I'm sick and f*cking tired of the Democrats trying to put a positive spin on the election of Donald Trump. Saying he didn't win by a majority, didn't win by that much, pointing to minor victories in Congress and the states... The Democrats got their ass SPANKED! And this spin is just further evidence how out of touch the DNC, elected officials and left wing commentators are. If you can't admit your faults, if you can't analyze your loss, how in the hell are you going to adjust for changing conditions and succeed the next time around?
Yes, when it comes down to the issues, most people are aligned with the left. They want abortion rights. They want the protection of the rights of minorities. But those weren't the foremost issues in the election.
Have you ever been broke? I have, and when that's the case money is all you can think about, 24/7. Anyone who romanticizes the life of a starving artist has never been one. You can't even create, you're so freaked out. And my worst times were when the economy was considered to be raging. But not for me!
So the stock market is up. You can point to the increase in jobs, how America is doing better harnessing inflation than the rest of the world. And that does nothing for me when I go to the market and I see the high prices. And when I mention this, you don't acknowledge my pain, you just tell me I'm wrong and to get over it. That's a winning strategy?
As for the border... It's a problem, we can argue how big a problem it is, but one thing is for sure, Biden was not aggressive in handling it.
And why should we trust these people at all, they're the same ones who told us Old Joe had all his marbles and could sail through a presidency as leader of the free world into his middle eighties. God, my inbox is full of nitwits telling me they had some aunt or uncle who lived to a hundred with all their marbles. And yeah, my father died at 70. And by time she was in her middle eighties, my mother was repeating herself. Talk about a refusal to acknowledge science. The left cherry-picks and is in many ways as bad as the right. And it's the educated left that has contempt for doctors and Big Pharma. Get ill and they'll tell you to employ homeopathic remedies first.
Yes, leaving out personalities, looking at the issues, the Democrats should have easily won the election. But Harris couldn't even bring out as many people to vote for her as they did for Old Joe. And it wasn't even Covid times anymore. People were just not excited, they were disillusioned. But if you dared to say a single negative thing about Harris you were a sexist hater.
Sam Harris did a good podcast on this. It wasn't that America was not ready to elect a woman, they weren't ready to elect THIS woman, and to beware, if we don't get it right Candace Owens could be president in the future.
But those on the left may not even be aware of Owens. Because if it's not in their anointed media, it doesn't exist. But how can you win if you do not know the enemy?
People hate the Democrats. I'M A DEMOCRAT and I hate the Democrats. If Chuck Schumer is your point person... God, you might as well concede before the war begins. He doesn't know how to amp it up, never demonstrates any passion, this is the guy you want to lead the charge?
Give Gavin Newsom credit, he read the tea leaves, he just went to red counties and said he got the message, and will adjust his leadership accordingly. I don't hear Harris giving any mea culpas. Nor anybody who worked with her. No, it's not Harris's fault she lost. That's orthodoxy on the left. And that's positively INSANE! I don't like Trump having access to the nuclear button, but I can't say I was confident that Harris had the chops. Sure, she's smart. But I didn't see a wealth of experience and competence running world affairs, even national affairs. At least Josh Shapiro and Gretchen Whitmer run states, mini national governments.
So Harris was perfect! And therefore the Trump voters must be guilty. Stupid. Ignorant. Can't they see the truth? Maybe it's the Democrats who can't see the truth! For a party that considers itself to be a big tent, it's amazing that most people are not let inside. Man, god forbid you mess up someone's pronouns. Sure, people are entitled to dignity, but is this the main issue in our country?
OF COURSE NOT!
Wipe out the DNC, get new blood. When a team has a bad year they don't go into the next with the exact same people. They fire the manager/coach. Bring in some ringers. Maybe even hire a new GM with a different philosophy.
But so far in the Democratic party it's been hosannas. It's like nursery school, no one is at fault, no one is to blame, everyone keeps their job.
Did you see Donna Brazile on Bill Maher last night? Listening to her you'd think the Democrats triumphed on Election Day. Don't they get it, spin doctors don't resonate anymore. Yeah, you're on the team, you're dyed-in-the-wool, you're not to be believed.
Just like the celebrities out for Harris. We don't hear the Democrats saying this was a misfire, only independents and the right. Celebrity has changed in America. Jake Paul means more than half of the performers trotted out at Harris events. But he's not in the "Times" so he doesn't count. Because don't you know, social media is the devil!
But social media is where people get their information. Don't decry it, don't you get your info at school or work, it's the same damn thing, and also sometimes wildly inaccurate.
And if Trump could lie constantly and win...
Why is that?
Well, people are voting on emotions. And when it comes to emotions and perceptions facts oftentimes don't matter. People want someone who excites them... Hell, the rock stars of the sixties and seventies built their careers on lying, with publicity stunts, and the music industry is all about proffering false "facts." The show that's sold out is not. The album that had a certain level of success did not. But the rules should be different in politics?
And an outside agitator, Elon Musk, swayed all those voters?
God forbid you show some testosterone on the left. It's all namby pamby, you don't want to hurt anybody's feelings. God, the Democrats are a sexless party. We're all screwing all the time, but it's taboo on the left because the guy isn't doing it right, not asking the right permission. Sure, there are bad actors, and they should be held to account, but not every male in America. Men are the enemy? Where is that a winning strategy?
This election illustrated that conventional wisdom was b.s. The public isn't concerned with DEI. I've got to tell you, it's always white people who reach out and tell me something I'm saying is racist or sexist, doing the work of parties who don't feel offended.
You're offended right now! Don't you see you're helping the enemy Bob? No, I'm just speaking the truth, and you can't handle it.
We don't have a person/candidate on the left who is 3-D like either Trump or Musk, no one to get behind and believe in. We've got some soft intellectuals, but nobody willing to yell and blow the doors off the enemy! And one thing about Trump and Musk, they mix it up constantly. And when you do this sometimes you get it wrong. But the left is in constant referee mode, looking for faux pas, when what happened yesterday isn't even remembered today.
The Democrats LOST! Period. By how much is not even relevant. Think about all those people who voted for Trump, you need a good chunk of them to be on your side to win in the future. How are you going to do that, by continuing to demonize them, telling them they're wrong?
And this left wing circle jerk... It's like a cult, everybody trying to convince themselves things aren't that bad. BUT THEY ARE!
Things change, constantly. The election just brought to the forefront issues that those truly paying attention were aware of. But to know this...you have to interact with the other side, you have to listen to them. You don't have to necessarily agree with them, but if you don't know where they're at, you're never going to win, because you need to capture hearts and minds to win.
Everywhere there are articles. The NYT. The Substackers. As if they can't admit they were wrong. It'd be laughable if there wasn't so much at stake.
How did the Democrats lose the workers, the blue collar? Why don't we start there. The left used to own these people. But now that they're Republicans, the left calls them losers.
And feel that Blacks and Latinos who voted for Trump are traitors, who betrayed their skin color. So I'm my skin color first?
And the left is the party of the pro-Hamas demonstrators on campus? We can argue all day long whether there should be a ceasefire. how the war should be prosecuted, but Hamas is a terrorist organization that does not tolerate gay people and so many more...and we're supposed to respect these protesting lunatics?
I mean sometimes you just have to speak English.
And sure, Trump didn't always do this. But he was a cartoon to begin with. And what worked for Trump doesn't necessarily work for anybody else.
The DNC... It's like bringing the '85 Bears out of retirement, telling Ditka to coach. Hell, even Bill Belichick lost his job. Just because you won in the past does not mean you can win in the future. But Old Joe said he wanted to finish the job. Yeah, and let's bring Jim McMahon, who suffers from brain damage, back to be QB. Even Tom Brady retired. But no, not Old Joe!
So many mistakes were made. And to think it's about running the same playbook and trying to win an extra vote here or there is a flawed strategy. The Democrats need a rewrite. Not only did Trump win, but both houses of Congress are controlled by Republicans.
This is a shellacking, don't claim otherwise.
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Saturday, 23 November 2024
Cynicism
It's always someone else's fault.
The world is stacked against you. I was going to win, but...
I was going to get a ticket for ten bucks for the first row, but Ticketmaster...
I was going to pay my bills from music, but Spotify...
And the personal responsibility party, the Republicans, are led by someone who said the 2020 election was rigged, but when he won in 2024 it was not. Like someone snapped their fingers and it all worked out. Even though even up through Election Day itself, Trump and his cronies were pointing to supposed irregularities.
Yesterday was November 22nd. I didn't see a single report, not one article, that said it was the anniversary of the death of JFK. Then again, that was 61 years ago, and people can't even remember what happened in baseball two decades ago, never mind three or four. We're all living in the now. We're all winners. And the boomers refuse to relinquish control. You cannot turn on the news, cannot read the newspaper without the oldsters laughing about and excoriating the youngsters on social media. Never mind that TikTok is controlling the minds of Americans. Everybody thinks they know and are constantly battling the forces against them. But do these really exist?
I mention JFK because he ushered in an era of optimism, a clearing of the decks of old people, the institution of the young and new.
And when he was cut down and the Vietnam war started to rage... We were against that, but we didn't lose all hope. No one said we must isolate as a country, that the rest of the world was not our responsibility. We argued over the Domino Theory, but we felt in our bones that we were responsible for a better world, a better country, hell, LBJ instituted a war on poverty.
Now there's a war on poor people. They're takers, if they'd just get damn jobs. If they did my taxes would be lower, I'm sick of paying for someone else. I work so damn hard. And all those government flunkies, get 'em off the payroll, because if you do my life will be so much better with all the money I save.
Someone is in your way. Couldn't possibly be that you didn't work hard enough, aren't smart enough, aren't talented enough.
It's kind of like letting trans women who used to be guys perform in women's sports. No one will notice, they're just the same, no harm, no foul.
Don't confuse this with bathroom rules. All I'm saying is everybody is bending the rules and believing it's all right. And the court of ultimate resort, the Supreme Court, that you used to rely on, is not only compromised intellectually, but literally, taking money and in kind compensation from parties...and you're supposed to live a straight life, have honor, no you want an edge too!
And everybody's working the refs and breaking the rules. Even in the music business, #1 is a manipulated number. And the industry does not understand that this undermines confidence in the system. If the same damn act that I never listen to is number one for two months straight...can I trust number one at all?
Yes, there's a reason for this cynicism. There are no rules. If you're rich you get off scot-free. You hire the best lawyers, you don't go to jail. Hell, Wall Street crashed the economy, no one went to jail, and we had to pay them to keep working! And what were we told by those in government? That we had no choice. Otherwise... Exactly what? I pay for my sins, but the rich and connected do not?
And the Sacklers and opioids... To the point where when there's a vaccine for Covid, everybody hates Big Pharma. The irony here being that as soon as they get an infection they're the first to line up for antibiotics.
Yes, people talk out of both sides of their mouths, when it's advantageous to them.
I didn't get into the Ivy League school. It couldn't possibly be my fault. They let in athletes, legacies. And sure, they can cut down those but odds are you're still not going to get in.
And I didn't get into an elite college so the truth is there is no value to an education there. Malcolm Gladwell has been spewing this nonsense for years. He can't be happy that he graduated from the University of Toronto, he's got to tear everybody else down. And when confronted with facts, Gladwell doubles down, doesn't admit he's wrong.
And he's a national hero.
Bollocks.
And Taylor Swift has built an entire career on revenge. You hurt me, it's unfair, girl power says I now triumph. Huh? Maybe you were at fault, maybe you were bad in the relationship. But no! You can't be at fault, that can't possibly be the case.
Everybody's got an excuse. Nobody's happy. They decry the government and then want it to help them.
And then you've got guys who are incels, mad that they can't get laid. As if throughout history there were not guys who could not get laid. And, if you're having trouble with the opposite sex, maybe you could change, maybe you could improve, learn how to talk to people, but no...the opposite sex is holding you down, out to get you.
And in truth, Fortune 500 companies abuse the system constantly. My favorite being Microsoft insisting that manufacturers install Windows on every machine they make, even if it's got Linux. And we're supposed to play by the rules?
And it stinks at the top. Trump not only wants to rule in his own fashion, he wants to punish his enemies. It'd be like the Yankees camping outside the Dodgers' homes and when the players come out breaking their knees. Hell, you lost. You live to play another day.
So who can we look to inspire us, to lead us, to get us back on the right path?
Certainly not Elon Musk, the complainer in chief. This guy does not stop bitching about what others do, the government, OpenAI, he believes he should be able to function unfettered. As do most of the techies, that's why they got behind Trump.
And Kim Kardashian? There's no there there. She's a hollow vessel of merchandising.
Movie stars? They've been revealed to be two-dimensional nitwits by the internet.
Musicians? You benefited from the system, you're worth hundreds of millions of dollars, we keep hearing about it, but you're telling me how to live my life?
Duplicity is rampant. The rules are made to be broken. We champion the outlaws. Going to jail is a badge of honor for rappers.
Live the straight life and you're a chump.
And Biden says he's not too old and diminished to be president, just like that giant trans swimmer says the playing field is level.
Yes, it's murky. The Democrats are not always right, nor are the Republicans. But there's orthodoxy. You've got to buy in completely or you're excommunicated. And it's hard to maintain your optimism when you know that one false move will make you a pariah.
And it's not the system that's got to change, it's the people.
As Bob Dylan sang:
"Now each of us has his own special gift
And you know this was meant to be true
And if you don't underestimate me
I won't underestimate you"
Maybe you didn't get into a good college, but that does not mean you're a loser. Everybody's great at something, find that instead of complaining that someone took your dream job that you're not qualified for anyway.
Then again, Bob Dylan's made it in the sixties. When musicians were seers, not just cash machines. When we looked to art for truth.
Now we've got superhero movies.
It's a cultural problem.
And nothing is being done about it.
I may be a glass half-empty guy, but I'm not delusional enough to think everybody's out to get me. I got cut from the team. I didn't measure up here and there. I didn't have my parents go intimidate the coach and try to talk him out of it to my advantage. When I got in trouble in school my parents blamed me, not the teacher. I know hard work pays dividends. Oftentimes not immediately. I know I don't always win, but I don't always lose either. I know I can't buy a new Mercedes-Benz for 10k and I know I can't get a ticket to everything I want to attend. And I'm not looking to the government to save me. But I do want the government to save those who are victims of natural disasters. I know the government wastes some money here and there, but I don't think you should throw the baby out with the bathwater. I know if no one listens to my music I'm not going to get paid.
But sometimes I think I'm the only one.
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The world is stacked against you. I was going to win, but...
I was going to get a ticket for ten bucks for the first row, but Ticketmaster...
I was going to pay my bills from music, but Spotify...
And the personal responsibility party, the Republicans, are led by someone who said the 2020 election was rigged, but when he won in 2024 it was not. Like someone snapped their fingers and it all worked out. Even though even up through Election Day itself, Trump and his cronies were pointing to supposed irregularities.
Yesterday was November 22nd. I didn't see a single report, not one article, that said it was the anniversary of the death of JFK. Then again, that was 61 years ago, and people can't even remember what happened in baseball two decades ago, never mind three or four. We're all living in the now. We're all winners. And the boomers refuse to relinquish control. You cannot turn on the news, cannot read the newspaper without the oldsters laughing about and excoriating the youngsters on social media. Never mind that TikTok is controlling the minds of Americans. Everybody thinks they know and are constantly battling the forces against them. But do these really exist?
I mention JFK because he ushered in an era of optimism, a clearing of the decks of old people, the institution of the young and new.
And when he was cut down and the Vietnam war started to rage... We were against that, but we didn't lose all hope. No one said we must isolate as a country, that the rest of the world was not our responsibility. We argued over the Domino Theory, but we felt in our bones that we were responsible for a better world, a better country, hell, LBJ instituted a war on poverty.
Now there's a war on poor people. They're takers, if they'd just get damn jobs. If they did my taxes would be lower, I'm sick of paying for someone else. I work so damn hard. And all those government flunkies, get 'em off the payroll, because if you do my life will be so much better with all the money I save.
Someone is in your way. Couldn't possibly be that you didn't work hard enough, aren't smart enough, aren't talented enough.
It's kind of like letting trans women who used to be guys perform in women's sports. No one will notice, they're just the same, no harm, no foul.
