Saturday, July 04, 2009
New Stuff on Plank to the Face Radio
Okay, I try to add a bunch of new tunes to Plank to the Face Radio in an attempt to keep it fresh. Sometimes I'm successful and other times... not so much. However, plenty of stuff added in the last week or so. Look for some great '80s stuff from the Talking Heads, Echo & the Bunnymen and Wire. Also new stuff from Elvis Costello and Passion Pit. And look for classics from Dave Edmunds and the Allman Brothers, plus music by Arcade Fire, Lucinda Williams, Sparks and the Bay City Rollers.
Wednesday, June 03, 2009
Plank is Back... and so is Conan
I haven't posted anything new in the last two years, and a big part of it is simple... I'm lazy. Blogging seems to be a fun thing to do, but I was turning it into too much of a project. The entries were turning into lengthy essays, with research and re-writes. I'd sometimes spend a couple hours carefully crafting a single entry, trying to ensure that everything was worded perfectly. But recently, I started reading other blogs and came to the realization that it's really not that hard. Write what you know and let the words spill out. So Plank is back... until I get lazy again.
Given my work schedule, I don't get to watch a lot of late night television. I'll record "The Daily Show" and "The Colbert Report" and catch up with them on the weekend. And when the opportunity would present itself, I'd stay up on watch Conan. With so much hype on his ascending to "The Tonight Show", I thought I would take a peek. His final "Late Night" was funny and bittersweet, and hopes were high with the new gig.
I finally got to watch it Tuesday afternoon, and I have to admit I was a little disappointed. I know that the reviews have been mixed, so this is just another to add to the pile. First, I'm very happy to see Andy Richter back on the show, although it seems to be in a limited role. He now stands at a podium and I'm not sure whether he's announcing the show or seating a table of four. Hopefully that's one aspect that gets ironed out.
The criticism against those that knocked the show was that the reviewer just didn't get Conan's edgy humor. Unfortunately I would have to disagree with that statement because it seemed the writers played it safe. The filmed pieces were hit-or-miss. The opening piece wasn't laugh-out-loud funny, but I enjoyed it. The tram piece seemed to miss some promising opportunities, while the bit about the Tauras was just lame. And given the amount of preparation time, I guess I expected more. However, Conan seemed a little nervous during the opening, which would seem natural given what's riding on the show. On the plus side, Will Ferrel, as usual, brought the funny, although it took a lengthy time to bring him out. Pearl Jam also rocked the house even though I'll never understand what Eddie Vedder is singing.
I think it's a promising start to what I hope will be a long run for Conan. I'm sure he's going to ease into the time slot, with the edge coming back to the forefront. I hope that the big name bands isn't the norm as I enjoyed many of the lesser known bands often featured. So best to you Conan, and thanks for finally knocking Jay out of that time slot.
Five things I digging right now:
1) Breaking Bad. The season just ended and it was a wild ride.
2) Spoon "Ga Ga Ga Ga Ga". Listening to it as I write.
3) The local Humane Society. If you're adopting a pet, go there first.
4) Point Beer. A friend brought me a six and it was delicious.
5) Guitar Hero. I'm not very good, but I could spend hours playing.
Given my work schedule, I don't get to watch a lot of late night television. I'll record "The Daily Show" and "The Colbert Report" and catch up with them on the weekend. And when the opportunity would present itself, I'd stay up on watch Conan. With so much hype on his ascending to "The Tonight Show", I thought I would take a peek. His final "Late Night" was funny and bittersweet, and hopes were high with the new gig.
I finally got to watch it Tuesday afternoon, and I have to admit I was a little disappointed. I know that the reviews have been mixed, so this is just another to add to the pile. First, I'm very happy to see Andy Richter back on the show, although it seems to be in a limited role. He now stands at a podium and I'm not sure whether he's announcing the show or seating a table of four. Hopefully that's one aspect that gets ironed out.
