You’ve heard that 70 percent of music streamed/purchased today is older music with bands like The Police and Creedence Clearwater being some of the most popular.
Just this morning a guy in his 20’s shared with me that he and his girlfriend went to a hip-hop show in Los Angeles last weekend and in the middle of it, she turned to him and said, “Do you want to go see a rock band, like with real musicians?” As he reviewed my exercises to rehab my fractured ankle, I asked him how old she was. He shared, “25.”
I found it interesting that a couple in their mid-twenties were bored with hip hop and the lack of musicians present on stage and opted instead to go to a club where real musicians played rock.
In two recent articles about the demise of great modern music Forget the Apocalypse, Let’s Talk About What Happened to Music by Umair Haque and Why Music Has Lost Its Charms by Howard Tullman, both writers claim that older music is far superior to anything new. Not just because the sound of analogue is better than compressed digital, but because (they say) today’s music doesn’t have the soul of the 60s and 70s.
Haque writes that “Modern music sucks.” He’s talking about pop music. Tell us something we don’t know. Mechanical and soulless, pop and hip-hop are largely created by computers rather than real musicians and real instruments. The articles mentioned above wax on about the richness of the 60s and 70s music, claiming that Stevie Wonder, Jackson Browne, Otis Redding and the Eagles still have the corner market on storytelling/songwriting in music.
Don’t get me wrong, I love all of those artists and bands, but these two article writers are missing the point.
There’s an overwhelming amount of outstanding new music that doesn’t suck. You just have to know where to look.
Just because commercial radio is pandering to fans of pop, hip-hop and pop-country, it doesn’t mean there’s a dearth of great music that rivals the greats of the 60s and 70s. There’s plenty of it with insightful and top-quality songwriting, exquisite musicianship and vocals, and music that’s created and performed by real musicians.
Are most people just not aware of Blackberry Smoke, Christone “Kingfish” Ingram, Larkin Poe, Samantha Fish, Marcus King, Beth Hart, Eric Gales, Rival Sons, Dirty Honey, Gary Clark Jr, Keb’ Mo’, and Kenny Wayne Shepherd? Or are they not bothering to try something new, perhaps unfamiliar, prioritizing their music libraries that feature James Taylor, Carol King, Joni Mitchel, The Who, Jethro Tull, The Beatles and others, over the discovery of new music?
It’s really not fair to the newer rock, blues and roots musicians of today. And I’m not talking about rehashings of Robert Johnson or Van Halen. I’m talking about innovative, soulful, young artists and bands who are releasing a truckload of music on their own without the backing of major record labels. Some have their own labels and others are on indie labels. Some go it alone.
The major record labels no longer have imagination or foresight and instead focus on what’s already working now for pop, hip-hop, rap, and certain pop-country artists. They’re all looking for the new Taylor Swift, the new whatever, because they’re out to make money and are mostly concerned with streaming numbers, algorithms and money made from anything but the music itself.
Give me a break.
To the 70 percent of music consumers who’d rather listen to The Police or Creedence Clearwater than trying out some of the newer bands, you must be in the dark about blues/rock, rock and roots music that’s currently being released by highly talented artists. If you weren’t, you’d be flocking to their concerts, diving into their new releases, singles, videos, and buying their merch.
Take Larkin Poe for example. Two young roots/rock multi-instrumentalists, vocalists and songwriters who have created a unique sound and have followed their vision, stayed committed to it. This sister duo, in my opinion, goes neck and neck with most popular rock or roots/rock artists/bands of the 60s or 70s. Talk about soulful. Have a listen here and tell me you aren’t captivated by their vocals, talents on guitars, lap steel and their song.
There’s hundreds of outstanding current blues/blues-rock, rock and roots musicians releasing music today that have the soul, songwriting talents, and musical gifts of those who rose to fame in previous decades. They’re just different. And your music libraries should be packed with their music, right alongside some of your favorites from the past.
Take 22-year-old Grammy winner Christone “Kingfish” Ingram. He’s not just blues but a blend of blues-rock, roots, jazz, and funky grooves. His superb guitar cops are blended with some of the richest, most soulful vocals you’ll hear today. Just because you didn’t see him perform on the 2022 Grammy Awards TV broadcast on CBS doesn’t mean sh*t. Listen Here
And you don’t have to be ancient to love and appreciate his music. Or for that matter the music of Eric Gales , Joanne Shaw Taylor , Marcus King , Davy Knowles , Shemekia Copeland, Carolyn Wonderland , Tinsley Ellis , Naked Gypsy Queens and Dirty Honey . You just have to be willing to take the risk and listen. And of course, know where to look.
