In relative order.
(Note: These are shows I watched in 2023, they may have been released earlier.)
1. "Ferry" - Netflix
2. "War Sailor" - Netflix
3. "Infamy" - Netflix
4. "Silk" - Amazon
5. "The Diplomat" - Netflix
6. "The Bear" - Hulu
7. "The Ex-Wife" - BritBox
8. "Tour de France: Unchained" - Netflix
9. "The Snow Girl" - Netflix
10. "Kohrra" - Netflix
11. "Informer" -Amazon
12. "Black Butterflies" - Netflix
13. "Pure" - Amazon
14. "The Last Word" - Netflix
15. "Nada" - Hulu
16. "New Blood"- BritBox
17. "Thicker Than Water" - Netflix
18. "A Murder at the End of the World" - Hulu
19. "Class Act" - Netflix
20. "The Sixth Commandment" - BritBox
21. "Bosch: Legacy" - Season 2 - freevee
22. "Indian Matchmaking" - Season 3 - Netflix
23. "Jewish Matchmaking" - Netflix
24. "Kleo" - Netflix
25. "Slow Horses" - AppleTV+
26. "Clark" - Netflix
27. "Women At War" - Netflix
28. "Three Pines" - Amazon
29. "Chloe" - Amazon
30. "The Beauty Queen of Jerusalem" - Season 2 - Netflix
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Saturday 2 December 2023
Friday 1 December 2023
Best Streaming TV 2023-SiriusXM This Week
Tune in Saturday December 2nd to Faction Talk, channel 103, at 4 PM East, 1 PM West.
Phone #: 844-686-5863
Twitter: @lefsetz
If you miss the episode, you can hear it on demand on the SiriusXM app. Search: Lefsetz
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Re-Promotion
My inbox is filling up with angry naysayers telling me I've got no idea who Peter Gabriel is (although for some reason they seem to know, even though they've never met him), and the new album is great and I need to STFU and crawl back into the hole I came out of.
Talk about missing the point.
Myopia, always makes me laugh.
Did you watch any of that abortion of a debate between DeSantis and Newsom last night? What a waste of time. They both lost. All the scuttlebutt today is how DeSantis cheated, with a teleprompter and visual aids and that Hannity was biased and had a conservative agenda, but what struck me most is how this ridiculous endeavor would change no minds, wouldn't speak to the core issue in America today, which is that we've got two sides, operating with their own principles and beliefs, that hate the other team with a passion, believes they're delusional and say they can prove it.
I mean it's hard to believe in Newsom when he can't even answer the question. Tell me why population went down in California, won't you Gavin? It's true, what's your take? Avoiding the question just makes you look bad.
And let's be very clear, no one likes to pay taxes, but with them come services. So, in comparing California to Florida, that's the main advantage, what you get for your money, which is services. Is California perfect, of course not. But even Newsom was afraid to talk about the Democratic philosophy of a safety net, of taxes for quality of life, believing this is anathema, playing into the right wing agenda...once again the Democrats are playing by Republican rules. If you can't own your identity, you're screwed. What did they used to say, "I'm black and I'm proud"? Can't you be proud you pay into the government, that you're all for government help, are we all supposed to lift ourselves up by our own bootstraps?
So you're a fan of Peter Gabriel, you've listened to the new album. Isn't this exactly what I said would happen? But you need to bark back anyway, believing if you yell loud enough you can shout me down. I'm laughing at you, because you're displaying your ignorance, TAKE THAT! If I played by your rules I could never say anything.
As for this emotional defense of Peter Gabriel...
There you have music in a nutshell. No one passionately defends a TV show, or a movie. Maybe there are some still defending authors, yet that's far from mainstream. But people are dying to believe in artists, they want the artist to fulfill them, and we've got a whole industry that ignores this bond, we serve pablum from sellouts who can't stop testifying that they owe it all to their fans, when the last thing they'd want to do is hang with these great unwashed, that's why they become stars, so they don't have to.
Authenticity, credibility. This is what people are hungry for. But the percentage participants, the labels, pooh-pooh this. You can't leave any money on the table, you must take advantage of every opportunity, otherwise the percentage participant won't get paid! As for the consumer...no one is thinking about them whatsoever, they're there to be ripped-off. There should be a law against releasing the same damn album with multiple covers. First and foremost most people never play this physical product, they don't even have the equipment, but their belief is so strong that they have to have everything...until they don't, because you broke their trust.
Peter Gabriel is a credible artist who has a strong bond with his audience. Which is smaller than ever before. As for reaching new people, I don't see any effort at all. And if you're a creator, and most complaining are not, the number one goal is to have your art exposed and consumed, it's more important than money, the only person who says otherwise is Gene Simmons, and I don't even believe him.
If we told Peter Gabriel for a quarter of the income four more times the people would listen to his record he'd take that deal in a heartbeat. But he's got a blind spot, he doesn't know how to reach more people, he made the product and stopped. As for his rabid fans, it's a closed circle, a limited group, if it keeps Peter alive, fine, but don't tell me to be impressed. Peter recently toured and most people were completely unaware of it, and that's Peter's fault. Not the label's fault. Not the publicist's fault. And don't tell me Peter doesn't care, this is what he cares about most! Like an actor or producer wanting to have their movie seen. What do they always say? The studio didn't do enough promotion, or the right promotion. And in music you do the promotion yourself, you're responsible, and that was my point.
But you need to shut me down from the get-go. Many people said they didn't read beyond the first line. This is like the e-mail I get all the time, castigating me for not mentioning something WHEN I DID! You took the time to bust my balls, you needed to put me in my place, but as far as actually reading what I said, you didn't have time for that. So that's a reflection on you, not me.
I write this damn stuff almost every day, believe me I'm an expert in response, I know the game. I know if you listen to the audience you're screwed, you have to do what you think is right. And sometimes you hit the target and sometimes you don't. And if there was no success it was your fault. Maybe what you wrote or played wasn't that good. Or it was the wrong time. You accept this and move on. Or, you complain, like the wusses. But even worse, these wusses have fan bases that will tell anybody who crosses the object of their desire that they're loser lunatics. And this is not only in music, it's across society, in all verticals. And the weird thing is those who have something to say that is worth hearing shut up for fear of the blowback. So everybody loses. The minority seems to control the dialogue, when it doesn't.
As for the truth, you can't handle the truth.
Ergo putting your hands over your ears and hating on me.
What a joke.
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Talk about missing the point.
Myopia, always makes me laugh.
Did you watch any of that abortion of a debate between DeSantis and Newsom last night? What a waste of time. They both lost. All the scuttlebutt today is how DeSantis cheated, with a teleprompter and visual aids and that Hannity was biased and had a conservative agenda, but what struck me most is how this ridiculous endeavor would change no minds, wouldn't speak to the core issue in America today, which is that we've got two sides, operating with their own principles and beliefs, that hate the other team with a passion, believes they're delusional and say they can prove it.
I mean it's hard to believe in Newsom when he can't even answer the question. Tell me why population went down in California, won't you Gavin? It's true, what's your take? Avoiding the question just makes you look bad.
And let's be very clear, no one likes to pay taxes, but with them come services. So, in comparing California to Florida, that's the main advantage, what you get for your money, which is services. Is California perfect, of course not. But even Newsom was afraid to talk about the Democratic philosophy of a safety net, of taxes for quality of life, believing this is anathema, playing into the right wing agenda...once again the Democrats are playing by Republican rules. If you can't own your identity, you're screwed. What did they used to say, "I'm black and I'm proud"? Can't you be proud you pay into the government, that you're all for government help, are we all supposed to lift ourselves up by our own bootstraps?
So you're a fan of Peter Gabriel, you've listened to the new album. Isn't this exactly what I said would happen? But you need to bark back anyway, believing if you yell loud enough you can shout me down. I'm laughing at you, because you're displaying your ignorance, TAKE THAT! If I played by your rules I could never say anything.
As for this emotional defense of Peter Gabriel...
There you have music in a nutshell. No one passionately defends a TV show, or a movie. Maybe there are some still defending authors, yet that's far from mainstream. But people are dying to believe in artists, they want the artist to fulfill them, and we've got a whole industry that ignores this bond, we serve pablum from sellouts who can't stop testifying that they owe it all to their fans, when the last thing they'd want to do is hang with these great unwashed, that's why they become stars, so they don't have to.
Authenticity, credibility. This is what people are hungry for. But the percentage participants, the labels, pooh-pooh this. You can't leave any money on the table, you must take advantage of every opportunity, otherwise the percentage participant won't get paid! As for the consumer...no one is thinking about them whatsoever, they're there to be ripped-off. There should be a law against releasing the same damn album with multiple covers. First and foremost most people never play this physical product, they don't even have the equipment, but their belief is so strong that they have to have everything...until they don't, because you broke their trust.
Peter Gabriel is a credible artist who has a strong bond with his audience. Which is smaller than ever before. As for reaching new people, I don't see any effort at all. And if you're a creator, and most complaining are not, the number one goal is to have your art exposed and consumed, it's more important than money, the only person who says otherwise is Gene Simmons, and I don't even believe him.
If we told Peter Gabriel for a quarter of the income four more times the people would listen to his record he'd take that deal in a heartbeat. But he's got a blind spot, he doesn't know how to reach more people, he made the product and stopped. As for his rabid fans, it's a closed circle, a limited group, if it keeps Peter alive, fine, but don't tell me to be impressed. Peter recently toured and most people were completely unaware of it, and that's Peter's fault. Not the label's fault. Not the publicist's fault. And don't tell me Peter doesn't care, this is what he cares about most! Like an actor or producer wanting to have their movie seen. What do they always say? The studio didn't do enough promotion, or the right promotion. And in music you do the promotion yourself, you're responsible, and that was my point.
But you need to shut me down from the get-go. Many people said they didn't read beyond the first line. This is like the e-mail I get all the time, castigating me for not mentioning something WHEN I DID! You took the time to bust my balls, you needed to put me in my place, but as far as actually reading what I said, you didn't have time for that. So that's a reflection on you, not me.
I write this damn stuff almost every day, believe me I'm an expert in response, I know the game. I know if you listen to the audience you're screwed, you have to do what you think is right. And sometimes you hit the target and sometimes you don't. And if there was no success it was your fault. Maybe what you wrote or played wasn't that good. Or it was the wrong time. You accept this and move on. Or, you complain, like the wusses. But even worse, these wusses have fan bases that will tell anybody who crosses the object of their desire that they're loser lunatics. And this is not only in music, it's across society, in all verticals. And the weird thing is those who have something to say that is worth hearing shut up for fear of the blowback. So everybody loses. The minority seems to control the dialogue, when it doesn't.
As for the truth, you can't handle the truth.
Ergo putting your hands over your ears and hating on me.
What a joke.
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Promotion
Peter Gabriel has a new album, are you gonna listen?
Probably not. There was a time when a new Peter Gabriel album was an event, a great leap forward, remember when he opened the Grammys with "Steam"? I think it was the opening, maybe just during the show, I don't remember, but I do remember the performance.
But now I don't even bother to watch the Grammys. There's no longer a Grammy bounce. But acts still lobby to get on the telethon. Then again, there are acts that refuse to do so, because they know it doesn't move the needle, because they're bigger than the show. And that's your goal, to be bigger than the platform promoting you.
So Gabriel is doing it positively old school. Oh, he released some singles in advance. And he committed the cardinal sin of going on tour before the album was released, playing new material live, which absolutely no audience member likes. But Gabriel is stuck in the last century.
