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Wednesday, August 16, 2017

...I take that back, Trump is okay with racists

In a news conference (of sorts) yesterday, Trump reverted back to the nonsense he blurted on Saturday, blaming "both sides" and essentially apologizing for the alt-right (i.e. racists). He even compared famous traitor Robert E. Lee to non-traitor George Washington. (Sorry Confederate apologists, I don't give a damn that he was fighting for old Virginia. I don't care that "life was different" in the 1860s. He took an oath to protect the United States of American and he betrayed that oath).

I can't keep up with the lunacy coming out of the Trump White House on a daily basis. The narrative seems to constantly change.

Is Trump truly a racist or just that stupid? I don't know, maybe a bit of both. How the hell does the president of the United States excuse the behavior of white supremacists? If you're Donald Trump, that's what you do. At least Trump has made it perfectly clear where he if there was ever any doubt.

Tuesday, August 15, 2017

Trump kinda sorta condemns racists

So Trump finally came out and "condemned" the Charlottesville racists. I am not congratulating him.

He only did it due to pressure.

He did nothing all day Sunday.

It took Trump two full days to kind of, sort of "do the right thing" and, let's face it, he only did it because of the justifiably terrible fallout he experienced on Saturday and Sunday. I do not believe there is an ounce of sincerity in his words.

If ever there was a litmus test for Trump's true feelings about racism, and how he would respond to overt expressions of racist violence, it was on Saturday in Charlottesville. Trump failed miserably.

To make matters worse, after he finished with his statements yesterday, he blew up at a reporter and reverted to his usual petulant child mentality. This guy absolutely cannot make it through a single day without making an ass of himself.

That's where we are right now. I'm sure by tomorrow we will have moved on to some new inanity with this ridiculous administration.

Monday, August 14, 2017

Another dispatch from Trump's America: Fascism in Charlottesville edition

First of all, it seems that something crazy happens almost every day under the Trump regime, so it's hard to keep it straight. Whether it's James Comey getting fired as FBI director, Sean Spicer getting fired as press secretary, Anthony "The Mooch" Scaramucci--the most cartoonish character in an already cartoonish administration--getting fired within about a week as White House Communications director, Trump inciting North Korea to the brink of a nuclear conflict, or Sunday's tacit approval (or, at best, non-scolding) of neo-Nazis and other racists in Charlottesville, literally something nutty, frightening, and/or infuriating happens essentially every single day under this reign of terror/reign of error.

Trump had an opportunity to condemn racist violence in Charlottesville, and he failed miserably.

We have a president who will not condemn Nazis. Stew over that for awhile.

As the events in Charlottesville unfolded on Saturday morning, and it was clear that terrible violence was taking place between racists and counter protesters, our president was conspicuous in his silence. When he finally tweeted, "We ALL must be united & condemn all that hate stands for. There is no place for this kind of violence in America. Lets come together as one!" I was foolishly willing to at least temporarily give him the benefit of a doubt. Sure, it was a bland tweet and he didn't specify the "hate(rs)" in question, but I was satisfied that he at least finally made a public statement. (Yes, that is how far the bar has been lowered with this guy).

My temporary goodwill towards 45 was shot to hell when he spoke a few hours after his tweet. In typically inarticulate comments, Trump refused to condemn the KKK, neo-Nazis, and the other right wing hate groups who went to Charlottesville specifically to incite violence. And make no mistake, those folks weren't there just to listen to speeches. Many (perhaps not all) were dressed in helmets and carrying shields and weapons.

Many of us also learned that day that some hate groups have taken to carrying a modified version of the Detroit Red Wings' "winged wheel" logo. To their credit, the Detroit Red Wings hockey club issued a strongly worded statement condemning the use of the logo. In part, the Wings organization wrote, "The Red Wings believe that Hockey is for Everyone and we celebrate the great diversity of our fan base and our nation." It is a sad state of affairs when a pro hockey team makes a stronger statement against hate than the president of the United States.

So that's where we are right now. We are still a nation divided with a president that refuses to take a stand against hate. I suppose he doesn't want to alienate a large part of his voting bloc. I hope that this country has enough reasonable people out there who are disgusted with what is happening in the United States and are equally appalled by the way Trump is handling it...but I will not be holding my breath.