The criticism against those that knocked the show was that the reviewer just didn't get Conan's edgy humor. Unfortunately I would have to disagree with that statement because it seemed the writers played it safe. The filmed pieces were hit-or-miss. The opening piece wasn't laugh-out-loud funny, but I enjoyed it. The tram piece seemed to miss some promising opportunities, while the bit about the Tauras was just lame. And given the amount of preparation time, I guess I expected more. However, Conan seemed a little nervous during the opening, which would seem natural given what's riding on the show. On the plus side, Will Ferrel, as usual, brought the funny, although it took a lengthy time to bring him out. Pearl Jam also rocked the house even though I'll never understand what Eddie Vedder is singing.
I think it's a promising start to what I hope will be a long run for Conan. I'm sure he's going to ease into the time slot, with the edge coming back to the forefront. I hope that the big name bands isn't the norm as I enjoyed many of the lesser known bands often featured. So best to you Conan, and thanks for finally knocking Jay out of that time slot.
Five things I digging right now:
1) Breaking Bad. The season just ended and it was a wild ride.
2) Spoon "Ga Ga Ga Ga Ga". Listening to it as I write.
3) The local Humane Society. If you're adopting a pet, go there first.
4) Point Beer. A friend brought me a six and it was delicious.
5) Guitar Hero. I'm not very good, but I could spend hours playing.
Saturday, April 14, 2007
Thoughts on Imus
Okay, so I wrote most of this over the weekend, and it took me a while to go back and finish. But finally, the Don Imus controversy has died down. Unfortunately, it took a tragedy to make it disappear.
Even though Imus apologized more than once, CBS received enough pressure from advertisers to fire him. And after spending several years as a broadcaster, I, just like every other broadcaster in America, have a few thoughts on the situation.
Naturally you have to feel sorry for the Rutger's players. They had a successful season, finishing second, and yet they're receiving more publicity for this incident then they've probably received the entire season. The media is whipping themselves into a frenzy (as is always the case) to get these girls on the air, but where was the media when the actual season was in progress?
However, you also have to have some pity for the team from Tennessee. I realize the remarks weren't made toward them, but this controversy will over-shadow the accomplishment of their season. Tennessee played a tough game against Rutger's to win the national championship and yet the season is ruined by the remarks of a cranky, old radio personality. In most instances, ask people who Rutger's played in the game, and they probably couldn't tell you. And to be honest, I was one of them. In fact, until this scandal broke, I couldn't have even named the two teams that made the final game.
Another of the big concerns is whether Imus is a racist or not. I've never listened to Imus before and can't make that call. Has he been known to make comments similar to this... I don't know. One stupid comment doesn't make you a racist. If there's a visible pattern of his behavior, then I would lean in that direction. The truer statement might be that he's an insensitive idiot. He was trying to be outrageous (like Michael Richards) and said something in poor taste. Unfortunately in our society, shock value sells and the stakes keep getting higher. However, the statements can also be construed as sexist, which doesn't seem to be getting an equal amount of play.
Of course, many people began turning to the rap industry for their portrayal of women in their lyrics and claim a double standard. Maybe, but rap lyrics generally shy away from naming particular women as ho's. Imus referred to a group of women that could be identified and got busted. That doesn't make rap lyrics better, but it's harder to demand an apology. I'm willing to bet if someone used a similar phrase to describe someone like Beyonce, then you'd see an uproar.
Freedom of speech has also been mentioned in some arguments and that Imus has the right to make that statement. However, the fact is that the government can't limit free speech and this was a case where commerce dictated the situation. Sure, the government does control the airwaves, but CBS made the call. Listeners threatened the livelihood of CBS, the advertisers responded and CBS took the obvious fiscal path. And freedom of speech is a double-edged sword; it includes speech you don't want to hear and yet you'll also be held accountable for your statements.
But now the controversy has taken a backseat and hopefully we will soon return to the important things in life, like the father of Anna Nicole's baby.
Even though Imus apologized more than once, CBS received enough pressure from advertisers to fire him. And after spending several years as a broadcaster, I, just like every other broadcaster in America, have a few thoughts on the situation.
Naturally you have to feel sorry for the Rutger's players. They had a successful season, finishing second, and yet they're receiving more publicity for this incident then they've probably received the entire season. The media is whipping themselves into a frenzy (as is always the case) to get these girls on the air, but where was the media when the actual season was in progress?