As are the Stones.
Yes, we know there's a new Stones album, they did a good job of making us aware, but that's not enough anymore, today you promote on your identity, constantly.
Mick Jagger could have taken a stand on political issues. Keith Richard could have talked about drugs. Mick could have revealed details about his fantabulous life, with pictures and gossip. But instead we got all the old school hype and that doesn't work anymore.
Contrast this with Bono. Bono has an identity. He's talking to leaders, saving the world. Do you agree with him, do you like him? Not important. Bono is three-dimensional, just like Edge is quiet. However, their last manager convinced them to go on the road and do "The Joshua Tree" from start to finish and that was a big mistake for a band that needs to be relevant, overnight it became an oldies act.
But Bono needs to be on the bleeding edge, so he insisted on opening the Sphere. Sure, by playing "Achtung Baby" from start to finish. But that's different from doing "The Joshua Tree" all over the world, this is an event, and the rules do not apply to an event.
You need to be in the news constantly. And news does not mean the newspaper. Yes, they reviewed Gabriel's new album in today's "New York Times," but that's not going to generate any new fans, any new listeners. Hard core Gabriel fans will check out the album, but there will be no ripples from this thrown stone, the rest of the public shrugs and moves on.
Just like with "Hackney Diamonds."
Mick Jagger could show up announced in clubs all over the world, singing "Brown Sugar" (which he won't perform anymore, being politically correct, not realizing it was 50 years ago and times were different and those complaining are not coming to the show anyway, and to sing it is a poke in the eye, rock star behavior, not a capitulation, which is just the opposite) with a bar band. Maybe show up at a Zach Bryan show and sing a tune. Who knows where he'd show up next. Now that would be a story. And going to the home of one of the attendees to drink beer. Discussing economics with a town leader. We would all be intrigued. But instead we get a one time shot with the no edge Jimmy Fallon and the crusted over SNL. Yeah, you've got a new album, enough already.
Not that I want to laud today's new artists. Their goal is brand extension. What has that got to do with identity, other than I'm trying to get rich? You're selling yourself, your thoughts, beliefs and behavior. Just getting the word out is not enough, you must be three-dimensional, people need to be able to argue with you.
The techies do this best.
I've got no time for Elon Musk, not only is he destroying Twitter/X, he's putting an irreparable dent in Tesla. But man, this guy know how to maintain the focus. We only care because of Tesla, SpaceX, Starlink and Twitter/X, but that's like your classic albums. But what blows my mind about Musk is he just doesn't give a f*ck, he believes the laws don't apply to him, that he's invulnerable, and he's got enough money not to care. This is classic rock star behavior. I find it offensive that Musk told advertisers FY over and over again the other day, but man, you had to wonder about the motivation. Sure, he seemed unduly oppressed, didn't know the definition of "blackmail," but he also demonstrated an immaturity that used to be de rigueur for rock stars. Destroying hotel rooms... Believe me, every hotel room you destroyed burnished your image, furthered your career. Because no one else would behave this way, you were not part of the system. Today's musicians? THEY ARE THE SYSTEM! When they're not complaining about Spotify payouts, which is ugly when it comes from stars who are making more money than ever before as a result of touring, and online advantages. Rock stars don't complain, unless it's about the catering, or the bus, or some other nonsense.
This is all very important. Because a rock star depends on notice, attention. Some acts are so big, so legendary, that their name is enough, they can sell out buildings just like that. Kudos. But most won't put out new music because they're afraid of being Peter Gabriel or the Stones, spending all that time to ultimately get crickets. If it's about the music, you want it to be heard, and if it's not going to be...
You've got to exist outside the system. And today, you have all the tools to do this. Social media is free. You can promote yourself, where the potential audience is. And you forge bonds online, with direct communication, when you go through an intermediary, get a puff piece in a newspaper, it does nothing, makes you look like you're working the system, an antiquated one.
If you want to get your new music heard, you must have an identity, 24/7 communication with your fans, who will spread that which you do that deserves attention. Where is your 24/7 camera crew? You've got that damn iPhone in your pocket, why aren't you using it, the camera, for stills and video. Why are you afraid of offending someone? That gets traction like nothing else. We want to know who you are.
Look at David Crosby. The list of his penned hits is very thin. Why was he so famous? Because he took a stand, had an identity, didn't care what others thought. We were always interested in what he had to say. Not only about music, but the war, politics, even Trump. He told the Trumpers that if they were offended not to come to his shows. How do I know this? I read it online. This guy couldn't help but make news. The uber-talented Stephen Stills? More than crickets, he's performed "For What It's Worth" a few times live recently, but not much more. Man, with that anthem you could be a hero to the youth, but Stills is not making the effort, to make a connection.
I'm not saying you have to have an identity evidenced constantly online, but if you're an oldster and you want people to listen to your new music you do.
This is part of being a musician, a celebrity today, you live your life in public, it goes with the territory.
Peter Gabriel has a lot of opinions. How come we don't see them evidenced online? He's a thinker on technology, he must have takes on all the issues, from TikTok to Meta and children and...there are tons of them, but he's playing it positively old school, and it's not working.
Furthermore, great music is all about an identity. Give Taylor Swift credit on this, we all know who she is, about her outlook and behavior, and this was true even before the Eras tour and its attendant publicity.
And Swift grew up in public, and adjusted. How come everybody else is calcified, set in stone, afraid to make a mistake? We all make mistakes, apologize and then move on.
It's nearly impossible to get attention these days. Don't fear offending someone, fear no one even knowing what you're doing!
Peter Gabriel has to make us listen to the music, not the media. I hear this again and again from oldsters releasing albums on indie labels, when you ask them about promotion and publicity they say it's the label's job. No, IT'S YOUR JOB! The days of the label doing the heavy lifting are done, there are not enough people there, and usually they have less power and insight into what is happening online than the act. And sure, they can get you on terrestrial radio and television, but that is not where active listeners are. That's old school. You've got to go where the people are, and that is online. If you're decrying TikTok, et al, the joke is on you.
And if you don't listen to the new Peter Gabriel album, you will miss nothing. You won't wake up months down the line and find out it was a hit. Instead, now is when all the hype is happening, hard core fans will pay attention, and then that will be it. Look at "Hackney Diamonds," only one song has double digit million streams on Spotify, and that's "Angry," the initial single. And as a matter of fact, only two other songs have in excess of five million streams. This is absolutely piss-poor. And this has got little to do with the music, it's got to do with the Stones themselves. They promoted the music for a couple of weeks and then they were done. There's no reason, no incentive to listen to the music. That's the act's responsibility, to get people to listen, to create a buzz. And today, when hit records can take years to surface, you continue to work the music yourself, blowing on the kindling, waiting for a possible conflagration. But the flame on "Hackney Diamonds" is already out. As it soon will be on "i/o," Peter Gabriel's album. Once upon a time these people were leaders, now they're Luddites. And they're the ones who are losing out, they're the ones responsible, they can't place the blame on anyone but themselves.
Let this be a warning.
Probably not. There was a time when a new Peter Gabriel album was an event, a great leap forward, remember when he opened the Grammys with "Steam"? I think it was the opening, maybe just during the show, I don't remember, but I do remember the performance.
But now I don't even bother to watch the Grammys. There's no longer a Grammy bounce. But acts still lobby to get on the telethon. Then again, there are acts that refuse to do so, because they know it doesn't move the needle, because they're bigger than the show. And that's your goal, to be bigger than the platform promoting you.
So Gabriel is doing it positively old school. Oh, he released some singles in advance. And he committed the cardinal sin of going on tour before the album was released, playing new material live, which absolutely no audience member likes. But Gabriel is stuck in the last century.
As are the Stones.
Yes, we know there's a new Stones album, they did a good job of making us aware, but that's not enough anymore, today you promote on your identity, constantly.
Mick Jagger could have taken a stand on political issues. Keith Richard could have talked about drugs. Mick could have revealed details about his fantabulous life, with pictures and gossip. But instead we got all the old school hype and that doesn't work anymore.
Contrast this with Bono. Bono has an identity. He's talking to leaders, saving the world. Do you agree with him, do you like him? Not important. Bono is three-dimensional, just like Edge is quiet. However, their last manager convinced them to go on the road and do "The Joshua Tree" from start to finish and that was a big mistake for a band that needs to be relevant, overnight it became an oldies act.
But Bono needs to be on the bleeding edge, so he insisted on opening the Sphere. Sure, by playing "Achtung Baby" from start to finish. But that's different from doing "The Joshua Tree" all over the world, this is an event, and the rules do not apply to an event.
You need to be in the news constantly. And news does not mean the newspaper. Yes, they reviewed Gabriel's new album in today's "New York Times," but that's not going to generate any new fans, any new listeners. Hard core Gabriel fans will check out the album, but there will be no ripples from this thrown stone, the rest of the public shrugs and moves on.
Just like with "Hackney Diamonds."
Mick Jagger could show up announced in clubs all over the world, singing "Brown Sugar" (which he won't perform anymore, being politically correct, not realizing it was 50 years ago and times were different and those complaining are not coming to the show anyway, and to sing it is a poke in the eye, rock star behavior, not a capitulation, which is just the opposite) with a bar band. Maybe show up at a Zach Bryan show and sing a tune. Who knows where he'd show up next. Now that would be a story. And going to the home of one of the attendees to drink beer. Discussing economics with a town leader. We would all be intrigued. But instead we get a one time shot with the no edge Jimmy Fallon and the crusted over SNL. Yeah, you've got a new album, enough already.
Not that I want to laud today's new artists. Their goal is brand extension. What has that got to do with identity, other than I'm trying to get rich? You're selling yourself, your thoughts, beliefs and behavior. Just getting the word out is not enough, you must be three-dimensional, people need to be able to argue with you.
The techies do this best.
I've got no time for Elon Musk, not only is he destroying Twitter/X, he's putting an irreparable dent in Tesla. But man, this guy know how to maintain the focus. We only care because of Tesla, SpaceX, Starlink and Twitter/X, but that's like your classic albums. But what blows my mind about Musk is he just doesn't give a f*ck, he believes the laws don't apply to him, that he's invulnerable, and he's got enough money not to care. This is classic rock star behavior. I find it offensive that Musk told advertisers FY over and over again the other day, but man, you had to wonder about the motivation. Sure, he seemed unduly oppressed, didn't know the definition of "blackmail," but he also demonstrated an immaturity that used to be de rigueur for rock stars. Destroying hotel rooms... Believe me, every hotel room you destroyed burnished your image, furthered your career. Because no one else would behave this way, you were not part of the system. Today's musicians? THEY ARE THE SYSTEM! When they're not complaining about Spotify payouts, which is ugly when it comes from stars who are making more money than ever before as a result of touring, and online advantages. Rock stars don't complain, unless it's about the catering, or the bus, or some other nonsense.
This is all very important. Because a rock star depends on notice, attention. Some acts are so big, so legendary, that their name is enough, they can sell out buildings just like that. Kudos. But most won't put out new music because they're afraid of being Peter Gabriel or the Stones, spending all that time to ultimately get crickets. If it's about the music, you want it to be heard, and if it's not going to be...
You've got to exist outside the system. And today, you have all the tools to do this. Social media is free. You can promote yourself, where the potential audience is. And you forge bonds online, with direct communication, when you go through an intermediary, get a puff piece in a newspaper, it does nothing, makes you look like you're working the system, an antiquated one.