How about Fantastic Negrito, an innovator if I ever saw one. He’s a multi Grammy winner too.
Speaking of risk, it seems to be challenging for a lot of people to try new rock, blues-rock and roots music. Perhaps they can’t get beyond their love and appreciation for music from the 60s and 70s. Maybe some grew up in that time period and the music is familiar and brings back good memories. But according to the stats, 46 percent of listeners of older music are between 35 and 44, 62 percent are between 45 and 54. And I get the love of Hendrix, The Who, Linda Ronstadt, Fleetwood Mac, and more.
But there’s more to love.
For many, it seems, it’s difficult to disengage from revering the past greats when you’re looking for new, soulful, beautifully done modern rock, blues and roots music. There’s similar musical elements in the newer music as in the older and maybe they’re compared.
Regardless of what side of the fence you’re on regarding Joe Bonamassa, his music isn’t just about virtuoso guitar playing at top speed. He’s a highly talented songwriter but you have to listen to an album like Redemption or his latest release Time Clocks to find out.
I can tell you from personal experience from running Rock & Blues Muse and an associated online group of 9,000 that many people come to us to discover new, great music with heart and soul, with similar qualities of older music but with a fresh, individual spin.
Spotify’s algorithms cannot replace a respected friend or family member’s enthusiasm for a new single or album that makes you feel something.
It can’t share music with information about the artist/band and doesn’t come with a real human being’s personal recommendation.Tell me where I’m wrong here.
Perhaps part of why certain music fans are stuck in the trenches of older music and its magical quality, is the nature of the time it was released and the personal associations with the decade’s sense of freedom and breaking of norms and rules that went along with it. Maybe good values too.
I’ve got good news for you. That culture of soulful, new music is alive and well today. Right now. At your fingertips. It’s a much smaller culture, a narrower market, but it’s there. And it’s not just on SiriusXM Bluesville either.
The artists and bands who are creating this music are touring, performing, recording, putting on thrilling live shows, albeit in smaller venues than in previous times. But they’re there.
You just have to look and have an open mind. These artists are not retreads either of artists like The Allman Brothers Band, Led Zeppelin, Pink Floyd, The Doors, The Rolling Stones, Aerosmith, Joni Mitchell, CSNY and more.
My opinions don’t mean that articles mentioned above are wrong. They have viable and credible information about what’s happening in the music industry, valid views about the soullessness of pop, hip-hop and rap with inane lyrics about booties, guns, and videos featuring female artists humping the floors and dancing as if on stripper poles.
I’m suggesting that they’re missing something–the new modern blues, blues-rock, rock and roots music revolution with real music and real musicians. Maybe revolution is too strong of a word but there’s no secret door to which only a select few have the key. It’s right under your nose. And it’s fresh. This isn’t the blues of yesteryear. There’s a whole new world of blues, blues/rock and roots music that embodies several genres.
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No comments on New in music
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Fans of Mel Brooks know “The Producers,” in which two producers’ plans to make money by making money-losing movies is foiled by their accidentally making a popular movie.
Proving that real life is stranger than fiction, Buzz Dixon tells this story:
The Mob had a problem:
Deep Throat was making too much money.I won’t recount the history of porn in America at this time — it’s fascinating stuff (and not for the reasons you think!) — but it’s too much of a sideshow to what I want to post about.
Suffice it to say this:
The same black market-to-barely legitimate distribution system that made bootlegging not only possible but highly profitable during Prohibition, the same system that got pressed into service to spread comics and pulp magazines far and wide, that same system had a modestly earning sideline in shoveling porn around the country up to the 1960s.At that point, as more and more adult films began being imported from Europe, as American indie producers found more legal tolerance for their grindhouse features, the Peraino members of the NYC-based Colombo crime family decided to splurge ($22,500 to $50,000 depending on who tells the story) on a feature length 35mm full color porn film that had an actual bona fide (albeit goofy) story and something that could be loosely interpreted as acting by less discriminating members of its audience.
We’re talking Deep Throat, folks, and I’ll head everyone off at the pass and say Linda Lovelace (nee Linda Susan Boreman) was at the very least coerced and intimidated into making the film, so sympathy to her, and a big hearty horselaugh to all those others involved as you read further.
