogs for the first time), and they go on to create inspired music or art that has some impact on someone, not matter how big or small. Mission accomplished if that happens, because that's what it's all about...
As you note, it was a long-time coming for us- six years in the making actually (with a couple pauses and a pandemic thrown in), but I couldn't be more thrilled that the film will finally see the light of day. Major gratitude to Wayne Forte, Blake Budney, Derek and Susan for their tireless support and efforts, and the countless others who invested creative energy, finances or simply opened doors, made connections etc. It was a herculean task to get this film cleared (simply look at the Mad Dogs repertoire), but we got it done, and now the greater public can enjoy it soon, like you have.
Thanks again for watching and I think I would be remiss if I didn't mention we have our world premiere at the Woodstock Film Festival this Thursday September 30, will be in theatres nationwide later in October (you can follow @maddogsdoc on any social platform for updates), and will make our international premiere at the Raindance Film Festival in London on Halloween! We hope that reactions like yours will get it on a streaming platform in the near future, and that the film doesn't suffer the same fate as the original Mad Dogs documentary, which I own on LaserDisc...
Jesse Lauter
Director/Producer, Learning To Live Together: The Return of the Mad Dogs & Englishmen
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Duets-This Week On SiriusXM
Tune in today, September 28th, to Volume 106, 7 PM East, 4 PM West.
Phone #: 844-6-VOLUME, 844-686-5863
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Goliath-Season 4
1
The cinematography is a 10.
Billy Bob Thornton may be an anorexic weirdo, but he's one of America's best actors.
Nina Arianda is about as good as Billy Bob, she deserves to be hired ad infinitum in Hollywood, she proves that being in the gossip columns has got nothing to do with talent.
But the script sucks!
The last season of "Goliath" was so bad, I figured this one had to be better, especially since it was billed as the last one. But there are dream sequences so long and obscure you don't feel inferior for not understanding them, but angry at the producers for including these bogus episodes that contain so little.
Yes, I'm watching for the plot. And there's nothing worse in streaming television than doing this.
You see in 1999 we had a revolution, it was called "The Sopranos," it shifted the needle on visual entertainment completely. "The Sopranos" was better than any film in the theatre. And it focused on what the studios did not, character study, real people, human interaction. It showed life as it is today, kids manipulating parents, clergy who are schnorrers, it took a while to gain traction, but it was irresistible. Don't let people tell you it's not the best TV series ever, if you haven't watched it, do, it still holds up, it still resonates.
Sure, "Larry Sanders" came before. Even "Sex and the City." But they did not revolutionize a whole medium. It only takes one.
It's about shooting high. Lowbrow hits don't take you very far. The more intellectual, the more the reward, that's what you want in a flagship. It doesn't even matter how many people watch it, it's how many people TALK ABOUT IT! When you dumb down entertainment the joke is on you. Kind of like new music production amongst the three major labels. They're playing to an ever smaller audience as the rest reject music completely or listen to catalog. Imagine if Universal was actually releasing hit music, not something that plays to a minority, but everybody, its stock price would climb even higher! You've got something like Adele's "21," an LP that did TEN TIMES the business of its contemporaries. But have we gotten any more "21"s? No. Just more of the same dreck we're told is good even though the public is rejecting it. If 70% of the listeners would rather stream oldies, how addictive can the new music be?
So HBO used "The Sopranos" as a stepping stone, to build its platform with other unique, limit testing shows, like "Six Feet Under." It kept pushing the envelope. And then Sunday night became about HBO, at least in the days before streaming. And in the heyday of premium cable you only needed ONE HIT! One show would keep people subscribing. But now you need a plethora of product, because streaming television is the hottest artistic medium and the public's appetite is insatiable.
2
So Amazon thinks since Video is free with Prime, that's good enough. Free is no longer a big enough enticement, not in a world where there's endless product, endless diversions. You've got to pull the audience in, push was only for the three network world of fifty years ago.
So what does Amazon do? Release endless mediocre product that inhabits a world somewhere between network and pay cable. Is there a huge demand for this? No, people want something different, they want you to capture the zeitgeist!
And then Amazon has one hit show and they cancel it.
"Bosch" took a long time to gain traction, because of the crummy interface at Amazon with its plethora of pay product. The service's homepage resembles Amazon itself, where you can't find what you want for the ads, where you can see the company trying to steer you off course as you search for the product you want to buy. Amazon is beholden to its advertisers, its stockholders, whereas Netflix is not.
Netflix has the best interface, has first mover advantage and is the biggest producer of new product. And what built Netflix's reputation? HOUSE OF CARDS! A brilliant show that like "Bosch" took a while to gain traction but was an irresistible watch, educational and informative as well as thrilling. That's how you do it.
Oh, you tell me Amazon has commissioned an extravaganza, a remake of "Lord of the Rings." Talk about insurance, then again it's hard to strike gold twice, how many films can you count the second, never mind the ones thereafter, better than the first in a franchise series? I can think of one, "Godfather II." Some say "French Connection II," but I disagree. We learned this from great musicians, repeating yourself is death, you can never measure up and the audience abandons you. So first the Amazon "Lord of the Rings" must be as great as the movies, which is highly doubtful, then it's got to convince people to watch it, good luck!