Sunday, July 16, 2017

A poem inspired by a neighborhood walk

I live in the land
Of cracked blacktop
Driveway basketball hoops
Car engine drive by dopplar effect
Gas powered lawnmower steady vibrating hum
Can even hear it from a distance
When not broken up by
Wind tree rustle and bird songs Reminding me of Snail Shell Harbor camp sites
And then the Sunday morning mowing resumes
Fleeting reverie is broken
My walk continues

Wednesday, July 12, 2017

My follow up to my Pepper post is gone!

I had written what I thought was a fun follow-up to my Pepper post, but somehow I managed to delete the entire fucking thing. At least three hours of writing completely wasted. If at some point in the future I feel like attempting to replicate it, I will. Right now, however, I am so livid I can barely see straight. It's a goddamned miracle I didn't pitch my laptop through a window.

Saturday, July 8, 2017

Ray Wylie Hubbard at Tip-Top Deluxe Bar and Grill, Grand Rapids

We drove to Grand Rapids yesterday to see Ray Wylie Hubbard perform at the Tip-Top Deluxe Bar and Grill.

I am only aware of Ray Wylie Hubbard (hereafter referred to as merely "RWH") through my old college roommate Paul, who is essentially a scholar of Texas music. (He may not like me calling him a scholar, but he is). Paul gave me RWH's memoir A Life...Well, Lived when we had our NADS Shaw Hall dorm room floor reunion back in January 2016. After the book sat in my "to be read" pile for a few months, I finally got through it last summer and enjoyed RWH's colorful tales of his rocky, wild, never dull life. I know more about RWH's life story than I knew about his music until fairly recently. I got around to listening to some of his albums that are available on Amazon Prime streaming.

When the announcement came that RWH would be performing in Grand Rapids, I knew I had to go. By all accounts, he was/is a great live performer, with a funny, engaging, self-deprecating storytelling ability--equally adept at story songs, gut bucket blues, outlaw country, and rousing rock & roll.

So Lynda and I received assurance from our older son that he could be responsible with the house and his 12-year-old kid brother, and younger son (aka kid brother) assured us he would be okay and not anxiety ridden with mom and dad 50-odd miles away in GR. We headed out in the Kia Soul, armed with our cell phones (with which I vowed to text the boys at regular intervals to check up on their well-being).

We arrived at the Tip-Top, best described as a hipster dive bar in southwest Grand Rapids, at about 7:20 PM. The doors opened at 7:00 for the 8:00 show, and the place was already jam-packed. It was so packed that we could not find a seat and stood for the entire show...all 3 1/2 hours of it. Naturally, I wore my least amenable shoes for standing, my 21-year-old Doc Martens. (Style over comfort, man!). My feet felt like raw hamburger when the show ended.

Lynda and I both decided to get drinks from the bar, both deciding on Bell's Oberon drafts. I sucked my beer down before the opening act, John Merchant (and his female singing partner Ashley Youngstrom) went on at 8 o'clock. I drank a Corona in the bottle (only $1 less than the Bell's) and was able to make that one last for about an hour. (Two beers per concert is my limit).

The Tip-Top was sold out. The tiny bar holds 57 people for a show, and I estimate the bar is maybe 1200-1500 square feet (and that might be charitable). It has a fairly nondescript exterior; an older building (age indeterminate) with a shell of steel siding, but the interior features an old tin ceiling, many vintage rock 'n' roll and blues concert posters on the walls, and an ornate wood bar.

The openers, John Merchant and special guest Ashley Youngstrom hit the postage stamp-sized corner stage promptly at 8:00. Merchant looks a bit, or at least reminded me a bit, of what Marshall Crenshaw looked like in, say, the 1990s. He's a bit thin, bald, bespectacled, with a small graying goatee. Dressed in blue jeans, black T-shirt, black vest, army dog tags around his neck. Ashley is blonde, wore a flower print dress. They performed some of Merchant's original songs, plus a Gram Parsons cover, Chris Bell's "I Am the Cosmos," and an energized rendition of "Gimme Shelter" with Ashley gamely taking on Merry Clayton's "rape! murder! It's just a shot away!"" backing vocals--no small task.

I felt a little bad that I didn't buy Merchant's CD that he was selling for only five dollars, but I was saving my cash for RWH's merch table.