We come not to praise Deep Throat (which in addition to being the first American porn feature with an actual story was also a musical [!] and a borderline sci-fi film [!!]), but in the words of another / later / even more infamous Deep Throat: “Follow the money.”
. . .
Deep Throat may very well be the biggest return on investment of any movie ever made, basically walking around pocket change for Mob wiseguys turned into a $250 million grossing picture! (And that’s just the generally agreed upon lowest gross estimate for the film; nobody really knows for sure. Gawd only knows what they could have done with Lucasfilm’s marketing team.)
Of course the Mob harbored absolutely no desire to let the Feds have any of that, and so for ideas on how to hide it, they turned to a bigger / badder / even more financially corrupt institution: Hollywood
I’ve posted elsewhere about the financial shenanigans the Hollywood studio system employs to hide its loot. One of their mainstays is cross collateralization.
It works like this:
Say a studio release six movies in a three month period. One smash hit, one modestly successful, two break even, one mild disappointment, one bomb.The studio takes money from the smash hit and modestly successful films’ revenues and apply them to the losses of the bottom two films. With any luck all six films barely break even, and as such the studio keeps all the revenues and the profit participants (har!) get bupkis.
They call it “standard industry practices”.
And that’s what the Mob wanted to do with Deep Throat.
. . .
Problem:
Deep Throat wasn’t conceived of as a franchise tentpole; it was just a standalone stroke film.So they cobbled together a distribution company called Bryanston Films (presumably because it was the least Mafioso-sounding name they could think of) and, like Mel Brooks’ ill-fated The Producers, went out in search of the worst movies they could lay their hands on so they could “lose” money with them and siphon off that sweet, sweet Deep Throat cash (and more on why they wanted to do that in a bit).
Among the very first films they distributed was Dark Star, a low budget sci-fi movie shot mostly on 16mm as a student film by two USC classmates: John Carpenter and Dan O’Bannon.
Budgeted at a final grand total of $60,000, it looked a helluva lot more polished and professional that Deep Throat. Still, Bryanston expected to lose money on this and were surprised when word of mouth among sci-fi fans earned the film a cult reputation that edged it into break even territory.
Oh, well, you can’t lose ‘em all, can you?
. . .
So they tried again, picking up a couple of Hong Kong imports to cash in on the kung fu craze they knew next to nothing about.
They figured by overpaying for a film, it would be easy to claim they lost money on it, and normally that would be true…
…unless one of the Hong Kong films you pick up is The Way Of The Dragon with Bruce Lee, and you release it just as a larger studio announces their (relatively) big budget Bruce Lee epic, Enter The Dragon.
Well, lightning can’t strike three times, can it?
Wanna bet?
They opted for something safe and crappy, absolutely guaranteed not to make any money. A film made by some punks from some podunk place down south, shot on 16mm with even lower production values than Deep Throat and arguably far worse acting. A stupid, ugly, vulgar film about a family of cannibals.
After running it for Bryanston, the screening room projectionist looked them square in the eye and famously said: “There are a lot of sick bastards in this world and every single one of them will pay five dollars to see this movie.”
Boy howdy, was he ever right!
Ladies and gentlemen, The Texas Chainsaw Massacre…
. . .
Meanwhile, outside the confines of Bryanston’s front offices, virtuous forces were gathering against them.
It’s hard for people to fathom today, but once upon a time hard core porn was illegal in many if not most communities in the United States.
Typically the reason had to do with blue nose morality, but law enforcement also knew the Mob liked to move money around using liquid assets.
That’s why local authorities waged war against pinball machines: They made it possible for the Mob to hide cash from heroin sales by claiming it was just millions of kids putting their quarters down.
Having a string of failed movies, and using Hollywood-style cross collateralization made it possible for the Perainos to hide a lot of the Colombos’ illicit cash —
— but the movies had to fail massively for the scheme to work.
And try as they might, Bryanston just couldn’t get their movies to fail.
(Well…most of them…)
To help hide money from the Colombos’ other rackets, the Perainos began siphoning for of their Deep Throat cash off to Mob-dominated Las Vegas casinos.
Casinos, like pinball machines, could hide a lot of illicit cash.
Cash the FBI and the IRS would love to be able to trace.