But it's worse, even if the new "Lord of the Rings" is great, it won't have much of a halo effect on the service. "Game of Thrones" was a phenomenon, but it seems many of those who watched it canceled HBO right thereafter. HBO specializes in family drama, not spectaculars, that's for the big screen, and like popular music, only a slice of the public.
"Goliath" is a David Kelley show, he was retired for a while, he should have stayed that way. He's a middlebrow hack, the only great thing he ever did was marry Michelle Pfeiffer, he's network, he certainly isn't cable, never mind streaming. Hulu put its eggs in Kelley's basket with "Nine Perfect Strangers." It was better than his usual fare because he didn't write the underling material, but the reviews have been positively mediocre, no one is signing up for Hulu just to watch it, there is no word of mouth, and in the streaming world word of mouth is everything, you can't deliver a hit via publicity or advertising.
So Amazon is buying MGM. The volleyball of movie studios. Sure, it'll get whatever catalog is left, the great stuff was sold long ago, but unless it turns over the reins to the brass of the storied company, don't expect much, and the truth is after getting their check executives in Hollywood move on, they want to find another deep pocket to squeeze.
The most talked about show on streaming television is "Ted Lasso." But that's all Apple TV+ has got. Most people are watching for free. If anyone's paying, they're going to stop after the series ends. And Netflix has proven you need a broad swath of product, you finish "Ted Lasso" and then what...it's not like Apple TV+ has got a deep catalog, it's got essentially nothing at all.
And it's not like the paradigm wasn't already established. Netflix had plowed the way, you just had to imitate Netflix. But Amazon was and still is oblivious, needing to reinvent the wheel itself, poorly, because it's not learning from history.
As for Disney... It had children's content no one else possessed and it then pulled a masterstroke, pricing way below people's expectations.
HBO Max? The exclusive shows on the service, even when great, and there are a couple, like "Love Life," get no traction. Now there's "Hacks," but then what? People watch HBO Max to stream the product from the pay channel. As far as people who subscribe directly to HBO Max, the number is de minimis, there's not enough new product, never mind the price being outrageously high.
As for the other streaming competitors? Dead in the water. They just don't have the shows, they need to merge and create an alternative, try to gain an audience while people are still willing to check things out, when the excitement still revolves around streaming television, and it won't be forever.
Now don't count Prime Video out, because of all the subscribers who get it for free, with the membership they've got for quick delivery. But first, there needs to be an interface overhaul. Feature free product, as in included with Prime, at the top. And then, below a very clear line of demarcation, just the icons of pay services you can subscribe to through Amazon. Don't mix the product people can access with no further payment with that they have to pay an additional fee for.
But even more, do your best to create halo product, which despite "Ted Lasso," is usually highbrow, nearly intellectual. Then again, "Ted Lasso" works because it's actually the opposite, Ted is akin to Forrest Gump, someone brain damaged and unique, sunny all the time, that's something we don't see on a regular basis.
Amazon has a long history of launching products and improving them over time. But it also has a long history of launching products and killing them, especially when the company is not breaking new ground, when it is competing with others.
I watch streaming television because it represents the zeitgeist of today. I don't need entertainment, I don't want to watch just to see the ending of the story, I want to connect with real life, get a reflection of myself and my society. It's visceral. Something music specialized in which has been abdicated. As for the wannabes asking for a chance, the truth is it's a very high bar, creating top-notch entertainment product, and while we're looking for newbies, experience counts, at least in streaming television we don't have the ridiculous ageism of music.
Streaming television is a professional business.
Amazon Prime Video is run by amateurs
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The cinematography is a 10.
Billy Bob Thornton may be an anorexic weirdo, but he's one of America's best actors.
Nina Arianda is about as good as Billy Bob, she deserves to be hired ad infinitum in Hollywood, she proves that being in the gossip columns has got nothing to do with talent.
But the script sucks!
The last season of "Goliath" was so bad, I figured this one had to be better, especially since it was billed as the last one. But there are dream sequences so long and obscure you don't feel inferior for not understanding them, but angry at the producers for including these bogus episodes that contain so little.
Yes, I'm watching for the plot. And there's nothing worse in streaming television than doing this.
You see in 1999 we had a revolution, it was called "The Sopranos," it shifted the needle on visual entertainment completely. "The Sopranos" was better than any film in the theatre. And it focused on what the studios did not, character study, real people, human interaction. It showed life as it is today, kids manipulating parents, clergy who are schnorrers, it took a while to gain traction, but it was irresistible. Don't let people tell you it's not the best TV series ever, if you haven't watched it, do, it still holds up, it still resonates.
Sure, "Larry Sanders" came before. Even "Sex and the City." But they did not revolutionize a whole medium. It only takes one.