So after the Merchant/Youngstrom set, RWH and his band (son Lucas Hubbard on electric guitar and Kyle Snider on drums) hit the stage at about 9:30.

Where do I start? For one thing, how did I not even know of RWH's existence until Paul gave me that book? How do some great, authentic, talented as all get-out musicians often remain obscure for decades? RWH's music is an amalgamation of gut bucket blues, confessional songwriting (with references to God, the Devil, Les Paul guitars, and even the MC5 making an appearance in one of his songs), raucous rock 'n' roll, and shit-kicking country. Perhaps RWH isn't more widely known simply because he can't be categorized, and the music industry thrives on placing artists into little compartments.

Simply put, RWH brings it. He performs with a warmth and connection to the audience honed by decades on the road. But it's also apparent that his son Lucas and his relatively young drummer Kyle keep him feeling energetic.

The audience at the Tip-Top was loud and enthusiastic. It was a mix of folks: youngish hip punky rockabilly cats in Reverend Horton Heat shirts all the way to grey-haired or grey-bearded and/or balding 50 and 60-somethings, even a few 30's-ish women who seemed to know all or many of the song lyrics. (I kinda thought RWH would be more "dude-oriented," but that wasn't entirely the case). RWH has an intense following, I believe they are referred to as "Snake Farmers" from one of RWH's better-known songs, "Snake Farm"). I felt slightly left out, maybe a little fraudulent, in that I was not as familiar with his music as probably 80 or 90 percent of the people at the show. (Though I'm not sure how many of those folks had read RWH's autobiography, so at least I had that one over them).

Lucas Hubbard is as interesting as his father. Maybe as meditative in his performance style as his father is exuberant and expressive. Lucas looks like he feels the music in his body and soul, often playing with his eyes closed and a Buddha-like grin on his face. Lucas is a slight young man, knit hat on his head, scruffy beard, smooth boyish face, decked out in black T-shirt and dark jeans. RWH is a wizened Texan philosopher, wild unruly grey hair, multiple necklaces, dressed completely in black like his son. Meanwhile Kyle holds the beat on his spartan drum kit.

They played a freewheeling, fire-breathing wet and finished up at about 11:30. The three musicians made their way through the adoring crowd to the back room of the Tip-Top, people asking and/or pleading for a few seconds of RWH's time as he slowly made his way to sanctuary.

I decided to leave RWH alone, What would I say, anyway? He looked spent and tired. We had to get home, anyway. I did, however, stop at the merch table on the way out and bought the Snake Farm CD. Despite sore feet, I walked excitedly back to the car, and texted the kids to let them we were on the way home.

Friday, June 2, 2017

It was 50 years ago today

Today is the fiftieth anniversary of the American release of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. This significant anniversary got me to thinking about my own relationship with this album.

Pepper is an album I don't listen to that much anymore, and when I recently wrote a list of my favorite Beatles albums*--a challenge issued by Bill and Brian of  The Great Albums podcast (check it out if you've never heard it, it's a good podcast), I had Pepper at number seven of the 13 Beatles studio albums. This isn't to say that Pepper is a bad album--not at all. (I mean, come on, it's the Beatles for chrissakes!) It's just far from my favorite album by the Fab Four.

However, there is a time when it was about the only Beatles album I knew. If you want to put a fine point on it, and if anyone out there really cares, Rubber Soul was the first Beatles album I remember listening to straight through. That's because my older cousin Suzy went through a heavy "Beatles phase" in about 1979. Almost every summer, I'd spend a few weeks at my aunt and uncle's house in the U.P. of Michigan, and I remember my cousin listening to Rubber Soul every night before going to bed. And the reason I remember this is because Suzy had the largest bedroom in the house with twin beds, so I slept in the same room and was also lulled to sleep by Rubber Soul every night for two weeks in the summer of '79 (ish).

Sorry for that digression. Back to Pepper. As just about everyone (over the age of 40) knows, John Lennon was murdered in December 1980. I have often indicated that whenever a famous musician dies, I inevitably take the deep dive into that individual's back catalog (it just happened last week with Chris Cornell). I'd say this tendency began in December 1980. With the outpouring of grief over the loss of Lennon, I became interested in the Beatles. I had no Beatles records of my own, but my parents had two: the VeeJay single of "Do You Want to Know a Secret" b/w "Thank You Girl" (to this day, I have no idea why they owned that particular single. I need to ask them) and Sgt. Pepper's Lonely Hearts Club Band. 