Question:
How do you penetrate many levels of Mob security to get a look at their books?. . .
By now the Bryanston boys were growing desperate.
Despite their best / worst efforts, their movies kept making money!
It finally dawned on them that their least profitable films (“least” as in “but still”) were more conventional films with recognizable although far from big box office draw names.
Finally an independent production showed up that was ideal for their purposes: A dumb medium budget horror film with a bunch of has been stars in it, too well made to appeal to the freaks buying tickets for Blood For Dracula and Flesh For Frankenstein (two Andy Warhol produced horror films that surprised the hell out of everybody by being modestly successful), too inept for mainstream audiences who came to see The Human Factor or Caravan To Vaccares.
With a cast featuring Ernest Borgnine, Eddie Albert, Ida Lupino, and William Shatner — all woefully miscast — it was sure to turn off younger audiences.
In fact, the only young character in it was just a minor supporting role played by a kid who was one of a half dozen sidekicks on a modestly successful sit-com, a kid whose next role would be in a dumb disco dance fad movie.
So Bryanston acquired The Devil’s Rain and put it into general release.
And it fared poorly, and it lost money, and the boys at Bryanston smiled because at long last their scheme was working…
…until 18 months later when Saturday Night Fever was released and suddenly theaters were demanding every movie with John Travolta in it get re-released to cash in.
. . .
The Feds finally found a crack in the financial wall surrounding the Mob’s money.
Remember, even in the late 1970s, porn was not legal everywhere in the United States.
On July 7, 1974, the FBI arrested Harry Reems, Ms. Lovelace’s Deep Throat co-star, in New York for a federal obscenity charge filed in Memphis.
Dick Nixon, desperate to distract Americans from his own political scandals, kept pressing for crime bills and prosecution against porn, even though his own commission on pornography saw no societal harm in it.
The FBI, on the other hand, saw the Deep Throat obscenity case from a different perspective: A chance to finally get their hands on the Mob’s books.
And that’s exactly what happened.
Using their right of discovery from the Reems’ case and similar indictments in other federal courts around the country, the FBI swooped in on Bryanston and grabbed their financial records.
Sound familiar?
It should.
If you’ve seen Martin Scorsese’s Casino, you know roughly half-way through the film the FBI launches raids across the country to crack the Mob’s money laundering schemes.
Casino clocks in just shy of three hours — and Scorsese spends about a fourth of that time just explaining how the casino business works so the rest of the movie will make sense.
Adding a whole big sub-plot about how Deep Throat and Bryanston led the FBI right to the Mob’s piggy banks would have been fascinating — and incredible long.
So Scorsese just dismisses how the FBI found their way in and follows what happens after they did.
Wiseguys went to jail, that’s what happened.
. . .
Bryanston’s books provided the loose thread the FBI pulled that unraveled the whole deal.
No, it didn’t eliminate organized crime or shut down Mob influence in Las Vegas, but it sure put a dent in ‘em.
And it put a lot of guys — many named Peraino — behind bars.
Bryanston went inert for 30 some years. It makes noises now like it wants to come back as a legitimate distribution company, but so far…nothing.
All the original players are pretty much dead and gone, the lucky ones via natural causes, the not-so-lucky ones by other mobsters.
I was sparked to write this because several online friends had shared The Devil’s Rain poster recently without knowing how it fit into the weird history of the Mob and porn and Las Vegas, so I thought I’d write up this summary for them.
Up above I mentioned almost every film Bryanston release proved modestly successful at the very least.
The one exception is The Last Porno Flick (a.k.a. Those Mad, Mad Moviemakers).
I knew and worked with the late Larry DiTillio, who wrote the screenplay for the movie.
Without knowing it, he and the other film makers pitched a movie to Bryanston that was exactly like what Bryanston was trying to do!
i.e., a movie about some con men trying to make a bad porn movie so they could hide money.
Larry described the horror he and the other members of the production team felt when they realized they were in the Mob’s den, pitching a movie that made fun of what the mobsters were actually trying to do. He felt sure they were all going to leave with broken kneecaps at the very least —
— but to their surprise the Bryanston boys went for it and not only agreed to distribute the film but financed it as well.
And it flopped.
Larry felt sorry for them.
They had tried so very, very hard to be a failure, but they just kept on succeeding.
And when somebody brought them a film idea that reflected what they had been going through, they probably thought to themselves, “Yeah, let’s do this, let’s show the world what it was like for us.”