Don't confuse this with bathroom rules. All I'm saying is everybody is bending the rules and believing it's all right. And the court of ultimate resort, the Supreme Court, that you used to rely on, is not only compromised intellectually, but literally, taking money and in kind compensation from parties...and you're supposed to live a straight life, have honor, no you want an edge too!
And everybody's working the refs and breaking the rules. Even in the music business, #1 is a manipulated number. And the industry does not understand that this undermines confidence in the system. If the same damn act that I never listen to is number one for two months straight...can I trust number one at all?
Yes, there's a reason for this cynicism. There are no rules. If you're rich you get off scot-free. You hire the best lawyers, you don't go to jail. Hell, Wall Street crashed the economy, no one went to jail, and we had to pay them to keep working! And what were we told by those in government? That we had no choice. Otherwise... Exactly what? I pay for my sins, but the rich and connected do not?
And the Sacklers and opioids... To the point where when there's a vaccine for Covid, everybody hates Big Pharma. The irony here being that as soon as they get an infection they're the first to line up for antibiotics.
Yes, people talk out of both sides of their mouths, when it's advantageous to them.
I didn't get into the Ivy League school. It couldn't possibly be my fault. They let in athletes, legacies. And sure, they can cut down those but odds are you're still not going to get in.
And I didn't get into an elite college so the truth is there is no value to an education there. Malcolm Gladwell has been spewing this nonsense for years. He can't be happy that he graduated from the University of Toronto, he's got to tear everybody else down. And when confronted with facts, Gladwell doubles down, doesn't admit he's wrong.
And he's a national hero.
Bollocks.
And Taylor Swift has built an entire career on revenge. You hurt me, it's unfair, girl power says I now triumph. Huh? Maybe you were at fault, maybe you were bad in the relationship. But no! You can't be at fault, that can't possibly be the case.
Everybody's got an excuse. Nobody's happy. They decry the government and then want it to help them.
And then you've got guys who are incels, mad that they can't get laid. As if throughout history there were not guys who could not get laid. And, if you're having trouble with the opposite sex, maybe you could change, maybe you could improve, learn how to talk to people, but no...the opposite sex is holding you down, out to get you.
And in truth, Fortune 500 companies abuse the system constantly. My favorite being Microsoft insisting that manufacturers install Windows on every machine they make, even if it's got Linux. And we're supposed to play by the rules?
And it stinks at the top. Trump not only wants to rule in his own fashion, he wants to punish his enemies. It'd be like the Yankees camping outside the Dodgers' homes and when the players come out breaking their knees. Hell, you lost. You live to play another day.
So who can we look to inspire us, to lead us, to get us back on the right path?
Certainly not Elon Musk, the complainer in chief. This guy does not stop bitching about what others do, the government, OpenAI, he believes he should be able to function unfettered. As do most of the techies, that's why they got behind Trump.
And Kim Kardashian? There's no there there. She's a hollow vessel of merchandising.
Movie stars? They've been revealed to be two-dimensional nitwits by the internet.
Musicians? You benefited from the system, you're worth hundreds of millions of dollars, we keep hearing about it, but you're telling me how to live my life?
Duplicity is rampant. The rules are made to be broken. We champion the outlaws. Going to jail is a badge of honor for rappers.
Live the straight life and you're a chump.
And Biden says he's not too old and diminished to be president, just like that giant trans swimmer says the playing field is level.
Yes, it's murky. The Democrats are not always right, nor are the Republicans. But there's orthodoxy. You've got to buy in completely or you're excommunicated. And it's hard to maintain your optimism when you know that one false move will make you a pariah.
And it's not the system that's got to change, it's the people.
As Bob Dylan sang:
"Now each of us has his own special gift
And you know this was meant to be true
And if you don't underestimate me
I won't underestimate you"
Maybe you didn't get into a good college, but that does not mean you're a loser. Everybody's great at something, find that instead of complaining that someone took your dream job that you're not qualified for anyway.
Then again, Bob Dylan's made it in the sixties. When musicians were seers, not just cash machines. When we looked to art for truth.
Now we've got superhero movies.
It's a cultural problem.
And nothing is being done about it.
I may be a glass half-empty guy, but I'm not delusional enough to think everybody's out to get me. I got cut from the team. I didn't measure up here and there. I didn't have my parents go intimidate the coach and try to talk him out of it to my advantage. When I got in trouble in school my parents blamed me, not the teacher. I know hard work pays dividends. Oftentimes not immediately. I know I don't always win, but I don't always lose either. I know I can't buy a new Mercedes-Benz for 10k and I know I can't get a ticket to everything I want to attend. And I'm not looking to the government to save me. But I do want the government to save those who are victims of natural disasters. I know the government wastes some money here and there, but I don't think you should throw the baby out with the bathwater. I know if no one listens to my music I'm not going to get paid.
But sometimes I think I'm the only one.
--
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Friday, 22 November 2024
Mailbag
Subject: RE: 74 Of '74
For an interesting exercise, compare this 50-years-after-the-fact list with the Top Album list Rolling Stone actually issued in 1974. The original list had jazz or jazz-fusion albums in each of the top five spots. In this list, the top-rated jazz album is Miles Davis at 32 - and Miles wasn't in those original Top 5, which was dominated by Miles-alumni. The original Top 5 are also nowhere on this list.
There's nothing wrong with some critical re-evaluation after 50 years, but that evaluation should be done by people who lived through it.
https://www.albumoftheyear.org/ratings/35-rolling-stone-highest-rated/1974/1
Charles McGarry
Dallas, Texas
(Note: Bad Company's debut is #46 on this list. Jackson Browne's "Late For the Sky" is #10. New York Dolls' "Too Much Too Soon" is #36. David Bowie's "Diamond Dogs" is #88. KISS is #101. Eric Clapton's "461 Ocean Boulevard," considered a comeback record and a huge commercial success, is #13 on the original list, not evident anywhere on today's list. But the piece-de-resistance, the absolute worst omission from today's list, is ELO's "Eldorado," their true breakthrough album after they made inroads on FM previously with "Showdown." "Eldorado" is #42 on the original list, I couldn't get it out of my head back then, it's the best work ELO ever did and the mainstream's true introduction to Jeff Lynne. But it's nowhere to be seen on today's list. And just one final item and then I'll go. Jimmy Buffett's "A1A" is #22 on the original list and "Living and Dying in 3/4 Time" is #41. "A1" contains "A Pirate Looks at Forty," more memorable than so much of the work on the modern list. And these two albums were released BEFORE "Margaritaville." But Jimmy Buffett built an empire; regular, average people went to his shows, up until the moment he died; therefore he must be decried by the self-described cognoscenti. Hell, I'll go one step further, "Boston" is one of the greatest albums ever made, eminently playable back then, just as fresh and heartwarming today...I play "Foreplay/Long Time" all the time. But since it was a smash on the radio, we must state that it's beaten in the canon by mediocre stuff like Lou Reed's "Sally Can't Dance," which I bought when it was released and liked. God, the rock establishment is just like the Democratic party, holier-than-thou and out of touch.)
__________________________________
From: Phil Brown
Subject: RE: 74 Of '74
Back when I was a mastering engineer I mastered Time Fades Away, On The Beach, Zuma, Tonight's The Night, Stars And Bars and Decade. And while On The Beach has some of my favorite Neil songs-See The Sky, For The Turnstiles-in this period I don't get it.
Phil Brown
__________________________________
From: Wendy Waldman
Subject: Re: Libby Titus
Libby and I were very close many years ago and ran around LA together during a particularly crazy time in both of our lives.
We met through Maria Muldaur.
I wrote "Long Hot Summer Nights" about Libby and me-we loved each other, had a lot of fun, wrote songs together, and I even cut some things on her that were not released.
She was a delightful, brilliant, one-of-a-kind human being, a rare bird indeed.
She was also visually one of the most stunning and original women I've ever known.
I saw her in New York years later before she connected with Fagen, when she was working at Henri Bendel (of course, those who knew her would say!) in the fur department, elegant and marvelous as ever whether she was rich or poor.
Complex and authentic. Beautiful, troubled, sweet.
Very sad to hear this.
__________________________________
Subject: RE: Libby Titus
Hi Bob,
I was a student at Bard College at the same time as Libby Titus (then Libby Jurist). It was certainly a magic time and place. My brother Terence and I were housed in a dorm called Potter Hall, and Libby was in our circle of friends, which included Donald Fagen and Walter Becker, Blythe Danner, Chevy Chase, and quite a few others. We all played in various campus bands at the time. On at least two occasions, Bob Dylan, in the famous blue Ford station wagon, would come by and sit around swapping songs with us. Sitting on the foot of my bed, playing my old Gibson acoustic, he sang a song he had just written, "It's Alright, Ma, I'm Only Bleeding." Libby knew him quite well from Woodstock, her home town. Her father owned a rare sports car dealership in Nyack.
Libby had a beautiful soprano voice and I often played guitar behind her, usually covering Judy Collins material. Her boyfriend and later husband, Barry Titus, an heir to the Helena Rubinstein fortune, was a frequent weekend visitor. She left school to marry him, but we all stayed friendly in New York City afterwards.
I kept in touch with her sporadically over the years, through the many changes in her life, especially when I produced her song, "Love Has No Pride," with Linda Ronstadt. When Columbia released her album, we all attended a lavish showcase for it at the Beverly Hills Hotel. I last saw her at a party at my sister's apartment in Manhattan many years ago. She was a very special person. I will miss her.
Best,
John Boylan
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From: Eddie Trunk
Subject: Re: The New Billy Squier Track
Hey Bob
I am a massive Billy Squier fan and I'm the one guy who he did do an interview with a year ago for the original version of the song. I had Billy live on my SiriusXM show for about an hour. I premiered this track and we discussed the song, where he's at these days, and of course pushed him to do more and play some shows. He has not toured in ages and as we all know you are nowhere if not on the road.
I am grateful Billy let me premiere the song but he pretty much did nothing else to promote it. No other SiriusXM shows or anything else at all.
Billy seems to have really soured on anything related to the music business. But he also did well as the sole songwriter of most of his music and the most sampled rock artist in hip hop . Ironically the song Jay Z , Eminem and others have taken from is not on Don't Say No. It's a track called "The Big Beat" from his solo debut Tale Of The Tape (also a great album !). So he doesn't need to do anything. But he does want to at least in some way keep pushing out this one track it seems.
When looking at his career so much focus is on Don't Say No, but I think many forget the next couple albums were also big and made him an arena headliner with songs like Everybody Wants You, Rock Me Tonight (despite the damage from the video the song and video were huge in '84) and others. In my view he never made a bad album and remains a favorite of mine. The 2 Piper albums I also love.
I wish he'd get more active. Especially judging by how great he sounds on this track. But then again I'd rather have the memories than a favorite artist going through the motions. Anyone want to hear the interview we did it's on my podcast free worldwide and also on the SiriusXM app. Best regards.
Eddie Trunk
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From: Hank Barry
Subject: Quincy Jones
I picked up the phone at Napster and the caller said "Hi, this is Q, Quincy Jones. I have been looking for 20 years for a Dizzy Gillespie record called 'Manteca' ". Is that on Napster? I put him on the speaker, did a search and started the stream. Within about 15 seconds "Manteca" was playing. He said "ok I can help you with this."
And he followed through. Arranged a coffee with then ASCAP president Marilyn Bergman at her house, organized a meeting in his basement of traditional and internet music types called the "Paradigm Shift," complete with a facilitator who made notes in cartoons (met Bob Ezrin!).
We had a breakfast (11 a.m.) at the Fairmont Hotel in SF. When Sen. Hatch surprised me with a call ("hey you're with Quincy - put me on the speakerphone"). Sen. Hatch spent most of the time asking Quincy about the demos he had sent.
In the main hall at Davos, I walked up to Thomes Middelhoff (then head of Bertelsmann) and some other execs. They said "hey Hank let us introduce you". Quincy said "aw I know this guy" and gave me a big hug.
On discovering that he had called on my daughter Emily's birthday, he sang "Happy Birthday" to her.
For all the unexpected courtesy and kindness, I am very grateful.
Hank
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From: Don Rose
Subject: Re: Charge What The Tickets Are Worth
Hey Bob!
Your readers are fast! I was alerted to this shout out by an old chum from my hometown before I could even open my own Inbox.
So thanks for the mention. Aside from the music, of course, I've often reflected that the Rykodisc-led 'Ban The Box' campaign was at the top of things for which I'm proudest about Ryko.
For the record, the initiative and real passion for the project came from my partner Rob Simonds for whom social activism was core to his being. I'm just pleased that I can say I was 100% supportive of Rob's brainchild and the commitment of company resources to the cause.
This included the expenditure of a dedicated six-figure marketing campaign and the cohones to stand up to our friends at Tower Records, who at the time was our largest customer (representing more than 20% of revenues). As the partner leading the Ryko sales effort, let's just say that Rob took a lot of 'incoming.'
With the additional support of many other labels and especially artists- including certain major label big names- we were successful both from the standpoint of environmental impact (the waste cardboard bordered on the grotesque) and restoring some overall perception of the industry as decent stewards of sustainability.
This evolution led to more creative 5x5 packaging (a good thing, as Martha Stewart might say) including our own twist, the trademarked 'Coke bottle green' jewel box as a brand differentiator.
Thanks again for remembering; Bob, you made my day. (Thanks also to Chris Randall for the sharp eye!)
-Don Rose
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From: Jeff Rougvie
Subject: Re: Charge What The Tickets Are Worth
Bob,
Thanks for bringing up Rykodisc and lost music history; these topics dovetail with some ideas I've been hoping to engage with you on.
I worked at the label for nearly 20 years. Don Rose was indeed the President, and while an ardent supporter of the "Ban The Box" campaign, it was his partner and brother-in-law, Rob Simonds, who really drove the movement. Rob engaged the PR firm, coaxed the artists who needed coaxing, and took the battle to music retail who whined about it like pathetic babies, Tower being the worst. Little-known fact; the real pull to keep the useless and wasteful longbox came from the majors, who had guaranteed volume contracts with cardboard packaging manufacturers that they were afraid to break. Ryko was happy to lose it and the associated costs, as every label should've been. No one reported a meaningful rise in pilferage after the box went away and Ryko, at least, passed the savings on to retailers, who should've in turn passed it on to the consumer.
Keep up the great work!
Best,
Jeff Rougvie
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From: Bruce R Kilgour
Subject: RE: Charge What The Tickets Are Worth
1
As a retail executive from 1984 – 2007 (Licorice Pizza / Sam Goody / Musicland / Virgin / Trans World), your first few paragraphs brought back memories.
It took us weeks to convert the LP bins to accommodate CDs… and the "cassette wall" – what a nightmare.
Watching customers immediately rip apart and dump the longboxes in the trash can outside the front door always irked the "collector" in me.
2
I saw the Rolling Stones five times in 2024, and probably spent over $4000 doing so. It was worth every penny, and the memories will last forever (although I likely don't have much forever left).
Great piece, Bob
Bruce R Kilgour
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From: jayne doniger
Subject: Re: A Little More Oasis/Ticketmaster
In countries like Germany it's illegal to scalp tickets. You have to go through Eventim and the tickets need to be verified and sold at face value . I paid about $600 for GA tix for Taylor Swift in Gelsenkirchen from Stubhub and tix got transferred into my Eventim account. Tix face value was maybe $200 max . Stub hub got close to that in fees and the original buyer got a couple hundred. Better one was on eBay, you paid for the right to have the seller list it privately for you to purchase so you pay them whatever price and then pay a small fee on eventim.
There is always a way for the scalpers and the big guys to get around it.
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From: ED TOTH
Subject: Re: 74 Of '74
Doobie Brothers- What Were Once Vices Are Now Habits
Hands down, their best record. Didn't even make the list. (I know I'm preaching to the choir on this one)
Tower of Power - Back To Oakland
Quite possibly their best record as well (although i'm partial to the follow up "Urban Renewal") Also not on the list.
Graham Central Station - Release Yourself
I mean…. C'mon!
Ed Toth
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From: Martin Valentine
Subject: Re: Sherwood-Season 2
Hey Bob - I live in Nottinghamshire. The writing and acting is SO on the money in Sherwood - north of the city of Nottingham life really is like this and the people speak and act exactly like it's shown in the series.
Mercifully, nobody is actually talking about bringing mining back - in fact we've just closed the country's last coal power station here. Instead there's talk of a nuclear fusion reactor and now we have an inland Freeport, so the wealthy can dodge taxes to their heart's content.