It's about shooting high. Lowbrow hits don't take you very far. The more intellectual, the more the reward, that's what you want in a flagship. It doesn't even matter how many people watch it, it's how many people TALK ABOUT IT! When you dumb down entertainment the joke is on you. Kind of like new music production amongst the three major labels. They're playing to an ever smaller audience as the rest reject music completely or listen to catalog. Imagine if Universal was actually releasing hit music, not something that plays to a minority, but everybody, its stock price would climb even higher! You've got something like Adele's "21," an LP that did TEN TIMES the business of its contemporaries. But have we gotten any more "21"s? No. Just more of the same dreck we're told is good even though the public is rejecting it. If 70% of the listeners would rather stream oldies, how addictive can the new music be?
So HBO used "The Sopranos" as a stepping stone, to build its platform with other unique, limit testing shows, like "Six Feet Under." It kept pushing the envelope. And then Sunday night became about HBO, at least in the days before streaming. And in the heyday of premium cable you only needed ONE HIT! One show would keep people subscribing. But now you need a plethora of product, because streaming television is the hottest artistic medium and the public's appetite is insatiable.
2
So Amazon thinks since Video is free with Prime, that's good enough. Free is no longer a big enough enticement, not in a world where there's endless product, endless diversions. You've got to pull the audience in, push was only for the three network world of fifty years ago.
So what does Amazon do? Release endless mediocre product that inhabits a world somewhere between network and pay cable. Is there a huge demand for this? No, people want something different, they want you to capture the zeitgeist!
And then Amazon has one hit show and they cancel it.
"Bosch" took a long time to gain traction, because of the crummy interface at Amazon with its plethora of pay product. The service's homepage resembles Amazon itself, where you can't find what you want for the ads, where you can see the company trying to steer you off course as you search for the product you want to buy. Amazon is beholden to its advertisers, its stockholders, whereas Netflix is not.
Netflix has the best interface, has first mover advantage and is the biggest producer of new product. And what built Netflix's reputation? HOUSE OF CARDS! A brilliant show that like "Bosch" took a while to gain traction but was an irresistible watch, educational and informative as well as thrilling. That's how you do it.
Oh, you tell me Amazon has commissioned an extravaganza, a remake of "Lord of the Rings." Talk about insurance, then again it's hard to strike gold twice, how many films can you count the second, never mind the ones thereafter, better than the first in a franchise series? I can think of one, "Godfather II." Some say "French Connection II," but I disagree. We learned this from great musicians, repeating yourself is death, you can never measure up and the audience abandons you. So first the Amazon "Lord of the Rings" must be as great as the movies, which is highly doubtful, then it's got to convince people to watch it, good luck!
But it's worse, even if the new "Lord of the Rings" is great, it won't have much of a halo effect on the service. "Game of Thrones" was a phenomenon, but it seems many of those who watched it canceled HBO right thereafter. HBO specializes in family drama, not spectaculars, that's for the big screen, and like popular music, only a slice of the public.
"Goliath" is a David Kelley show, he was retired for a while, he should have stayed that way. He's a middlebrow hack, the only great thing he ever did was marry Michelle Pfeiffer, he's network, he certainly isn't cable, never mind streaming. Hulu put its eggs in Kelley's basket with "Nine Perfect Strangers." It was better than his usual fare because he didn't write the underling material, but the reviews have been positively mediocre, no one is signing up for Hulu just to watch it, there is no word of mouth, and in the streaming world word of mouth is everything, you can't deliver a hit via publicity or advertising.
So Amazon is buying MGM. The volleyball of movie studios. Sure, it'll get whatever catalog is left, the great stuff was sold long ago, but unless it turns over the reins to the brass of the storied company, don't expect much, and the truth is after getting their check executives in Hollywood move on, they want to find another deep pocket to squeeze.
The most talked about show on streaming television is "Ted Lasso." But that's all Apple TV+ has got. Most people are watching for free. If anyone's paying, they're going to stop after the series ends. And Netflix has proven you need a broad swath of product, you finish "Ted Lasso" and then what...it's not like Apple TV+ has got a deep catalog, it's got essentially nothing at all.
And it's not like the paradigm wasn't already established. Netflix had plowed the way, you just had to imitate Netflix. But Amazon was and still is oblivious, needing to reinvent the wheel itself, poorly, because it's not learning from history.
As for Disney... It had children's content no one else possessed and it then pulled a masterstroke, pricing way below people's expectations.
HBO Max? The exclusive shows on the service, even when great, and there are a couple, like "Love Life," get no traction. Now there's "Hacks," but then what? People watch HBO Max to stream the product from the pay channel. As far as people who subscribe directly to HBO Max, the number is de minimis, there's not enough new product, never mind the price being outrageously high.
As for the other streaming competitors? Dead in the water. They just don't have the shows, they need to merge and create an alternative, try to gain an audience while people are still willing to check things out, when the excitement still revolves around streaming television, and it won't be forever.