If you want to get your new music heard, you must have an identity, 24/7 communication with your fans, who will spread that which you do that deserves attention. Where is your 24/7 camera crew? You've got that damn iPhone in your pocket, why aren't you using it, the camera, for stills and video. Why are you afraid of offending someone? That gets traction like nothing else. We want to know who you are.
Look at David Crosby. The list of his penned hits is very thin. Why was he so famous? Because he took a stand, had an identity, didn't care what others thought. We were always interested in what he had to say. Not only about music, but the war, politics, even Trump. He told the Trumpers that if they were offended not to come to his shows. How do I know this? I read it online. This guy couldn't help but make news. The uber-talented Stephen Stills? More than crickets, he's performed "For What It's Worth" a few times live recently, but not much more. Man, with that anthem you could be a hero to the youth, but Stills is not making the effort, to make a connection.
I'm not saying you have to have an identity evidenced constantly online, but if you're an oldster and you want people to listen to your new music you do.
This is part of being a musician, a celebrity today, you live your life in public, it goes with the territory.
Peter Gabriel has a lot of opinions. How come we don't see them evidenced online? He's a thinker on technology, he must have takes on all the issues, from TikTok to Meta and children and...there are tons of them, but he's playing it positively old school, and it's not working.
Furthermore, great music is all about an identity. Give Taylor Swift credit on this, we all know who she is, about her outlook and behavior, and this was true even before the Eras tour and its attendant publicity.
And Swift grew up in public, and adjusted. How come everybody else is calcified, set in stone, afraid to make a mistake? We all make mistakes, apologize and then move on.
It's nearly impossible to get attention these days. Don't fear offending someone, fear no one even knowing what you're doing!
Peter Gabriel has to make us listen to the music, not the media. I hear this again and again from oldsters releasing albums on indie labels, when you ask them about promotion and publicity they say it's the label's job. No, IT'S YOUR JOB! The days of the label doing the heavy lifting are done, there are not enough people there, and usually they have less power and insight into what is happening online than the act. And sure, they can get you on terrestrial radio and television, but that is not where active listeners are. That's old school. You've got to go where the people are, and that is online. If you're decrying TikTok, et al, the joke is on you.
And if you don't listen to the new Peter Gabriel album, you will miss nothing. You won't wake up months down the line and find out it was a hit. Instead, now is when all the hype is happening, hard core fans will pay attention, and then that will be it. Look at "Hackney Diamonds," only one song has double digit million streams on Spotify, and that's "Angry," the initial single. And as a matter of fact, only two other songs have in excess of five million streams. This is absolutely piss-poor. And this has got little to do with the music, it's got to do with the Stones themselves. They promoted the music for a couple of weeks and then they were done. There's no reason, no incentive to listen to the music. That's the act's responsibility, to get people to listen, to create a buzz. And today, when hit records can take years to surface, you continue to work the music yourself, blowing on the kindling, waiting for a possible conflagration. But the flame on "Hackney Diamonds" is already out. As it soon will be on "i/o," Peter Gabriel's album. Once upon a time these people were leaders, now they're Luddites. And they're the ones who are losing out, they're the ones responsible, they can't place the blame on anyone but themselves.
Let this be a warning.
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Thursday 30 November 2023
Lucinda Williams-This Week's Podcast
Singer/songwriter extraordinaire.
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/lucinda-williams-131892782/
https://podcasts.apple.com/us/podcast/lucinda-williams/id1316200737?i=1000637032294
https://open.spotify.com/episode/02SSIqd8EfpxTWSoZSGque?si=CIIDmWipSBGFVRtyPo26yw
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/ac1e830e-e7f7-4928-a9bc-aef254031aed/the-bob-lefsetz-podcast-lucinda-williams
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https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/lucinda-williams-131892782/
https://podcasts.apple.com/us/podcast/lucinda-williams/id1316200737?i=1000637032294
https://open.spotify.com/episode/02SSIqd8EfpxTWSoZSGque?si=CIIDmWipSBGFVRtyPo26yw
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/ac1e830e-e7f7-4928-a9bc-aef254031aed/the-bob-lefsetz-podcast-lucinda-williams
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Wednesday 29 November 2023
Murder/McKenna/Wallen & More!
From: Brittany Rice
Re: A Murder At The End Of The World
My name is Brittany and I'm the Director of Social Media and Content at FX leading the marketing for A Murder at the End of the World. It's quite refreshing to see the title pop up in my personal email inbox.
I may be a little biased but I'll say a few things about this series -
1. Stick it out through the entire series. You've started at a great time - the 4th episode came out this week (of 7) and I personally think this is when things really pick up.
2. The creators, Brit and Zal have a cult following from their past projects, specifically Netflix's The OA (another great watch, but the 2nd season may lean a bit too sci-fi for you). This niche but dedicated community is what has driven our marketing since day 1. They are Brit and Zal evangelists and watching them get giddy over our marketing and dive deep into the details and theories for the series is just as much fun as watching the series itself. I highly suggest perusing their Reddit page or Discord channel.
3. Speaking of the details, what really makes this, and all of Brit and Zal's work so special is the passion and details they put into everything. Here are a few of my favorite facts from this series -
All hacks in the series are real. They had Moxie Marlinspike (creator of Signal) brought on as a tech consultant.
It was important to the creators to not glorify or eroticize the body of dead women. No bodies of dead women are ever shown - only skeletons. This approach was inspired by a film called "Memories of a Murder" because it gave a sense of haunt and loss for the young women while maintaining a sensitivity that never made it feel like they were being objectified.
Andy Ronson's character wasn't actually based on any current tech lord billionaires, but instead, is inspired by Willy Wonka. Wonka was a visionary and creative who built a fiefdom, obsessing over every detail, just like Andy and his fortress. The golden tickets come into play as invitations to the retreat and both Andy and Wonka have their own agendas once the guests arrive.
The paintings in the dining area are recreations of Louise Bourgeois' 'The Red Sky' series. For Bourgeois, colors were symbolic of distinct emotional states. Red represents 'the intensity of the emotions involved,' and was often synonymous with pain. She equated it with blood, violence, danger, shame, jealousy, and depression. These emotions and visuals parallel the themes of the series. "Red Sky" can also reference the sailor's quote "Red sky at night, sailors delight" foreshadowing Rohan's storyline.
I care about this show a lot and it's very cool to see you write about a project I'm working on after following you since college (over a decade).
Hope you enjoy the rest of the series!
Best,
Brittany
____________________________________________________
From: Bill Gerber
Re: A Murder At The End Of The World
I had the pleasure of producing The In Laws starring Michael Douglas and Albert Brooks and I totally agree with Albert. He actually came up with the title The Wedding Party and it was a really good movie directed by Andy Fleming and I thought should have been a big hit. The studio decided to change the title so late in the game that I had already sent out the crew gifts with the old title. The original was a classic for a lot of reasons and our film was it's own thing. I have nothing against remakes. They are practically as old as the business itself but you should have a good reason for doing it and having Albert and Michael was a great way to reimagine the story and coming up with an original title for the movie would definitely have been the right move.
Yours,
Billy
____________________________________________________
Re: A Murder At The End Of The World
Cool side note, the hotel in the series is based on a real place, Deplar Farm in Iceland
They have a one of a kind recording studio. I'm part of the team that runs it. Makes watching the series even more enticing.
-rock steady
Jay Sweet
____________________________________________________
Re: A Murder At The End Of The World
Bob, glad you found Murder at the End of the World. The fever excitement for this show is because of THE OA, Brit and Zal's previous masterpiece. THE OA was notoriously cancelled by Netflix after a mind-bending 2-season run that ended with a jaw-dropping cliffhanger. Fans of THE OA (myself included) have been holding onto hope that the show would somehow come back. You must watch it to understand how it's possible for it to come back "reincarnated" as another show...and there is growing speculation that "Murder at the End Of The World" may tie-in to the OA universe. Those who know, knew. Excited to see how this plays out and I cannot recommend THE OA high enough.
- Wordburglar
____________________________________________________
Re: A Murder At The End Of The World
As far as "Murder At The End Of The World," there's a small group of people like myself who were completely mesmerized by an insane two-season series on Netflix called "The OA" that was co-produced and co-written by Brit Marling and her creative partner Zal Batmanglij that I urge you to track down when you can. It's weirder and more difficult and far trippier than this show but these two are operating on their own wavelength and that's what you've picked up on.
Best regards,
Bruce Stockler
____________________________________________________
Re: A Murder At The End Of The World
Speaking of Brit Marling. Try watching The AO. Brit as some kind of alien/angel character.
Story is enjoyable enough, but final episiode closing minutes the most satisfying since Breaking Bad….
Alan Santos
East West Touring, Inc.
____________________________________________________
Re: A Murder At The End Of The World
Our new Friday night show.
The Doors was welcomed - a new generation will be on their path these past days due to that moment - it must sound other worldly to new ears.
As it came on my wife impersonates me sadly as "The Doors, whoa they must have a budget to get that…"
Alan Cassidy
____________________________________________________
Re: A Murder At The End Of The World
I am watching. Two episodes in, and I am already enjoying watching it tangle and untangle.
Allen Scott
Another Planet Entertainment
____________________________________________________
From: Noah Cole
Subject: Spotify Wrapped
Every year Spotify improves its wrapped feature/marketing campaign, and Apple Music subscribers can only look at our "Replays" and wish we had what Spotify subscribers are getting -- loads more data, thank you from their top artists and a user-friendly format. Not only that, the information in my Apple Music Replay is *wrong* (and I'm not alone: https://www.reddit.com/r/apple/comments/186402u/apple_musics_replay_is_out/) so I don't even trust what Apple Music is telling me about my listening habit. Apple is clearly capable of making great things (the new OS X Sonoma and IOS 17 look and function really well for example) but they're continuing to let Apple Music languish. No wonder Spotify has such a commanding lead in their race for subscribers.
____________________________________________________
Re: Chinatown Punk Wars
I'm finally realizing why music today isn't as good. It's not authentic. Kurt Kobain really did hate his life and want to die. That's why he made it happen. Johnny Rotten truly hated authority and embodied the punk movement. The hippies of the 60's were all about peace love and happiness and it showed in their music. Tupac and Biggie represented their coasts until their deaths. When Olivia Rodrigo sings a pop punk song, it's just imitating what was before it. When Dua Lipa sings a dance song, it's her trying to be disco funk. Greta Van Fleet is just imitating 70's classic rock. There's no rock stars anymore.
All I see and hear are regurgitations of earlier iterations. And when there's some success now, it turns into a massive sellathon. Rihanna makes it in music then goes off to hock perfume and join the billionaire class. Being an artist was rebelling. Now it's all about conforming. Building your brand. And the music is suffering.
Danny Jay
Skip Class and The Dropouts
____________________________________________________
Subject: Re: Simon Kirke-This Week's Podcast
I love your politics and I've been avid reader for years, but I just recently started occasionally listening to some of your podcast and I have to say that the one with Simon Kirke was absolutely amazing. You ask such insightful, knowledgeable questions and Simon is such an intelligent and natural raconteur that he should probably write a book.