We've already had the whole of season two, and it's a cracker. Still weird to see the room Tricia and I got married in used as a film set!
Martin
From: Ariel Levy
Subject: Re: Miami 2024
Glad you came to visit. At least for a little while.
It's sounds like you scraped the surface but the city is burgeoning. Expansion to the suburban sprawl of the Grove and Pinecrest now rivals Scarsdale and Long Island. For the first time Miami is no longer a boom/bust town but a city with multiple layers of residency, tourism, and business ventures. Stability has arrived and the governments are spending to improve the infrastructure and transportation (hopefully). Schools are great and culture is also just 20mins away wherever you go.
Safe Travels
-Ariel
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From: Mike Vial
Subject: Re: Slipknot, Deftones, Nu Metal Gen Z
Bob, as a teacher at an alternative high school in the Midwest, I can attest this statement about Nu Metal is true.
I see more young adults wearing Slipknot or Deftones t-shirts than Swift shirts in Ann Arbor right now— heck, I see more Deftones shirts in the halls at my school than when my friends saw Deftones at St. Andrews Hall in Detroit in the 90s!
Metallica shirts are fashion; Slipknot shirt wearers are true fans: "My dad likes the band! He took me to a concert." Live music converts.
The kids are alright.
Mike Vial
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From: Paul Rogers
Subject: Re: Nick Gravenites
Hey Bob, Thanks for the kind words for Nick. Back in the 90's I had the pleasure of playing a weekly gig with him in SF at the Chi-Chi Club on Broadway. Doug Kilmer ( Commander Cody) on bass, Roy Blumenfeld (Blues Project) and me "The Kid" on keys. Some nights there was just a handful of folks but Nick always delivered. The shows were a weekly lesson in the blues and the backstage banter was a joy to behold. Nick would hold court and regale us with stories from the old days with his inimitable dry humor. He also gave me my one and only golf lesson! Who knew? Rest well Nick.
Paul Rogers
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From: David Ehrlich
Subject: RE: Something Keeps Calling
Hi Bob:
Let me tell you a little more about Rob "Fonksta" Bacon. I was his manager for a few years during the 1990s. He's one of the most talented musicians I have ever met, and also a really nice guy.
Rob hails from Detroit, which is probably not surprising because you can hear some of the Motown-inspired riffs in his music. He came to LA in his early 20s and connected with a bunch of prominent West Coast rappers at that time. For example, a lot of the funky music you hear behind DJ Quik's records came from Rob Bacon. Also, he laid down that funky groove in Domino's hit "Ghetto Jam." Rob also had a record deal with Island Records during those days. It doesn't surprise me that you noticed Rob's guitar on "Something Keeps Calling." We would get that a lot of that back in the day, like, who is THAT guy, on some of the records he appeared on?
Although I haven't spoken to Rob in a long time, my understanding is that he continues to work with prominent producers and artists. It also does not surprise me that he connected with Raphael Saadiq and that they collaborated with each other on this song. Rob's guitar playing on that song has an Isley Brothers feel to it which makes it even that much more special. I'm happy he's listed as a "feature" on the song because he deserves it.
During the time I worked with Rob, he was very inspired by Parliament-Funkadelic, as well as Prince. Rob is a virtuoso on the guitar, as well as on bass, keyboards, and probably a few other instruments that I cannot recall.
Although certain musicians and artists in the music community know about him, it was nice of you to bring attention to him and his special talent.
Regards,
David M. Ehrlich
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From: Andrew Einhorn
Subject: Re: Oasis Won't Use Dynmic Pricing In The U.S.
Hi Bob the G wagon is an interesting example of market forces and scalping. In 2021 the g63 msrp was about 180k fully loaded and it was selling for 100 and even 150 over at times. Mercedes actually said they were not making the majority of v8 engine cars for 2022 which created even further hype. But in July 2022 the 2022 g63 came out and the msrp went up about 20k. The manufacturer saw the dealers making these huge markups so they bumped the price significantly, with zero changes in the model, to capture the money for themselves.
At this moment the 2025 G63 isn't out yet but the 2025 G550 came out recently with a v6 instead of v8 and demand has dropped dramatically and I see dealers selling them under msrp now.
Andrew
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Subject: Re: Ten Years Gone
Hello Bob!
I've been playing Led Zeppelin music now for twenty years. That number is especially shocking considering I am only thirty-six. ;-) And, after all this time, it's true that I might flip the dial, as it were, if "Rock and Roll" or "The Ocean" or "Stairway" were to drop into the Sirius queue. But, "Ten Years Gone?" Never! Never shall I turn away from that most magnificent composition. It is truly sublime in harmony, dynamics — light and shade — and of course, in the beauty of Page's guitar army, which resonates with sparkling perfection as if the weaving, sensuous lines were being played by a symphony of heavenly angels. Do I overstate my love for this song?
Indeed, the era of the album and the artist's intention of telling a story by means of the order of the tracks, is long dead. And yes, we who knew it, miss it dearly. Sadly, it is a lost art. I share your hope that younger artists will look to this "FM" music as inspiration for the creation of something new, or similar, or at least equally hefty. Until then, we will continue to listen to, and in my case, perform the stuff.
As you know, 2025 marks the 50th Anniversary of the release of "Physical Graffiti." To celebrate, we plan to play the album in its entirety at all of our concerts throughout 2025 — yes, all four sides and with only four people, which incidentally is a little insane and near impossible. Many of the songs have never even been performed by Led back in the day. So, why do it? Well, as much as I revere Led's first album — I agree with you there — PG has a unique magical quality and it has always been my (stubborn) dream to play it live. Yes, because of "Kashmir" and "In the Light." But, mostly because of "Ten Years Gone."
So, off we go in that lush garden! If we happen to make it to L.A. maybe I'll see you out there weeping along with me.
Rock on, Bob!
Steph Paynes
LEZ ZEPPELIN
All Girls. All Zeppelin
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From: Tim Trummer
Subject: Re: The Emerald Mile
In August of 1974 I went with two college friends on a 10-day non-powered rafting trip of the Grand Canyon, ending at Lake Mead. A plane went overhead each day to receive messages from the crew, but that was our only connection to the world for those ten days. Difficult to believe.
I'll tell you one thing. We would stop in advance of reaching a rapids every night, so we would start each new day in fast-moving water. We were told that if we wanted we could take the rapid in the water, not on the raft. I did this every day, and sometimes it was easy, and somedays I thought I was in real jeopardy. You wear shoes and a life jacket, but as the water dips and flows at high speed, sometimes you are sucked down into a hole and you think you are never coming up. If this happened 5 or 6 times in a row, even my twenty-year-old self was physically and emotionally exhausted, and I had to be helped back into the raft.
We also saw animals that we had never seen and would never see again. We saw side canyons carved by thousands of years of water flow. Wild, colorful vegetation grew in the side canyons, and it was so beautiful and remote that we didn't want to leave.
But it was the water and the pure power of its flow that provided the sense memory of the place. I will look at these books.
Tim
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Re: Clubs
I cut my teeth in clubs and they are the heart of cross-pollination for touring bands, but it is true that the paradigm has changed. I fear a world where only theaters and arenas make sense, but there are other more grass roots options. A lot of folks are hosting shows in rural areas and unconventional spaces. Back yards. Warehouses. Book shops. Often, these hosts are doing so for the love of it, and giving pretty much all the proceeds to the artists. Could this replace clubs as a playground for artists to cut their teeth? I don't know, but Side Door has paid out over $1.6m to artists over 1500 shows - everywhere from goat farms to autobody shops. 3k hosts and 11k artists now involved. I don't know if it's the solution but it is an option. Thx Bob
Dan Mangan
Co-Founder, Side Door
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Re: Clubs
I dunno Bob
As to the assertion there's no economic viability of small dive live music clubs and that there's a diminishing audience? Or that the clubs themselves cannot stay afloat? The fact is my two insignificant dive clubs (460 cap + 600 cap) in downtown Toronto, non aligned with LN or AEG, mom n pop owned and operated, (post COVID) had record profits! The problems you and others described don't exist!
So I can't speak as to what's occurring financially in the United Kingdom, Europe, or in the United States, with live music venues, and or in smaller secondary markets (as Toronto is a first rate live music city) but I think you jumped the gun transferring what may be a big issue overseas to propagating that the same situation exits world wide and in North America.
Our annual ticket sales don't fit the 'false' narrative, lol
In Toronto specifically COVID did in fact wipe out some local venues but b4 and after there is/was a GROWTH spurt here supported by a progressive city music office, city councillors who see live music venues as both a cultural incubator and a tourist attraction (which creates increased hotel and restaurant income) and our local government has enacted polices which encourages increased live music venue growth.
To that end a decade ago ex Councillor Josh Colle and I, with tremendous help from the major labels (Music Canada) and at the time Graham Henderson, Amy Terrill, & (NxNE) Mike Tanner and (Massey Hall) Jesse Kumagi, travelled to Austin, Texas to take a hard take look at what was at the time the only local Government live music office in the world - We copied it and enacted it in Toronto - And we quickly went to bat
for a 50% reduction in commercial property tax, something the city was giving to other key city cultural industry's.
Sure, it took like 6-7 years to get er done and a health crisis where our venues were shuttered for the most part of two years but our city councillors eventually passed the legislation - (At the same time we started the CLMA and other key live music advocacy groups)
60-65 clubs get the discount every year which was a way better solution to helping small clubs survive than say um letting them die - They (councillors) saw the common sense logic that allowing live music clubs to go under would really harm the cultural dynamic of our city but additionally create unemployment and a significant drop in hotel stays, restaurant spends, and folks out and about heading downtown -
And from my point of view commercial property tax relief was a simple solution to enact in comparison to what is being proposed in the UK
Can this be achieved in every North American City? It sure can! I'm fairly certain Josh, Mike, or I, would offer up our time in helping anyone out there to copy what we did in Toronto - I'll fly to the UK anytime (if invited) or anywhere in Europe or DC and help them organize and copy what we successfully did here
Small live music clubs do not have to die period - In fact the opposite can be achieved to help them grow and flourish into the 22nd century
Jeff Cohen (JC)
The Legendary Horseshoe Tavern
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Re: Clubs
Hi Bob,
I was in an act signed to Geffen. I still make music and we took our swing at bat in 1990-94. I was then the Production Manager at Key Club in LA for almost 10 years from '97-06.
What too many of your followers forget is that live music venues are in the food and beverage industry more than they are in the music industry. Music is just the hook. The battle between the talent buyer and management was always bringing in higher beverage numbers through well curated music.
I cut my teeth and played…as well as worked…in many famous LA clubs. Club Lingerie, Scream, Music Machine etc. Without these venues, my band could have never showcased our songs and musical abilities. There was no internet or social media in those days and live music was an integral part of young people's social fabric. Music was more important as a cultural force than now. The "industry" has shifted from monetizing ears to monetizing eyeballs. Data is king…not hooks, lyrics and the artists ability to make statements that people needed to hear in the relative void of expression that the Internet provides today.
Clubs were struggling before Covid and the shift to other cultural outlets away from their local venue that were seen as Petri dishes for a respiratory virus hasn't helped revive that sector of the food/beverage (music) business.
The reality is that before the Internet, there was no format to get a band or artist heard without a connected manager or attorney. To get to that level of representation and get your music in front of the A&R department, you needed to create a buzz on the street…be it in NY, LA or whatever city had some accredited purveyors of commercially promising music that spoke of the street buzz an artist was creating.
The hackneyed adage that girls wanted to see cute guys in bands and the boys would flock to where the girls are, which supported small clubs, has gone away.
Generating eyeballs through Tik Tok, YouTube and other platforms has replaced the small music venue as the fertile field that the folks who try to sell music go to harvest. Many of these now arena acts that have used home studios (that's another decimated sector) use digital tools to hide their flaws and use autotune and lip syncing to hide their weaknesses. It's forgiven and built into the business model now.
The whole model of "local band does live shows, books recording studio time, hands out demos, gets attention from commercial distributors" is gone. It's all done online now. The first thing any distributor, be them small or large, looks at today is followers
I still tour on my 15 minutes of fame in the EU and UK. It's the same exact situation over there. The whole previous model is dead and clubs are the casualties of that reality.
Ron Young
Little Caesar
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Re: Clubs
Bob,
I fell in love with live music the moment I stepped into an amazing live music venue in Columbia Missouri 900 ot years ago. Still to this date, my favorite place on earth is at the end of the bar at The Empty Bottle in Chicago's Ukrainian Village. With a nice beverage in hand, watching fellow music fans immersed in the live music experience still makes my heart sing.
Over the past 34 years we here at 16 On Center have built a pipeline from the Empty Bottle (my baby) (350 cap) to Space (300 cap), Promontory (500 Cap) to Thalia Hall (900 cap), to our newest room The Salt Shed (3500 / 5500 cap).
The Bottle Still books 349 days a year (down from 363), and I am glad to report that folks still come out to enjoy live music.
Over the last 3 years as the Salt Shed has become a reality, I have been fortunate to see quite a few of my favorite people / bands grace the Salt Shed stage. Quite a few have spent time playing each of our rooms, growing with us, and becoming part of our family.
Not only is the interest strong from a fan perspective, but I've seen continued interest from talented folks who want to work in the industry from door folks to production, sound people, to touring peeps. All incredibly important to the fabric and economy of the small club scene.
Now the crowds continue to change over the years, but the smiling faces as their favorite band hits the stage, still let us know that there will never be a substitute for the live musical experience.
Cheers!
Bruce Finkelman
16 On Center | Chicago, IL USA
16oncenterchicago.com
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Re: Clubs
If you don't play live, you don't really get to be good. You don't develop the skills to communicate musically as a band, and you don't develop the incentive to grow and expand your music. I know things are changing. I guess that's inevitable.
"Do I really want to hear some unsigned band playing original material, drowning out my conversation? ABSOLUTELY NOT!" That's the problem. People want music in a bar or club to be in the background. They don't want to be distracted from their smartphones or from the sporting event on the television. There are some advantages to that for musicians. Learn to develop guitar tone with your fingers and technique rather than through volume. Learn to get a crowd's attention by playing well. But live music depends on people paying focusing on your performance and musicians hone their skills by playing live.
Having said that, a lot of you say is wise and correct. And a lot of it comes down to the fact that there really isn't any music now that is truly innovative or ground breaking. It's true that grabbing people's attention is tough because there are so many screens and speakers and you can choose to hear whatever you want whenever you want. And it's also true that it's a rare, rare thing for a song to reach out to you and make you think, "I've never heard anything like this before."
Joe Taylor
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Re: Clubs
Here's my take (and some of this echoes what you said):
It's too expensive for the clubs.
Real estate (if you own) or leases (if you rent) is expensive (in places like London, its absurd). You've got to generate a lot of dough to cover the overhead, including employees whose compensation is on the rise. They are not making bank, but they are making more.
People are drinking less. Alcohol sales are a huge revenue stream for clubs. People are watching their money, paying more attention to their health, and staying out of the long arms of the law. Oh, and I almost forgot (because I'm high)….weed.
There are too many clubs. When artists began to lose revenue from album sales in the early 2,000s, it looked like touring and merch were the only available revenue streams for artists (music placement and other revenue opportunities were rare and less known). This was a boon for the live music industry, including festivals and clubs. Now, we have too many.
Mediocrity
There are too many mediocre artists. Music is easier to make and distribute than ever. And there are no producers or industry experts available to help acts develop. Musicians throw their product on stage (against the proverbial wall) and see if it sticks. Often, it does not. Sure, mediocre artists cost the club less money than paying for an established act, but when you weigh it against the cost to keep the lights on, the doors open, and the employees paid, well…you might as well close up shop.
Too expensive for musicians
It's expensive to tour. Lodging, gas, and food costs are tough expenses against paltry paydays from a club gig. I'm not saying the clubs are cheap (well, some are), but they can only pay so much after they account for their expenses. Door deals are becoming more common than guarantees and don't often include extra for lodging or meals. When you put half the burden of marketing on a band in a market they don't know, it can spiral further downward. Never mind that the time they spend marketing could be better used to become better music makers.
