Imagine having tickets to today’s 1964 NME winner’s poll concert at Wembley Empire Pool in London:
Imagine having tickets to today’s 1964 NME winner’s poll concert at Wembley Empire Pool in London:
It’s remarkable to me that the liberal Vox allowed this to be published:
There is a smug style in American liberalism. It has been growing these past decades. It is a way of conducting politics, predicated on the belief that American life is not divided by moral difference or policy divergence — not really — but by the failure of half the country to know what’s good for them.
In 2016, the smug style has found expression in media and in policy, in the attitudes of liberals both visible and private, providing a foundational set of assumptions above which a great number of liberals comport their understanding of the world.
It has led an American ideology hitherto responsible for a great share of the good accomplished over the past century of our political life to a posture of reaction and disrespect: a condescending, defensive sneer toward any person or movement outside of its consensus, dressed up as a monopoly on reason.
The smug style is a psychological reaction to a profound shift in American political demography.
Beginning in the middle of the 20th century, the working class, once the core of the coalition, began abandoning the Democratic Party. In 1948, in the immediate wake of the Franklin Roosevelt, 66 percent of manual laborers voted for Democrats, along with 60 percent of farmers. In 1964, it was 55 percent of working-class voters. By 1980, it was 35 percent.
The white working class in particular saw even sharper declines. Despite historic advantages with both poor and middle-class white voters, by 2012 Democrats possessed only a 2-point advantage among poor white voters. Among white voters making between $30,000 and $75,000 per year, the GOP has taken a 17-point lead.
The consequence was a shift in liberalism’s center of intellectual gravity. A movement once fleshed out in union halls and little magazines shifted into universities and major press, from the center of the country to its cities and elite enclaves. Minority voters remained, but bereft of the material and social capital required to dominate elite decision-making, they were largely excluded from an agenda driven by the new Democratic core: the educated, the coastal, and the professional.
It is not that these forces captured the party so much as it fell to them. When the laborer left, they remained.
The origins of this shift are overdetermined. Richard Nixon bears a large part of the blame, but so does Bill Clinton. The evangelical revival, yes, but the destruction of labor unions, too. I have my own sympathies, but I do not propose to adjudicate that question here.
Suffice it to say, by the 1990s the better part of the working class wanted nothing to do with the word liberal. What remained of the American progressive elite was left to puzzle: What happened to our coalition?
Why did they abandon us?
What’s the matter with Kansas?
The smug style arose to answer these questions. It provided an answer so simple and so emotionally satisfying that its success was perhaps inevitable: the theory that conservatism, and particularly the kind embraced by those out there in the country, was not a political ideology at all.
I am a guest on News & Notes, former radio newsman Jeff McAndrew’s podcast, at this site. I will not age us by pointing out that I’ve known Jeff since a year beginning with the number “19.”
Discussions include former employers and the growing national disgrace that is our presidential campaign.The fact I managed to talk for 42 minutes despite getting over the Scarlet Plague will surprise no one who knows me.
The number one single today in 1960:
The number one single today in 1970:
The number one album today in 1987 was U2’s “The Joshua Tree”:
The number one British single today in 1955:
The number one British single today in 1959:
The number one single today in 1961:
The number one British single today in 1964 was written by John Lennon and Paul McCartney, but not performed by any of the Beatles:
The number one British single today in 1969:
The number one single today in 1977:
This was shocking news yesterday for those around my age, from the Minneapolis Star Tribune:
Legendary Minnesota pop musician Prince was found dead Thursday morning at his Paisley Park recording studio complex in Chanhassen, the Associated Press has confirmed from his publicist. He was 57.
Immediately upon hearing the news, mourners began lining up with flowers and stuffed animals outside the studio on Audubon Road, some sobbing and embracing. Shocked condolences flooded social media. Lawmakers paused for a moment of silence at a state legislative hearing.
Fans touched a star bearing his name painted on the First Avenue music club in downtown Minneapolis, the “Purple Rain” site where he played often early in his career.
“Our hearts are broken,” First Avenue said on Facebook. “Prince was the Patron Saint of First Avenue. He grew up on this stage, and then commanded it, and he united our city. It is difficult to put into words the impact his death will have on the entire music community, and the world. As the tragic news sinks in, our thoughts are with Prince’s family, friends, and fans.”
Former KMSP anchor Robyne Robinson, who interviewed Prince several times and maintained a personal relationship, said she was working with University of Minnesota to give Prince an honorary music degree in June and Prince had tentatively agreed.
“He was a genius,” she said, tearfully. “He was an amazingly generous man to this community and to his people. There’s no one that will match his brilliance. His genorisity was really endless … I’ll be a fan until the day I die.”