And the world didn’t give a crap.
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Tim Nerenz:
And there it is: the economy contracted again in the second quarter, by -0.9%, nearly twice the shrink expected by “the consensus”. Recession confirmed.
They tried their darndest, with “adjustments” from the July 19 Atlanta Fed forecast of -1.6%; but there is only so much lipstick that can put on a pig.
Q1 was first printed at -1.1% and later (quietly) revised to -1.6% and is more likely than not this will happen again as investment analysts digest and tear into the gory details of the adjustments; time will tell.
There is an old maxim that a recession is a depression if you lost your job or your business or can’t make rent, and GDP is the aggregation of billions of individual exchange contributions with winners and losers both numbered in tens of millions – your mileage will certainly vary.
Nothing will change until someone changes it and it not clear who that someone might be since the folks who could change it simply deny the recession is real – this year’s Big Lie.
An increase in interest rates depresses growth and the Fed just increased them 75 basis points with another 50 expected in September.
And it appears that Manchin and Schumer have struck a trillion dollar spending deal cynically called the Inflation Reduction Act after weeks of tense negotiations over what to call it.
And so it goes…
Meanwhile, inflation in June reached 9.1 percent, thanks in large part to gas prices being $2 or more per gallon more than they were before Biden’s reign of error began (graphic from the Wall Street Journal):
The most accurate unemployment number, the U6 (unemployed plus those not working as much as they want to) at the end of June was 7 percent. The Presteblog Misery Index (inflation + U6 unemployment minus economic growth) is now at 17, a ;evel that ended Gerald Ford’s political career. It should end Biden’s career, especially since it will get worse.
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As inflation continues to eat away at household budgets and fears of a major economic downturn continue to mount, the Biden administration is attempting to redefine the term “recession” in an apparent public relations push to mitigate backlash for the current state of the economy.
This effort to obscure what has long been a simple, specific, and uncontroversial definition is part of an ongoing pattern of President Biden and his team redefining and weaponizing specific terms to further their political agenda and stigmatize forms of dissent they deem threatening.
Here are six terms the administration has sought to redefine:
1. Recession
For decades, experts have defined a recession as two straight quarters of negative economic growth, meaning a decline in gross domestic product.
This definition has become especially relevant with the latest GDP numbers for the second quarter of this year due to be released on Thursday, following the release of official figures in April showing the economy shrank 1.6% in the first quarter.
If Thursday’s numbers show the economy contracted in the second quarter, confirming a decline in economic activity over a six-month period, January through June, the U.S. would, according to the generally accepted definition, be in a recession.
In recent days, however, several Biden administration officials have attempted to obscure the definition of a recession to argue the U.S. isn’t facing a recession, regardless of what the second quarter figures show, by.
Jared Bernstein, a member of the White House Council of Economic Advisers, for example, said on CNN it’s up to the National Bureau of Economic Research — a nonprofit group of economists — to determine whether the U.S. is in a recession, adding the bureau does so “in hindsight because data comes in with a bit of a lag.”
Such a process could take up to a year, according to observers.
Bernstein pointed to a blog post on the White House website claiming that “official determinations of recessions and economists’ assessment of economic activity are based on a holistic look at the data” factoring in a wide array of variables beyond negative growth rates.
However, the Republican National Committee flagged a clip of Bernstein in 2019 defining a recession as GDP simply “crossing zero.”
Treasury Secretary Janet Yellen echoed Bernstein’s points over the weekend, adding that she would be “amazed” if the National Bureau of Economic Research declares a recession in the near future.
“This is not an economy that’s in recession, but we’re in a period of transition in which growth is slowing,” said Yellen.
White House Press Secretary Karine Jean-Pierre went even further on Monday, saying that “economic indicators … do not show that we are in a recession or even a pre-recession.”
President Biden himself similarly insisted the U.S. is “not going to be in a recession.”
Meanwhile, former Treasury Secretary Larry Summers has been warning “there’s a very high likelihood of recession,” dismissing the Biden administration’s comments as “a kind of triumph of hope over experience.”
2. Disinformation
One of the more controversial terms the Biden administration has seemed to contort for political purposes is “disinformation,” using the term to target views with which the administration disagrees — especially concerning COVID-19 and the 2020 election.
In April, the Department of Homeland Security announced the formation of the Disinformation Governance Board to monitor and combat speech it deems “disinformation.”