Social media. People can indeed experience music through their handheld video delivery machines. And it's easier and cheaper to do so. It's enough for a large segment of the music-consuming population. But it's not enough for me. The difference is enormous, in my opinion. But,
Listening to live music at clubs has become a secondary experience. We used to line up, get in the front row, and devour every guitar lick, vocal screech, heart-pounding decibel, and stage histrionics. Now, most clubs have a bar in the back of their tiny rooms, where ticket buyers hang out with their friends and talk loudly while the band plays in the background. Is it the band's fault for not capturing their attention? I used to think so. Not so much anymore. What it means is that ticket buyers can take or leave the band. They are more interested in taking pics or videos of the band and sharing them with their social networks to demonstrate how cool they are, not how good the band is. Part of the blame for this lies in social media zombie-ism, the ubiquity of product in the market, and too much disposable income to think that live music is the special experience it used to be.
What to do?
Musicians should focus on improving and letting the market take care of itself. Be better writers and performers, and love what you're doing. Get closer to humility and further away from entitlement. It's easier said than done. Music is subjective, but the market will respond when you're good.
Let the clubs fail. For that matter, take out half of the music festivals while you're at it. They are battling against the aforementioned economics and putting out a mediocre product. And don't force your alcohol on me.
Subsidize, but don't tax, good music. Art – all art, has been subsidized for thousands of years. Famous painters, sculptors, composers, and photographers, would never have seen the light of day without their generous patrons. The National Independent Venue Foundation was a good idea that helped rescue dying venues during CoVid. But that was a band-aid. There needs to be dedicated funders (fans included, although they are doing their part by buying tickets and merch) There needs to be bravey and strategy, incubators, consultants, venue ladders, and …..
Curators. Yes, music is subjective. But someone has to tell Marty (insert random musician name here) that he should be a plumber, not a musician. More importantly, we need someone to tell Mary she has a chance if she does this, this, and this. Radio DJs used to be curators (some still are – thanks 105.5), but algorithm music distribution is not where you find the good sh*t. Nobody wants to have these hard conversations because someone's feelings might get hurt.
Make art and support art. It's the better part of our nature. It's evolved and it's healing. And in this day and time, it could save us.
Tom Scharf
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From: TOM TWIN
Subject: Re: Israel/Hezbollah/Iran/Gaza
Hey Bob,
Thanks a ton for your clarity – you really nailed it. The part where you talked about the blurred lines between Zionists and Jews hit home for me in a big way. It took me back to a story my great-grandfather used to tell, and though I was just a kid when I heard it, it stuck with me.
My great-grandfather was a cantor in Hungary back in the 1930s, but he wasn't just any cantor – he was such an incredible singer that he landed a spot as the first tenor at the Budapest Opera House. And in my family, they always said that was the equivalent of being a rock star back then.
He was in his late 20s, no wife, no kids – pretty unusual for that time, but he was this free-spirited, real "artist" kind of guy. He used to hang out with a crew of writers, actors, philosophers, and musicians, throwing these dinner parties where they'd get drunk and debate the day's hot topics.
As the Nazis started gaining momentum, their conversations naturally shifted to that. At first, the group was mostly in shock, cracking little jokes about it. But over time, my great-grandfather started feeling uneasy around his so-called friends. Turns out, a lot of them were quietly backing Hitler and Germany, coming up with all kinds of excuses for why it was a "good" thing. They'd always reassure him, though, saying it wasn't about him – he was a "good Jew."
But my great-grandfather saw the writing on the wall early. He packed up and left before it was too late, got on a ship to Palestine, and dodged the war altogether. He built a family there and never stopped singing.
Now, here I am, playing guitar in a rock band. We're not massive, but we get by – some airplay, plenty of touring. That's how I make a living. My circle today? Musicians, writers, influencers – all kinds of creatives. And we too have those dinner parties, we're talking about the state of the world while getting drunk and high.
Over the past year, though, I've been shocked by the hate I've heard coming from people I once called friends – even some of my bandmates. It's hard to even function normally anymore, and I can't shake the feeling that maybe I need to follow in my great-grandfather's footsteps and leave Canada behind.
Thanks again for your letters. It's comforting to know I'm not the only one feeling this way.
Cheers,
-TOm
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Subject: Libby
Christ on a bicycle Bob, I've got enough stories about Libby Titus to fill a stadium, but half of them are too wild to tell, and the other half… well, they're even wilder.
Andy Newmark's comment (hey Andy!) sparked a memory for me.
I first crossed paths with her at Doc Pomus' table—tucked just behind the railing—at the Lonestar, where he presided over the evening like a Buddha with a cigar. I was behind the kit for the San Francisco All Stars: Nick Gravenites, John Cipollina, Harvey Brooks, and me. Buddy Miles was either in jail or headed there, so they threw me in. I'll never forget the slow drawl of my darling, Mac Rebennack—Dr. John to the uninitiated—when he introduced her. "This here's Princess Libby," he said, dragging out the syllables like they were floating down the Mississippi. Then, in that hushed, conspiratorial tone of his, he whispered in my ear, "I think she may have a bi-polar bear dis-odor."
What the hell does that even mean? Didn't matter. When Dr. John says it, you just nod along, like it's the secret of the universe. And Libby, standing there like she'd just blown in from some unholy cocktail party of royalty and rock 'n' roll, didn't even need an introduction. She was the kind of woman who walked into a room, and all the oxygen left.
It was like watching two lightning bolts have a conversation. You knew from minute one that these two were going to tear each other apart, but hell if it wasn't going to be interesting to watch.
Later, I caught up with them in L.A. They'd gotten a house together—God knows how that didn't end in flames—and Mac played me this new tune he was tinkering with: "Lonely Girl, Living in a World of Dreams." We recorded it years later in New York, though the only copy of it I had is probably decomposing in the trunk of some wrecked cab in a junkyard in the Bronx by now. But I still remember it, every note.
By '85, the dust had settled. Libby and Mac cleaned up (as did I.) They sobered up and, of course, broke up. Libby floated through my life in fits and starts after that—at first, a fleeting glimpse across some dive bar, then eventually we became friends. Proper friends.
Now, there are so many Libby stories, and each one's got more layers than a Russian novel, but here's one I think you will get a kick out of.
In the early 90s, my buddy Jimmy Vivino and I put together a band. Tuesdays, Upper East Side, a joint called Hades. We called it The Little Big Band, and we stacked it with our dream lineup: Harvey Brooks, Catherine Russell, Bones Malone, Ronnie Cuber, Jeffrey Young… these were the cats you'd know, only if you were a muso. To me, they were legends, every last one of them.
It became the spot. Tuesday nights, no pressure. BB King covers to kick it off, some soul, some rockin' blues, and then we'd buckle up and see where the music led us. One night, in walks Donald Fagen. With Libby. And Phoebe Snow.
Donald had been on the down-low for years, hadn't touched a stage in ages. He got up there, the crowd started buzzzing, and just like that, Tuesday nights became the best-kept secret in the city. Libby, meanwhile, was all over the place, dating Donald, promoting gigs at the Lone Star, doing her rock 'n' roll princess routine. Phoebe Snow, Michael McDonald, Boz Scaggs, Rick Danko—they all came through to jam. It was like the ghosts of rock 'n' roll past came out to play, only these ghosts weren't done living.
And then it happened: Walter Becker. The elusive, enigmatic, half of Steely Dan. He hadn't set foot on a stage with Donald in nearly two decades. But there he was, in the crowd. Vivino, bless his audacity, grabbed the mic and said, "Anybody wanna hear Walter Becker sit in?"
The room stopped. Like, stopped. And then it roared.
You could feel it—the energy in that room, like the planets had aligned for a second, just for us. Steely Dan, together again, right there at Hades on a random Tuesday night. And it was all Libby's doing. She had pulled these wild, disparate threads together into one impossibly perfect moment.
Libby was… well, hell, she was Libby. A force. A storm. Smart as a whip, cruel as being dope sick, and funnier than anyone has the right to be. She could make you feel like a king one minute, and then rip you apart with a smile the next. But you'd thank her for it. Every damn time.
I'm sorry for your loss Donald… and Amy.
Shine on, Libby. We were lucky. You made the chaos a little brighter, you would be so happy to know, you'll be missed more than you could ever imagine.
xoxo
GG
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Subject: Re: 74 Of '74
Got my first speeding ticket on Route 17 headed to Binghamton while listening to "Movin' On"!
Bob Levy
For an interesting exercise, compare this 50-years-after-the-fact list with the Top Album list Rolling Stone actually issued in 1974. The original list had jazz or jazz-fusion albums in each of the top five spots. In this list, the top-rated jazz album is Miles Davis at 32 - and Miles wasn't in those original Top 5, which was dominated by Miles-alumni. The original Top 5 are also nowhere on this list.
There's nothing wrong with some critical re-evaluation after 50 years, but that evaluation should be done by people who lived through it.
https://www.albumoftheyear.org/ratings/35-rolling-stone-highest-rated/1974/1
Charles McGarry
Dallas, Texas
(Note: Bad Company's debut is #46 on this list. Jackson Browne's "Late For the Sky" is #10. New York Dolls' "Too Much Too Soon" is #36. David Bowie's "Diamond Dogs" is #88. KISS is #101. Eric Clapton's "461 Ocean Boulevard," considered a comeback record and a huge commercial success, is #13 on the original list, not evident anywhere on today's list. But the piece-de-resistance, the absolute worst omission from today's list, is ELO's "Eldorado," their true breakthrough album after they made inroads on FM previously with "Showdown." "Eldorado" is #42 on the original list, I couldn't get it out of my head back then, it's the best work ELO ever did and the mainstream's true introduction to Jeff Lynne. But it's nowhere to be seen on today's list. And just one final item and then I'll go. Jimmy Buffett's "A1A" is #22 on the original list and "Living and Dying in 3/4 Time" is #41. "A1" contains "A Pirate Looks at Forty," more memorable than so much of the work on the modern list. And these two albums were released BEFORE "Margaritaville." But Jimmy Buffett built an empire; regular, average people went to his shows, up until the moment he died; therefore he must be decried by the self-described cognoscenti. Hell, I'll go one step further, "Boston" is one of the greatest albums ever made, eminently playable back then, just as fresh and heartwarming today...I play "Foreplay/Long Time" all the time. But since it was a smash on the radio, we must state that it's beaten in the canon by mediocre stuff like Lou Reed's "Sally Can't Dance," which I bought when it was released and liked. God, the rock establishment is just like the Democratic party, holier-than-thou and out of touch.)
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From: Phil Brown
Subject: RE: 74 Of '74
Back when I was a mastering engineer I mastered Time Fades Away, On The Beach, Zuma, Tonight's The Night, Stars And Bars and Decade. And while On The Beach has some of my favorite Neil songs-See The Sky, For The Turnstiles-in this period I don't get it.
Phil Brown
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From: Wendy Waldman
Subject: Re: Libby Titus
Libby and I were very close many years ago and ran around LA together during a particularly crazy time in both of our lives.
We met through Maria Muldaur.
I wrote "Long Hot Summer Nights" about Libby and me-we loved each other, had a lot of fun, wrote songs together, and I even cut some things on her that were not released.
She was a delightful, brilliant, one-of-a-kind human being, a rare bird indeed.
She was also visually one of the most stunning and original women I've ever known.
I saw her in New York years later before she connected with Fagen, when she was working at Henri Bendel (of course, those who knew her would say!) in the fur department, elegant and marvelous as ever whether she was rich or poor.
Complex and authentic. Beautiful, troubled, sweet.
Very sad to hear this.
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Subject: RE: Libby Titus
Hi Bob,
I was a student at Bard College at the same time as Libby Titus (then Libby Jurist). It was certainly a magic time and place. My brother Terence and I were housed in a dorm called Potter Hall, and Libby was in our circle of friends, which included Donald Fagen and Walter Becker, Blythe Danner, Chevy Chase, and quite a few others. We all played in various campus bands at the time. On at least two occasions, Bob Dylan, in the famous blue Ford station wagon, would come by and sit around swapping songs with us. Sitting on the foot of my bed, playing my old Gibson acoustic, he sang a song he had just written, "It's Alright, Ma, I'm Only Bleeding." Libby knew him quite well from Woodstock, her home town. Her father owned a rare sports car dealership in Nyack.
Libby had a beautiful soprano voice and I often played guitar behind her, usually covering Judy Collins material. Her boyfriend and later husband, Barry Titus, an heir to the Helena Rubinstein fortune, was a frequent weekend visitor. She left school to marry him, but we all stayed friendly in New York City afterwards.
I kept in touch with her sporadically over the years, through the many changes in her life, especially when I produced her song, "Love Has No Pride," with Linda Ronstadt. When Columbia released her album, we all attended a lavish showcase for it at the Beverly Hills Hotel. I last saw her at a party at my sister's apartment in Manhattan many years ago. She was a very special person. I will miss her.
Best,
John Boylan
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From: Eddie Trunk
Subject: Re: The New Billy Squier Track
Hey Bob
I am a massive Billy Squier fan and I'm the one guy who he did do an interview with a year ago for the original version of the song. I had Billy live on my SiriusXM show for about an hour. I premiered this track and we discussed the song, where he's at these days, and of course pushed him to do more and play some shows. He has not toured in ages and as we all know you are nowhere if not on the road.
I am grateful Billy let me premiere the song but he pretty much did nothing else to promote it. No other SiriusXM shows or anything else at all.
Billy seems to have really soured on anything related to the music business. But he also did well as the sole songwriter of most of his music and the most sampled rock artist in hip hop . Ironically the song Jay Z , Eminem and others have taken from is not on Don't Say No. It's a track called "The Big Beat" from his solo debut Tale Of The Tape (also a great album !). So he doesn't need to do anything. But he does want to at least in some way keep pushing out this one track it seems.
When looking at his career so much focus is on Don't Say No, but I think many forget the next couple albums were also big and made him an arena headliner with songs like Everybody Wants You, Rock Me Tonight (despite the damage from the video the song and video were huge in '84) and others. In my view he never made a bad album and remains a favorite of mine. The 2 Piper albums I also love.
I wish he'd get more active. Especially judging by how great he sounds on this track. But then again I'd rather have the memories than a favorite artist going through the motions. Anyone want to hear the interview we did it's on my podcast free worldwide and also on the SiriusXM app. Best regards.
Eddie Trunk
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From: Hank Barry
Subject: Quincy Jones
I picked up the phone at Napster and the caller said "Hi, this is Q, Quincy Jones. I have been looking for 20 years for a Dizzy Gillespie record called 'Manteca' ". Is that on Napster? I put him on the speaker, did a search and started the stream. Within about 15 seconds "Manteca" was playing. He said "ok I can help you with this."
And he followed through. Arranged a coffee with then ASCAP president Marilyn Bergman at her house, organized a meeting in his basement of traditional and internet music types called the "Paradigm Shift," complete with a facilitator who made notes in cartoons (met Bob Ezrin!).
We had a breakfast (11 a.m.) at the Fairmont Hotel in SF. When Sen. Hatch surprised me with a call ("hey you're with Quincy - put me on the speakerphone"). Sen. Hatch spent most of the time asking Quincy about the demos he had sent.
In the main hall at Davos, I walked up to Thomes Middelhoff (then head of Bertelsmann) and some other execs. They said "hey Hank let us introduce you". Quincy said "aw I know this guy" and gave me a big hug.
On discovering that he had called on my daughter Emily's birthday, he sang "Happy Birthday" to her.
For all the unexpected courtesy and kindness, I am very grateful.
Hank
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From: Don Rose
Subject: Re: Charge What The Tickets Are Worth
Hey Bob!
Your readers are fast! I was alerted to this shout out by an old chum from my hometown before I could even open my own Inbox.
So thanks for the mention. Aside from the music, of course, I've often reflected that the Rykodisc-led 'Ban The Box' campaign was at the top of things for which I'm proudest about Ryko.
For the record, the initiative and real passion for the project came from my partner Rob Simonds for whom social activism was core to his being. I'm just pleased that I can say I was 100% supportive of Rob's brainchild and the commitment of company resources to the cause.
This included the expenditure of a dedicated six-figure marketing campaign and the cohones to stand up to our friends at Tower Records, who at the time was our largest customer (representing more than 20% of revenues). As the partner leading the Ryko sales effort, let's just say that Rob took a lot of 'incoming.'
With the additional support of many other labels and especially artists- including certain major label big names- we were successful both from the standpoint of environmental impact (the waste cardboard bordered on the grotesque) and restoring some overall perception of the industry as decent stewards of sustainability.