Now don't count Prime Video out, because of all the subscribers who get it for free, with the membership they've got for quick delivery. But first, there needs to be an interface overhaul. Feature free product, as in included with Prime, at the top. And then, below a very clear line of demarcation, just the icons of pay services you can subscribe to through Amazon. Don't mix the product people can access with no further payment with that they have to pay an additional fee for.
But even more, do your best to create halo product, which despite "Ted Lasso," is usually highbrow, nearly intellectual. Then again, "Ted Lasso" works because it's actually the opposite, Ted is akin to Forrest Gump, someone brain damaged and unique, sunny all the time, that's something we don't see on a regular basis.
Amazon has a long history of launching products and improving them over time. But it also has a long history of launching products and killing them, especially when the company is not breaking new ground, when it is competing with others.
I watch streaming television because it represents the zeitgeist of today. I don't need entertainment, I don't want to watch just to see the ending of the story, I want to connect with real life, get a reflection of myself and my society. It's visceral. Something music specialized in which has been abdicated. As for the wannabes asking for a chance, the truth is it's a very high bar, creating top-notch entertainment product, and while we're looking for newbies, experience counts, at least in streaming television we don't have the ridiculous ageism of music.
Streaming television is a professional business.
Amazon Prime Video is run by amateurs
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Vaccines
Nothing can convince them to get the shot.
The most important article you can read this week is this:
"Our constitutional crisis is already here": https://wapo.st/3zQXgtI
It's no longer behind a paywall, but it wasn't really written for non-subscribers. In this essay neoconservative Robert Kagan tells us to be afraid, very afraid. That the train has already left the station, that democracy is on its way to extinction as we fiddle while the wildfires burn.
It was written for those inside the Beltway, those that subscribe to "The Washington Post." Influencers. Newsmakers. Not those on social media, but the old guard, in the government, elected officials, you have the D.C. paper of record publishing what everybody knows but what everybody is afraid to say, the Republicans are leading us into autocracy.
Doesn't matter if you agree. Like I said, this heads-up was not for the Covid deniers, the Trump enthusiasts, but the somnambulant believing it's business as usual, when it definitely is not.
The best story I read today is how Liz Cheney's Wyoming Senate challenger went from Trump hater to Trump lover, a complete 180:
"How an Anti-Trump Plotter in 2016 Became His Champion Against Liz Cheney - Harriet Hageman, a Wyoming Republican, is the former president's choice to take on his leading G.O.P. critic. But five years ago, she tried to overturn his victory in the party's primary race": https://nyti.ms/3uiFsq7
Not that you'll find this on Fox News. The big news last week was how the White House already knew there was no issue with the Dominion voting machines, how the election results were secure, yet Giuliani and Sidney Powell still went out and testified to the opposite. I scrolled the Fox site for days, I couldn't find a reference to it.
That's the big story in a just posted article in the "Washington Post":
"How badly unvaccinated Republicans are misinformed, in one stat - The median unvaccinated Republican believes the vaccines have effectively zero efficacy in preventing hospitalizations. This is not the case with unvaccinated Democrats": https://wapo.st/3AUueeg
The median unvaccinated Republican believes the unvaccinated population requires hospitalization at the same rate as the vaccinated, whereas in Los Angeles County, for example, the unvaccinated were "29.2 times more likely to require hospitalization."
Bottom line? The hard core unvaccinated Republicans are not refusing vaccines because of their freedom, because they don't want to get shot up, BUT BECAUSE THEY'RE CONVINCED THEY DON'T WORK!
And why are they so convinced? It's the media they're exposed to, that's what this article says.
Now the world runs on gossip. Always has, always will. But it used to be gossip was inherently limited. To those in your social circle, to those in your school or at your workplace. Gossip couldn't travel from east to west very easily. Someone would have to get on the phone, or travel, and it was a one to one proposition, whereas with social media it's one to many.
And the truth is prior to the internet the average person didn't know much news. Most people did not subscribe to a newspaper and most people did not watch TV news broadcasts. They were uninformed and happy with that. They'd tune in around election time, maybe, then again vast swaths of Americans didn't vote. Some felt powerless, others felt it didn't make any difference, their life wouldn't change no matter who was in power.
But then the internet came along and it was gossip on steroids. As a matter of fact, it's all gossip all the time. And you know gossip, unless it's juicy, it doesn't spread. When someone tells us something boring, or something we already know, it ends there, we don't pass it on. But if it's a salacious rumor we can't wait to tell others, we're itching to tell others. And that is what is now happening.
So the truth is there is no authoritative source. And as a result, as William Falk, Editor-in-chief of "The Week," posited, there is a lack of trust. In Denmark, 90% of Danes trust the health service and the politicians, as a result 86% of them are vaccinated and deaths over the course of the pandemic are only 22% of those in the U.S. Today Denmark is wide open, today you integrate with other Americans, especially in red states, at your peril.
But it doesn't have to be this way.
