Barack Obama’s nod to Sam Cooke and the civil rights era

Barack Obama’s victory last night in the U.S. presidential election brought tears to my eyes not only because of the incredible historic nature of his mere candidacy, and the poignancy of his life story, and the righteousness of overcoming the odds and connecting with the majority of Americans to win the White House. The emotions welled up because of his ability to engage me throughout the campaign — even though I was early on a supporter of Hillary Clinton — at a personal level.

It wasn’t just the emails and text messages and the idealistic ubiquitousness of his campaign’s eager, enthusiastic volunteers and supporters. The enthusiasm certainly was catching, however. It was simply the man, and his seeming thoughtfulness and determination. And his determined disregard for the most historic part of his grand run: his color.

He didn’t really disregard it. He simply refused to make it the focus of his identity. The only time he addressed it head-on was with his speech during the primaries about the nature of race in America.

But last night, during his victory speech in downtown Chicago’s Grant Park, he acknowledged that he understands the enormity of his accomplishment very well. He mentioned it right away, in a reference to his place in the racial narrative: “It’s the answer that led those who have been told for so long by so many to be cynical, and fearful, and doubtful of what we can achieve to put their hands on the arc of history and bend it once more toward the hope of a better day.

“Its been a long time coming, but tonight, because of what we did on this day, in this election, at this defining moment, change has come to America.”

That last line struck a familiar note with me. It was a reference to a 1964 Sam Cooke song, one of the former gospel-singer-turned-pop-star’s lesser hits.

A Change Is Gonna Come” was Cooke’s own acknowledgement of his place in the race narrative, but it was one of his last singles, released after he was killed under mysterious circumstances. (A Los Angeles motel manager claimed she shot him in self-defense.)

Cooke had written “Change,” his only protest song as a follow-up to Bob Dylan’s “Blowin’ in the Wind.” Dylan returned the favor after Cooke’s death with “The Times They Are a-Changin’.”

The slow, measured ballad is not one of Cooke’s well-known, bright, sugary love songs like “You Send Me” or “Cupid,” where he mixed gospel style with pop sentiments. The powerful chorus of the song, which went on to become a familiar refrain to those in the civil rights movement, is, “It’s been a long, a long time coming, but I know a change is gonna come.”

Like Obama said last night, that change has come to America, at last.
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Flipping for the Flip video camera


I know some of my friends think of me as a gadget freak, but I only get crazed about a new toy every once in a while. iPods, for instance. Or digital cameras before that. Walkmans (Walkmen?) in the ’80s.

Here’s my newest gadget recommendation: We recently bought two Flip video cameras and we’re having a blast with them. I had checked out the Flip last year when they were first introduced — Costco sold them for a few weeks and then stopped carrying them.
Several months ago, our pal Bill Imada, founder of the IW Group media and advertising firm, held up a Flip after giving a presentation to the Colorado chapter of the National Association of Asian American Professionals, and told us we have to get one.

At Denver’s Cherry Blossom Festival in June, my brother Glenn Asakawa, a former photographer at The Denver Post now working for the University of Colorado, held up his Flip, and I was reminded that I wanted to get one.
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Meet the Beatles again… sort of

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. Continue reading

Long live the Godfather of Soul

James Brown died on Christmas day, a typically dramatic move for the 73-year-old, self-described “Godfather of Soul,” who was known for dramatic endings in concert.

The news of his death caught me off guard, because I hadn’t heard much about the performer in years. Although Brown’s music career was in its sunset years, he was still touring and singing regularly. He was hospitalized with pneumonia just a couple days before, and died of heart failure not long after telling a friend he would perform in Times Square for New Year’s Eve.

The man earned another of his many nicknames, “The hardest working man in show business,” to the very end. Continue reading