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April 19, 2007

Seen recently on a bumper ahead of me on a late-night trip to the Taco Bell drive-though (OK, so you know a little bit about my lousy eating habits): "I'd rather eat shit than ride a Jap bike!" with an American flag next to the text. This was on a Toyota pickup truck. ...

April 19, 2007

There's a fascinating discussion going around in the e-mail list for New York chapter of the Asian American Journalists Association. It began the day that news of the Virginia Tech shootings broke, when the media first reported that the shooter may be Asian. Since then, various perspectives have been shared about whether it was journalistically important to identify the race of the shooter (I kinda think it was, considering the tragic scope of the incidents), whether there will be a racial backlash against Asians, and whether Asian Americans share sense of guilt and shame about the murders.
February 16, 2007

The old cliché holds true in Texas, where there are only two kinds of music: good music and bad music. And a lot of it is good. Not only has the state been a hotbed for great talent for decades, but something about the dust and sun and the cross-cultural pollination of being so close to Mexico has made it possible for artists to ignore lines between genres. So blues pioneer T-Bone Walker laid the groundwork for Chuck Berry's later quintessential rock-and-roll guitar licks. Freddy Fender warbled about being lovesick and letting his teardrops fall in both Spanish and English, his music infused with the galloping conjunto rhythms and accordion melodies, and hit both the Country and Pop charts. Clarence Gatemouth Brown played killer blues, stone country and toe-tapping swing. Lyle Lovett could veer from his James Taylor folkie-isms to his big-band (er, "Large Band") forays into swingy rhythm and blues. Doug Sahm, about whom an entire encyclopedia of music could be written, started as a country guitar prodigy but quickly absorbed blues and rock and played music like the British Invasion until he met marijuana, and scooted to San Francisco to become a psychedelicized hippie before returning to Texas to play country again. His shows could run the gamut from conjunto music to rich R&B to killer blues and rock. Jerry Jeff Walker's a folkie and a country legend but he's just as remembered for sloppy, drunken rock and roll about sangria wine and a killer pop song, "Mr. Bojangles." Another signature tune, "London Homesick Blues," written by yet another Texas songwriter, is the theme song for "Austin City Limits," the PBS show that brings all these wonderful Texas sounds to a genteel, yuppified national audience. Genre-busting is a sport in Texas. There are so many stories to tell about music from Texas, that some get lost in the flood. One that deserves telling is the tale of Joe Ely, a singer-songwriter who's always had one foot in stone country and the other in rowdy rock and roll, and a hand in R&B and the other in folk music.
February 4, 2007

I dunno about you, but I find it fascinating that Prince played the Super Bowl halftime show tonight. It’s good to see him again, and damn, he looks good and he’s hot, ripping up the guitar like a diminutive, modern-day Hendrix. It’s sort of weird to see him playing music so centered around his “Purple Rain” period, but cool to see the marching band playing along, though I can’t really hear them at all. Just in the past few years during the Super Bowl halftime show we've seen Janet Jackson (with her "costume malfunction") along with Justin Timberlake, P. Diddy, Kid Rock and Nelly; the Rolling Stones ad last year, Paul McCartney. But Prince?
January 29, 2007

Although a small label had unsuccessfully released some singles in 1963, most American rock and roll fans were introduced to a new band from England via Capitol Records’ 1964 album, “Meet the Beatles.” That album, and the subsequent visits by the mop-topped Liverpudlians to the U.S., sparked by appearances on TV including historic performances on the “Ed Sullivan Show,” re-set an entire generation’s emotional gyroscope. Beatlemania brought with it a different kind of music, pop that popped with surging harmonies and was driven by hard, clangy rhythms, shot through with the soul and R&B of rock’s roots but also energized with a new kind of electricity. The Beatles were the prototype for power pop, a genre that generations of bands, fans and rock critics have been seduced by ever since “Meet the Beatles.” The list of power-pop artists that have been critically heralded is long even though few have hit the charts and become rich and famous: the Byrds (as much power pop as folk-rock and later, country); Alex Chilton and Big Star, Marshall Crenshaw, Windbreakers, Bram Tchaikovsky, the Records, Flamin’ Groovies, Let’s Active, Bangles, Nick Lowe, Matthew Sweet, Rubinoos, the Shoes… the list goes on and on. One power pop band that actually has hit songs to its credit, the Smithereens, has gone full circle with its latest recording, “Meet the Smithereens.” It’s a song-by-song replica of “Meet the Beatles,” only done as the Smithereens.
January 26, 2007

One of the cool things about traveling to LA is getting to watch KDOC, a local station that unearths old TV shows and airs them. For some reason, whenever I'm in town I get to tune in to old episodes of "Hawaii Five-O." The show is fascinating to me for several reasons. It fit my early attraction for TV action shows ("Dragnet" just didn't cut it) with its tire-squealing car chases and gun fights, and the cool, noir-hero cop Steve McGarrett, played by the square-jawed Jack Lord. It had one of the all-time greatest theme songs, which was recorded by the pioneering instrumental guitar-rock band the Ventures. It's a cultural snapshot of a transitional time in post-war U.S. culture, when the generation gap produced by the baby boom was bulging into college age, and pop style was evolving from '60s mod to '70s avocado and harvest gold. Most of the men still had Brylcreemed hair, and the women had big poofy hairstyles when the show debuted in 1968 (it ran all the way to '80).