"How France Overcame Covid-19 Vaccine Hesitancy - The French have long been wary of vaccines, but a mixture of mandates and inducements encouraged millions to get the shot as the Delta variant spread": https://on.wsj.com/39GBGO7
This is behind a paywall. Like good food, you have to pay more for good news. Fast food is cheap, fruits and vegetables are not. Fast food makes you unhealthy and sick. Therefore only the wealthy and informed can AFFORD to eat well, never mind be aware of food facts. As for news, gossip online, on Facebook, on social media, it's free. And it's a free-for-all. Anybody can post anything, and Facebook bumps that which gets a reaction, the aforementioned juicy gossip. If you want to get the truth, you've got to pay for it. And except for "The Wall Street Journal"'s opinion pages, you'd be shocked how aligned the paper is with "The New York Times" and "The Washington Post." Facts are facts. But if you're never exposed to them...
So in France you need a health pass, i.e. vaccine passport, to go almost anywhere. That's right, to eat out, go to clubs and attend sporting events. Talk about a mandate... And at the beginning of the Covid crisis, France "had one of the highest rates of (vaccine) hesitancy in the world."
"A poll in 2018 gave France the lowest levels of trust in vaccines out of 144 countries surveyed. In December, an Ipsos poll conducted found that France ranked at the bottom of 15 countries on willingness to take a Covid-19 vaccine, with only 40% of the public saying they wanted the shot."
"Some 88% of people over 12 years old in France have received at least one shot of vaccine, more than the U.S., U.K. or Germany. Its infection rate is now below 61 cases per 100,000 people, compared with 241 cases per 100,000 in the U.S. as of Sept. 24. The French figure is declining by more than one-quarter each week, with deaths and hospitalizations falling, too."
Whew! See how fast you can turn things around? Assuming you've got the balls to lay down the law, assuming people are not ignorant, assuming they have trust in institutions.
But that's the point of the Kagan article, Trump and Fox and other outlets are undermining trust 24/7, and it's been happening for years, so what are the odds we can convince all Americans to get vaccinated? ZILCH!
Then again, how many people are on the Trump train anyway?
"America is not facing a civil war - only loudmouthed extremists": https://lat.ms/3uiIuL1
As a result of gerrymandering and the Electoral College and loud angry voices we have the impression that the two sides are equal in numbers, when this is patently untrue. Most Americans want abortion rights, most Americans want gun control, but good luck getting any laws passed.
Furthermore, Michael Hiltzik, the author of the above column, has absolutely no impact, because his words appear in "The Los Angeles Times," and now with the big three newspapers available 24/7 all over the world the L.A. "Times" has been marginalized. Keep cutting the budget and eventually people stop reading and no one pays attention.
But they do read "The New York Times." And last week Paul Krugman wrote this article:
"Are Centrists in the Thrall of Right-Wing Propaganda?": https://nyti.ms/3igp8S3
Bottom line, the infrastructure bill is $3.5 trillion over TEN YEARS! And the centrist Democrats have bought into the Republican mantra, fearful of looking like they're taxing and spending. So there's no there there in government, never mind Mitch McConnell, who single-handedly fixed the Supreme Court in his party's favor, not only admitting he wants no bills passed, he doesn't even want to pay for those that were already passed upon which the money has been spent. That's what raising the debt limit is all about, not about new spending, but the money that already left the coffers. Try telling someone you bought their goods but refuse to pay for them, let me know how that works out, it won't be good.
So, being in "The New York Times," Krugman's words have an effect, since he wrote this the Democrats have started to emphasize the ten year period of spending.
As for Robert Kagan's article? Bill Maher was all over it last week, as well as Rachel Maddow. You see it's a club, you can join, but it takes effort and oftentimes you have to pay for the information. And everybody in the club knows the truth, but plenty are banking on your not knowing it, keeping you in your backwater where they can manipulate you. And you can die.
The best website I was turned on to this week was:
https://www.sorryantivaxxer.com
You've got to go here. Please click through. These are people who believed the Covid misinformation and spread it far and wide and then died of the virus.
And what the gossip will tell you is if you're not over 65 and obese, if you're sans comorbidities, you're immune. But that is patently untrue. Really, read these people's stories. Totally healthy forty year olds. Twenty year olds. They thought they were immune, but they weren't. They're DYING! Do you really want to take the risk of dying when there's a vaccine?
OF COURSE YOU DO!
That's the astonishing element of these stories. So many left behind ARE STILL ANTIVAXXERS!
As William Falk said in "The Week":
"People shun a simple shot largely because they see it as a form of surrender."
So you can't convince the unvaccinated to get the shot, the only thing you can do is force them to, make it so they can't go into public places without being vaccinated. Is there enough political will in the U.S?
I don't think so. Which is just plain sad.
Umair Haque wrote last week:
"Brexit is Destroying Britain - And Britain Still Can't Face It - Where Can't You Get Gas, Milk, Bread, and Beer? Welcome to Soviet Britain": https://bit.ly/3CRBtE5
There are no truck drivers to deliver goods. They just broke their own rules, they're allowing foreigners to come in and do this job, those they wanted gone. But the irony is it's still not enough, and most foreigners won't come, the pay is too low. And you can't get beer because the CO2 to make it comes from the Continent!