This evolution led to more creative 5x5 packaging (a good thing, as Martha Stewart might say) including our own twist, the trademarked 'Coke bottle green' jewel box as a brand differentiator.
Thanks again for remembering; Bob, you made my day. (Thanks also to Chris Randall for the sharp eye!)
-Don Rose
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From: Jeff Rougvie
Subject: Re: Charge What The Tickets Are Worth
Bob,
Thanks for bringing up Rykodisc and lost music history; these topics dovetail with some ideas I've been hoping to engage with you on.
I worked at the label for nearly 20 years. Don Rose was indeed the President, and while an ardent supporter of the "Ban The Box" campaign, it was his partner and brother-in-law, Rob Simonds, who really drove the movement. Rob engaged the PR firm, coaxed the artists who needed coaxing, and took the battle to music retail who whined about it like pathetic babies, Tower being the worst. Little-known fact; the real pull to keep the useless and wasteful longbox came from the majors, who had guaranteed volume contracts with cardboard packaging manufacturers that they were afraid to break. Ryko was happy to lose it and the associated costs, as every label should've been. No one reported a meaningful rise in pilferage after the box went away and Ryko, at least, passed the savings on to retailers, who should've in turn passed it on to the consumer.
Keep up the great work!
Best,
Jeff Rougvie
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From: Bruce R Kilgour
Subject: RE: Charge What The Tickets Are Worth
1
As a retail executive from 1984 – 2007 (Licorice Pizza / Sam Goody / Musicland / Virgin / Trans World), your first few paragraphs brought back memories.
It took us weeks to convert the LP bins to accommodate CDs… and the "cassette wall" – what a nightmare.
Watching customers immediately rip apart and dump the longboxes in the trash can outside the front door always irked the "collector" in me.
2
I saw the Rolling Stones five times in 2024, and probably spent over $4000 doing so. It was worth every penny, and the memories will last forever (although I likely don't have much forever left).
Great piece, Bob
Bruce R Kilgour
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From: jayne doniger
Subject: Re: A Little More Oasis/Ticketmaster
In countries like Germany it's illegal to scalp tickets. You have to go through Eventim and the tickets need to be verified and sold at face value . I paid about $600 for GA tix for Taylor Swift in Gelsenkirchen from Stubhub and tix got transferred into my Eventim account. Tix face value was maybe $200 max . Stub hub got close to that in fees and the original buyer got a couple hundred. Better one was on eBay, you paid for the right to have the seller list it privately for you to purchase so you pay them whatever price and then pay a small fee on eventim.
There is always a way for the scalpers and the big guys to get around it.
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From: ED TOTH
Subject: Re: 74 Of '74
Doobie Brothers- What Were Once Vices Are Now Habits
Hands down, their best record. Didn't even make the list. (I know I'm preaching to the choir on this one)
Tower of Power - Back To Oakland
Quite possibly their best record as well (although i'm partial to the follow up "Urban Renewal") Also not on the list.
Graham Central Station - Release Yourself
I mean…. C'mon!
Ed Toth
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From: Martin Valentine
Subject: Re: Sherwood-Season 2
Hey Bob - I live in Nottinghamshire. The writing and acting is SO on the money in Sherwood - north of the city of Nottingham life really is like this and the people speak and act exactly like it's shown in the series.
Mercifully, nobody is actually talking about bringing mining back - in fact we've just closed the country's last coal power station here. Instead there's talk of a nuclear fusion reactor and now we have an inland Freeport, so the wealthy can dodge taxes to their heart's content.
We've already had the whole of season two, and it's a cracker. Still weird to see the room Tricia and I got married in used as a film set!
Martin
From: Ariel Levy
Subject: Re: Miami 2024
Glad you came to visit. At least for a little while.
It's sounds like you scraped the surface but the city is burgeoning. Expansion to the suburban sprawl of the Grove and Pinecrest now rivals Scarsdale and Long Island. For the first time Miami is no longer a boom/bust town but a city with multiple layers of residency, tourism, and business ventures. Stability has arrived and the governments are spending to improve the infrastructure and transportation (hopefully). Schools are great and culture is also just 20mins away wherever you go.
Safe Travels
-Ariel
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From: Mike Vial
Subject: Re: Slipknot, Deftones, Nu Metal Gen Z
Bob, as a teacher at an alternative high school in the Midwest, I can attest this statement about Nu Metal is true.
I see more young adults wearing Slipknot or Deftones t-shirts than Swift shirts in Ann Arbor right now— heck, I see more Deftones shirts in the halls at my school than when my friends saw Deftones at St. Andrews Hall in Detroit in the 90s!
Metallica shirts are fashion; Slipknot shirt wearers are true fans: "My dad likes the band! He took me to a concert." Live music converts.
The kids are alright.
Mike Vial
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From: Paul Rogers
Subject: Re: Nick Gravenites
Hey Bob, Thanks for the kind words for Nick. Back in the 90's I had the pleasure of playing a weekly gig with him in SF at the Chi-Chi Club on Broadway. Doug Kilmer ( Commander Cody) on bass, Roy Blumenfeld (Blues Project) and me "The Kid" on keys. Some nights there was just a handful of folks but Nick always delivered. The shows were a weekly lesson in the blues and the backstage banter was a joy to behold. Nick would hold court and regale us with stories from the old days with his inimitable dry humor. He also gave me my one and only golf lesson! Who knew? Rest well Nick.
Paul Rogers
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From: David Ehrlich
Subject: RE: Something Keeps Calling
Hi Bob:
Let me tell you a little more about Rob "Fonksta" Bacon. I was his manager for a few years during the 1990s. He's one of the most talented musicians I have ever met, and also a really nice guy.
Rob hails from Detroit, which is probably not surprising because you can hear some of the Motown-inspired riffs in his music. He came to LA in his early 20s and connected with a bunch of prominent West Coast rappers at that time. For example, a lot of the funky music you hear behind DJ Quik's records came from Rob Bacon. Also, he laid down that funky groove in Domino's hit "Ghetto Jam." Rob also had a record deal with Island Records during those days. It doesn't surprise me that you noticed Rob's guitar on "Something Keeps Calling." We would get that a lot of that back in the day, like, who is THAT guy, on some of the records he appeared on?
Although I haven't spoken to Rob in a long time, my understanding is that he continues to work with prominent producers and artists. It also does not surprise me that he connected with Raphael Saadiq and that they collaborated with each other on this song. Rob's guitar playing on that song has an Isley Brothers feel to it which makes it even that much more special. I'm happy he's listed as a "feature" on the song because he deserves it.
During the time I worked with Rob, he was very inspired by Parliament-Funkadelic, as well as Prince. Rob is a virtuoso on the guitar, as well as on bass, keyboards, and probably a few other instruments that I cannot recall.
Although certain musicians and artists in the music community know about him, it was nice of you to bring attention to him and his special talent.
Regards,
David M. Ehrlich
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From: Andrew Einhorn
Subject: Re: Oasis Won't Use Dynmic Pricing In The U.S.
Hi Bob the G wagon is an interesting example of market forces and scalping. In 2021 the g63 msrp was about 180k fully loaded and it was selling for 100 and even 150 over at times. Mercedes actually said they were not making the majority of v8 engine cars for 2022 which created even further hype. But in July 2022 the 2022 g63 came out and the msrp went up about 20k. The manufacturer saw the dealers making these huge markups so they bumped the price significantly, with zero changes in the model, to capture the money for themselves.
At this moment the 2025 G63 isn't out yet but the 2025 G550 came out recently with a v6 instead of v8 and demand has dropped dramatically and I see dealers selling them under msrp now.
Andrew
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Subject: Re: Ten Years Gone
Hello Bob!
I've been playing Led Zeppelin music now for twenty years. That number is especially shocking considering I am only thirty-six. ;-) And, after all this time, it's true that I might flip the dial, as it were, if "Rock and Roll" or "The Ocean" or "Stairway" were to drop into the Sirius queue. But, "Ten Years Gone?" Never! Never shall I turn away from that most magnificent composition. It is truly sublime in harmony, dynamics — light and shade — and of course, in the beauty of Page's guitar army, which resonates with sparkling perfection as if the weaving, sensuous lines were being played by a symphony of heavenly angels. Do I overstate my love for this song?
Indeed, the era of the album and the artist's intention of telling a story by means of the order of the tracks, is long dead. And yes, we who knew it, miss it dearly. Sadly, it is a lost art. I share your hope that younger artists will look to this "FM" music as inspiration for the creation of something new, or similar, or at least equally hefty. Until then, we will continue to listen to, and in my case, perform the stuff.
As you know, 2025 marks the 50th Anniversary of the release of "Physical Graffiti." To celebrate, we plan to play the album in its entirety at all of our concerts throughout 2025 — yes, all four sides and with only four people, which incidentally is a little insane and near impossible. Many of the songs have never even been performed by Led back in the day. So, why do it? Well, as much as I revere Led's first album — I agree with you there — PG has a unique magical quality and it has always been my (stubborn) dream to play it live. Yes, because of "Kashmir" and "In the Light." But, mostly because of "Ten Years Gone."
So, off we go in that lush garden! If we happen to make it to L.A. maybe I'll see you out there weeping along with me.
Rock on, Bob!
Steph Paynes
LEZ ZEPPELIN
All Girls. All Zeppelin
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From: Tim Trummer
Subject: Re: The Emerald Mile
In August of 1974 I went with two college friends on a 10-day non-powered rafting trip of the Grand Canyon, ending at Lake Mead. A plane went overhead each day to receive messages from the crew, but that was our only connection to the world for those ten days. Difficult to believe.
I'll tell you one thing. We would stop in advance of reaching a rapids every night, so we would start each new day in fast-moving water. We were told that if we wanted we could take the rapid in the water, not on the raft. I did this every day, and sometimes it was easy, and somedays I thought I was in real jeopardy. You wear shoes and a life jacket, but as the water dips and flows at high speed, sometimes you are sucked down into a hole and you think you are never coming up. If this happened 5 or 6 times in a row, even my twenty-year-old self was physically and emotionally exhausted, and I had to be helped back into the raft.
We also saw animals that we had never seen and would never see again. We saw side canyons carved by thousands of years of water flow. Wild, colorful vegetation grew in the side canyons, and it was so beautiful and remote that we didn't want to leave.
But it was the water and the pure power of its flow that provided the sense memory of the place. I will look at these books.
Tim
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Re: Clubs
I cut my teeth in clubs and they are the heart of cross-pollination for touring bands, but it is true that the paradigm has changed. I fear a world where only theaters and arenas make sense, but there are other more grass roots options. A lot of folks are hosting shows in rural areas and unconventional spaces. Back yards. Warehouses. Book shops. Often, these hosts are doing so for the love of it, and giving pretty much all the proceeds to the artists. Could this replace clubs as a playground for artists to cut their teeth? I don't know, but Side Door has paid out over $1.6m to artists over 1500 shows - everywhere from goat farms to autobody shops. 3k hosts and 11k artists now involved. I don't know if it's the solution but it is an option. Thx Bob
Dan Mangan
Co-Founder, Side Door
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Re: Clubs
I dunno Bob
As to the assertion there's no economic viability of small dive live music clubs and that there's a diminishing audience? Or that the clubs themselves cannot stay afloat? The fact is my two insignificant dive clubs (460 cap + 600 cap) in downtown Toronto, non aligned with LN or AEG, mom n pop owned and operated, (post COVID) had record profits! The problems you and others described don't exist!
So I can't speak as to what's occurring financially in the United Kingdom, Europe, or in the United States, with live music venues, and or in smaller secondary markets (as Toronto is a first rate live music city) but I think you jumped the gun transferring what may be a big issue overseas to propagating that the same situation exits world wide and in North America.
Our annual ticket sales don't fit the 'false' narrative, lol
In Toronto specifically COVID did in fact wipe out some local venues but b4 and after there is/was a GROWTH spurt here supported by a progressive city music office, city councillors who see live music venues as both a cultural incubator and a tourist attraction (which creates increased hotel and restaurant income) and our local government has enacted polices which encourages increased live music venue growth.
To that end a decade ago ex Councillor Josh Colle and I, with tremendous help from the major labels (Music Canada) and at the time Graham Henderson, Amy Terrill, & (NxNE) Mike Tanner and (Massey Hall) Jesse Kumagi, travelled to Austin, Texas to take a hard take look at what was at the time the only local Government live music office in the world - We copied it and enacted it in Toronto - And we quickly went to bat
for a 50% reduction in commercial property tax, something the city was giving to other key city cultural industry's.
Sure, it took like 6-7 years to get er done and a health crisis where our venues were shuttered for the most part of two years but our city councillors eventually passed the legislation - (At the same time we started the CLMA and other key live music advocacy groups)
60-65 clubs get the discount every year which was a way better solution to helping small clubs survive than say um letting them die - They (councillors) saw the common sense logic that allowing live music clubs to go under would really harm the cultural dynamic of our city but additionally create unemployment and a significant drop in hotel stays, restaurant spends, and folks out and about heading downtown -
And from my point of view commercial property tax relief was a simple solution to enact in comparison to what is being proposed in the UK
Can this be achieved in every North American City? It sure can! I'm fairly certain Josh, Mike, or I, would offer up our time in helping anyone out there to copy what we did in Toronto - I'll fly to the UK anytime (if invited) or anywhere in Europe or DC and help them organize and copy what we successfully did here
Small live music clubs do not have to die period - In fact the opposite can be achieved to help them grow and flourish into the 22nd century
Jeff Cohen (JC)
The Legendary Horseshoe Tavern
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Re: Clubs
Hi Bob,
I was in an act signed to Geffen. I still make music and we took our swing at bat in 1990-94. I was then the Production Manager at Key Club in LA for almost 10 years from '97-06.
What too many of your followers forget is that live music venues are in the food and beverage industry more than they are in the music industry. Music is just the hook. The battle between the talent buyer and management was always bringing in higher beverage numbers through well curated music.
I cut my teeth and played…as well as worked…in many famous LA clubs. Club Lingerie, Scream, Music Machine etc. Without these venues, my band could have never showcased our songs and musical abilities. There was no internet or social media in those days and live music was an integral part of young people's social fabric. Music was more important as a cultural force than now. The "industry" has shifted from monetizing ears to monetizing eyeballs. Data is king…not hooks, lyrics and the artists ability to make statements that people needed to hear in the relative void of expression that the Internet provides today.
Clubs were struggling before Covid and the shift to other cultural outlets away from their local venue that were seen as Petri dishes for a respiratory virus hasn't helped revive that sector of the food/beverage (music) business.
The reality is that before the Internet, there was no format to get a band or artist heard without a connected manager or attorney. To get to that level of representation and get your music in front of the A&R department, you needed to create a buzz on the street…be it in NY, LA or whatever city had some accredited purveyors of commercially promising music that spoke of the street buzz an artist was creating.
The hackneyed adage that girls wanted to see cute guys in bands and the boys would flock to where the girls are, which supported small clubs, has gone away.
Generating eyeballs through Tik Tok, YouTube and other platforms has replaced the small music venue as the fertile field that the folks who try to sell music go to harvest. Many of these now arena acts that have used home studios (that's another decimated sector) use digital tools to hide their flaws and use autotune and lip syncing to hide their weaknesses. It's forgiven and built into the business model now.
The whole model of "local band does live shows, books recording studio time, hands out demos, gets attention from commercial distributors" is gone. It's all done online now. The first thing any distributor, be them small or large, looks at today is followers
I still tour on my 15 minutes of fame in the EU and UK. It's the same exact situation over there. The whole previous model is dead and clubs are the casualties of that reality.
Ron Young
Little Caesar
__________________________________
Re: Clubs
Bob,
I fell in love with live music the moment I stepped into an amazing live music venue in Columbia Missouri 900 ot years ago. Still to this date, my favorite place on earth is at the end of the bar at The Empty Bottle in Chicago's Ukrainian Village. With a nice beverage in hand, watching fellow music fans immersed in the live music experience still makes my heart sing.
Over the past 34 years we here at 16 On Center have built a pipeline from the Empty Bottle (my baby) (350 cap) to Space (300 cap), Promontory (500 Cap) to Thalia Hall (900 cap), to our newest room The Salt Shed (3500 / 5500 cap).
The Bottle Still books 349 days a year (down from 363), and I am glad to report that folks still come out to enjoy live music.