Secretary of Homeland Security Alejandro Mayorkas defended the initiative as important in tackling the “threat” of disinformation, especially when it targets migrants or comes from the Russian government.
However, critics lambasted the board as an Orwellian “Ministry of Truth” established to silence people with certain political views. Such criticism led DHS to “pause” the DGB amid widespread outcry.
Whistleblower documents released last month by Republican Sens. Josh Hawley (Mo.) and Chuck Grassley (Iowa) appeared to confirm such concerns. One internal memo showed DHS officials writing that disinformation threatens homeland security, especially “conspiracy theories about the validity and security of elections” and “disinformation related to the origins and effects of COVID-19 vaccines or the efficacy of masks.”
The documents obtained by Hawley and Grassley also showed an effort by DHS to recruit Twitter and other Big Tech firms to aid in its mission to stamp out “disinformation.”
In February, DHS put out a “National Terrorism Advisory Bulletin” discussing how “conspiracy theories,” “misleading narratives,” and “and other forms of mis- dis- and mal-information” can fuel foreign and domestic terrorism. It cited “false or misleading narratives regarding unsubstantiated widespread election fraud and COVID-19” online as “key factors contributing to the current heightened threat environment.”
3. Domestic terrorist
The administration appeared to redefine what a domestic terrorist is last year, when the National School Boards Association sent a letter to Biden asking his administration to investigate threats against public school officials. In the letter, the NSBA specifically referred to parents who protested the teaching of critical race theory in the classroom, suggesting such actions should be classified as “domestic terrorism.”
The NSBA requested that the Justice and Homeland Security departments probe and prosecute these “crimes” under “the Patriot Act in regards to domestic terrorism.”
Less than a week later, Attorney General Merrick Garland sent out a memo warning that the Justice Department is “committed to using its authority and resources to discourage” the “threats” described by the NSBA, “identify them when they occur, and prosecute them when appropriate.”
The memo directed the FBI to work with each U.S. Attorney to convene meetings nationwide to discuss strategies for addressing these threats. Garland also mentioned his intent to “launch a series of additional efforts in the coming days” which, according to the Justice Department, would “determine how federal enforcement tools can be used to prosecute these crimes.”
The NSBA later apologized for the letter after receiving backlash for comparing parent protests to domestic terrorism. However, subsequent reports indicated coordination between the NSBA and the Biden administration on the former’s letter and Garland’s subsequent memo.
“Terrorism is defined as the unlawful use of violence and intimidation, especially against civilians, in the pursuit of political aims,” Robyn Gritz, a retired FBI special agent who worked in counterterrorism for years, previously told Just the News.
The FBI defines domestic terrorism specifically as “violent, criminal acts committed by individuals and/or groups to further ideological goals stemming from domestic influences, such as those of a political, religious, social, racial, or environmental nature.”
It’s unclear how the administration thinks protesting vaccine mandates or the teaching of critical race theory could meet this definition.
4. Insurrectionist
In the aftermath of the Jan. 6 Capitol riot, the Biden administration has redefined the term “insurrectionist.”
In total, more than 750 people have been imprisoned for Jan. 6-related crimes without a trial.
Several of them have said the FBI, Justice Department, and federal prison officials under the Biden administration violated their civil and constitutional rights. The vast majority weren’t accused of carrying a weapon, assaulting law enforcement, or destroying property — let alone trying to “overthrow our government.” Many didn’t even enter the Capitol building.
Yet Biden, fellow Democrats, some Republicans, and federal prosecutors have labeled those who were involved in the Capitol riot, support the Jan. 6 prisoners, or question the results of the 2020 presidential election as insurrectionists.
The FBI was unable to find evidence that the Jan. 6 riot was a coordinated insurrection, despite months of investigating the matter.
Nonetheless, in recent months, Democrats have launched a campaign to label and disqualify Republicans who supported efforts to question the 2020 presidential election results as insurrectionists who tried to subvert American democracy.
5. Voter suppression
Following the controversy of the 2020 election, Republicans in some states such as Georgia have pushed a series of election reforms with the stated purpose of combating voter fraud and protecting election integrity
These measures include requiring voters to provide identification to receive an absentee ballot and prohibiting ballot harvesting, a tactic, outlawed in most states, in which third-party activists gather and deliver voters’ ballots.