I think Free was one of the most incredible and influential rock bands of all time, and Bad Company was pretty great as well. Being a lifelong working guitarist myself, part of me wishes that you had talked a little bit about the amazing song on Fire and Water, "Oh I Wept" , which was a rare Paul Kossoff cowrite and maybe one of the most powerful and beautiful songs I've ever heard in my life, but as I said, I'm a guitar nerd so maybe it's just me. I also would have liked to have heard Simon talk a little bit about the last Free album, "Heartbreaker", which had some of Kossoff's most stunning work on it even though he was severely impaired by then, and they had to bring in the great Snuffy Walden (Stray Dog -another amazing but little-known band/ successful film and television soundtrack composer) to finish it up, but like I said, I'm a bit of a guitar nerd.
Anyways, absolutely one of the best interviews with a musician I have ever heard in my life, and please keep up the amazing work you're doing, both with your writing about music, society, the economy, and politics. Thank you....
David Resch
____________________________________________________
From: Steve Postell
Subject: Immediate Family
Bob,
Thank you for your kind words about Denny Tedesco's wonderful documentary. "THE IMMEDIATE FAMILY". There were 4 guys who made me want to be in a band and write songs ... The Beatles. Some years later, I watched 4 different guys on stage with James Taylor, and I knew that I also wanted to make and produce records, tour, and strive to be a musician who could contribute to a song. I would NEVER have guessed that 40 years later I would be in a band with Danny Kortchmar, Waddy Wachtel, Russ Kunkel and Leland Sklar. Denny has accomplished quite a feat, not just the documenting of a time in rock 'n roll history, but intimately capturing what it feels like to be part of this crazy life. I know it's a great film, because everytime we went to a screening or festival, I figured that since I'd seen it multiple times I would take a walk and return in time for the Q&A ... but I never did. I got sucked into the story every time.
Steve Postell
____________________________________________________
From: Jesse Lundy
Subject: Re: The Immediate Family Movie
We got to do a show with this band at Ardmore Music Hall in the fall of 2021.
Let me tell you that walking into the green room and seeing THOSE faces...wow. What am I going to say to THOSE guys?
I asked Waddy how he got away with playing through a full-on Marshall stack on the Main Offender tour...
"Did you ever play with Keith Richards?"
"Um, nope, haven't done that"
"Well, he plays LOUD"
I felt like a putz, but hey.
The show was so good, and they were really great to meet. A massive honor.
____________________________________________________
From: Charles Kennedy
Subject: Re: The WaPo OnlyFans Article
My pal who does not brilliantly edited airline reviews on YouTube makes $20,000/mo while my muso buddies think the world's waiting for their next album and when they get $27 in royalties they think it's Spotify's fault
____________________________________________________
From: Greg Thompson
Subject: Grammys/Morgan Wallen
Date: November 10, 2023
Bob thanks for writing this.
It's truly a shame, I know Morgan and he is a good man.
He has apologized but for some reason or another it will never be good enough.
He has released two albums back to back that have been some of the most culturally significant music of the last five years.
He fills stadiums from coast to coast, and brings happiness to so many of his fans every night.
Morgan woke up a winner this morning and he'll go to sleep a winner tonight.
Best
Greg.
____________________________________________________
From: Aaron Lloyd Barr
Subject: Grammys/Morgan Wallen
100% thank you for writing this.
Bottom line, the double record is incredible. Makes me want to listen to country music again. Coming from a guy who spent 15 years in the nyc indie scene and now lives in LA.
Aaron
____________________________________________________
From: Patrick Charles
Subject: Re: Grammys/Morgan Wallen
I think the problem is people trying to avoid something they aren't sure exists.
I'm Black and honestly couldn't care less about what he said. Make no mistake: I hate it. But what are you gonna do? Yes, white kids hear it on records and adopt the vernacular.
The real problem is the people at the Grammys who think they're looking out for my interests. Stand by your guy. I'll vote with my dollars. I don't need anyone to hide him from me
Patrick,
____________________________________________________
From: Dana John
Subject: Re: Declan McKenna At The Novo
I saw him at ACL this year and was blown away. The music has depth but the band doesn't seem to take themselves too seriously. It was playful with substance. In a world filled with BS this guy exudes singularity and sincerity. The optimist in me thinks that you don't have to be too cool anymore, you just have to be you. That draws attention when you are special, which he seems to be
____________________________________________________
Subject: Re: Declan McKenna At The Novo
Glad you got turned onto him!
We have been having good success with him at college radio with the singles. They love him! Looking forward to working the LP.
Adam Lewis
Planetary Group
____________________________________________________
From: Gunnar Larsén
Subject: Re: Declan McKenna At The Novo
Your story reminded me of a Declan McKenna anecdote: I am writing to
you from London, and as you may recall the country was in lockdown for
weeks during Covid. Everything was cancelled, including Declan
McKenna's Brixton Academy 2020 gig in support of his then new (and
excellent) album Zeros.
Fast forward to September 2021, when doors started to open again. I
have a music-loving teenage daughter who like many struggled with
being isolated and not able to share experiences in real life with her
friends. So, when the Declan-gig finally was put on at Brixton, it was
an absolute joy to watch the fully locked-in audience sing along,
dance and enjoy a positively charming and festive night. Declan's
somewhat extravagant persona, backed up by tight band, a decent
catalogue, confetti and mirror balls, really lit up the room and once
again demonstrated how live music, and probably only live music, can
bring a certain kind of joy to people. For that, I am grateful.
Regards,
Gunnar
London
____________________________________________________
From: Denise Kaufman
Subject: Declan McKenna
My grandson Eli Smart went on tour this summer opening for Declan McKenna. I came along playing bass and harmonica in Eli's band. Every venue on the tour was sold out and Declan and his band put on a high energy show every night. Isabel Torres, the guitar player you mentioned, is a wonderful musician from Portugal. The rest of the guys are British and they're all excellent players with joyful energy. Declan and his team are also some of the kindest, good-spirited folks around. This includes his tour manager, road crew, guitar tech - everyone! We had so many good times together and you know that's just not a given on the road.
As you said, Declan's fans sing along with all his songs and know every word. They were also really welcoming to Eli from the moment we got on stage even though most of them were meeting him for the first time. They were just open-hearted and trusted that anyone Declan brought with him would be someone they'd love. And they did. Some fans had family members with them (as you said - parents brought the young girls) and they loved that we had a rocking grandson/grandma as part of our band.
Declan McKenna is the real thing and the tour fortified my faith in and love for the young ones across this country.
Denise Kaufman
www.aceofcups.com
____________________________________________________
From: Doug Gillis
Subject: Re: Declan McKenna At The Novo
Listening to Brazil right now on YouTube, he's very good live, has that charisma. Downloading his 2017 album now.
____________________________________________________
From: Jon Stein
Subject: Where Are you Dave Matthews?
Date: November 22, 2023 at 7:21:24 PM PST
"It's not the notes you play; it's the notes you don't play." - Miles Davis
Dear Bob,
I am reaching out on behalf of myself, fellow Jewish professionals in the music industry (who wish to remain anonymous), and fellow Jewish Dave Matthews fans.
This past weekend at Madison Square Garden, Dave Matthews, holding back tears, spoke of video he saw of a little girl in Gaza holding out her hands and catching the rain. He then proceeded to play his song Cry Freedom with red and green lights (likely representing the Palestinian flag) shining on the crowd. This preceded his comments 2 weeks prior during his speech inducting Willie Nelson into the Hall Of Fame where Dave mentioned 'countries dropping bombs on children and calling it collateral damage". Meanwhile, at Madison Square Garden, several Jewish fans walked out. It matters what you say, and what you don't say - especially when you use your platform to speak politically about the ongoing war. Dave Matthews has a significant Jewish fanbase who currently feel alienated by him. Social Media influencer and huge Dave-fan Lindsay Pinchuk reached out to saxophonist Jeff Coffin on Instagram asking about the green and red lights and Dave's sympathy for Gaza. Coffin wrote "take ur disappointment somewhere else" and then blocked her. The next day, founding bassist Stefan Lessard posted a poignant message about sympathizing with all children. "I ache concern for those in captivity and those stuck under falling bombs… my wish is the liberation of the hostages and the assurance of safety and brighter tomorrows for all the children in Israel and Gaza". Lessard's balanced comment spread through the Jewish community; however, what is alarming is his comment clearly showed that the band has their ear to the ground and Dave knows his Jewish fans took his comment the wrong way (hopefully not the right way), but he has remained silent. Not even a simple clarification that he cares about all children. Therein lies the complexity of one using their platform. Dave Matthews has alienating an enormous section of his fans. While I am sure of course Dave cares about all children, a one-sided comment perpetuates one-sided blame, which further perpetuates antisemitism. No, Dave Matthews does not need to stand on stage and mention the details of Hamas' October 7 attack where they beheaded and burned babies in ovens, murdered parents in front of their families, raped girls dead and alive, decapitated body parts of living civilians, paraded dead bodies through the street, and kidnapped 250 civilian hostages including women, children, and the elderly. Could Dave have just made a general wish for peace? Could Dave have prayed for the safety of all children? If he is going to specify a child from Gaza, on stage at Madison Square Garden, should he also mention the children who were barbarically murdered or being held hostage? Especially with so many Jewish fans in attendance. This is New York City after all! I was moved by this comment on a Dave Matthews Instagram picture: "I was speechless when I was asked by my 11 year old at MSG 1 "who did Dave not mention Jewish kids?"". I have been a fan for 30 years. I sadly walked out of the show, and cannot listen to Dave again until he clarifies his comment (and the green/red lights).. Sadly, there are threads and texts of Jewish fans feeling the same way.
Where are you Dave?
Jon Stein
____________________________________________________
Subject: Re: The Sam Harris Podcast
Date: November 14, 2023
Hey Bob, as you know, I live in Indonesia, the largest collection of Muslims on the planet. It's not just Israel that is being "blamed" but all western corporations are being blacklisted and social media is full of nasty rhetoric the likes I have not seen in 9 years of living here .
This is a Great Podcast and if you think Sam Harris is a little sleepy you can always run it at 1.25 speed !!
Steve Lillywhite
Re: A Murder At The End Of The World
My name is Brittany and I'm the Director of Social Media and Content at FX leading the marketing for A Murder at the End of the World. It's quite refreshing to see the title pop up in my personal email inbox.
I may be a little biased but I'll say a few things about this series -
1. Stick it out through the entire series. You've started at a great time - the 4th episode came out this week (of 7) and I personally think this is when things really pick up.
2. The creators, Brit and Zal have a cult following from their past projects, specifically Netflix's The OA (another great watch, but the 2nd season may lean a bit too sci-fi for you). This niche but dedicated community is what has driven our marketing since day 1. They are Brit and Zal evangelists and watching them get giddy over our marketing and dive deep into the details and theories for the series is just as much fun as watching the series itself. I highly suggest perusing their Reddit page or Discord channel.
3. Speaking of the details, what really makes this, and all of Brit and Zal's work so special is the passion and details they put into everything. Here are a few of my favorite facts from this series -
All hacks in the series are real. They had Moxie Marlinspike (creator of Signal) brought on as a tech consultant.
It was important to the creators to not glorify or eroticize the body of dead women. No bodies of dead women are ever shown - only skeletons. This approach was inspired by a film called "Memories of a Murder" because it gave a sense of haunt and loss for the young women while maintaining a sensitivity that never made it feel like they were being objectified.
Andy Ronson's character wasn't actually based on any current tech lord billionaires, but instead, is inspired by Willy Wonka. Wonka was a visionary and creative who built a fiefdom, obsessing over every detail, just like Andy and his fortress. The golden tickets come into play as invitations to the retreat and both Andy and Wonka have their own agendas once the guests arrive.