However, you also have to have some pity for the team from Tennessee. I realize the remarks weren't made toward them, but this controversy will over-shadow the accomplishment of their season. Tennessee played a tough game against Rutger's to win the national championship and yet the season is ruined by the remarks of a cranky, old radio personality. In most instances, ask people who Rutger's played in the game, and they probably couldn't tell you. And to be honest, I was one of them. In fact, until this scandal broke, I couldn't have even named the two teams that made the final game.
Another of the big concerns is whether Imus is a racist or not. I've never listened to Imus before and can't make that call. Has he been known to make comments similar to this... I don't know. One stupid comment doesn't make you a racist. If there's a visible pattern of his behavior, then I would lean in that direction. The truer statement might be that he's an insensitive idiot. He was trying to be outrageous (like Michael Richards) and said something in poor taste. Unfortunately in our society, shock value sells and the stakes keep getting higher. However, the statements can also be construed as sexist, which doesn't seem to be getting an equal amount of play.
Of course, many people began turning to the rap industry for their portrayal of women in their lyrics and claim a double standard. Maybe, but rap lyrics generally shy away from naming particular women as ho's. Imus referred to a group of women that could be identified and got busted. That doesn't make rap lyrics better, but it's harder to demand an apology. I'm willing to bet if someone used a similar phrase to describe someone like Beyonce, then you'd see an uproar.
Freedom of speech has also been mentioned in some arguments and that Imus has the right to make that statement. However, the fact is that the government can't limit free speech and this was a case where commerce dictated the situation. Sure, the government does control the airwaves, but CBS made the call. Listeners threatened the livelihood of CBS, the advertisers responded and CBS took the obvious fiscal path. And freedom of speech is a double-edged sword; it includes speech you don't want to hear and yet you'll also be held accountable for your statements.
But now the controversy has taken a backseat and hopefully we will soon return to the important things in life, like the father of Anna Nicole's baby.
Sunday, February 11, 2007
When punk and Kelly Clarkson collide...
A couple weeks ago, I happened to catch a blurb on the CNN ticker about Mike Watt playing on the next Kelly Clarkson album. Ask most people about Clarkson, and I'm sure they'll mention "American Idol." Ask them about Mike Watt, and they'll probably say "who?" I give Clarkson's producer some credit for going outside the mainstream to find musicians, and given that Clarkson has received some praise from such musicians as Dave Grohl, this adds some street cred to the album. Which brings me back to the question, who is Mike Watt?
Mike is currently working with Iggy Pop and the Stooges on their new album. But more importantly, Watt was the bass player for one of the best American punk bands of the 80s, the Minutemen. The Minutemen consisted of three guys from San Pedro (Watt, D. Boon, George Hurley) who played hardcore with touches of folk and jazz. Politics were often the theme as the songs generally clocked in under two minutes. However, the band holds a place in my heart because it was the first punk show I ever attended. I was a junior at EIU and was just starting to get into the world of punk. I was familiar with the Sex Pistols, Dead Kennedys and Ramones, but was now discovering such bands as Black Flag, Husker Du and the Minutemen. Several of my friends were into politics and naturally, they gravitated toward this form of musical expression.
Since I was the only one with a car, I got to drive the 45 miles to Champaign for the show. Now I had been to many concerts in the past, but they were held in stadiums and amphitheaters, where the band was seemingly miles away. But this show was different. The stage was inches away, bodies were slamming to the beat and there was an air of choas. And while the music provided a rush of adrenaline, my personal highlight was meeting the band after the show. Again, it was different from the stadium experience when the band disappears behind the stage. When the Minutemen set came to an end, the band hopped off stage and milled with the crowd. My friends and I stopped D. Boon for a few moments to chat politics and the situation in Nicaragua. It was brief, but cool experience.
Unfortunately, the Minutemen saga came to a tragic end. The band seemed to be on the brink of greener pastures. But a few weeks after the release of "3-Way Tie for Last" later that year (1985), D. Boon was thrown from a van in a traffic accident and died. Watt and Hurley retired the Minutemen name, got a new guitarist (Ed Crawford) and continued under the name Firehose (not the lame 90s band, Firehouse). Firehose shared some of the musical qualities of the Minutemen, but seemed to lack some of the edge. Oddly enough, I got to interview Crawford a few years later while I was attending school at SIU.