Prince’s childhood friend and early bandmate André Cymone said he traded messages with him from Los Angeles last weekend after the reports of his illness on a plane flight.
“He said he was doing OK and we’d try to hook up next time he was in LA,” said Cymone, whose mother took Prince into her home in his midteens when his relationship with his parents got too strained. “I’m just devastated now. I’m in utter disbelief. It’s such a tragedy.” …
The news of his death came less than a week after Prince’s private plane made an emergency landing early Friday morning in Illinois as he was returning to the Twin Cities from two shows in Atlanta on Thursday.
Afterward, a source close to Prince told the Star Tribune that the singer was dehydrated on the flight home. Prince himself wanted to clarify the situation on Saturday, saying, “Wait a few days before you waste any prayers.”
Prince was inducted into the Rock ‘n’ Roll of Fame in 2004. Standing just 5 feet, 2 inches tall, he seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” “Graffiti Bridge” and “The Black Album.”
He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.
Prince’s protectiveness of his independence extended to the ability of anyone to hear his work online without paying for it. I wasn’t able to find much online beyond the NFL Films account of Prince’s Super Bowl XLI performance in, yes, rain. Those of my age will recall when for a few years he was called “The Artist Formerly Known as Prince,” with an unpronounceable symbol, in said dispute with said record company.
On Milwaukee details the meeting with a Wisconsin rock group and what could have been:
Shortly after Prince’s sudden and tragic death early this afternoon, OnMilwaukee happened to meet up with Milwaukee musician (and OnMilwaukee contributor) Victor DeLorenzo, who had a fun story and a few thoughts to share about the late musical icon.
OnMilwaukee: Do you have any Prince stories?
Victor DeLorenzo: Well, the one incredible Prince story I have to relay is the time when the Violent Femmes were in Los Angeles, and we were working on a record that eventually became “Why Do Birds Sing?” We were working on some of the recording with Prince’s engineer, Susan Rogers, and we had a great time with Susan. We were doing final mixes over at a studio called Larrabee, and this was a studio complex – we were in one studio, and in the studio next to us, Prince was in the studio.
So jokingly we said to Susan one afternoon when we were working, “Hey, why don’t you go next door and ask Prince if he’s got a song for us?” After doing this a number of times, she finally said, “OK, alright, I’ll go bother him!” So she goes over there.
She’s gone about ten minutes, and we’re thinking, “Wow, what’s going to happen? What if he wants to come over and meet us? Or if he has a song?” Suddenly, she comes back into the studio we’re working in, and she says, “Prince has a song for you. He’s sending someone over to his archive, and they’ll get a cassette over to you later this afternoon.”
So this cassette arrives, and it’s a song called “You’ve Got A Beautiful Ass.” And I think it did come out on one of his collections or compilations or outtakes or what have you. We had this cassette, and we listen to it, and I can remember the chorus: “You’ve got a wonderful ass; you’ve got a beautiful ass.” Or something to that effect. I think Gordon still probably has the cassette. But another mistake in a long line of many made by Violent Femmes, we never recorded it.
Did you guys consider it?
We did consider it! But at that time, we were thinking, “Wow, if we record something like this, is it going to be able to really get out there – even if we say it’s a Prince song – because of the subject matter and that?” Even though we’d had songs like “Girl Trouble” (sic) and “Add It Up” (sic) and all this other stuff, we still kind of thought, “Is that the right thing for us right now when we’re trying to get something really on the radio?”
Did you think at the time that he was messing with you?
No!
You thought that was a song that he really thought would be great for you guys.
Yeah, and I wish I had the cassette, because the song was really cool! I really liked the song.
So he actually did put some thought into that.
Yeah! It was like what I was just reading today; he’s got an archive of I don’t know how many thousands of songs that are just finished that are just sitting there. And that’s what Susan Rogers told us too. He would come in there to the studio and just record all the time. He would be there every day, just working on stuff.
She would set up mics on the drum set; he would go out and play the drums first. Then he’d come in and play the bass to the drums. Then he’d do the guitars and do some keyboards. And then he’d say, “OK, Sue, it’s time for me to do my thing.” And then she would set up a mic behind the console, and she would leave for an hour or so. And he would sit there, and he would do all his vocals by himself.
Would it have made a difference if the interaction had happened sooner? You were saying you were mixing the record by then, so basically the record was done. Would it have mattered if it could’ve been an album track?
I like to think that anything could’ve happened the moment that cassette got into our hands. But, as you said, yes, the record was in the final stages of being mixed – even though we did take that whole record and remix it here in Milwaukee with Dave Vartanian. We didn’t track anything brand new; the record itself was finished.