The paintings in the dining area are recreations of Louise Bourgeois' 'The Red Sky' series. For Bourgeois, colors were symbolic of distinct emotional states. Red represents 'the intensity of the emotions involved,' and was often synonymous with pain. She equated it with blood, violence, danger, shame, jealousy, and depression. These emotions and visuals parallel the themes of the series. "Red Sky" can also reference the sailor's quote "Red sky at night, sailors delight" foreshadowing Rohan's storyline.
I care about this show a lot and it's very cool to see you write about a project I'm working on after following you since college (over a decade).
Hope you enjoy the rest of the series!
Best,
Brittany
____________________________________________________
From: Bill Gerber
Re: A Murder At The End Of The World
I had the pleasure of producing The In Laws starring Michael Douglas and Albert Brooks and I totally agree with Albert. He actually came up with the title The Wedding Party and it was a really good movie directed by Andy Fleming and I thought should have been a big hit. The studio decided to change the title so late in the game that I had already sent out the crew gifts with the old title. The original was a classic for a lot of reasons and our film was it's own thing. I have nothing against remakes. They are practically as old as the business itself but you should have a good reason for doing it and having Albert and Michael was a great way to reimagine the story and coming up with an original title for the movie would definitely have been the right move.
Yours,
Billy
____________________________________________________
Re: A Murder At The End Of The World
Cool side note, the hotel in the series is based on a real place, Deplar Farm in Iceland
They have a one of a kind recording studio. I'm part of the team that runs it. Makes watching the series even more enticing.
-rock steady
Jay Sweet
____________________________________________________
Re: A Murder At The End Of The World
Bob, glad you found Murder at the End of the World. The fever excitement for this show is because of THE OA, Brit and Zal's previous masterpiece. THE OA was notoriously cancelled by Netflix after a mind-bending 2-season run that ended with a jaw-dropping cliffhanger. Fans of THE OA (myself included) have been holding onto hope that the show would somehow come back. You must watch it to understand how it's possible for it to come back "reincarnated" as another show...and there is growing speculation that "Murder at the End Of The World" may tie-in to the OA universe. Those who know, knew. Excited to see how this plays out and I cannot recommend THE OA high enough.
- Wordburglar
____________________________________________________
Re: A Murder At The End Of The World
As far as "Murder At The End Of The World," there's a small group of people like myself who were completely mesmerized by an insane two-season series on Netflix called "The OA" that was co-produced and co-written by Brit Marling and her creative partner Zal Batmanglij that I urge you to track down when you can. It's weirder and more difficult and far trippier than this show but these two are operating on their own wavelength and that's what you've picked up on.
Best regards,
Bruce Stockler
____________________________________________________
Re: A Murder At The End Of The World
Speaking of Brit Marling. Try watching The AO. Brit as some kind of alien/angel character.
Story is enjoyable enough, but final episiode closing minutes the most satisfying since Breaking Bad….
Alan Santos
East West Touring, Inc.
____________________________________________________
Re: A Murder At The End Of The World
Our new Friday night show.
The Doors was welcomed - a new generation will be on their path these past days due to that moment - it must sound other worldly to new ears.
As it came on my wife impersonates me sadly as "The Doors, whoa they must have a budget to get that…"
Alan Cassidy
____________________________________________________
Re: A Murder At The End Of The World
I am watching. Two episodes in, and I am already enjoying watching it tangle and untangle.
Allen Scott
Another Planet Entertainment
____________________________________________________
From: Noah Cole
Subject: Spotify Wrapped
Every year Spotify improves its wrapped feature/marketing campaign, and Apple Music subscribers can only look at our "Replays" and wish we had what Spotify subscribers are getting -- loads more data, thank you from their top artists and a user-friendly format. Not only that, the information in my Apple Music Replay is *wrong* (and I'm not alone: https://www.reddit.com/r/apple/comments/186402u/apple_musics_replay_is_out/) so I don't even trust what Apple Music is telling me about my listening habit. Apple is clearly capable of making great things (the new OS X Sonoma and IOS 17 look and function really well for example) but they're continuing to let Apple Music languish. No wonder Spotify has such a commanding lead in their race for subscribers.
____________________________________________________
Re: Chinatown Punk Wars
I'm finally realizing why music today isn't as good. It's not authentic. Kurt Kobain really did hate his life and want to die. That's why he made it happen. Johnny Rotten truly hated authority and embodied the punk movement. The hippies of the 60's were all about peace love and happiness and it showed in their music. Tupac and Biggie represented their coasts until their deaths. When Olivia Rodrigo sings a pop punk song, it's just imitating what was before it. When Dua Lipa sings a dance song, it's her trying to be disco funk. Greta Van Fleet is just imitating 70's classic rock. There's no rock stars anymore.
All I see and hear are regurgitations of earlier iterations. And when there's some success now, it turns into a massive sellathon. Rihanna makes it in music then goes off to hock perfume and join the billionaire class. Being an artist was rebelling. Now it's all about conforming. Building your brand. And the music is suffering.
Danny Jay
Skip Class and The Dropouts
____________________________________________________
Subject: Re: Simon Kirke-This Week's Podcast
I love your politics and I've been avid reader for years, but I just recently started occasionally listening to some of your podcast and I have to say that the one with Simon Kirke was absolutely amazing. You ask such insightful, knowledgeable questions and Simon is such an intelligent and natural raconteur that he should probably write a book.
I think Free was one of the most incredible and influential rock bands of all time, and Bad Company was pretty great as well. Being a lifelong working guitarist myself, part of me wishes that you had talked a little bit about the amazing song on Fire and Water, "Oh I Wept" , which was a rare Paul Kossoff cowrite and maybe one of the most powerful and beautiful songs I've ever heard in my life, but as I said, I'm a guitar nerd so maybe it's just me. I also would have liked to have heard Simon talk a little bit about the last Free album, "Heartbreaker", which had some of Kossoff's most stunning work on it even though he was severely impaired by then, and they had to bring in the great Snuffy Walden (Stray Dog -another amazing but little-known band/ successful film and television soundtrack composer) to finish it up, but like I said, I'm a bit of a guitar nerd.
Anyways, absolutely one of the best interviews with a musician I have ever heard in my life, and please keep up the amazing work you're doing, both with your writing about music, society, the economy, and politics. Thank you....
David Resch
____________________________________________________
From: Steve Postell
Subject: Immediate Family
Bob,
Thank you for your kind words about Denny Tedesco's wonderful documentary. "THE IMMEDIATE FAMILY". There were 4 guys who made me want to be in a band and write songs ... The Beatles. Some years later, I watched 4 different guys on stage with James Taylor, and I knew that I also wanted to make and produce records, tour, and strive to be a musician who could contribute to a song. I would NEVER have guessed that 40 years later I would be in a band with Danny Kortchmar, Waddy Wachtel, Russ Kunkel and Leland Sklar. Denny has accomplished quite a feat, not just the documenting of a time in rock 'n roll history, but intimately capturing what it feels like to be part of this crazy life. I know it's a great film, because everytime we went to a screening or festival, I figured that since I'd seen it multiple times I would take a walk and return in time for the Q&A ... but I never did. I got sucked into the story every time.
Steve Postell
____________________________________________________
From: Jesse Lundy
Subject: Re: The Immediate Family Movie
We got to do a show with this band at Ardmore Music Hall in the fall of 2021.
Let me tell you that walking into the green room and seeing THOSE faces...wow. What am I going to say to THOSE guys?
I asked Waddy how he got away with playing through a full-on Marshall stack on the Main Offender tour...
"Did you ever play with Keith Richards?"
"Um, nope, haven't done that"
"Well, he plays LOUD"
I felt like a putz, but hey.
The show was so good, and they were really great to meet. A massive honor.
____________________________________________________
From: Charles Kennedy
Subject: Re: The WaPo OnlyFans Article
My pal who does not brilliantly edited airline reviews on YouTube makes $20,000/mo while my muso buddies think the world's waiting for their next album and when they get $27 in royalties they think it's Spotify's fault
____________________________________________________
From: Greg Thompson
Subject: Grammys/Morgan Wallen
Date: November 10, 2023
Bob thanks for writing this.
It's truly a shame, I know Morgan and he is a good man.
He has apologized but for some reason or another it will never be good enough.
He has released two albums back to back that have been some of the most culturally significant music of the last five years.
He fills stadiums from coast to coast, and brings happiness to so many of his fans every night.
Morgan woke up a winner this morning and he'll go to sleep a winner tonight.
Best
Greg.
____________________________________________________
From: Aaron Lloyd Barr
Subject: Grammys/Morgan Wallen
100% thank you for writing this.
Bottom line, the double record is incredible. Makes me want to listen to country music again. Coming from a guy who spent 15 years in the nyc indie scene and now lives in LA.
Aaron
____________________________________________________
From: Patrick Charles
Subject: Re: Grammys/Morgan Wallen
I think the problem is people trying to avoid something they aren't sure exists.
I'm Black and honestly couldn't care less about what he said. Make no mistake: I hate it. But what are you gonna do? Yes, white kids hear it on records and adopt the vernacular.
The real problem is the people at the Grammys who think they're looking out for my interests. Stand by your guy. I'll vote with my dollars. I don't need anyone to hide him from me
Patrick,
____________________________________________________
From: Dana John
Subject: Re: Declan McKenna At The Novo
I saw him at ACL this year and was blown away. The music has depth but the band doesn't seem to take themselves too seriously. It was playful with substance. In a world filled with BS this guy exudes singularity and sincerity. The optimist in me thinks that you don't have to be too cool anymore, you just have to be you. That draws attention when you are special, which he seems to be
____________________________________________________
Subject: Re: Declan McKenna At The Novo
Glad you got turned onto him!
We have been having good success with him at college radio with the singles. They love him! Looking forward to working the LP.
Adam Lewis
Planetary Group
____________________________________________________
From: Gunnar Larsén
Subject: Re: Declan McKenna At The Novo
Your story reminded me of a Declan McKenna anecdote: I am writing to
you from London, and as you may recall the country was in lockdown for
weeks during Covid. Everything was cancelled, including Declan
McKenna's Brixton Academy 2020 gig in support of his then new (and
excellent) album Zeros.
Fast forward to September 2021, when doors started to open again. I
have a music-loving teenage daughter who like many struggled with
being isolated and not able to share experiences in real life with her
friends. So, when the Declan-gig finally was put on at Brixton, it was
an absolute joy to watch the fully locked-in audience sing along,
dance and enjoy a positively charming and festive night. Declan's
somewhat extravagant persona, backed up by tight band, a decent
catalogue, confetti and mirror balls, really lit up the room and once
again demonstrated how live music, and probably only live music, can
bring a certain kind of joy to people. For that, I am grateful.
Regards,
Gunnar
London
____________________________________________________
From: Denise Kaufman
Subject: Declan McKenna
My grandson Eli Smart went on tour this summer opening for Declan McKenna. I came along playing bass and harmonica in Eli's band. Every venue on the tour was sold out and Declan and his band put on a high energy show every night. Isabel Torres, the guitar player you mentioned, is a wonderful musician from Portugal. The rest of the guys are British and they're all excellent players with joyful energy. Declan and his team are also some of the kindest, good-spirited folks around. This includes his tour manager, road crew, guitar tech - everyone! We had so many good times together and you know that's just not a given on the road.