Biden has consistently described these efforts as “voter suppression” meant to make it harder for people, especially minorities, to cast their ballots. Biden has even called such efforts “Jim Crow 2.0,” a reference to the laws that enforced racial segregation in the South.
Since entering office, Biden and some of his most prominent supporters have invoked the specter of “voter suppression,” framed as an existential threat to democracy posed by their political opponents, to justify a host of ambitious policies.
The Democrats’ election overhaul agenda includes proposals such as implementing universal mail-in voting and weakening voter ID requirements. Supporters say the legislation is meant to expand access to voting. Critics counter the bills create more opportunities for fraud and would federalize election rules, forcing states to implement mandates from Congress.
The Constitution primarily gives state legislatures, not the federal government, the power to determine and enforce their own election procedures.
Illegal alien
Last year, the Biden administration ended use of the phrase “illegal alien” to describe migrants who entered the country illegally, although “alien” has long been common in U.S. law. The administration ordered immigration enforcement authorities to use the term “non-citizen” instead.
Those supportive of the change described the new language as “inclusive” and less “dehumanizing.” Critics countered the new term would have the effect of normalizing illegal immigration.
Since Biden entered office, the U.S. has experienced a historically high surge in illegal border crossings from Mexico.
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We begin with our National Anthem, which officially became our National Anthem today in 1931:
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Today in 1977, John Lennon did not get instant karma, but he did get a green card to become a permanent resident, five years after the federal government (that is, Richard Nixon) sought to deport him. So can you imagine who played mind games on whom?
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Michael Smith:
Director Christopher Nolan used Christian Bale to take a three-movie tour of the darker side of The Batman. Bale’s moody, tortured, and introspective Bruce Wayne gave the world a look into the grittier side of Gotham and its nasty criminal underbelly.
Batman Begins (2005), The Dark Knight (2008) and The Dark Knight Rises (2012) gave rise to a story arc that left any hint of Adam West’s comedic Batman and his criminally comedic opponents behind, and in doing so, returned Batman to his origins.
If you feel as though you are watching an episode of Nolan’s Batman every time the news reports lax enforcement of the laws in the deep blue cities, you aren’t wrong.
There currently is no Bruce Wayne or Batman, but there certainly are a rogue’s gallery of crime bosses, evil businesspeople and assorted corrupt politicians, elected officials, and bureaucrats.
The news from San Francisco, LA, Philadelphia, New York, St. Louis, and Minneapolis seems to indicate each of those cities are racing each other to become America’s Gotham City, just this time without the heroes who almost inevitably try to save them from themselves.
These Soros backed DAs are more Heath Ledger’s Joker than they are Harvey Dent (former DA turned crime boss). Where Dent was more focused on enriching himself through his crimes, Ledger’s Joker was a malevolent, malignant, deeply scarred character more intent on punishing the Batman and the people of Gotham City than profiting from his criminal enterprise.
People like Chesa Boudin (thankfully recalled), George Gascon, Larry Krasner, Alvin Bragg, Kim Foxx, and other leftist District Attorneys are using arbitrary, capricious, and frankly, race focused, application of the law to punish people they believe have wrong them and society in some way. You might want to add Nancy Pelosi, who is beginning to look like the Joker more every day, and the hapless puppet, Merrick “The Penguin” Garland, to that list – they are most certainly easy on the members of their criminal gang as they deal quite harshly with those who have not joined them in their crime spree.
Many of the people on the dark side of our contemporary Gotham Cities allegedly ascribe to the premise that crime doesn’t imply a need for law enforcement and a justice system, that rather it is the opposite, it is created by law enforcement and the justice system to keep the poor and racial minorities down, their real purpose is to use those criminals to punish a populace those officials viscerally hate.
Their ruse is that of “criminal justice reform” but this evil cabal of corrupt officials uses lax enforcement of the law to create a frontal offensive on the law abiding. The real objective of their policies is to set criminals free to continue to commit crimes, and in turn, continue to punish the society these people believe is fatally flawed, weak, and just wrong. Society deserves to be punished, especially those typically Republican white suburbanites whose successes have obviously come at the expense of those committing crimes.
Those suburbanites are the people who deserve to feel a little of the fear, loss and oppression that causes criminals to become criminals. They need to be served a little mental anguish to teach them a lesson about what things will be like until people begin to see the light and sign on to their leftist brand of sociopolitical policies.