My parents were fairly young when they had me in March 1968 (mom was 22, dad was 21), so they came of age in the rock 'n' roll milieu of the 1960s. However, neither one were particularly big Beatles fans, My dad told me that, as a kid from the largely blue collar "downriver" area of the Detroit suburbs, he was more into the gritty sound of the Animals and the Rolling Stones (as well as a soft spot for the squeaky clean folk of the Kingston Trio and Chad Mitchell Trio). My mom was from Rosedale Park in Detroit, and had grown up listening to a fair amount of classical, jazz, the Motown sound, Johnny Mathis, and the Beach Boys. She was 19 when the Beatles invaded America in 1964 and she viewed them somewhat disdainfully as "teen fluff." This all changed in early 1967 when the Beatles came out of their "post-touring days hibernation" as finally looking like grown-ass men with facial hair (!) and a mature sound exemplified by "Penny Lane" and "Strawberry Fields Forever." My mom decided that she really wanted the new Beatles album as soon as it was released, and my dad obliged by presenting Pepper to her as a 22nd birthday present in June 1967.

My mom's copy of Sgt. Pepper, now in my possession.

It was this very copy of Pepper that I would obsessively listen to 13 years later. In those early days I have to admit I confused the voices of John Lennon and Paul McCartney. For some reason, I thought that McCartney sang "Lucy in the Sky with Diamonds" and Lennon was the voice of such songs as "When I'm 64" and "Lovely Rita." I don't know when I sorted that out, but I don't think it took too long. Then there was the music itself, unlike any music being produced in 1980/1981 to my ears. Pepper was a little world unto itself, from the orchestra warming up--only to be interrupted and superseded by electric guitars--and then onto the idiosyncratic, peculiarly and exotically psychedelically-tinged Victorian/Edwardian England of "Billy Shears" (Ringo Starr) singing "With a Little Help From My Friends," the Lewis Carroll-esque "Lucy in the Sky with Diamonds," "When I'm 64," "She's Leaving Home," "Lovely Rita,"and "Good Morning Good Morning." The album closer "A Day In the Life" haunted me then and still--to a lesser extent--haunts me today. Of course, could I have intellectualized all of this at age 12 or 13. Probably not. I just knew that Pepper was a strange and magical record.

I can remember nights when my parents would go out and leave me along with my younger brother. This meant that I had free reign of their circa 1960 Motorola console stereo, and was free to listen to records. I'd put Pepper on and pour over the equally colorful and exotic album cover. Many of the faces I couldn't identify but would learn their identities in the following years. The lyrics are on the back cover, superimposed over a photo of John, George, and Ringo facing forward with Paul's back to the camera (as if Paul is about to conduct the band). "Late of Pablo Fanques' fair," "Henry the Horse dances the waltz," "Meeting a man from the motor trade," "He blew his mind out in a car." All sorts of strange word puzzles for this kid--yours truly--to work out in his head.

As I mentioned earlier, Pepper doesn't have the same resonance for me as it did 37 years ago. In my early college years, I took the deep dive into the Beatles' catalog and discovered that Pepper was not my favorite of their albums. Perhaps it is the most culturally significant of their records, but it comes off today as a bit more style than substance. (Having said that, "A Day in the Life" is an absolute masterpiece and is powerful now as it was in 1967). Rubber Soul, Revolver, "The White Album," and Abbey Road are greater artistic achievements. But Pepper is still an enjoyable album to revisit from time to time, and I wish it a fond 50th birthday.

*Here's the list I compiled on December 15, 2016. Ranking of the Beatles' 13 British studio albums.

1. Revolver
2. "The White Album"
3. Rubber Soul
4. Abbey Road
5. Magical Mystery Tour
6. A Hard Day's Night
7. Sgt. Pepper's Lonely Hearts Club Band
8. Help!
9. Beatles for Sale
10, Please Please Me
11. With the Beatles
12. Let It Be
13. Yellow Submarine

Thursday, June 1, 2017

Dispatch from Trump's America

I've not written about politics in here recently, mainly because something either terrible or crazy happens seemingly every day and it's impossible to keep up.