As you said, Declan's fans sing along with all his songs and know every word. They were also really welcoming to Eli from the moment we got on stage even though most of them were meeting him for the first time. They were just open-hearted and trusted that anyone Declan brought with him would be someone they'd love. And they did. Some fans had family members with them (as you said - parents brought the young girls) and they loved that we had a rocking grandson/grandma as part of our band.
Declan McKenna is the real thing and the tour fortified my faith in and love for the young ones across this country.
Denise Kaufman
www.aceofcups.com
____________________________________________________
From: Doug Gillis
Subject: Re: Declan McKenna At The Novo
Listening to Brazil right now on YouTube, he's very good live, has that charisma. Downloading his 2017 album now.
____________________________________________________
From: Jon Stein
Subject: Where Are you Dave Matthews?
Date: November 22, 2023 at 7:21:24 PM PST
"It's not the notes you play; it's the notes you don't play." - Miles Davis
Dear Bob,
I am reaching out on behalf of myself, fellow Jewish professionals in the music industry (who wish to remain anonymous), and fellow Jewish Dave Matthews fans.
This past weekend at Madison Square Garden, Dave Matthews, holding back tears, spoke of video he saw of a little girl in Gaza holding out her hands and catching the rain. He then proceeded to play his song Cry Freedom with red and green lights (likely representing the Palestinian flag) shining on the crowd. This preceded his comments 2 weeks prior during his speech inducting Willie Nelson into the Hall Of Fame where Dave mentioned 'countries dropping bombs on children and calling it collateral damage". Meanwhile, at Madison Square Garden, several Jewish fans walked out. It matters what you say, and what you don't say - especially when you use your platform to speak politically about the ongoing war. Dave Matthews has a significant Jewish fanbase who currently feel alienated by him. Social Media influencer and huge Dave-fan Lindsay Pinchuk reached out to saxophonist Jeff Coffin on Instagram asking about the green and red lights and Dave's sympathy for Gaza. Coffin wrote "take ur disappointment somewhere else" and then blocked her. The next day, founding bassist Stefan Lessard posted a poignant message about sympathizing with all children. "I ache concern for those in captivity and those stuck under falling bombs… my wish is the liberation of the hostages and the assurance of safety and brighter tomorrows for all the children in Israel and Gaza". Lessard's balanced comment spread through the Jewish community; however, what is alarming is his comment clearly showed that the band has their ear to the ground and Dave knows his Jewish fans took his comment the wrong way (hopefully not the right way), but he has remained silent. Not even a simple clarification that he cares about all children. Therein lies the complexity of one using their platform. Dave Matthews has alienating an enormous section of his fans. While I am sure of course Dave cares about all children, a one-sided comment perpetuates one-sided blame, which further perpetuates antisemitism. No, Dave Matthews does not need to stand on stage and mention the details of Hamas' October 7 attack where they beheaded and burned babies in ovens, murdered parents in front of their families, raped girls dead and alive, decapitated body parts of living civilians, paraded dead bodies through the street, and kidnapped 250 civilian hostages including women, children, and the elderly. Could Dave have just made a general wish for peace? Could Dave have prayed for the safety of all children? If he is going to specify a child from Gaza, on stage at Madison Square Garden, should he also mention the children who were barbarically murdered or being held hostage? Especially with so many Jewish fans in attendance. This is New York City after all! I was moved by this comment on a Dave Matthews Instagram picture: "I was speechless when I was asked by my 11 year old at MSG 1 "who did Dave not mention Jewish kids?"". I have been a fan for 30 years. I sadly walked out of the show, and cannot listen to Dave again until he clarifies his comment (and the green/red lights).. Sadly, there are threads and texts of Jewish fans feeling the same way.
Where are you Dave?
Jon Stein
____________________________________________________
Subject: Re: The Sam Harris Podcast
Date: November 14, 2023
Hey Bob, as you know, I live in Indonesia, the largest collection of Muslims on the planet. It's not just Israel that is being "blamed" but all western corporations are being blacklisted and social media is full of nasty rhetoric the likes I have not seen in 9 years of living here .
This is a Great Podcast and if you think Sam Harris is a little sleepy you can always run it at 1.25 speed !!
Steve Lillywhite
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Tuesday 28 November 2023
A Murder At The End Of The World
https://tinyurl.com/4pfs8r4k
Are you watching this?
I'd never heard of it. But "The Week" recommended it and...
Every year on my birthday I do three things, eat a pastrami sandwich, watch a movie and have an ice cream sundae. And during lockdown I watched a movie highly recommended by "The Week" and it was a dud. So now, when the magazine tells me about something, I do research. And "A Murder at the End of the World" had an 88% rating on RottenTomatoes, so we dove in.
And immediately heard the Doors' "The End."
Last night I listened to Albert Brooks on Marc Maron's podcast. Albert had a lot of interesting things to say, but what resonated most was believing no one would remember anything and you had to do what was interesting to yourself. He just couldn't understand how people repeated themselves, how they did one successful thing and then did it over and over again until they died. That resonated. Albert also talked about this movie he was in called "The Wedding Party," and the studio renamed it "The In-Laws" just before release and it failed. Albert told them it would be compared unfavorably to the original, and it was, it was a dud. You always need to trust the artist, the artist knows best. Oh, they'll lead you off the cliff now and again, but they'll be right more often than wrong. And the most iconic use of "The End," one of the most iconic uses of a song ever, was in the opening of "Apocalypse Now." I saw it during a one week preview at the Cinerama Dome, with surround sound, the curtain parted, the helicopter was hovering, it was amazing.
So I wouldn't have begun my series with "The End," because people like me would judge you negatively for it. But "Apocalypse Now" came out in 1979, nearly fifty years ago, and when I was growing up we watched old films religiously, but fifty years before was the silent era, and I saw a few of those, but mostly we concentrated on films of the thirties and forties. So have today's generations even seen "Apocalypse Now"? The streaming generation, bingeing "Friends" and only going to the theatre to see superhero movies, if that?
And how many people were watching this show anyway, I mean you've got to have a subscription to Hulu. But the card before the title said "FX," which meant it premiered on FX first? Ultimately it turned out "The Week" was right, "A Murder at the End of the World" was only on Hulu, being dripped out week by week, but I didn't know that when I started.
So you've got amazing cinematography. And the scenes between Darby and Bill when they're hunting down the serial killer...
Yes, this is a show that jumps from the past to the present, and back again. Actually, a step beyond today, it's nearly sci-fi, and I've got little time for sci-fi. And in today's episode there was some clichéd dialogue but...
Then they flashed back to yesteryear and the show was so damn good again.
It stars Emma Corrin. I'd neither heard of nor seen her. She looks like that comedian Mae Martin, and interestingly Corrin is nonbinary too. I found that out when I did research, I always do research on the shows I watch. And I found out Corrin played Diana in "The Crown," but I don't watch that, I found the first season so slow it was like watching paint dry. And I hear people rave about it, but there are so many shows and so little time.
And a lot of the time Emma as Darby just stares into the camera. But it works, you can feel the tension. And when she's younger, and she's feeling things out, her impulses, sexuality... That rang true. She had desire, yet she was self-conscious, but she took the risk and...felt she experienced rejection.
And I saw that the show was co-created by Brit Marling, who also acts in the series, and I knew her name, but I had no idea what she looked like. I know she's a star, but this isn't the seventies anymore, never mind the eighties, when we had a mental scorecard of every actor, knew their films, and there was a clear dividing line between highbrow film and lowbrow television. You used to follow actors from movie to movie, you looked forward to seeing them, but now... Other than the superstars, someone can be labeled a star and you've never heard of them. Or they can have a number one record, like that woman who performed on SNL. But don't beat yourself up, don't feel old, the truth is the younger people are in the same boat, there's just so much out there that no one can know everything, no one can have a grip. So you forage, alone. Or, you can consume what's fed to you, like the boomers who still will watch only what's on cable, whose idea of a risk is to stream what Netflix recommends. But that's no fun. If you're not on a personal hejira, a personal search, you're missing out. Even worse, you can ignore almost all of that which is hyped, like the new Dolly Parton album, a marketing exercise, dreck, listening to Dolly sing rock is like listening to Tom Waits sing country.
So I looked up Ms. Marling and the PR headshot didn't look quite like the woman in the series, but by process of elimination, it was clear she was playing Lee.
And her husband... Creepy. It was none other than Clive Owen. Who broke through in 1998's "Croupier," a well-reviewed English film I saw in the theatre, back when I still paid attention to such. Here Owen plays a tech titan. And I won't say he's modeled on Elon Musk, but there are similarities, the calmness, the slow talk, the confidence, the belief they know everything.
And then someone dies, ergo the title, and you're starting to think it's "Ten Little Indians," but there are not enough episodes to kill one character per.
So I'm driving to Santa Monica yesterday and I see a poster for "A Murder at the End of the World" on the side of a bus shelter. And Felice went for a meeting, mentioned the series, and the two people in attendance were watching it too.
How did everybody know? How did they get the memo?
And there was a story on Emma Corrin on the front page of today's "New York Times" Arts section, but it started to talk about the plot and I thought they were spoiling it, but in truth these hype articles are all the same, i.e. hype.
So when it's in the past, a la 2010, "A Murder at the End of the World" is like "Mindhunter." You saw that, right, Fincher's show on Netflix? There were only two seasons, unfortunately. But when "A Murder at the End of the World" is in Iceland, at times it resembles a seventies disaster movie.
And I'm wondering if there's a buzz. Once again, you've got to have Hulu, but they're advertising, and now I'm telling you about it.
It rides the razor's edge, sometimes incredible, sometimes almost hokey.
But I'm watching.
Are you watching this?
I'd never heard of it. But "The Week" recommended it and...
Every year on my birthday I do three things, eat a pastrami sandwich, watch a movie and have an ice cream sundae. And during lockdown I watched a movie highly recommended by "The Week" and it was a dud. So now, when the magazine tells me about something, I do research. And "A Murder at the End of the World" had an 88% rating on RottenTomatoes, so we dove in.
And immediately heard the Doors' "The End."
Last night I listened to Albert Brooks on Marc Maron's podcast. Albert had a lot of interesting things to say, but what resonated most was believing no one would remember anything and you had to do what was interesting to yourself. He just couldn't understand how people repeated themselves, how they did one successful thing and then did it over and over again until they died. That resonated. Albert also talked about this movie he was in called "The Wedding Party," and the studio renamed it "The In-Laws" just before release and it failed. Albert told them it would be compared unfavorably to the original, and it was, it was a dud. You always need to trust the artist, the artist knows best. Oh, they'll lead you off the cliff now and again, but they'll be right more often than wrong. And the most iconic use of "The End," one of the most iconic uses of a song ever, was in the opening of "Apocalypse Now." I saw it during a one week preview at the Cinerama Dome, with surround sound, the curtain parted, the helicopter was hovering, it was amazing.
So I wouldn't have begun my series with "The End," because people like me would judge you negatively for it. But "Apocalypse Now" came out in 1979, nearly fifty years ago, and when I was growing up we watched old films religiously, but fifty years before was the silent era, and I saw a few of those, but mostly we concentrated on films of the thirties and forties. So have today's generations even seen "Apocalypse Now"? The streaming generation, bingeing "Friends" and only going to the theatre to see superhero movies, if that?
And how many people were watching this show anyway, I mean you've got to have a subscription to Hulu. But the card before the title said "FX," which meant it premiered on FX first? Ultimately it turned out "The Week" was right, "A Murder at the End of the World" was only on Hulu, being dripped out week by week, but I didn't know that when I started.