But what really got my attention in the Haque article was the put-downs of America.
"She was right. Britain's turning Soviet. Even America - for all its folly and self-inflicted ruin, guns and theocracy and whole nine yards - isn't as badly off as Britain."
But the conclusion is even worse, you don't want to turn into AMERICA!
"Eventually, Britain will probably find ways to get a little more bread and beer and so on. But they won't be European. They'll come from America, probably, and if you like American beer and bread, my friend, I feel a little sorry for you. Britain will eventually end up something like America's 51st state - it's NHS and BBC owned by American hedge funds, its people eating American diets, their minds poisoned by American junk culture.
America's a vastly poorer society than Europe. Americans live worse lives in every possible way — from health to wealth to trust to intimacy to stability and safety to basic decency and thoughtfulness. Britain's only real destiny left at this point is to be Americanized. That was always the endgame of Brexit - to sell Britain off to American capital. But American capital has made paupers - literally, they're lifelong debtors, without a penny to their names, most of them - of Americans."
The problem is this all rings true. The hedge funds buy the parking meters and therefore you've got to pay to park 24/7, there are no holidays. And the hedge fund buys the trailer park upon which your rust bucket sits and raises the price of rent on your little square of property, after all their investors have to see a return, and you lose your POS residence, forget YOUR investment, it's history.
I mean we have no national health care, no mandated vacations, no government funds for child care...we're working like dogs to try and keep our heads afloat. Is this really the best we can do?
America is no longer the country I grew up in. It slid while I wasn't even realizing it. In the rest of the world our status has fallen to the level of...theirs. Haque posits the EU is more powerful than America, it fights bad actors like the tech companies while the FTC is paralyzed, if member countries get out of hand they stop sending them money, they freeze them out. But we're supposed to believe the federal government has no power over Texas and Florida.
Now the truth is Britain got Brexit because a lot of sentimental oldsters and rural folk wanted to return to a country that no longer squares with the modern world, just like those on the right in America want to go back to an era totally out of date with today's trade and mores, it's a fantasy. The Britons with money, the educated, they understood what was at risk, they overwhelmingly voted to stay in the EU, but they were defeated by the votes of the idiots told falsehoods. It's no different in the U.S. Mexico was gonna pay for the wall. China was going to pay the tariffs. Say it enough and people believe it, after all they're not exposed to the truth, and they wouldn't believe it if they saw it.
But you can...discover the truth and be informed. Unlike the right winger who sent me an antivax article from a PARODY website! He didn't even realize it was a joke!
We are in a crisis. Whether you admit it or not. Never mind politics, there's that pesky climate too. And there's no way we can convince those on the other side, the deniers, the ignorant, we must FORCE THEM to do what's right, like France. Yes, that's how far we've fallen, we need to model ourselves after the French. But they have it right. Because contrary to what Kellyanne Conway said there are facts, unassailable, and once we make people aware of them, get them to believe in them, we can make progress. But that day seems to be far away.
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The most important article you can read this week is this:
"Our constitutional crisis is already here": https://wapo.st/3zQXgtI
It's no longer behind a paywall, but it wasn't really written for non-subscribers. In this essay neoconservative Robert Kagan tells us to be afraid, very afraid. That the train has already left the station, that democracy is on its way to extinction as we fiddle while the wildfires burn.
It was written for those inside the Beltway, those that subscribe to "The Washington Post." Influencers. Newsmakers. Not those on social media, but the old guard, in the government, elected officials, you have the D.C. paper of record publishing what everybody knows but what everybody is afraid to say, the Republicans are leading us into autocracy.
Doesn't matter if you agree. Like I said, this heads-up was not for the Covid deniers, the Trump enthusiasts, but the somnambulant believing it's business as usual, when it definitely is not.
The best story I read today is how Liz Cheney's Wyoming Senate challenger went from Trump hater to Trump lover, a complete 180:
"How an Anti-Trump Plotter in 2016 Became His Champion Against Liz Cheney - Harriet Hageman, a Wyoming Republican, is the former president's choice to take on his leading G.O.P. critic. But five years ago, she tried to overturn his victory in the party's primary race": https://nyti.ms/3uiFsq7
Not that you'll find this on Fox News. The big news last week was how the White House already knew there was no issue with the Dominion voting machines, how the election results were secure, yet Giuliani and Sidney Powell still went out and testified to the opposite. I scrolled the Fox site for days, I couldn't find a reference to it.
That's the big story in a just posted article in the "Washington Post":
"How badly unvaccinated Republicans are misinformed, in one stat - The median unvaccinated Republican believes the vaccines have effectively zero efficacy in preventing hospitalizations. This is not the case with unvaccinated Democrats": https://wapo.st/3AUueeg
The median unvaccinated Republican believes the unvaccinated population requires hospitalization at the same rate as the vaccinated, whereas in Los Angeles County, for example, the unvaccinated were "29.2 times more likely to require hospitalization."