Over the last 3 years as the Salt Shed has become a reality, I have been fortunate to see quite a few of my favorite people / bands grace the Salt Shed stage. Quite a few have spent time playing each of our rooms, growing with us, and becoming part of our family.
Not only is the interest strong from a fan perspective, but I've seen continued interest from talented folks who want to work in the industry from door folks to production, sound people, to touring peeps. All incredibly important to the fabric and economy of the small club scene.
Now the crowds continue to change over the years, but the smiling faces as their favorite band hits the stage, still let us know that there will never be a substitute for the live musical experience.
Cheers!
Bruce Finkelman
16 On Center | Chicago, IL USA
16oncenterchicago.com
__________________________________
Re: Clubs
If you don't play live, you don't really get to be good. You don't develop the skills to communicate musically as a band, and you don't develop the incentive to grow and expand your music. I know things are changing. I guess that's inevitable.
"Do I really want to hear some unsigned band playing original material, drowning out my conversation? ABSOLUTELY NOT!" That's the problem. People want music in a bar or club to be in the background. They don't want to be distracted from their smartphones or from the sporting event on the television. There are some advantages to that for musicians. Learn to develop guitar tone with your fingers and technique rather than through volume. Learn to get a crowd's attention by playing well. But live music depends on people paying focusing on your performance and musicians hone their skills by playing live.
Having said that, a lot of you say is wise and correct. And a lot of it comes down to the fact that there really isn't any music now that is truly innovative or ground breaking. It's true that grabbing people's attention is tough because there are so many screens and speakers and you can choose to hear whatever you want whenever you want. And it's also true that it's a rare, rare thing for a song to reach out to you and make you think, "I've never heard anything like this before."
Joe Taylor
__________________________________
Re: Clubs
Here's my take (and some of this echoes what you said):
It's too expensive for the clubs.
Real estate (if you own) or leases (if you rent) is expensive (in places like London, its absurd). You've got to generate a lot of dough to cover the overhead, including employees whose compensation is on the rise. They are not making bank, but they are making more.
People are drinking less. Alcohol sales are a huge revenue stream for clubs. People are watching their money, paying more attention to their health, and staying out of the long arms of the law. Oh, and I almost forgot (because I'm high)….weed.
There are too many clubs. When artists began to lose revenue from album sales in the early 2,000s, it looked like touring and merch were the only available revenue streams for artists (music placement and other revenue opportunities were rare and less known). This was a boon for the live music industry, including festivals and clubs. Now, we have too many.
Mediocrity
There are too many mediocre artists. Music is easier to make and distribute than ever. And there are no producers or industry experts available to help acts develop. Musicians throw their product on stage (against the proverbial wall) and see if it sticks. Often, it does not. Sure, mediocre artists cost the club less money than paying for an established act, but when you weigh it against the cost to keep the lights on, the doors open, and the employees paid, well…you might as well close up shop.
Too expensive for musicians
It's expensive to tour. Lodging, gas, and food costs are tough expenses against paltry paydays from a club gig. I'm not saying the clubs are cheap (well, some are), but they can only pay so much after they account for their expenses. Door deals are becoming more common than guarantees and don't often include extra for lodging or meals. When you put half the burden of marketing on a band in a market they don't know, it can spiral further downward. Never mind that the time they spend marketing could be better used to become better music makers.
Social media. People can indeed experience music through their handheld video delivery machines. And it's easier and cheaper to do so. It's enough for a large segment of the music-consuming population. But it's not enough for me. The difference is enormous, in my opinion. But,
Listening to live music at clubs has become a secondary experience. We used to line up, get in the front row, and devour every guitar lick, vocal screech, heart-pounding decibel, and stage histrionics. Now, most clubs have a bar in the back of their tiny rooms, where ticket buyers hang out with their friends and talk loudly while the band plays in the background. Is it the band's fault for not capturing their attention? I used to think so. Not so much anymore. What it means is that ticket buyers can take or leave the band. They are more interested in taking pics or videos of the band and sharing them with their social networks to demonstrate how cool they are, not how good the band is. Part of the blame for this lies in social media zombie-ism, the ubiquity of product in the market, and too much disposable income to think that live music is the special experience it used to be.
What to do?
Musicians should focus on improving and letting the market take care of itself. Be better writers and performers, and love what you're doing. Get closer to humility and further away from entitlement. It's easier said than done. Music is subjective, but the market will respond when you're good.
Let the clubs fail. For that matter, take out half of the music festivals while you're at it. They are battling against the aforementioned economics and putting out a mediocre product. And don't force your alcohol on me.
Subsidize, but don't tax, good music. Art – all art, has been subsidized for thousands of years. Famous painters, sculptors, composers, and photographers, would never have seen the light of day without their generous patrons. The National Independent Venue Foundation was a good idea that helped rescue dying venues during CoVid. But that was a band-aid. There needs to be dedicated funders (fans included, although they are doing their part by buying tickets and merch) There needs to be bravey and strategy, incubators, consultants, venue ladders, and …..
Curators. Yes, music is subjective. But someone has to tell Marty (insert random musician name here) that he should be a plumber, not a musician. More importantly, we need someone to tell Mary she has a chance if she does this, this, and this. Radio DJs used to be curators (some still are – thanks 105.5), but algorithm music distribution is not where you find the good sh*t. Nobody wants to have these hard conversations because someone's feelings might get hurt.
Make art and support art. It's the better part of our nature. It's evolved and it's healing. And in this day and time, it could save us.
Tom Scharf
__________________________________
From: TOM TWIN
Subject: Re: Israel/Hezbollah/Iran/Gaza
Hey Bob,
Thanks a ton for your clarity – you really nailed it. The part where you talked about the blurred lines between Zionists and Jews hit home for me in a big way. It took me back to a story my great-grandfather used to tell, and though I was just a kid when I heard it, it stuck with me.
My great-grandfather was a cantor in Hungary back in the 1930s, but he wasn't just any cantor – he was such an incredible singer that he landed a spot as the first tenor at the Budapest Opera House. And in my family, they always said that was the equivalent of being a rock star back then.
He was in his late 20s, no wife, no kids – pretty unusual for that time, but he was this free-spirited, real "artist" kind of guy. He used to hang out with a crew of writers, actors, philosophers, and musicians, throwing these dinner parties where they'd get drunk and debate the day's hot topics.
As the Nazis started gaining momentum, their conversations naturally shifted to that. At first, the group was mostly in shock, cracking little jokes about it. But over time, my great-grandfather started feeling uneasy around his so-called friends. Turns out, a lot of them were quietly backing Hitler and Germany, coming up with all kinds of excuses for why it was a "good" thing. They'd always reassure him, though, saying it wasn't about him – he was a "good Jew."
But my great-grandfather saw the writing on the wall early. He packed up and left before it was too late, got on a ship to Palestine, and dodged the war altogether. He built a family there and never stopped singing.
Now, here I am, playing guitar in a rock band. We're not massive, but we get by – some airplay, plenty of touring. That's how I make a living. My circle today? Musicians, writers, influencers – all kinds of creatives. And we too have those dinner parties, we're talking about the state of the world while getting drunk and high.
Over the past year, though, I've been shocked by the hate I've heard coming from people I once called friends – even some of my bandmates. It's hard to even function normally anymore, and I can't shake the feeling that maybe I need to follow in my great-grandfather's footsteps and leave Canada behind.
Thanks again for your letters. It's comforting to know I'm not the only one feeling this way.
Cheers,
-TOm
__________________________________
Subject: Libby
Christ on a bicycle Bob, I've got enough stories about Libby Titus to fill a stadium, but half of them are too wild to tell, and the other half… well, they're even wilder.
Andy Newmark's comment (hey Andy!) sparked a memory for me.
I first crossed paths with her at Doc Pomus' table—tucked just behind the railing—at the Lonestar, where he presided over the evening like a Buddha with a cigar. I was behind the kit for the San Francisco All Stars: Nick Gravenites, John Cipollina, Harvey Brooks, and me. Buddy Miles was either in jail or headed there, so they threw me in. I'll never forget the slow drawl of my darling, Mac Rebennack—Dr. John to the uninitiated—when he introduced her. "This here's Princess Libby," he said, dragging out the syllables like they were floating down the Mississippi. Then, in that hushed, conspiratorial tone of his, he whispered in my ear, "I think she may have a bi-polar bear dis-odor."
What the hell does that even mean? Didn't matter. When Dr. John says it, you just nod along, like it's the secret of the universe. And Libby, standing there like she'd just blown in from some unholy cocktail party of royalty and rock 'n' roll, didn't even need an introduction. She was the kind of woman who walked into a room, and all the oxygen left.
It was like watching two lightning bolts have a conversation. You knew from minute one that these two were going to tear each other apart, but hell if it wasn't going to be interesting to watch.
Later, I caught up with them in L.A. They'd gotten a house together—God knows how that didn't end in flames—and Mac played me this new tune he was tinkering with: "Lonely Girl, Living in a World of Dreams." We recorded it years later in New York, though the only copy of it I had is probably decomposing in the trunk of some wrecked cab in a junkyard in the Bronx by now. But I still remember it, every note.
By '85, the dust had settled. Libby and Mac cleaned up (as did I.) They sobered up and, of course, broke up. Libby floated through my life in fits and starts after that—at first, a fleeting glimpse across some dive bar, then eventually we became friends. Proper friends.
Now, there are so many Libby stories, and each one's got more layers than a Russian novel, but here's one I think you will get a kick out of.
In the early 90s, my buddy Jimmy Vivino and I put together a band. Tuesdays, Upper East Side, a joint called Hades. We called it The Little Big Band, and we stacked it with our dream lineup: Harvey Brooks, Catherine Russell, Bones Malone, Ronnie Cuber, Jeffrey Young… these were the cats you'd know, only if you were a muso. To me, they were legends, every last one of them.
It became the spot. Tuesday nights, no pressure. BB King covers to kick it off, some soul, some rockin' blues, and then we'd buckle up and see where the music led us. One night, in walks Donald Fagen. With Libby. And Phoebe Snow.
Donald had been on the down-low for years, hadn't touched a stage in ages. He got up there, the crowd started buzzzing, and just like that, Tuesday nights became the best-kept secret in the city. Libby, meanwhile, was all over the place, dating Donald, promoting gigs at the Lone Star, doing her rock 'n' roll princess routine. Phoebe Snow, Michael McDonald, Boz Scaggs, Rick Danko—they all came through to jam. It was like the ghosts of rock 'n' roll past came out to play, only these ghosts weren't done living.
And then it happened: Walter Becker. The elusive, enigmatic, half of Steely Dan. He hadn't set foot on a stage with Donald in nearly two decades. But there he was, in the crowd. Vivino, bless his audacity, grabbed the mic and said, "Anybody wanna hear Walter Becker sit in?"
The room stopped. Like, stopped. And then it roared.
You could feel it—the energy in that room, like the planets had aligned for a second, just for us. Steely Dan, together again, right there at Hades on a random Tuesday night. And it was all Libby's doing. She had pulled these wild, disparate threads together into one impossibly perfect moment.
Libby was… well, hell, she was Libby. A force. A storm. Smart as a whip, cruel as being dope sick, and funnier than anyone has the right to be. She could make you feel like a king one minute, and then rip you apart with a smile the next. But you'd thank her for it. Every damn time.
I'm sorry for your loss Donald… and Amy.
Shine on, Libby. We were lucky. You made the chaos a little brighter, you would be so happy to know, you'll be missed more than you could ever imagine.
xoxo
GG
__________________________________
Subject: Re: 74 Of '74
Got my first speeding ticket on Route 17 headed to Binghamton while listening to "Movin' On"!
Bob Levy
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More Angel Songs-SiriusXM This Week
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Election/Music Business Analogy
ELECTION
Mainstream media doesn't reach everybody, even though the Democrats thought it would.
MUSIC BUSINESS
Print means nothing, TV little, except for SNL and CBS Sunday Morning, yet the labels keep focusing on these outlets. As for radio... Find me anyone under 20 who listens to terrestrial radio, I can't. But labels keep focusing on radio, even though radio reacts last. It's a circle jerk between them and the stations, because they don't know what else to do.
ELECTION
Republicans knew that new media was everything, the right podcast is better than a scattershot approach
MUSIC BUSINESS
Want to game social media, and therefore can't acknowledge the truth, which is acts break on social media, but really no one has control, you chase as opposed to create.
ELECTION
Republicans said if Trump didn't win the game was rigged.
MUSIC BUSINESS
Game the chart into irrelevance. Such that there's a false #1.
ELECTION
Republicans knew the game had changed, Democrats still thought it was all about the ground game, knocking on doors. Democrats had all the money, but the Republicans used the new tools to better effect.
MUSIC BUSINESS
Same as it ever was. There's lip service to the new tools, but there's a belief that the old ones still work.
ELECTION
It's rigged
MUSIC BUSINESS
Spotify is rigged, I'm not making any money. Never mind that you may not have a good deal with your label, never mind that no one might be listening, you're entitled to riches, just like Harris was entitled to victory, but she wasn't.
ELECTION
Perception was that Harris was going to win.
MUSIC BUSINESS
Perception is that the Spotify Top 50 is everything, when it's never meant less.
ELECTION
People had had enough of the system, they wanted to turn over the table, they wanted change.
MUSIC BUSINESS
The majors release ever less product in ever fewer genres yet the public hungers for other stuff. Billy Strings is bigger than so many in the Spotify Top 50, he sells out arenas when many of those acts can barely sell a ticket. Streams are not everything, they're just one indicator. You've got to look at the overall picture. But some don't want to do this, because it's too murky, they'd rather have a false definition than chaos.
ELECTION
Heartland.
MUSIC BUSINESS
Country is bigger than pop. The acts at Stagecoach last, those at Coachella come and go.
ELECTION
Old school DNC thought it knew everything, when it knew little.
MUSIC BUSINESS
Boomers and Gen-X'ers who made their bones in the pre-internet era think they still know what is going on, but they're clueless.
ELECTION
Despite years in the public eye, many still didn't know who Harris was.
MUSIC BUSINESS
Despite hit after hit, many have never heard a single cut by those in the Spotify Top 50.
ELECTION
Throw the bums out, we want something different.
MUSIC BUSINESS
We'll give you the same damn thing, year after year. We're in control, you've got no choice, when this is patently untrue.
ELECTION
Public is hurting economically.
MUSIC BUSINESS
Acts are hurt by the labels. Live Nation is their bank, not Universal Music.
ELECTION
The Democrats believed the candidate didn't matter, it was all about values.
MUSIC BUSINESS
We'll serve you the same damn thing, it's easier that way, that's what you want, right?
ELECTION
About a minute of analysis, then blame, that's how the Democrats are taking their loss.
MUSIC BUSINESS
Zach Bryan, Billy Strings, Chappell Roan... They seemingly come out of nowhere, but the labels still don't want long term investment and they still want something that sounds like the old thing.
ELECTION
You don't have to play the game. Trump didn't debate, his Republican competitors or Harris more than once.
MUSIC BUSINESS
If you don't prove you're worthy, we're not interested. Show us the data, your streams, your socials, if you ain't got them we ain't interested, because that means you're not really that good.
ELECTION
Trump is a renegade living outside the system, like a rock star of yore.
MUSIC BUSINESS
Everybody's looking to sell out, to get in bed with the Fortune 500.
ELECTION
Stop thinking you're better than us, stop dictating to us.
MUSIC BUSINESS
Trot out Springsteen and Beyonce, Taylor Swift will make sure Harris wins.
ELECTION
Move fast and break things.
MUSIC BUSINESS
Move slowly, try to maintain control.
ELECTION
Trump is a cartoon.
MUSIC BUSINESS
Rap battle between Kendrick and Drake is a cartoon. You may be invested, like the Trump followers, the rest of the public is rolling their eyes and thinking it's ridiculous.
ELECTION
Trump demonized the system.
MUSIC BUSINESS
Everybody's buying into the system...this business used to be built by renegade outsiders, but we haven't had that spirit here since 1969.
ELECTION
Salt of the earth Kid Rock.
MUSIC BUSINESS
Katy Perry.
ELECTION
People are over it.
MUSIC BUSINESS
Won't let a good thing go, keeps forcing the same damn thing down our throats year after year.
ELECTION
Biden stayed too long, wouldn't give up power.