That's life in Trump's America, where every day there is either a) a new wrinkle to Russia's (possible/probable) interference in the election, b) a bizarre tweet from the Donald, c) a new bit of draconian policy that Trump wants to push through, d) a hate crime somewhere in the US, or e) other miscellaneous crazy shit.

Today we learn that Trump will be withdrawing the US from the Paris Climate Accords. Suddenly, a guy who has no problem flying to his Florida resort every weekend on the American peoples' dime declares that he is withdrawing because he cares about the American taxpayer. Yep, it's just too darned expensive ensuring we have a livable planet.

I don't know if I find it more sad or amusing that in his announcement today, Trump acted like he cares about anyone besides himself and his cronies. And then there is the irony in backing out of the climate accords while insisting it's good for the American people.

This is the worst time imaginable for the United States to NOT take a leadership role in mitigating, if not stopping, climate change and cleaning up this planet.

Bottom line, we need to vote this bum out of office in 2020.

Wednesday, May 31, 2017

Forgotten songs of the 1980s: "Watusi Rodeo" by Guadalcanal Diary

If anyone gives the 1980s band Guadalcanal Diary any consideration anymore, it's as the Athens-based band that wasn't R.E.M. (Even though Guadalcanal Diary were more accurately from suburban Atlanta).  Or as that other Georgia band that "kind of sounded like R.E.M."

This is unfortunate, because Guadalcanal Diary was an outstanding band in their own right. And though they shared the same jangly guitar sound as R.E.M., it's far too reductive and unfair to brand GD as mere R.E.M. copycats. (Can we agree that saying that any music "sounds like R.E.M." is like describing a food as "tasting like chicken"). Guadalcanal Diary mastered a fairly wide variety of styles, from the aforementioned jangly pop, to 1950s Buddy Holly-esque love songs, to hard rock, to folk rock, and punky rave-ups. Songwriter and singer Murray Attaway tackled a variety of subjects in his lyrics, with a healthy combination of wisdom and humor: religious fervor and doubt ("Fear of God" and numerous others--this was a popular subject for Attaway), disappeared adventurers ("Michael Rockefeller"), a guy who thinks he has the same personality as a certain violent member of the Three Stooges ("I See Moe"), a dairy farmer who enjoys his job just a little too much ("Cattle Prod")...and this is just scraping the surface. In just four albums from 1984-1989, Guadalcanal Diary covered a lot of territory, and it's difficult to pick a favorite song.

One of the band's best songs, though, is also their best known (in as much as they have a "best known song"). "Watusi Rodeo," from their debut album Walking in the Shadow of the Big Man. The song is a blazing, surf-punky romp with powerhouse drumming and lyrics that tell a bizarre, hilarious story of Texans imposing their Lone Star State lifestyle onto the bewildered people of the Congo. It is a satirical send-up of cultural imperialism. It's also an unjustly forgotten gem of the eighties.

So here you go. Here's a clip of "Watusi Rodeo" taken from YouTube:

So why did Guadalcanal Diary not become bigger? I don't think there's an easy answer to that. The music world is littered with bands and performers who "should have made it big." The music business and music listeners are fickle and difficult to predict. I'm sure that existing in the same place and time as R.E.M. didn't help GD. At least they left us with a brilliant recorded legacy, and anyone who stumbles on their music will surely be rewarded.

"You know that what you eat you are..."

George Harrison's inspiration for a certain Beatles song. If you're a fan of the Fabs, you will know this one right away.

Wednesday, May 17, 2017

Some observations about Simon & Garfunkel's "America"

I was watching television last night and a commercial came on that featured the song “America” by Simon & Garfunkel. The commercial itself I can barely recall, I don’t even remember the product, but hearing that song made me emotional. It’s a song that I’ve liked since I was a kid, but a song that has taken on deeper meaning as I’ve gotten older. In just a few short verses, Paul Simon creates a cinematic story of two young lovers heading off on a bus trip to “look for America.” Simon perfectly evokes the feelings we all have on any trip: the initial excitement (“Laughing on the bus, playing games with the faces”)--which eventually leads to boredom (“Toss me a cigarette…”)-- reflection on the beauty of the countryside (“The moon rose over an open field”)--and finally to a bit of ennui (“’Kathy, I’m lost’ I said”)—. And then the song concludes with the narrator seeing the endless lines of anonymous cars on the turnpike, like Kathy and the narrator, “looking for America.”