Bottom line? The hard core unvaccinated Republicans are not refusing vaccines because of their freedom, because they don't want to get shot up, BUT BECAUSE THEY'RE CONVINCED THEY DON'T WORK!
And why are they so convinced? It's the media they're exposed to, that's what this article says.
Now the world runs on gossip. Always has, always will. But it used to be gossip was inherently limited. To those in your social circle, to those in your school or at your workplace. Gossip couldn't travel from east to west very easily. Someone would have to get on the phone, or travel, and it was a one to one proposition, whereas with social media it's one to many.
And the truth is prior to the internet the average person didn't know much news. Most people did not subscribe to a newspaper and most people did not watch TV news broadcasts. They were uninformed and happy with that. They'd tune in around election time, maybe, then again vast swaths of Americans didn't vote. Some felt powerless, others felt it didn't make any difference, their life wouldn't change no matter who was in power.
But then the internet came along and it was gossip on steroids. As a matter of fact, it's all gossip all the time. And you know gossip, unless it's juicy, it doesn't spread. When someone tells us something boring, or something we already know, it ends there, we don't pass it on. But if it's a salacious rumor we can't wait to tell others, we're itching to tell others. And that is what is now happening.
So the truth is there is no authoritative source. And as a result, as William Falk, Editor-in-chief of "The Week," posited, there is a lack of trust. In Denmark, 90% of Danes trust the health service and the politicians, as a result 86% of them are vaccinated and deaths over the course of the pandemic are only 22% of those in the U.S. Today Denmark is wide open, today you integrate with other Americans, especially in red states, at your peril.
But it doesn't have to be this way.
"How France Overcame Covid-19 Vaccine Hesitancy - The French have long been wary of vaccines, but a mixture of mandates and inducements encouraged millions to get the shot as the Delta variant spread": https://on.wsj.com/39GBGO7
This is behind a paywall. Like good food, you have to pay more for good news. Fast food is cheap, fruits and vegetables are not. Fast food makes you unhealthy and sick. Therefore only the wealthy and informed can AFFORD to eat well, never mind be aware of food facts. As for news, gossip online, on Facebook, on social media, it's free. And it's a free-for-all. Anybody can post anything, and Facebook bumps that which gets a reaction, the aforementioned juicy gossip. If you want to get the truth, you've got to pay for it. And except for "The Wall Street Journal"'s opinion pages, you'd be shocked how aligned the paper is with "The New York Times" and "The Washington Post." Facts are facts. But if you're never exposed to them...
So in France you need a health pass, i.e. vaccine passport, to go almost anywhere. That's right, to eat out, go to clubs and attend sporting events. Talk about a mandate... And at the beginning of the Covid crisis, France "had one of the highest rates of (vaccine) hesitancy in the world."
"A poll in 2018 gave France the lowest levels of trust in vaccines out of 144 countries surveyed. In December, an Ipsos poll conducted found that France ranked at the bottom of 15 countries on willingness to take a Covid-19 vaccine, with only 40% of the public saying they wanted the shot."
"Some 88% of people over 12 years old in France have received at least one shot of vaccine, more than the U.S., U.K. or Germany. Its infection rate is now below 61 cases per 100,000 people, compared with 241 cases per 100,000 in the U.S. as of Sept. 24. The French figure is declining by more than one-quarter each week, with deaths and hospitalizations falling, too."
Whew! See how fast you can turn things around? Assuming you've got the balls to lay down the law, assuming people are not ignorant, assuming they have trust in institutions.
But that's the point of the Kagan article, Trump and Fox and other outlets are undermining trust 24/7, and it's been happening for years, so what are the odds we can convince all Americans to get vaccinated? ZILCH!
Then again, how many people are on the Trump train anyway?
"America is not facing a civil war - only loudmouthed extremists": https://lat.ms/3uiIuL1
As a result of gerrymandering and the Electoral College and loud angry voices we have the impression that the two sides are equal in numbers, when this is patently untrue. Most Americans want abortion rights, most Americans want gun control, but good luck getting any laws passed.
Furthermore, Michael Hiltzik, the author of the above column, has absolutely no impact, because his words appear in "The Los Angeles Times," and now with the big three newspapers available 24/7 all over the world the L.A. "Times" has been marginalized. Keep cutting the budget and eventually people stop reading and no one pays attention.
But they do read "The New York Times." And last week Paul Krugman wrote this article:
"Are Centrists in the Thrall of Right-Wing Propaganda?": https://nyti.ms/3igp8S3
Bottom line, the infrastructure bill is $3.5 trillion over TEN YEARS! And the centrist Democrats have bought into the Republican mantra, fearful of looking like they're taxing and spending. So there's no there there in government, never mind Mitch McConnell, who single-handedly fixed the Supreme Court in his party's favor, not only admitting he wants no bills passed, he doesn't even want to pay for those that were already passed upon which the money has been spent. That's what raising the debt limit is all about, not about new spending, but the money that already left the coffers. Try telling someone you bought their goods but refuse to pay for them, let me know how that works out, it won't be good.