But who knows? If things would’ve gone another way, maybe we would’ve made time to do just a recording of that track and release it just as a single.
In a more overarching way, what does Prince leave us with? I mean, this was not your average, ordinary musician; this is a guy who made a major contribution.
I think what I most appreciate about Prince and his music is the mystery that was involved. I liked the fact that he infused so many different styles of music into his own and that he, much like a ’30s or ’40s Hollywood movie star, really banked on that persona of his, and the sexuality and the mystery surrounding it. So he was being sexy, but not in an overtly masculine or feminine way, which was very progressive at that time. Long before Madonna did her sex book or anything like that, this was something middle America had to confront.
And being from Minneapolis! How amazing that you have these two cultural icons – Bob Dylan and Prince – coming out of Minnesota.
And both craftsmen.
Right! And prolific! Both so prolific.
Nick Gillespie defines Prince’s role in the ’80s, including the overheating over song lyrics:
Prince is dead and we look to see who might replace him and see no one on the horizon. As Brian Doherty so aptly puts it, “he was a bold rebel in terms of image and message, playing with still-prevalent social confines of propriety in behavior, dress, and comportment, mixing sex and religion like they were his own personal possession he was generous enough to share with us, destroying color lines in pop music and its fandom.”
More than Michael Jackson and arguably even more than Madonna—to name two other ’80s icons who challenged all forms of social convention in a pop-music setting—Prince took us all to a strange new place that was better than the one we came from. (In this, his legacy recalls that of David Bowie.)
In the wake of the social progress of the past several decades, it’s hard to recapture how threatening the Paisley One once seemed, this gender-bender guy who shredded guitar solos that put Jimi Hendrix or Eric Clapton to shame while prancing around onstage in skivvies and high heels. He was funkier than pre-criminality Rick James and minced around with less shame and self-consciousness than Liberace. Madonna broke sexual taboos by being sluttish, which was no small thing, but as a fey black man who surrounded himself with hotter-than-the-sun lady musicians, he was simultaneously the embodiment of campy Little Richard and that hoariest of White America boogeymen, the hypersexualized black man.
No wonder he scared the living shit out of ultra-squares such as Al and Tipper Gore. In 1985, the future vice president and planet-saver and his wife were, as Tipper’s 1987 best-selling anti-rock, anti-Satanism, anti-sex manifesto put it,Raising PG Kids in an X-Rated Society. Tipper headed up the Parents Music Resource Center (PMRC), whose sacred document was a list of songs it called “The Filthy Fifteen.” These were songs that glorified sex, drugs, Satan, and masturbation and could pervert your kid—or even lead them to commit suicide. At number one on the list was Prince’s “Darling Nikki,” from his massive soundtrack record to Purple Rain (jeezus, wasn’t that movie a revelation? Of what exactly, I can’t remember, but finally, it seemed, a rock star had truly delivered on the genius we all wanted to see emerge from pop music into film). …
In 1985, the Senate wasted its time and our money by holding a hearing on the dread menace of dirty lyrics and the whole bang-the-gong medley of backward masking, rock-induced suicide, and sexual promiscuity. Just a few years later, Al and Tipper would reinvent themselves as diehard Grateful Dead fans, the better to look hip while campaigning with Bill and Hillary Clinton (another couple of revanchist baby boomers who burned a hell of a lot time in the 1990s attacking broadcast TV and basic cable asimpossibily violent and desperately in need of regulation).
But before pretending to grok the Dead, Al would showboat at “the first session on contents of music and the lyrics of records,” where he appeared as a witness in favor of the PMRC’s record-labeling system. Strangely enough, Al stressed—in front of a Senate subcommittee, mind you—that the government need not be involved.
The two most important things I have learned which have changed my initial attitude to this whole concern are, No. 1, the proposals made by those concerned about this problem do not involve a Government role of any kind whatsoever. They are not asking for any form of censorship or regulation of speech in any manner, shape, or form.
What they are asking for is whether or not the music industry can show some self-restraint and working together in a manner similar to that used by the movie industry, whether or not they can come up with a voluntary guide system for parents who wish to exercise what they believe to be their responsibilities to their children, to try to prevent their children from being exposed to material that is not appropriate for them.
The second thing I have learned over the past several months is that the kind of material in question is really very different from the kind of material which has caused similar controversies in past generations. It really is very different, and I think those who have not become familiar with this material will realize that fact when they see some of the examples that involve extremely popular groups that get an awful lot of play, some of the most popular groups around now. …
Tipper devoted an entire chapter of her book to “Playing With Fire: Heavy Metal Satanism” and called attention to the threat of…Dungeons and Dragons. “Many kids,” she wrote, “experiment with the deadly satanic game, and get hooked.”