If you're truly interested in the Minutemen, I recommend starting with "Double Nickels on the Dime". After listening to that, you'll understand my amazement of Watt working with Clarkson. But even old punks need a paycheck and it's better than hearing "This Ain't No Picnic" in a car ad.
Mike is currently working with Iggy Pop and the Stooges on their new album. But more importantly, Watt was the bass player for one of the best American punk bands of the 80s, the Minutemen. The Minutemen consisted of three guys from San Pedro (Watt, D. Boon, George Hurley) who played hardcore with touches of folk and jazz. Politics were often the theme as the songs generally clocked in under two minutes. However, the band holds a place in my heart because it was the first punk show I ever attended. I was a junior at EIU and was just starting to get into the world of punk. I was familiar with the Sex Pistols, Dead Kennedys and Ramones, but was now discovering such bands as Black Flag, Husker Du and the Minutemen. Several of my friends were into politics and naturally, they gravitated toward this form of musical expression.
Since I was the only one with a car, I got to drive the 45 miles to Champaign for the show. Now I had been to many concerts in the past, but they were held in stadiums and amphitheaters, where the band was seemingly miles away. But this show was different. The stage was inches away, bodies were slamming to the beat and there was an air of choas. And while the music provided a rush of adrenaline, my personal highlight was meeting the band after the show. Again, it was different from the stadium experience when the band disappears behind the stage. When the Minutemen set came to an end, the band hopped off stage and milled with the crowd. My friends and I stopped D. Boon for a few moments to chat politics and the situation in Nicaragua. It was brief, but cool experience.
Unfortunately, the Minutemen saga came to a tragic end. The band seemed to be on the brink of greener pastures. But a few weeks after the release of "3-Way Tie for Last" later that year (1985), D. Boon was thrown from a van in a traffic accident and died. Watt and Hurley retired the Minutemen name, got a new guitarist (Ed Crawford) and continued under the name Firehose (not the lame 90s band, Firehouse). Firehose shared some of the musical qualities of the Minutemen, but seemed to lack some of the edge. Oddly enough, I got to interview Crawford a few years later while I was attending school at SIU.
If you're truly interested in the Minutemen, I recommend starting with "Double Nickels on the Dime". After listening to that, you'll understand my amazement of Watt working with Clarkson. But even old punks need a paycheck and it's better than hearing "This Ain't No Picnic" in a car ad.
Sunday, November 26, 2006
Live from New York...
Ask anyone when they think Saturday Night Live "jumped the shark" and I'm sure you'll get a variety of answers. Generally, the answer will depend on which cast the person grew up watching. And for a show that's been on television since 1975, that's a lot of ground to cover and a lot of cast members to consider. In fact, I think that SNL has jumped the shark so many times, the shark doesn't even show up anymore.
The reason I'm writing about the show is because the first season is set to come out on DVD in December; unedited, complete with musical guests. It's been years since I've seen an entire show from that era and it will be interesting to see how the episodes have stood the test of time.
The basic format of the show hasn't changed much over the years. The show opens with a sketch, usually something topical, followed by a monologue by the host, then maybe a commercial parody and a few more sketches. A musical performance is usually after about 4 or 5 sketches, followed by Weekend Update. After that point, the laughs drop off considerably, although some characters have grown from those late program sketches. And while the format stays the same, it's the eclectic aspect of the program that's changed, not necessarily for the better.
Argue all you want about which cast is the best, but I prefer the early years and not just for the cast. Back in the late 70's, there was nothing like this on television. Variety shows were basically safe and family-friendly, from Carol Burnett to Donny & Marie. SNL offered the only real alternative, a slap-to-the-face of network programming. It was also event television, something people talked about Monday morning. Occasionally SNL will inspire that kind of conservation now, but not like the early days. And the eclectic choice of hosts and music provided a spark. Unlike today, when the host is someone usually plugging a movie, television program or record, the hosts in the early days seemed to people the cast wanted the opportunity to work with. Such comedians as George Carlin, Richard Pryor, Lily Tomlin and Robert Klein wound up as hosts in the first season, while Steve Martin would host the show five times in season two and three. In fact, the first show, which was hosted by Carlin, contains a lot of his stand-up as well as an odd performance by Andy Kaufman.