But the song got me to thinking—and it often gets me to thinking anytime I hear it—can we ever “find America”? What IS America? And then this led me to recall the vacation we took in December, driving from Michigan to Florida and back again. I was struck by how vast this country truly is. The geography ever changing and unfolding in bold unexpected ways as one drives the long distance from north to south/south to north. It’s amazing that such a diverse and enormous country even IS a nation. And will we ever—CAN we ever--agree on what America is?

I don’t quite know where I’m going with this. I suppose the uncertain times we are currently experiencing made “America” hit me a bit harder than usual.

Monday, April 10, 2017

What I am up to...

Hey folks, just a not to let you know that I'm still alive--just in case you were worrying.

I have a few ideas I'm working on for this blog, both (probably unsurprisingly) involving music. I've been veeerrrryyy slllooowwwlllyyy working on a piece about how music is getting me through the first few months of President Dipshit's reign of error, and another piece about the 30th anniversary of U2's The Joshua Tree.

And somewhere along the line, I need to get to the Tragically Hip's Fully Completely. Maybe sometime before the year 2050, if I live that long and the world hasn't been either blown up or submerged under water due to global warming, I'll complete my Tragically Hip overview. Of course, by 2050 nobody will give a shit about the Tragically Hip anymore (not that they really do now).

Anyway, I have no timetable for publishing these posts, but I sure as hell would like to do it before the end of April. Please bear with me, loyal readers.

Monday, March 6, 2017

Drive-By Truckers--American Band "staff recommendation"

This is a "staff recommendation" I wrote for the Capital Area District Library web site. I thought I may as well share it here. Since there was a lot of cutting and pasting going on, the font and font size may be messed up compared to the rest of the blog.

Drive-By Truckers—American Band

A perfect soundtrack for our troubled times

For over twenty years, the Athens GA based Drive-By Truckers have ambivalently assumed the mantle for Southern Rock. (I say “ambivalently” because they don’t like to be lumped into any category). Their songs have touched on Southern identity, society, and mythology, with their progressive-leaning politics always floating just under the surface.

On their 2016 album, American Band, politics take center stage unlike any of their previous records. Angered and frustrated by such issues as the Charleston (S.C.) church shooting, Confederate flag controversy, and various incidents of violence throughout the nation, songwriters Patterson Hood and Mike Cooley poured their emotions into the eleven songs that constitute this album.

What saves this project from being overly preachy or potentially dull is how the band tears into the music with fervor. It also helps that neither Hood nor Cooley pretend to have all the answers. Their songs sound like conversations between the band and the audience.

Not all of the songs are overtly political. “Sun Don’t Shine” is a quiet meditation on how weather can effect someone’s mood, and album-closer “Baggage” is a gut-wrenchingly emotional song that ties the suicide of Robin Williams with Patterson Hood’s own struggles with depression. (I have to admit that when I heard the lyric “I’ve had my own depression since I was just a kid/But been blessed with the means to repair” I lost it because it hit so close to my own experience).

Suffice it to say this album has been in almost constant rotation in my house for the last few months, and has added resonance considering our current political climate. If you’re a fan of Sturgill Simpson, Jason Isbell (who was in Drive-By Truckers for a few years), or classic rock like Tom Petty and Lynyrd Skynyrd, give this album a spin.

Monday, February 27, 2017

A post for February

We are almost to the end of February, and we're not yet at war, so I suppose that's good. Hey, I'm trying to find a silver lining somewhere.

The bad news is that Trump is still president. I've been (somewhat jokingly) hoping he'd find an excuse to resign, but that hasn't happened. Oh well, since Steve Bannon is doing all the heavy lifting, there is no need for Trump to resign. He probably has plenty of time to play golf at Mar-A-Lago and angrily tweet at all hours of the day, while maintaining the illusion of being president. What more could he ask for?

Music is about the only thing getting me through this political nightmare. Number one on my playlist has been the album American Band by Drive-By Truckers. I mentioned this record in my "favorites of 2016" post, but since the election American Band has taken on even more importance. The two songwriters and vocalists Mike Cooley and Patterson Hood practically play tag team, with songs that look at American politics and culture, race relations, and Southern identity. Now, that might make the album sound too didactic, and it just might have been if the songwriting wasn't so damned good and the supporting musicians not such a crackling spitfire of a band.