MUSIC BUSINESS
So many have been too long at the fair.
ELECTION
People could see with their own two eyes that Biden was compromised, and then they told people not to believe what they saw when he was clueless during the debate.
MUSIC BUSINESS
You love all those acts that win the awards and are everywhere in the news. Taylor Swift is America's sweetheart! If you say anything negative you're a hater and will be shouted down and ultimately be labeled a pariah.
ELECTION
Too much second-guessing by Harris. She was afraid to speak her truth.
MUSIC BUSINESS
Acts and their campaigns are micromanaged, whereas modern people know it's nearly impossible to gain traction, that you get into the marketplace early and stay there.
ELECTION
The Democrats knew better.
MUSIC BUSINESS
So many know better, it's the ethos of rock and roll. What you listen to sucks, it does not belong in the Rock and Roll Hall of Fame. Let us tell you about this outside act that is good on paper, this is what you should be listening to.
ELECTION
Insiders missed it.
MUSIC BUSINESS
Never have insiders had less control, despite believing they still have said control.
ELECTION
It was about Trump.
MUSIC BUSINESS
We need stars. People who test boundaries. Icons who both represent the people but are above them. We're looking for leaders, soothsayers.
ELECTION
Make fun all you want, but most people wanted to vote for Trump.
MUSIC BUSINESS
So many of the acts hated by those who know better are warmly embraced by the public.
ELECTION
Changing demographics, Blacks and Latinos voted for Trumps in heretofore unseeable numbers.
MUSIC BUSINESS
Latin. An underserved market that has risen as a result of the easy accessibility of streaming.
ELECTION
A felon became President.
MUSIC BUSINESS
Going to jail is a badge of honor and enhances your career, it doesn't hurt it.
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Mainstream media doesn't reach everybody, even though the Democrats thought it would.
MUSIC BUSINESS
Print means nothing, TV little, except for SNL and CBS Sunday Morning, yet the labels keep focusing on these outlets. As for radio... Find me anyone under 20 who listens to terrestrial radio, I can't. But labels keep focusing on radio, even though radio reacts last. It's a circle jerk between them and the stations, because they don't know what else to do.
ELECTION
Republicans knew that new media was everything, the right podcast is better than a scattershot approach
MUSIC BUSINESS
Want to game social media, and therefore can't acknowledge the truth, which is acts break on social media, but really no one has control, you chase as opposed to create.
ELECTION
Republicans said if Trump didn't win the game was rigged.
MUSIC BUSINESS
Game the chart into irrelevance. Such that there's a false #1.
ELECTION
Republicans knew the game had changed, Democrats still thought it was all about the ground game, knocking on doors. Democrats had all the money, but the Republicans used the new tools to better effect.
MUSIC BUSINESS
Same as it ever was. There's lip service to the new tools, but there's a belief that the old ones still work.
ELECTION
It's rigged
MUSIC BUSINESS
Spotify is rigged, I'm not making any money. Never mind that you may not have a good deal with your label, never mind that no one might be listening, you're entitled to riches, just like Harris was entitled to victory, but she wasn't.
ELECTION
Perception was that Harris was going to win.
MUSIC BUSINESS
Perception is that the Spotify Top 50 is everything, when it's never meant less.
ELECTION
People had had enough of the system, they wanted to turn over the table, they wanted change.
MUSIC BUSINESS
The majors release ever less product in ever fewer genres yet the public hungers for other stuff. Billy Strings is bigger than so many in the Spotify Top 50, he sells out arenas when many of those acts can barely sell a ticket. Streams are not everything, they're just one indicator. You've got to look at the overall picture. But some don't want to do this, because it's too murky, they'd rather have a false definition than chaos.
ELECTION
Heartland.
MUSIC BUSINESS
Country is bigger than pop. The acts at Stagecoach last, those at Coachella come and go.
ELECTION
Old school DNC thought it knew everything, when it knew little.
MUSIC BUSINESS
Boomers and Gen-X'ers who made their bones in the pre-internet era think they still know what is going on, but they're clueless.
ELECTION
Despite years in the public eye, many still didn't know who Harris was.
MUSIC BUSINESS
Despite hit after hit, many have never heard a single cut by those in the Spotify Top 50.
ELECTION
Throw the bums out, we want something different.
MUSIC BUSINESS
We'll give you the same damn thing, year after year. We're in control, you've got no choice, when this is patently untrue.
ELECTION
Public is hurting economically.
MUSIC BUSINESS
Acts are hurt by the labels. Live Nation is their bank, not Universal Music.
ELECTION
The Democrats believed the candidate didn't matter, it was all about values.
MUSIC BUSINESS
We'll serve you the same damn thing, it's easier that way, that's what you want, right?
ELECTION
About a minute of analysis, then blame, that's how the Democrats are taking their loss.
MUSIC BUSINESS
Zach Bryan, Billy Strings, Chappell Roan... They seemingly come out of nowhere, but the labels still don't want long term investment and they still want something that sounds like the old thing.
ELECTION
You don't have to play the game. Trump didn't debate, his Republican competitors or Harris more than once.
MUSIC BUSINESS
If you don't prove you're worthy, we're not interested. Show us the data, your streams, your socials, if you ain't got them we ain't interested, because that means you're not really that good.
ELECTION
Trump is a renegade living outside the system, like a rock star of yore.
MUSIC BUSINESS
Everybody's looking to sell out, to get in bed with the Fortune 500.
ELECTION
Stop thinking you're better than us, stop dictating to us.
MUSIC BUSINESS
Trot out Springsteen and Beyonce, Taylor Swift will make sure Harris wins.
ELECTION
Move fast and break things.
MUSIC BUSINESS
Move slowly, try to maintain control.
ELECTION
Trump is a cartoon.
MUSIC BUSINESS
Rap battle between Kendrick and Drake is a cartoon. You may be invested, like the Trump followers, the rest of the public is rolling their eyes and thinking it's ridiculous.
ELECTION
Trump demonized the system.
MUSIC BUSINESS
Everybody's buying into the system...this business used to be built by renegade outsiders, but we haven't had that spirit here since 1969.
ELECTION
Salt of the earth Kid Rock.
MUSIC BUSINESS
Katy Perry.
ELECTION
People are over it.
MUSIC BUSINESS
Won't let a good thing go, keeps forcing the same damn thing down our throats year after year.
ELECTION
Biden stayed too long, wouldn't give up power.
MUSIC BUSINESS
So many have been too long at the fair.
ELECTION
People could see with their own two eyes that Biden was compromised, and then they told people not to believe what they saw when he was clueless during the debate.
MUSIC BUSINESS
You love all those acts that win the awards and are everywhere in the news. Taylor Swift is America's sweetheart! If you say anything negative you're a hater and will be shouted down and ultimately be labeled a pariah.
ELECTION
Too much second-guessing by Harris. She was afraid to speak her truth.
MUSIC BUSINESS
Acts and their campaigns are micromanaged, whereas modern people know it's nearly impossible to gain traction, that you get into the marketplace early and stay there.
ELECTION
The Democrats knew better.
MUSIC BUSINESS
So many know better, it's the ethos of rock and roll. What you listen to sucks, it does not belong in the Rock and Roll Hall of Fame. Let us tell you about this outside act that is good on paper, this is what you should be listening to.
ELECTION
Insiders missed it.
MUSIC BUSINESS
Never have insiders had less control, despite believing they still have said control.
ELECTION
It was about Trump.
MUSIC BUSINESS
We need stars. People who test boundaries. Icons who both represent the people but are above them. We're looking for leaders, soothsayers.
ELECTION
Make fun all you want, but most people wanted to vote for Trump.
MUSIC BUSINESS
So many of the acts hated by those who know better are warmly embraced by the public.
ELECTION
Changing demographics, Blacks and Latinos voted for Trumps in heretofore unseeable numbers.
MUSIC BUSINESS
Latin. An underserved market that has risen as a result of the easy accessibility of streaming.
ELECTION
A felon became President.
MUSIC BUSINESS
Going to jail is a badge of honor and enhances your career, it doesn't hurt it.
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Thursday, 21 November 2024
74 Of '74
"The 74 Best Albums of 1974": https://t.ly/F9W5j
This article could not be more wrong.
I'll make it simple, the second New York Dolls album, "Too Much Too Soon," is #8, and Bad Company's debut didn't even make the list. Everybody knows it's about the first Dolls album, produced by Todd Rundgren, with "Personality Crisis," the second one, produced by Shadow Morton, of girl group fame, was received so badly, and was so mediocre that the band broke up and there were no more records, because sans hits there's no money and that's it. Now if you want to talk about David Johansen's solo debut, with not only "Funky But Chic" but "Frenchette"...now that's some great music.
Number one is Neil Young's "On the Beach." I don't think there's a person who was alive back then, not even Neil himself, who would agree with this. There are those who laud the 1975 follow-up, "Tonight's the Night," but other than on this cockamamie list, I've never heard a single person extol the greatness of "On the Beach." I bought it when it came out, I know it, I liked it, and it's interesting return to the studio after "Time Fades Away," but far from an album you'd leave on the turntable ad infinitum.
And the media has been waxing rhapsodic regarding the fiftieth anniversary of Jackson Browne's "Late for the Sky," but it only made it to #31 on "Rolling Stone"'s list. And speaking of Southern California, I know everybody hates the Eagles, but if you rank "On the Border" last at #74 behind KISS's debut...YOU'RE DELIRIOUS!
"Diamond Dogs" was a commercial success but a critical disappointment, but Bowie's 1974 LP is listed at #14. It was pooh-poohed so much by the cognoscenti that Bowie pulled back, re-evaluated and came back as the Thin White Duke with "Young Americans."
Oh, just to make you laugh, Eno has got two albums in the Top 20, "Here Comes the Warm Jets" at #5 and "Taking Tiger Mountain (By Strategy."
Now let's be clear, I OWN ALL THESE ALBUMS! (Other than KISS's debut, I wouldn't buy that trash), I paid for them, I listened to them, but I'm not invested in one more than the other, I can cast a critical eye.
But I was 21 in 1974, and the people compiling this list... Probably weren't even born yet.
And "Rolling Stone" is behind a paywall. And trolling for clicks. I mean why else create this bogus list. I mean who's sitting at home wondering...what were the best 74 albums of 1974, hmmm... Maybe the Top Ten, but this is media today, they want you to read and discuss...
It's just dross.
But what bothered me most was the exclusion of Bad Company's debut. That band of seasoned musicians fronted by possibly the greatest rock vocalist of all time owned the airwaves for years, and it started immediately with "Can't Get Enough," which blasted out of stations on both the AM and FM dials in August 1974, it was ubiquitous.
But even better was the moody, but ultimately powerful eponymous track, "Bad Company." With Paul Rodgers's piano and humming and then Mick Ralphs's guitar... And then that singing like he's out on the high prairie, evaluating the landscape, like it's life or death.
"I was born six gun in my hand
Behind the gun
I'll make my final stand, yeah"
Isn't this an even better expression of the "Desperado" ethos than most of the songs on that Eagles album?
"That's why they call me
Bad company
And I can't deny
Bad company
'Til the day I die"
That's rock and roll. The other. You didn't want your daughter to date a Rolling Stone and you didn't want them to date a member of Bad Company either, whose record came out on Led Zeppelin's label.
And how about the sound of Mick's guitar at the beginning of "Movin' On," the track sizzles, this is the music you listened to that made you feel good, that squeezed out the rest of the world.
"Rock Steady" had a groove, in the pocket, raw rock and roll. But Ron Wood's barely listenable pedestrian "I've Got My Own Album to Do" is #48 on "Rolling Stone"'s list.
And there's the killer slowed-down version of "Ready for Love," which first appeared on that Mott the Hoople album.
But the piece-de-resistance is the closing track, "Seagull." Sure, there's the sound, based on an acoustic guitar, but even more there's the mood, the feeling. The track soars, and it lifts you along for the ride, just like a seagull yourself. This is the ethereal yet real on wax rock sound that epitomizes the 1970s, and it's almost been written out of history.
Yet for some reason these doofuses believe that Harry Nilsson's "Pussy Cats," an execrable album made after Harry had blown out his voice, is #49.
And Bad Company only got bigger, with their next album, "Straight Shooter."
"Johnny was a schoolboy
When he heard his first Beatles song
'Love Me Do' I think it was
And from there it didn't take him long
Got himself a guitar..."
This is them, this is us. We heard the Beatles and we went electric, we all went out and bought Fenders or the best we could afford and amps.
But "Feel Like Makin' Love" was even bigger than "Shooting Star." All over the radio in the summer of '75, an anthem, right alongside Aerosmith's "Sweet Emotion." Oh, those were the glory days.
FEEL LIKE MAKIN' LOVE!
With that staccato machine gun guitar.
It was everything then and seemingly nothing today.
Everybody wants to write this era and this music off. They just want to talk about punk. But that came after. And it wasn't a response to Bad Company or Aerosmith, neither was ever labeled corporate rock.
I could go on, Bad Company certainly did.
Hopefully every self-satisfied rock critic, member of the Hall of Fame, can get off their ass, out of their box, come down off their perch and be with the people who loved this music who never accepted them and acknowledge how great Bad Company was and immediately put them in the Rock Hall, give them their victory lap, because...
THEY DESERVE IT!
Playlist: https://t.ly/GBIMA
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-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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This article could not be more wrong.
I'll make it simple, the second New York Dolls album, "Too Much Too Soon," is #8, and Bad Company's debut didn't even make the list. Everybody knows it's about the first Dolls album, produced by Todd Rundgren, with "Personality Crisis," the second one, produced by Shadow Morton, of girl group fame, was received so badly, and was so mediocre that the band broke up and there were no more records, because sans hits there's no money and that's it. Now if you want to talk about David Johansen's solo debut, with not only "Funky But Chic" but "Frenchette"...now that's some great music.
Number one is Neil Young's "On the Beach." I don't think there's a person who was alive back then, not even Neil himself, who would agree with this. There are those who laud the 1975 follow-up, "Tonight's the Night," but other than on this cockamamie list, I've never heard a single person extol the greatness of "On the Beach." I bought it when it came out, I know it, I liked it, and it's interesting return to the studio after "Time Fades Away," but far from an album you'd leave on the turntable ad infinitum.
And the media has been waxing rhapsodic regarding the fiftieth anniversary of Jackson Browne's "Late for the Sky," but it only made it to #31 on "Rolling Stone"'s list. And speaking of Southern California, I know everybody hates the Eagles, but if you rank "On the Border" last at #74 behind KISS's debut...YOU'RE DELIRIOUS!
"Diamond Dogs" was a commercial success but a critical disappointment, but Bowie's 1974 LP is listed at #14. It was pooh-poohed so much by the cognoscenti that Bowie pulled back, re-evaluated and came back as the Thin White Duke with "Young Americans."
Oh, just to make you laugh, Eno has got two albums in the Top 20, "Here Comes the Warm Jets" at #5 and "Taking Tiger Mountain (By Strategy."
Now let's be clear, I OWN ALL THESE ALBUMS! (Other than KISS's debut, I wouldn't buy that trash), I paid for them, I listened to them, but I'm not invested in one more than the other, I can cast a critical eye.
But I was 21 in 1974, and the people compiling this list... Probably weren't even born yet.
And "Rolling Stone" is behind a paywall. And trolling for clicks. I mean why else create this bogus list. I mean who's sitting at home wondering...what were the best 74 albums of 1974, hmmm... Maybe the Top Ten, but this is media today, they want you to read and discuss...
It's just dross.
But what bothered me most was the exclusion of Bad Company's debut. That band of seasoned musicians fronted by possibly the greatest rock vocalist of all time owned the airwaves for years, and it started immediately with "Can't Get Enough," which blasted out of stations on both the AM and FM dials in August 1974, it was ubiquitous.
But even better was the moody, but ultimately powerful eponymous track, "Bad Company." With Paul Rodgers's piano and humming and then Mick Ralphs's guitar... And then that singing like he's out on the high prairie, evaluating the landscape, like it's life or death.
"I was born six gun in my hand
Behind the gun
I'll make my final stand, yeah"
Isn't this an even better expression of the "Desperado" ethos than most of the songs on that Eagles album?
"That's why they call me
Bad company
And I can't deny
Bad company
'Til the day I die"
That's rock and roll. The other. You didn't want your daughter to date a Rolling Stone and you didn't want them to date a member of Bad Company either, whose record came out on Led Zeppelin's label.