Biden is the current head of a national criminal enterprise.
Albeit more of a 60’s Caesar Romero character than the darker Heath Ledger or Joaquin Phoenix versions, Biden plays a national level Master Joker to America’s Gotham. There is little doubt he has used the power of his various political offices to enrich himself (he has never had a real job in the private sector, just like about 60% of those making policy), but almost comedically, he finds himself at the head of an organization that is a strange mix of pretty much all the organized groups opposing Batman’s crusade to rid Gotham of crime.
The Democrat Party embodies elements of the Circus of Strange (a criminal syndicate which operates out of a travelling circus) and the Court of Owls (a centuries old aristocratic secret society which wielding immense power and influence over the affairs of Gotham City).
In Nolan’s 2012 Dark Knight Rises, Batman returns after taking the fall for Harvey Dent’s crimes to fight Bane’s terrorism. Bane’s professions to the people (rich are the enemy, total democracy) are akin to the professions of the American left and end, predictably, in the very same chaos and dystopia the left’s policies always do.
Batman does save Gotham, but while saving Gotham from an immediate threat, he doesn’t really “save” the city. He serves as the inspiration for a popular uprising of the people who retake their city.
But don’t turn that dial.
The Democrats will always be the party of The Joker.
But you can feel a stirring, a movement rising in opposition to Biden, Pelosi and their minions in the blue cities and states. There is a lot of Nolan’s Batman story line in the presidency of Donald Trump. Either 2024 becomes a Dark Knight Rises version of our American story or perhaps a new Dark Knight (DeSantis) tugs on the mask and cape or a new Catwoman (Kristi Noem) squeezes into the black bodysuit and takes over.
In any case, brighter days are ahead for Gotham.
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Today in 1965, the Rolling Stones were to release “Beggar’s Banquet,” except that the record label decided that the original cover …

… was inappropriate, and substituted …

… angering one member of the band on his birthday.
The number one single …
… and album today in 1975:
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Jim Geraghty:
Politico’s Ben White characterizes this week as a “Category 5 economic storm,” but I think the dominant theme will be, “It’s not a recession, we swear!”
As much as economy-watchers will be studying the Consumer Confidence Index numbers on Tuesday and the Federal Reserve meeting and decision on interest rates Wednesday, the biggest deal will be the numbers for second-quarter economic growth, announced at 8:30 a.m. Eastern Thursday morning. We don’t know what the second-quarter economic numbers are going to be, but they’re probably not going to be good. The Atlanta Fed thinks it will show that the U.S. GDP shrank 1.6 percent in the last quarter. The previous quarter was a decline of 1.6 percent as well — so if the Atlanta Fed projection is correct, Thursday will bring news that the U.S. is now in a recession, at least by the traditional definition. (Even if it doesn’t, and it shows GDP growth at 0.0 or slightly higher, the U.S. is still in lousy near-recessionary conditions.)
Biden and his team will argue that, despite the numbers, the U.S. isn’t really in a recession. In fact, White writes that if Republicans declare we’re in recession, “It will not be true. At least not yet. But President Joe Biden and Democratic candidates across the country will face a daunting and possibly impossible challenge explaining to people why it’s not true.”
On Meet the Press yesterday, Yellin had the unenviable task of convincing Americans that even though it may look like a recession, sound like a recession, and feel like a recession, it’s not really a recession:
SEC. JANET YELLEN: I do want to emphasize: What a recession really means is a broad-based contraction in the economy. And even if that [second-quarter-GDP-growth] number is negative, we are not in a recession now. And I would, you know, warn that we should be not characterizing that as a recession —
CHUCK TODD: I understand that, but you’re splitting hairs. I mean, if the technical definition is two quarters of contraction, you’re saying that’s not a recession?
YELLEN: That’s not the tech —
TODD: No?
YELLEN: That’s not the technical definition. There’s an organization called the National Bureau of Economic Research that looks at a broad range of data in deciding whether or not there is a recession. And most of the data that they look at right now continues to be strong. I would be amazed if the NBER would declare this period to be a recession, even if it happens to have two quarters of negative growth. We’ve got a very strong labor market. When you’re creating almost 400,000 jobs a month, that is not a recession.
The National Bureau of Economic Research isn’t exactly speedy about these declarations. Back in December 2008, it announced that the U.S. was in a recession . . . that had begun almost one year earlier in January 2008.