I've liked Drive-by Truckers since I first heard their brilliant 2001 album Southern Rock Opera a few years ago, but American Band has led me down the rabbit hole in a big way.

Today I was thinking of how much more politically sophisticated my 15-year-old son is compared to what I was like at the same age. I'd venture to guess he is more well-versed on current events than at least 95 percent of the American electorate, but it's not simply that he knows more facts, he has the ability to analyze this information and has a distinctly left-wing viewpoint. I suppose that at least some of this comes from growing up with lefties, but most of it seems to be of his own creation.

I feel bad that my kids have to live through this shit show of a political landscape, and suffer through climate change, an eroding environment and an uncertain future overall. It makes me feel a bit selfish for having kids. It's like, "welcome to the world, boys. Sorry you didn't ask to be here. Oh, and sorry that the world we're leaving you is such a clusterfuck. Have fun trying to fix it." If I spend too much time dwelling on it, I become depressed.

I don't know how to conclude this post, so I guess I'll just leave it at that.

Sunday, January 29, 2017

Why does Trump want to be president, anyway?

Why does Donald Trump even want to be president?

He is the oldest person ever inaugurated, at 70 years of age. He is about one year older than Ronald Reagan, who was 69 when he was sworn in. (I haven't bothered to do the math).

Trump has a 10-year-old son. Any ordinary, normal man of his age--with the apparent financial freedom--would downscale on the work hours and dote on the child.

But Trump is not an ordinary 70-year-old man. In all of his tweets, his interviews, his performance in debates, Trump has continually demonstrated emotional immaturity and an unhinged vindictiveness.
Donald Trump wanted to become president not because he cares about the American people, but to get even with his enemies. And his enemies are numerous: CNN, The New York Times, Meryl Streep, the "liberals" in Hollywood, the entire Democratic Party, some of the Republican Party, and pretty much anyone who is not white and male.

In one week, he has shown himself to be nothing more than a fascist, with the worst fascist of them all, Steve Bannon, as his right-hand man.

We are entering dark, frightening times in this nation, and I am not overreacting.

This is not merely "liberal" versus "conservative" or "Democrat" versus "Republican." This has become "rational" versus "irrational," "inclusion" versus "xenophobia," "love" versus "hate."

Saturday, January 28, 2017

Has it really only been one week?

We're one week into the Trump presidency and already we're seeing what life under a fascist kleptocracy looks like...and it ain't pretty.

The unhinged executive orders have come with such an intense flurry that it's hard to keep up with them. It's also hard not to become overcome with a profound sense of despair.

I knew life under President Trump would probably be horrible, but it it's even worse than I imagined. The country has become one dominated by fear and hate. We have a president who has no respect for the office, nor any respect for the citizens of the United States. I get the sense that the only reason he wanted to become president was to settle scores and get even with enemies.

I have done what I can to fight back in my own small way. The entire family attended the Women's March in Lansing last Saturday. It was inspiring and heartening to be a part of 9000 like-minded people descending on the state capitol. The march made me think that perhaps I--and others on the left--have been too complacent for the last few years. Perhaps if we'd been just a little more proactive in the months leading to the election, we could have avoided this disaster. But there's no point in "what ifs," we just need to not be complacent NOW and resist, resist, resist.

Thursday, January 19, 2017

(In mourning on) the last day of the Obama presidency

It's finally almost here, the day I have been dreading since November 8: the day Trump takes office as president. I still can barely write that sentence without getting dry heaves.

The impending clusterfuck is already in the making, as we see a parade of lying, sanctimonious hucksters (cough, Betsy DeVos, cough) questioned by the Senate for cabinet positions they don't deserve and aren't qualified for.

So I feel sad that a good-hearted, intelligent, and competent man like Obama is leaving office and head of the sanctimonious hucksters, Donald Trump, is taking over. It's like we're trading in a Rolls-Royce for a rusty Yugo.

I don't plan on watching any of the inauguration tomorrow. I'd rather watch anything else than that orange-faced thug take an oath he doesn't believe to claim an office he doesn't deserve.