And how about the sound of Mick's guitar at the beginning of "Movin' On," the track sizzles, this is the music you listened to that made you feel good, that squeezed out the rest of the world.
"Rock Steady" had a groove, in the pocket, raw rock and roll. But Ron Wood's barely listenable pedestrian "I've Got My Own Album to Do" is #48 on "Rolling Stone"'s list.
And there's the killer slowed-down version of "Ready for Love," which first appeared on that Mott the Hoople album.
But the piece-de-resistance is the closing track, "Seagull." Sure, there's the sound, based on an acoustic guitar, but even more there's the mood, the feeling. The track soars, and it lifts you along for the ride, just like a seagull yourself. This is the ethereal yet real on wax rock sound that epitomizes the 1970s, and it's almost been written out of history.
Yet for some reason these doofuses believe that Harry Nilsson's "Pussy Cats," an execrable album made after Harry had blown out his voice, is #49.
And Bad Company only got bigger, with their next album, "Straight Shooter."
"Johnny was a schoolboy
When he heard his first Beatles song
'Love Me Do' I think it was
And from there it didn't take him long
Got himself a guitar..."
This is them, this is us. We heard the Beatles and we went electric, we all went out and bought Fenders or the best we could afford and amps.
But "Feel Like Makin' Love" was even bigger than "Shooting Star." All over the radio in the summer of '75, an anthem, right alongside Aerosmith's "Sweet Emotion." Oh, those were the glory days.
FEEL LIKE MAKIN' LOVE!
With that staccato machine gun guitar.
It was everything then and seemingly nothing today.
Everybody wants to write this era and this music off. They just want to talk about punk. But that came after. And it wasn't a response to Bad Company or Aerosmith, neither was ever labeled corporate rock.
I could go on, Bad Company certainly did.
Hopefully every self-satisfied rock critic, member of the Hall of Fame, can get off their ass, out of their box, come down off their perch and be with the people who loved this music who never accepted them and acknowledge how great Bad Company was and immediately put them in the Rock Hall, give them their victory lap, because...
THEY DESERVE IT!
Playlist: https://t.ly/GBIMA
--
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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Seth Godin-This Week's Podcast
Business guru extraordinaire!
https://podcasts.apple.com/us/podcast/seth-godin/id1316200737?i=1000677761488
https://open.spotify.com/episode/19bmhMsWL4ppvnD5J40v4r?si=TEXMiEnbT1CB5qiIR1m8yQ
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/seth-godin-240651374/
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/a63f6e5a-c3f7-4f51-90cd-cf195ad1b35e/the-bob-lefsetz-podcast-seth-godin
--
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--
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-iHeart: https://ihr.fm/2Gi5PFj
-Apple: https://apple.co/2ndmpvp
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https://podcasts.apple.com/us/podcast/seth-godin/id1316200737?i=1000677761488
https://open.spotify.com/episode/19bmhMsWL4ppvnD5J40v4r?si=TEXMiEnbT1CB5qiIR1m8yQ
https://www.iheart.com/podcast/1119-the-bob-lefsetz-podcast-30806836/episode/seth-godin-240651374/
https://music.amazon.com/podcasts/9ff4fb19-54d4-41ae-ae7a-8a6f8d3dafa8/episodes/a63f6e5a-c3f7-4f51-90cd-cf195ad1b35e/the-bob-lefsetz-podcast-seth-godin
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Wednesday, 20 November 2024
A Reason To See You Again
https://t.ly/YePv9
I'm writing about this book because it's so readable.
No, that's not the only reason. Also because everybody involved is not a winner. Most books written about Jewish families... Everybody's solidly middle class, or upper middle class, it's a land of opportunities, despite the tsuris. But the Cohens?
The father is a Holocaust survivor. A soft man who is happy he's alive but is not setting the world on fire.
So his wife, who put aside her education to marry him, does low level jobs to pay the bills... She's just paying the bills, working to stay alive. I've had jobs like these, thank god I do not work them anymore. Where all you can do is stare at the clock. You count how much money you're going to make, how you're going to spend it. To think so many live this way.
And there are two daughters. One pretty and one smart.
And the mother is a shrew and they want to get away from her and...
It's kinda like regular life. In that everybody has big dreams and somewhere along the line you find out you are where you are, which is not where you wanted to be, are you happy, can you reinvent yourself?
That's the amazing thing about life, you can reinvent yourself. It's really hard, but you can do it. You have to shake off the past, oftentimes you have to put yourself in new situations, make a whole new group of friends... Who are trustworthy, who spur you on, but just when you think you're on the same page, bonded together...
But the heart of the story is the husband of the older daughter. A non-Jew, a traveling salesman...
I guess we live in a world where everybody can be a star. Literally, you can do this today, anybody can build a presence online. But there are a lot of people just living their lives. Doing amazing things, both good and bad.
So I'm reading this book and...
I can't put it down. I didn't love Jami Attenberg's hit book, "The Middlesteins," and this book is somewhat slight, but it's dark and average in a way most books are not. Most are fantastical. Or written in miniature, small lives in small places in detail.
And "A Reason to See You Again" is not about losers. Then again, who are the winners and the losers?
Once again, this book is very very readable. Unlike "The Emerald Mile." "The Emerald Mile" is an achievement, a great book, but there are big words and you have to commit. "A Reason to See You Again" cuts like butter. That's what people don't realize about writing, the first criterion is it must be readable.
Now finishing "A Reason to See You Again" and wanting more I researched Attenberg's other books and I found out she had a memoir with stellar reviews entitled "I Came All This Way to Meet You" and...
It too cuts like butter.
But it's not the typical story.
Attenberg went to Johns Hopkins. But then she had an endless series of low level jobs on her way to becoming an author. And a ton of experiences. She was one of the first to move to Williamsburg. She talks about drugging and drinking and screwing but... You don't get the impression she's one of the cool girls, someone you could never know or meet. Rather she seems just like you, but with different choices.
Especially in today's era, where everybody's on a career track.
And there are certain incidents in the book... Deep into it there's the story of a physical assault and the fallout and....
Attenberg is living in the real world, when so many writers put forth the image that they are not. They're members of a club, separate from the rest of us, writing for each other.
The fascinating thing is you read these novels and you wonder about the authors, who they are exactly. And now there's this memoir and you get so much information but what is Jami Attenberg like in real life and...is she really just like you and me but she just wrote it all down?
So if you're a reader, I recommend "A Reason to See You Again," because it's so damn readable. If you only read one book a year, no. If you're a guy, who doesn't like to look inside, stay away.
But I went down the rabbit hole with Jami Attenberg and I can't stop thinking about her and her work.
--
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--
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-iHeart: https://ihr.fm/2Gi5PFj
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I'm writing about this book because it's so readable.
No, that's not the only reason. Also because everybody involved is not a winner. Most books written about Jewish families... Everybody's solidly middle class, or upper middle class, it's a land of opportunities, despite the tsuris. But the Cohens?
The father is a Holocaust survivor. A soft man who is happy he's alive but is not setting the world on fire.
So his wife, who put aside her education to marry him, does low level jobs to pay the bills... She's just paying the bills, working to stay alive. I've had jobs like these, thank god I do not work them anymore. Where all you can do is stare at the clock. You count how much money you're going to make, how you're going to spend it. To think so many live this way.
And there are two daughters. One pretty and one smart.
And the mother is a shrew and they want to get away from her and...
It's kinda like regular life. In that everybody has big dreams and somewhere along the line you find out you are where you are, which is not where you wanted to be, are you happy, can you reinvent yourself?
That's the amazing thing about life, you can reinvent yourself. It's really hard, but you can do it. You have to shake off the past, oftentimes you have to put yourself in new situations, make a whole new group of friends... Who are trustworthy, who spur you on, but just when you think you're on the same page, bonded together...
But the heart of the story is the husband of the older daughter. A non-Jew, a traveling salesman...
I guess we live in a world where everybody can be a star. Literally, you can do this today, anybody can build a presence online. But there are a lot of people just living their lives. Doing amazing things, both good and bad.
So I'm reading this book and...
I can't put it down. I didn't love Jami Attenberg's hit book, "The Middlesteins," and this book is somewhat slight, but it's dark and average in a way most books are not. Most are fantastical. Or written in miniature, small lives in small places in detail.
And "A Reason to See You Again" is not about losers. Then again, who are the winners and the losers?
Once again, this book is very very readable. Unlike "The Emerald Mile." "The Emerald Mile" is an achievement, a great book, but there are big words and you have to commit. "A Reason to See You Again" cuts like butter. That's what people don't realize about writing, the first criterion is it must be readable.
Now finishing "A Reason to See You Again" and wanting more I researched Attenberg's other books and I found out she had a memoir with stellar reviews entitled "I Came All This Way to Meet You" and...
It too cuts like butter.
But it's not the typical story.
Attenberg went to Johns Hopkins. But then she had an endless series of low level jobs on her way to becoming an author. And a ton of experiences. She was one of the first to move to Williamsburg. She talks about drugging and drinking and screwing but... You don't get the impression she's one of the cool girls, someone you could never know or meet. Rather she seems just like you, but with different choices.
Especially in today's era, where everybody's on a career track.
And there are certain incidents in the book... Deep into it there's the story of a physical assault and the fallout and....
Attenberg is living in the real world, when so many writers put forth the image that they are not. They're members of a club, separate from the rest of us, writing for each other.
The fascinating thing is you read these novels and you wonder about the authors, who they are exactly. And now there's this memoir and you get so much information but what is Jami Attenberg like in real life and...is she really just like you and me but she just wrote it all down?
So if you're a reader, I recommend "A Reason to See You Again," because it's so damn readable. If you only read one book a year, no. If you're a guy, who doesn't like to look inside, stay away.
But I went down the rabbit hole with Jami Attenberg and I can't stop thinking about her and her work.
--
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
--
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Sherwood-Season 2
Trailer: https://t.ly/2cKBr
You're going to want to watch this show.
Unfortunately there are only two episodes of the second season available, but boy did they entrance me.
It's kind of like pornography, you know it when you see it, you know it when you experience it, your focus starts to narrow, the rest of the world is excluded, you're all in, invested, it's not so much that the story is real as you want to believe it is real, this is what you're looking for, top flight entertainment.
Now there was a previous season... All about the end of mining in Nottinghamshire. What do people do when all the jobs go away?
But even more it's about the people themselves, their relationships.
Now in the second season...
Lesley Manville stars. One of the best British actors. She's living alone now, deciding whether to sell her house and move on. And on one hand she seems like a sensitive flower, but... The ex-cop who comes by, he kinda wants to ask her for a date but can't quite screw up the courage, even though he's a big handsome guy. And she calls him out on it, gets into the details, lays it all out on the table, ultimately deciding to go on the date anyway, but making it all clear what is going down.
Then there's the sheriff. Who is not only a woman, but gay. Are people really that modern, do they accept this? Not really. How does she navigate the hurdles.
Does she want to approve a reintroduction of mining? The area has been through so much. The loss of jobs. The illnesses and death from black lung. Sure, there will be jobs for youths, but at what cost? And how long is this new mine going to last anyway.
And then there are those behind the new mine. Big thinkers. They exist in every burg. And no matter what they say, they're not altruistic, they're in it for themselves.
And underneath all this is...
The youth. With no future. Dealing drugs and...
There's a murder and this is when it gets interesting. Because it brings out the warring families from the woodwork. How are they going to handle this. Are they going to battle each other?
And it's the spouses of the two men who run the families who are so powerful, so riveting, so amazing. Monica Dolan as Ann Branson... They don't have actresses like this in American shows. Let's just say her body is not perfect, she's built somewhat like a barrel. Yet with a pretty face and a good blonde hairdo...which bucket do you put her in? Is she like the girl next door, is she the lower class girl you were always afraid of in high school, she can be warm and yet strong as steel and then...
There's her counterpart, Daphne Sparrow, played by Lorraine Ashbourne, she's...a bit worse for wear, her face is dried-up, lined...just like you'd picture someone from deep in the heart of England, who may not have eaten enough vegetables, who was exposed to too much pollution. She's thinking. She has a good streak, but really is she just bad?
And the police... Do they even know what is going on, are they trustworthy?
I'm telling you about "Sherwood" because what it delivers is what English TV does best but does not always achieve, a direct gritty truth. It's something that American TV just cannot capture. America just can't get gritty right. Even if the landscape is gritty, the actors are not, it's not believable. But you believe the people are who they are in "Sherwood." A mix of those living in the present and those lost in the past.
And I'm always on the outlook for great stuff. And when I see it I want to tell people about it, so they can share the experience.
There's a hierarchy. "Sherwood" approaches the top. I write about other series, "Rivals" is not in the league of "Sherwood." "Murder Mindfully" is ultimately a comedy, whereas "Sherwood" is dead serious.
I'm not telling you so you will tell anybody else, I just want you to have the same experience I did, sitting in front of the screen, in the dark, wholly engrossed, edgy, involved, knowing that TV when done right is oftentimes better than hanging with your friends, going out to dinner, it can be more real than real.
Like "Sherwood."
--
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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You're going to want to watch this show.
Unfortunately there are only two episodes of the second season available, but boy did they entrance me.
It's kind of like pornography, you know it when you see it, you know it when you experience it, your focus starts to narrow, the rest of the world is excluded, you're all in, invested, it's not so much that the story is real as you want to believe it is real, this is what you're looking for, top flight entertainment.
Now there was a previous season... All about the end of mining in Nottinghamshire. What do people do when all the jobs go away?
But even more it's about the people themselves, their relationships.
Now in the second season...
Lesley Manville stars. One of the best British actors. She's living alone now, deciding whether to sell her house and move on. And on one hand she seems like a sensitive flower, but... The ex-cop who comes by, he kinda wants to ask her for a date but can't quite screw up the courage, even though he's a big handsome guy. And she calls him out on it, gets into the details, lays it all out on the table, ultimately deciding to go on the date anyway, but making it all clear what is going down.
Then there's the sheriff. Who is not only a woman, but gay. Are people really that modern, do they accept this? Not really. How does she navigate the hurdles.
Does she want to approve a reintroduction of mining? The area has been through so much. The loss of jobs. The illnesses and death from black lung. Sure, there will be jobs for youths, but at what cost? And how long is this new mine going to last anyway.
And then there are those behind the new mine. Big thinkers. They exist in every burg. And no matter what they say, they're not altruistic, they're in it for themselves.
And underneath all this is...
The youth. With no future. Dealing drugs and...
There's a murder and this is when it gets interesting. Because it brings out the warring families from the woodwork. How are they going to handle this. Are they going to battle each other?
And it's the spouses of the two men who run the families who are so powerful, so riveting, so amazing. Monica Dolan as Ann Branson... They don't have actresses like this in American shows. Let's just say her body is not perfect, she's built somewhat like a barrel. Yet with a pretty face and a good blonde hairdo...which bucket do you put her in? Is she like the girl next door, is she the lower class girl you were always afraid of in high school, she can be warm and yet strong as steel and then...
There's her counterpart, Daphne Sparrow, played by Lorraine Ashbourne, she's...a bit worse for wear, her face is dried-up, lined...just like you'd picture someone from deep in the heart of England, who may not have eaten enough vegetables, who was exposed to too much pollution. She's thinking. She has a good streak, but really is she just bad?
And the police... Do they even know what is going on, are they trustworthy?
I'm telling you about "Sherwood" because what it delivers is what English TV does best but does not always achieve, a direct gritty truth. It's something that American TV just cannot capture. America just can't get gritty right. Even if the landscape is gritty, the actors are not, it's not believable. But you believe the people are who they are in "Sherwood." A mix of those living in the present and those lost in the past.
And I'm always on the outlook for great stuff. And when I see it I want to tell people about it, so they can share the experience.
There's a hierarchy. "Sherwood" approaches the top. I write about other series, "Rivals" is not in the league of "Sherwood." "Murder Mindfully" is ultimately a comedy, whereas "Sherwood" is dead serious.
I'm not telling you so you will tell anybody else, I just want you to have the same experience I did, sitting in front of the screen, in the dark, wholly engrossed, edgy, involved, knowing that TV when done right is oftentimes better than hanging with your friends, going out to dinner, it can be more real than real.
Like "Sherwood."
--
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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