So, being in "The New York Times," Krugman's words have an effect, since he wrote this the Democrats have started to emphasize the ten year period of spending.
As for Robert Kagan's article? Bill Maher was all over it last week, as well as Rachel Maddow. You see it's a club, you can join, but it takes effort and oftentimes you have to pay for the information. And everybody in the club knows the truth, but plenty are banking on your not knowing it, keeping you in your backwater where they can manipulate you. And you can die.
The best website I was turned on to this week was:
https://www.sorryantivaxxer.com
You've got to go here. Please click through. These are people who believed the Covid misinformation and spread it far and wide and then died of the virus.
And what the gossip will tell you is if you're not over 65 and obese, if you're sans comorbidities, you're immune. But that is patently untrue. Really, read these people's stories. Totally healthy forty year olds. Twenty year olds. They thought they were immune, but they weren't. They're DYING! Do you really want to take the risk of dying when there's a vaccine?
OF COURSE YOU DO!
That's the astonishing element of these stories. So many left behind ARE STILL ANTIVAXXERS!
As William Falk said in "The Week":
"People shun a simple shot largely because they see it as a form of surrender."
So you can't convince the unvaccinated to get the shot, the only thing you can do is force them to, make it so they can't go into public places without being vaccinated. Is there enough political will in the U.S?
I don't think so. Which is just plain sad.
Umair Haque wrote last week:
"Brexit is Destroying Britain - And Britain Still Can't Face It - Where Can't You Get Gas, Milk, Bread, and Beer? Welcome to Soviet Britain": https://bit.ly/3CRBtE5
There are no truck drivers to deliver goods. They just broke their own rules, they're allowing foreigners to come in and do this job, those they wanted gone. But the irony is it's still not enough, and most foreigners won't come, the pay is too low. And you can't get beer because the CO2 to make it comes from the Continent!
But what really got my attention in the Haque article was the put-downs of America.
"She was right. Britain's turning Soviet. Even America - for all its folly and self-inflicted ruin, guns and theocracy and whole nine yards - isn't as badly off as Britain."
But the conclusion is even worse, you don't want to turn into AMERICA!
"Eventually, Britain will probably find ways to get a little more bread and beer and so on. But they won't be European. They'll come from America, probably, and if you like American beer and bread, my friend, I feel a little sorry for you. Britain will eventually end up something like America's 51st state - it's NHS and BBC owned by American hedge funds, its people eating American diets, their minds poisoned by American junk culture.
America's a vastly poorer society than Europe. Americans live worse lives in every possible way — from health to wealth to trust to intimacy to stability and safety to basic decency and thoughtfulness. Britain's only real destiny left at this point is to be Americanized. That was always the endgame of Brexit - to sell Britain off to American capital. But American capital has made paupers - literally, they're lifelong debtors, without a penny to their names, most of them - of Americans."
The problem is this all rings true. The hedge funds buy the parking meters and therefore you've got to pay to park 24/7, there are no holidays. And the hedge fund buys the trailer park upon which your rust bucket sits and raises the price of rent on your little square of property, after all their investors have to see a return, and you lose your POS residence, forget YOUR investment, it's history.
I mean we have no national health care, no mandated vacations, no government funds for child care...we're working like dogs to try and keep our heads afloat. Is this really the best we can do?
America is no longer the country I grew up in. It slid while I wasn't even realizing it. In the rest of the world our status has fallen to the level of...theirs. Haque posits the EU is more powerful than America, it fights bad actors like the tech companies while the FTC is paralyzed, if member countries get out of hand they stop sending them money, they freeze them out. But we're supposed to believe the federal government has no power over Texas and Florida.
Now the truth is Britain got Brexit because a lot of sentimental oldsters and rural folk wanted to return to a country that no longer squares with the modern world, just like those on the right in America want to go back to an era totally out of date with today's trade and mores, it's a fantasy. The Britons with money, the educated, they understood what was at risk, they overwhelmingly voted to stay in the EU, but they were defeated by the votes of the idiots told falsehoods. It's no different in the U.S. Mexico was gonna pay for the wall. China was going to pay the tariffs. Say it enough and people believe it, after all they're not exposed to the truth, and they wouldn't believe it if they saw it.
But you can...discover the truth and be informed. Unlike the right winger who sent me an antivax article from a PARODY website! He didn't even realize it was a joke!
We are in a crisis. Whether you admit it or not. Never mind politics, there's that pesky climate too. And there's no way we can convince those on the other side, the deniers, the ignorant, we must FORCE THEM to do what's right, like France. Yes, that's how far we've fallen, we need to model ourselves after the French. But they have it right. Because contrary to what Kellyanne Conway said there are facts, unassailable, and once we make people aware of them, get them to believe in them, we can make progress. But that day seems to be far away.
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