So you've got amazing cinematography. And the scenes between Darby and Bill when they're hunting down the serial killer...
Yes, this is a show that jumps from the past to the present, and back again. Actually, a step beyond today, it's nearly sci-fi, and I've got little time for sci-fi. And in today's episode there was some clichéd dialogue but...
Then they flashed back to yesteryear and the show was so damn good again.
It stars Emma Corrin. I'd neither heard of nor seen her. She looks like that comedian Mae Martin, and interestingly Corrin is nonbinary too. I found that out when I did research, I always do research on the shows I watch. And I found out Corrin played Diana in "The Crown," but I don't watch that, I found the first season so slow it was like watching paint dry. And I hear people rave about it, but there are so many shows and so little time.
And a lot of the time Emma as Darby just stares into the camera. But it works, you can feel the tension. And when she's younger, and she's feeling things out, her impulses, sexuality... That rang true. She had desire, yet she was self-conscious, but she took the risk and...felt she experienced rejection.
And I saw that the show was co-created by Brit Marling, who also acts in the series, and I knew her name, but I had no idea what she looked like. I know she's a star, but this isn't the seventies anymore, never mind the eighties, when we had a mental scorecard of every actor, knew their films, and there was a clear dividing line between highbrow film and lowbrow television. You used to follow actors from movie to movie, you looked forward to seeing them, but now... Other than the superstars, someone can be labeled a star and you've never heard of them. Or they can have a number one record, like that woman who performed on SNL. But don't beat yourself up, don't feel old, the truth is the younger people are in the same boat, there's just so much out there that no one can know everything, no one can have a grip. So you forage, alone. Or, you can consume what's fed to you, like the boomers who still will watch only what's on cable, whose idea of a risk is to stream what Netflix recommends. But that's no fun. If you're not on a personal hejira, a personal search, you're missing out. Even worse, you can ignore almost all of that which is hyped, like the new Dolly Parton album, a marketing exercise, dreck, listening to Dolly sing rock is like listening to Tom Waits sing country.
So I looked up Ms. Marling and the PR headshot didn't look quite like the woman in the series, but by process of elimination, it was clear she was playing Lee.
And her husband... Creepy. It was none other than Clive Owen. Who broke through in 1998's "Croupier," a well-reviewed English film I saw in the theatre, back when I still paid attention to such. Here Owen plays a tech titan. And I won't say he's modeled on Elon Musk, but there are similarities, the calmness, the slow talk, the confidence, the belief they know everything.
And then someone dies, ergo the title, and you're starting to think it's "Ten Little Indians," but there are not enough episodes to kill one character per.
So I'm driving to Santa Monica yesterday and I see a poster for "A Murder at the End of the World" on the side of a bus shelter. And Felice went for a meeting, mentioned the series, and the two people in attendance were watching it too.
How did everybody know? How did they get the memo?
And there was a story on Emma Corrin on the front page of today's "New York Times" Arts section, but it started to talk about the plot and I thought they were spoiling it, but in truth these hype articles are all the same, i.e. hype.
So when it's in the past, a la 2010, "A Murder at the End of the World" is like "Mindhunter." You saw that, right, Fincher's show on Netflix? There were only two seasons, unfortunately. But when "A Murder at the End of the World" is in Iceland, at times it resembles a seventies disaster movie.
And I'm wondering if there's a buzz. Once again, you've got to have Hulu, but they're advertising, and now I'm telling you about it.
It rides the razor's edge, sometimes incredible, sometimes almost hokey.
But I'm watching.
--
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--
Listen to the podcast:
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--
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Sunday 26 November 2023
Chinatown Punk Wars
https://www.youtube.com/watch?v=DKa3g_I78wY
1
The punk bands survived, the new wave ones did not. Which is exactly the opposite of what one would have thought back then. You'd think the more left field, the less mainstream, the shorter the lifespan. But it turned out 20/20 and the Pop and the Know and the Kats... The list goes on and on of skinny tie bands known by all back then, but the only one that really broke through was the Knack, and everybody hated them for it. Then again, as big as "My Sharona" was, there was "Good Girls Don't" and not a whole hell of a lot more.
So if you were paying attention back then, you knew about Madame Wong's, you knew about the Hong Kong Café, you knew about the Masque, because the story was not only delineated in the "L.A. Weekly," but in the L.A. "Times" too.
Oh that's right, the Go-Go's broke, but what you've got to know is they were hiding in plain sight, the "Times" kept asking why they didn't have a record deal. It wasn't like they were playing in Oshkosh, they were in the recording capital of the world, and no one was interested, until Miles Copeland signed them, an outsider if there ever was one.
That's one thing that's been lost today, the outsider, on both the business and artistic side. There used to be these larger than life figures, who seemed to bend the world to their will. They worked the record company, as opposed to vice versa, they were fierce advocates for their acts. As for the live business... There were many fiefdoms. Frank Barsalona laid a bit of structure on the business, you took this act to get that, and you didn't poach someone else's territory, but it was a club, based on loyalty, and acts that did poorly gave money back, nearly unheard of today, because they wanted the promoter to hire them again in the future, they didn't want the promoter to go broke. No one gives money back to Live Nation, it's a public company.
And the label titans came and went, except for Mo Ostin. And they were handsomely paid, but it was clear the musicians were the stars, they made more and controlled the business.
Still, many felt the business was too controlled. Had become overblown, far from the garden the Beatles nurtured.
Then came the Ramones.
Nearly completely stiff. But you were aware of them, because it was a small world, everybody was paying attention, and music was a religion in a way it is not today, you listened to the radio, bought records, went to shows and read everything you could get your hands on. You saw the first two Ramones albums in the bins, but chances are you didn't know anybody who owned them, and they certainly didn't play them on the radio. Actually, by time the Hong Kong Café opened its doors to punks, one can say the Ramones had changed direction. 1977's "Rocket to Russia" had "Rockaway Beach," which sounded more like sixties surf rock than what was being played at the Masque. And 1978's "Road to Ruin" had a cover of "Needles and Pins," in search of a hit. Then again, that was the same album with "I Wanna Be Sedated."
Not that the Ramones had no impact. They talk about the loners and outcasts hearing Patti Smith and forming bands, it seemed like even more were formed in the wake of the Ramones. And they were bands, no one was sitting in their bedroom cutting a record by themselves. You had to go out for the action, you couldn't sit at home and surf the web, there was a scene. And the scenesters were the social media influencers of the day, sans the pay. Yes, you had an identity, and you displayed it at the show, and you were seen again and again, people knew who you were, until the era passed.
So just like with the blues before, punk started in the U.S., but it really took hold in the U.K., which then fed the sound back to us. There were endless U.K. punk bands. But fashion was a component of the scene. Attitude was over the top. Whereas the punks in L.A...really seemed to be living the life. And one can say the scene died with Darby Crash. It was all a lark until it wasn't.
And the stunning thing is how brief the window was.
2
Sure you went to the Forum to see the big acts, the shows were hyped all over KMET and KLOS, they were cultural rites. But even more you went to the clubs, to check out the new acts, you wanted to see them, needed to see them before they got big.
And there were constantly new clubs. And as "classy" as the Roxy was, as venerated as the Troubadour was, many were just holes in the wall, like Club 88, not far from where I lived. You mean bands are playing in that converted strip club? Yes. And you felt part of it. You knew what was going on even if you didn't go, because of the ads. You saw who was playing. And there were columnists raving until you decided to partake.
Certainly after the Knack hit, major labels scooped up new wave acts. But the L.A. punk bands? They were positively independent. Their records were released by labels you never heard of before. It was an outsider system. That sustained. Tom Waits going from Asylum to Epitaph? Unfathomable. And there was SST and Slash and...
It was all very brief.
So what killed the L.A. punk scene?
You could say it was MTV in 1981. Suddenly acts were bigger than ever before, and playing live was nowhere near as important as how good your video was. Furthermore, how you looked was important. And so many of those in the punk scene were not so good-looking. They had amazing clothes, in some cases amazing legends, but no one who was part of the starmaking machinery wanted anything to do with them.
And you wondered where they all went. How they survived.
This was not Bruce Springsteen, never having a day job. Most had day jobs in order to survive. And most were not college graduates, this was their life, and when it was over, they had to find a new source of income. Phranc ultimately sold Tupperware.
And you continued to read about Phranc, she was great at getting attention, and a few were, but most of them faded into the woodwork, but some of them are in this movie.
3
I was turned off at first, because of some inaccuracies in the dates. You can say whatever you want in a movie and it becomes the authoritative document, even if it's untrue. But if you lived through the era, oftentimes you know it was different.
But in this case I don't want to quibble, because very soon the film locked into the truth.
Chinatown was dead. No one went there. First and foremost it was downtown, which was barren, especially after dark.
So the fact that there was music in Chinatown? Quite a novelty. Music at a Chinese restaurant?
And this was when there was no wall between the promoters and the performers and the public. Sure, the stars might have had billboards on the Strip, but everybody else was completely accessible if you went to the gig, if you hung out.
Esther Wong was always around, with a scowl on her face. And even though they pooh-pooh Wong's West in the film, it had a pretty long run as the showcase club long after Chinatown was dead. One can't say it was cool, but that's where bands played, from Elvis Costello to the unknowns. That's where I saw David Geffen checking out John Hiatt, being convinced to sign him.
And being signed was everything. You needed the money, the push. Making records was expensive, getting them distributed was nearly impossible if you weren't with a major. That was the goal. But the punks realized they would never be accepted and did it themselves.
And the funny thing about punk is despite the closing of the venues in this movie, the music had a very long life. If you were around in the late seventies you were stunned when Nirvana became the biggest band in the land in the nineties. Whodathunk?
4
Now in truth most scenes are very short. They might be impactful, but their heyday is brief. Once again, I'd love to know where all the attendees went, those consumed with their outfits, their appearance, because without them there was no scene.
And if you were in the mosh pit you could get hurt. But most people had never heard of a mosh pit, never mind been in one. Took time for the phenomenon to spread.
Yet in truth, we haven't had a new scene in music for a long time, since the heyday of Napster. Or maybe today there are so many scenes and none of them break through big, after all Top 40 is now a niche.
And if you're making music today there's a good chance you were influenced by Mariah Carey and Christina Aguilera, whereas everybody in this movie knew every lick of the Beatles and Stones records. They didn't want to emulate their heroes, they wanted to tear them down. They thought the mainstream had become too precious, that most music was bogus.
And I was actually at the Dwight Twilley gig at Madame Wong's mentioned in the movie. Then again, I don't remember the prank. But there were two shows that night, and I went to the early one. Got there ninety minutes before, to be close, that's what you did.
And we all knew Dwight Twilley from "I'm on Fire." An infectious record which I heard on KROQ.
KROQ. It was the last free-format radio station in Los Angeles. Not the KROQ of today, not Top 40 of the alternative. The signal was weak and it was a club, either you listened or you didn't. And if you did you knew records by heart that those who never made it up the dial to 106.7 had never heard.
But that was the power of radio.
Dwight was signed by Clive Davis. But it never took. And recently Dwight Twilley died. Tragic, then again vocalist Phil Seymour, Twilley's original partner, died at 41, of cancer, not misadventure, and unless you were around back then, unless you bought the records, and I certainly bought the first, hungering for more of that sound, you have no idea who he was.
But there was an era when the minor was major. When the scene had shifted from New York to L.A. The sunshine and the weather made it easier to schlep your equipment, to live, and tradition was nonexistent in California, you could make it up as you went.