The musical guests in the early years were generally an odd mix, consisting of folk/singer-songwriter types, with appearances by Paul Simon, Gordon Lightfoot and Leon Redbone, but also unlikely groups like ABBA and the Preservation Hall Jazz Band. SNL, though did tap into the new-wave music trend in seasons three and four, boasting appearances by Elvis Costello, Talking Heads, DEVO and Kate Bush. Occasionally SNL will still book a group considered "cutting edge", but they generally venture into the commercially-safe territory.
I know I'm looking forward to this boxed-set. Not just as a reminder of this television institution got started, but also as a way to remember my youth. When staying up late was cool and you couldn't wait until Monday to recite the sketches to your classmates. Also, the only shark the show had to worry about was a landshark.
The reason I'm writing about the show is because the first season is set to come out on DVD in December; unedited, complete with musical guests. It's been years since I've seen an entire show from that era and it will be interesting to see how the episodes have stood the test of time.
The basic format of the show hasn't changed much over the years. The show opens with a sketch, usually something topical, followed by a monologue by the host, then maybe a commercial parody and a few more sketches. A musical performance is usually after about 4 or 5 sketches, followed by Weekend Update. After that point, the laughs drop off considerably, although some characters have grown from those late program sketches. And while the format stays the same, it's the eclectic aspect of the program that's changed, not necessarily for the better.
Argue all you want about which cast is the best, but I prefer the early years and not just for the cast. Back in the late 70's, there was nothing like this on television. Variety shows were basically safe and family-friendly, from Carol Burnett to Donny & Marie. SNL offered the only real alternative, a slap-to-the-face of network programming. It was also event television, something people talked about Monday morning. Occasionally SNL will inspire that kind of conservation now, but not like the early days. And the eclectic choice of hosts and music provided a spark. Unlike today, when the host is someone usually plugging a movie, television program or record, the hosts in the early days seemed to people the cast wanted the opportunity to work with. Such comedians as George Carlin, Richard Pryor, Lily Tomlin and Robert Klein wound up as hosts in the first season, while Steve Martin would host the show five times in season two and three. In fact, the first show, which was hosted by Carlin, contains a lot of his stand-up as well as an odd performance by Andy Kaufman.
The musical guests in the early years were generally an odd mix, consisting of folk/singer-songwriter types, with appearances by Paul Simon, Gordon Lightfoot and Leon Redbone, but also unlikely groups like ABBA and the Preservation Hall Jazz Band. SNL, though did tap into the new-wave music trend in seasons three and four, boasting appearances by Elvis Costello, Talking Heads, DEVO and Kate Bush. Occasionally SNL will still book a group considered "cutting edge", but they generally venture into the commercially-safe territory.
I know I'm looking forward to this boxed-set. Not just as a reminder of this television institution got started, but also as a way to remember my youth. When staying up late was cool and you couldn't wait until Monday to recite the sketches to your classmates. Also, the only shark the show had to worry about was a landshark.
Sunday, November 05, 2006
Is it November 8 yet?
I've just wanted to hide under the covers until this current political season is over. While I enjoy the freedom we have to exercise the democratic process, this year has been overkill as the two parties fight for control. And it seems that no matter where you turn, you're getting bombarded with political adds. Television has been a non-stop parade of ads, although it's mostly been about three things: Claire McCaskill vs. Jim Talent, Admendment 2 and Admendment 3 (for those outside Missouri, McCaskill/Talent is a Senate race, Admendment 2 is stem cell research and Admendment 3 is a cigarette tax). The McCaskill/Talent race has gotten ugly at times (who am I kidding, most of the time) as they spend their ad space telling us what the other candidate isn't doing in their current position instead of telling us what they're actually going to do if elected.
Of course, the adds don't stop there. On Saturday, we received four(!) political mailings, although it was really two sets of the same mailings. And the barrage has also occurred on the phone as I now live in fear of phone calls. Thank goodness I don't listen to the radio, because I'm sure it's there as well.