And today you can still see the Circle Jerks. And X. They took the road less taken and it turned out to go on forever.
Unlike the clubs.
The story is here. It's brief and interesting, well done.
You should watch "Chinatown Punk Wars."
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
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--
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1
The punk bands survived, the new wave ones did not. Which is exactly the opposite of what one would have thought back then. You'd think the more left field, the less mainstream, the shorter the lifespan. But it turned out 20/20 and the Pop and the Know and the Kats... The list goes on and on of skinny tie bands known by all back then, but the only one that really broke through was the Knack, and everybody hated them for it. Then again, as big as "My Sharona" was, there was "Good Girls Don't" and not a whole hell of a lot more.
So if you were paying attention back then, you knew about Madame Wong's, you knew about the Hong Kong Café, you knew about the Masque, because the story was not only delineated in the "L.A. Weekly," but in the L.A. "Times" too.
Oh that's right, the Go-Go's broke, but what you've got to know is they were hiding in plain sight, the "Times" kept asking why they didn't have a record deal. It wasn't like they were playing in Oshkosh, they were in the recording capital of the world, and no one was interested, until Miles Copeland signed them, an outsider if there ever was one.
That's one thing that's been lost today, the outsider, on both the business and artistic side. There used to be these larger than life figures, who seemed to bend the world to their will. They worked the record company, as opposed to vice versa, they were fierce advocates for their acts. As for the live business... There were many fiefdoms. Frank Barsalona laid a bit of structure on the business, you took this act to get that, and you didn't poach someone else's territory, but it was a club, based on loyalty, and acts that did poorly gave money back, nearly unheard of today, because they wanted the promoter to hire them again in the future, they didn't want the promoter to go broke. No one gives money back to Live Nation, it's a public company.
And the label titans came and went, except for Mo Ostin. And they were handsomely paid, but it was clear the musicians were the stars, they made more and controlled the business.
Still, many felt the business was too controlled. Had become overblown, far from the garden the Beatles nurtured.
Then came the Ramones.
Nearly completely stiff. But you were aware of them, because it was a small world, everybody was paying attention, and music was a religion in a way it is not today, you listened to the radio, bought records, went to shows and read everything you could get your hands on. You saw the first two Ramones albums in the bins, but chances are you didn't know anybody who owned them, and they certainly didn't play them on the radio. Actually, by time the Hong Kong Café opened its doors to punks, one can say the Ramones had changed direction. 1977's "Rocket to Russia" had "Rockaway Beach," which sounded more like sixties surf rock than what was being played at the Masque. And 1978's "Road to Ruin" had a cover of "Needles and Pins," in search of a hit. Then again, that was the same album with "I Wanna Be Sedated."
Not that the Ramones had no impact. They talk about the loners and outcasts hearing Patti Smith and forming bands, it seemed like even more were formed in the wake of the Ramones. And they were bands, no one was sitting in their bedroom cutting a record by themselves. You had to go out for the action, you couldn't sit at home and surf the web, there was a scene. And the scenesters were the social media influencers of the day, sans the pay. Yes, you had an identity, and you displayed it at the show, and you were seen again and again, people knew who you were, until the era passed.
So just like with the blues before, punk started in the U.S., but it really took hold in the U.K., which then fed the sound back to us. There were endless U.K. punk bands. But fashion was a component of the scene. Attitude was over the top. Whereas the punks in L.A...really seemed to be living the life. And one can say the scene died with Darby Crash. It was all a lark until it wasn't.
And the stunning thing is how brief the window was.
2
Sure you went to the Forum to see the big acts, the shows were hyped all over KMET and KLOS, they were cultural rites. But even more you went to the clubs, to check out the new acts, you wanted to see them, needed to see them before they got big.
And there were constantly new clubs. And as "classy" as the Roxy was, as venerated as the Troubadour was, many were just holes in the wall, like Club 88, not far from where I lived. You mean bands are playing in that converted strip club? Yes. And you felt part of it. You knew what was going on even if you didn't go, because of the ads. You saw who was playing. And there were columnists raving until you decided to partake.
Certainly after the Knack hit, major labels scooped up new wave acts. But the L.A. punk bands? They were positively independent. Their records were released by labels you never heard of before. It was an outsider system. That sustained. Tom Waits going from Asylum to Epitaph? Unfathomable. And there was SST and Slash and...
It was all very brief.
So what killed the L.A. punk scene?
You could say it was MTV in 1981. Suddenly acts were bigger than ever before, and playing live was nowhere near as important as how good your video was. Furthermore, how you looked was important. And so many of those in the punk scene were not so good-looking. They had amazing clothes, in some cases amazing legends, but no one who was part of the starmaking machinery wanted anything to do with them.
And you wondered where they all went. How they survived.
This was not Bruce Springsteen, never having a day job. Most had day jobs in order to survive. And most were not college graduates, this was their life, and when it was over, they had to find a new source of income. Phranc ultimately sold Tupperware.
And you continued to read about Phranc, she was great at getting attention, and a few were, but most of them faded into the woodwork, but some of them are in this movie.
3
I was turned off at first, because of some inaccuracies in the dates. You can say whatever you want in a movie and it becomes the authoritative document, even if it's untrue. But if you lived through the era, oftentimes you know it was different.
But in this case I don't want to quibble, because very soon the film locked into the truth.
Chinatown was dead. No one went there. First and foremost it was downtown, which was barren, especially after dark.
So the fact that there was music in Chinatown? Quite a novelty. Music at a Chinese restaurant?
And this was when there was no wall between the promoters and the performers and the public. Sure, the stars might have had billboards on the Strip, but everybody else was completely accessible if you went to the gig, if you hung out.
Esther Wong was always around, with a scowl on her face. And even though they pooh-pooh Wong's West in the film, it had a pretty long run as the showcase club long after Chinatown was dead. One can't say it was cool, but that's where bands played, from Elvis Costello to the unknowns. That's where I saw David Geffen checking out John Hiatt, being convinced to sign him.
And being signed was everything. You needed the money, the push. Making records was expensive, getting them distributed was nearly impossible if you weren't with a major. That was the goal. But the punks realized they would never be accepted and did it themselves.
And the funny thing about punk is despite the closing of the venues in this movie, the music had a very long life. If you were around in the late seventies you were stunned when Nirvana became the biggest band in the land in the nineties. Whodathunk?
4
Now in truth most scenes are very short. They might be impactful, but their heyday is brief. Once again, I'd love to know where all the attendees went, those consumed with their outfits, their appearance, because without them there was no scene.
And if you were in the mosh pit you could get hurt. But most people had never heard of a mosh pit, never mind been in one. Took time for the phenomenon to spread.
Yet in truth, we haven't had a new scene in music for a long time, since the heyday of Napster. Or maybe today there are so many scenes and none of them break through big, after all Top 40 is now a niche.
And if you're making music today there's a good chance you were influenced by Mariah Carey and Christina Aguilera, whereas everybody in this movie knew every lick of the Beatles and Stones records. They didn't want to emulate their heroes, they wanted to tear them down. They thought the mainstream had become too precious, that most music was bogus.
And I was actually at the Dwight Twilley gig at Madame Wong's mentioned in the movie. Then again, I don't remember the prank. But there were two shows that night, and I went to the early one. Got there ninety minutes before, to be close, that's what you did.
And we all knew Dwight Twilley from "I'm on Fire." An infectious record which I heard on KROQ.
KROQ. It was the last free-format radio station in Los Angeles. Not the KROQ of today, not Top 40 of the alternative. The signal was weak and it was a club, either you listened or you didn't. And if you did you knew records by heart that those who never made it up the dial to 106.7 had never heard.
But that was the power of radio.
Dwight was signed by Clive Davis. But it never took. And recently Dwight Twilley died. Tragic, then again vocalist Phil Seymour, Twilley's original partner, died at 41, of cancer, not misadventure, and unless you were around back then, unless you bought the records, and I certainly bought the first, hungering for more of that sound, you have no idea who he was.
But there was an era when the minor was major. When the scene had shifted from New York to L.A. The sunshine and the weather made it easier to schlep your equipment, to live, and tradition was nonexistent in California, you could make it up as you went.
And today you can still see the Circle Jerks. And X. They took the road less taken and it turned out to go on forever.
Unlike the clubs.
The story is here. It's brief and interesting, well done.
You should watch "Chinatown Punk Wars."
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
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Holiday Songs Playlist
Spotify: https://tinyurl.com/3772nhyv
"Holiday" - Madonna
"Holiday" - The Kinks
"Holiday" - The Bee Gees
"Tommy's Holiday Camp" - The Who
"Dreadlock Holiday" - 10cc
"Holiday Inn" -Elton John
"Holiday" - Michael Hedges
"Holiday" - Nazareth
"Holiday Hotel" - Loggins & Messina
"Holidays in the Sun" - Sex Pistols
"Holiday in Cambodia" - Dead Kennedy
"Everyday Will Be Like a Holiday" - William Bell
"Everyday Will Be Like a Holiday" - Warren Haynes
"Holiday Road" - Lindsey Buckingham
"Holiday" - Vampire Weekend
"Holiday" - Jimmy Buffett
"Holiday" - Little Mix
"Holiday" - Scorpions
"Every Day Should Be a Holiday" - Dandy Warhols
"Holiday" - Green Day
"Deadbeat Holiday" - Green Day
"Holiday in Spain" - Counting Crows
"Holiday" - Weezer
"On a Holiday" - Brian Wilson
"One Less Holiday" - Art Garfunkel
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
http://www.lefsetz.com/lists/?p=subscribe&id=1
If you do not want to receive any more LefsetzLetters, http://lefsetz.com/lists/?p=unsubscribe&uid=0eecea7b60b461717065cbde887c8e25
To change your email address http://lefsetz.com/lists/?p=preferences&uid=0eecea7b60b461717065cbde887c8e25
"Holiday" - Madonna
"Holiday" - The Kinks
"Holiday" - The Bee Gees
"Tommy's Holiday Camp" - The Who
"Dreadlock Holiday" - 10cc
"Holiday Inn" -Elton John
"Holiday" - Michael Hedges
"Holiday" - Nazareth
"Holiday Hotel" - Loggins & Messina
"Holidays in the Sun" - Sex Pistols
"Holiday in Cambodia" - Dead Kennedy
"Everyday Will Be Like a Holiday" - William Bell
"Everyday Will Be Like a Holiday" - Warren Haynes
"Holiday Road" - Lindsey Buckingham
"Holiday" - Vampire Weekend
"Holiday" - Jimmy Buffett
"Holiday" - Little Mix
"Holiday" - Scorpions
"Every Day Should Be a Holiday" - Dandy Warhols
"Holiday" - Green Day
"Deadbeat Holiday" - Green Day
"Holiday in Spain" - Counting Crows
"Holiday" - Weezer
"On a Holiday" - Brian Wilson
"One Less Holiday" - Art Garfunkel
--
Visit the archive: http://lefsetz.com/wordpress/
--
Listen to the podcast:
-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
--
http://www.twitter.com/lefsetz
--
If you would like to subscribe to the LefsetzLetter,
http://www.lefsetz.com/lists/?p=subscribe&id=1
If you do not want to receive any more LefsetzLetters, http://lefsetz.com/lists/?p=unsubscribe&uid=0eecea7b60b461717065cbde887c8e25
To change your email address http://lefsetz.com/lists/?p=preferences&uid=0eecea7b60b461717065cbde887c8e25
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