But the big question is, do these ads really help? I can't see a Republican voting for a Democrat, or vice versa, simply based on these ads. And while they may be targeting the undecided, how many people really are undecided? I've had a clear picture of who I'm going to vote for some time ago and these ads aren't going to sway me. Do people say they're undecided as a way to taunt the pollsters? Is an attack ad that is void of facts really going to change your mind?
What we really need are ads for the lesser known races, like some of the propositions or judges. These are races/decisions that are important to a community but get lost in the shuffle of the bigger races. Or better yet, how about taking that money from political advertising and use it to help people. I'm sure it wouldn't be difficult to compile a list of charitable organizations, government programs, etc. that could use the money. And even though I work in an industry that relies on political ads, what's wrong with politicians actually giving back to the community.
So until November 7, I'll turn off my television, won't answer the phone and stay away from the mailbox. And as far as the McCaskill/Talent race is concerned, I'm just going to vote "No."
Of course, the adds don't stop there. On Saturday, we received four(!) political mailings, although it was really two sets of the same mailings. And the barrage has also occurred on the phone as I now live in fear of phone calls. Thank goodness I don't listen to the radio, because I'm sure it's there as well.
But the big question is, do these ads really help? I can't see a Republican voting for a Democrat, or vice versa, simply based on these ads. And while they may be targeting the undecided, how many people really are undecided? I've had a clear picture of who I'm going to vote for some time ago and these ads aren't going to sway me. Do people say they're undecided as a way to taunt the pollsters? Is an attack ad that is void of facts really going to change your mind?
What we really need are ads for the lesser known races, like some of the propositions or judges. These are races/decisions that are important to a community but get lost in the shuffle of the bigger races. Or better yet, how about taking that money from political advertising and use it to help people. I'm sure it wouldn't be difficult to compile a list of charitable organizations, government programs, etc. that could use the money. And even though I work in an industry that relies on political ads, what's wrong with politicians actually giving back to the community.
So until November 7, I'll turn off my television, won't answer the phone and stay away from the mailbox. And as far as the McCaskill/Talent race is concerned, I'm just going to vote "No."
Monday, October 09, 2006
Goodbye Cardinals... uh, I mean Yankees...
The way the St. Louis Cardinals finished the 2006, I didn't figure they would last the first round of the playoffs. After almost losing a comfortable lead the last two weeks of the season, I figured the Padres would finish them in four. So when the Cardinals took the first two games of the series, I knew my prediction was wrong. Meanwhile, in the opposite league, I felt that no one would stop the Yankees bats. Even when the Tigers were up 2-1, I still thought the Yankees would come back to win the final two. But good pitching prevailed, and the Yankees can get some rest. George Steinbrenner will spend the off-season pouting, then spending tons of money for another team that lacks chemistry. Now, which direction do the playoffs go?
Since I know more about the National League, I'll start there. While the Cardinals have mediocre pitching, the Mets seem to be hurting in that category at the moment. Manager Willie Randolph expects to tap into the bullpen a lot, so you'll probably see several four and five inning starts. So the Cardinals have the advantage there. However, I think the Mets line-up is a little more balanced. Pujols is a huge threat, but they'll need a couple other guys to step up. If it's a short series, I'd go with the Mets... long series, Cardinals. I say Mets in five.
In the American League, Detroit doesn't have quite the pop that Oakland has in their line-up. However, they've got some major adrenaline flowing after the Yankee series and those young arms will come through. A tough series, but I go Detroit in six.
Those are my predictions for this round of playoffs. But then again, I could be wrong.
Since I know more about the National League, I'll start there. While the Cardinals have mediocre pitching, the Mets seem to be hurting in that category at the moment. Manager Willie Randolph expects to tap into the bullpen a lot, so you'll probably see several four and five inning starts. So the Cardinals have the advantage there. However, I think the Mets line-up is a little more balanced. Pujols is a huge threat, but they'll need a couple other guys to step up. If it's a short series, I'd go with the Mets... long series, Cardinals. I say Mets in five.
In the American League, Detroit doesn't have quite the pop that Oakland has in their line-up. However, they've got some major adrenaline flowing after the Yankee series and those young arms will come through. A tough series, but I go Detroit in six.
Those are my predictions for this round of playoffs. But then again, I could be wrong.
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