If all of this seems so, so, so long ago—and it does, thank god—we owe a huge debt to Prince and the people like him who soldiered on, expressing themselves as they saw fit, in free and unfettered ways. In fact, Prince did it not just with the content of his art, as he also experimented with new, direct ways of distribution, too, while (stupidly, IMO) eschewing the shift to digital and taking on what was at the time the most-powerful music label in the business. Depending on who you are, you might hate all or some of his music, or think his creative streak dried up somewhere around the time he became The Artist Formerly Known as Prince or started scrawling “SLAVE” on his cheeks…
Yeah, sure, maybe.
But there’s no denying that those of us who actually believe in free expression are standing on the tiny shoulders of Prince as surely as we are on the broad shoulders of Thomas Jefferson or George Mason. And upon Prince’s death, we owe it ourselves not only to praise his artistry and risk-taking but to shame the Al and Tipper Gores of the world, who tried so hard and so pathetically to force their narrow vision of what is right and proper upon this world of tears that beautiful, weird, and even dirty music makes slightly more bearable for a few minutes.
(See? Conservatives knew Al Gore was an idiot well before Earth in the Balance.)
Prince was described online yesterday as my generation’s Elvis. That’s a hard comparison to make, though his music appealed over more than one genre (had he done just rock he could certainly have stood up with any ’80s guitarist), he wrote songs for other acts, he made movies, and he sold bazillions of records. He was also a performer whose concerts (none of which I saw) were worth whatever you had to pay to see them.
There was no one else like Prince.


Today in 1964, the president of Britain’s National Federation of Hairdressers offered free haircuts to members of the next number one act in the British charts, adding, “The Rolling Stones are the worst; one of them looks as if he’s got a feather duster on his head.”
One assumes he was referring to Keith Richards, who is still working (and, to some surprise, still alive) 52 years later.
The number one British single today in 1965:
The number one British album today in 1972 was Deep Purple’s “Machine Head”:
Not that I paid attention for the first few years of my life, but time was when conservatives were the defenders of tradition and authority, and not necessarily friends of free expression. By the time it took for “South Park” to be created, conservatives are much more defenders of free expression and differences of opinion than liberals.
Robert Tracinski starts with …
Feminist journalist Jill Filipovic recently made a hilariously un-self-aware comment on Twitter.
One advantage the left has over the right is we don’t value bowing to authority. But I see a kind of Messiah worship in Sanders supporters.
I wonder: was she around when Barack Obama was running in 2008? (Yes, she was.) Nothing about Bernie’s messiah complex should be remotely new to you if you followed the Obama phenomenon.
The Left still clings to this old view of themselves as bold free-thinkers who “question authority,” when they have long since set themselves up as the authorities everyone else is supposed to bow to.
By coincidence, I came across this at about the same time as a video of Bill Nye, thesupposed “science guy,” taking a break from asking big and important questions like “What if the Earth were a cube instead of a ball?” and declaring that maybe global warming skeptics should be thrown in jail.
He does it through a series of rhetorical questions: “Was it appropriate to jail the guys from Enron? Was it appropriate to jail people from the cigarette industry who insisted that this addictive product was not addictive, and so on.”
Enron was a case of provable fraud, in which executives lied about specific facts about the operation of their own company—not about complex scientific conclusions. As for tobacco executives, none of them did go to jail (much to the consternation of anti-tobacco fanatics), and for good reason. To ban one side of a political debate from making its case is to condemn them in advance, denying them an opportunity to speak in their own defense.
But Nye isn’t just speculating about putting people in jail. He is referring to a specific attempt to use the model of those old tobacco lawsuits to prosecute any company that has ever funded research or advocacy skeptical of claims about global warming. This campaign was started last year and has taken its newest steps recently with a meeting of state attorneys general who vowed to launch “investigations into whether fossil fuel companies misled investors and the public on the impact of climate change.”
The attorney general of the U.S. Virgin Islands—whom you would think would have enough to deal with at home straightening out a notoriously dysfunctional office—hassubpoenaed a leading free-market think tank, the Competitive Enterprise Institute, demanding all of its internal communications from 1997 through 2007. Why? Because CEI once committed the presumed crime of accepting money from a major oil company.
This is what you call a “fishing expedition.” The prosecutors are not demanding any specific evidence of criminal activity, because they have no specific grounds to suspect it. They’re just demanding everything, in the hope that once they fish through it, they will find something they can cast as incriminating, or at least embarrassing. It’s a well-known form of legal harassment.
To those who object that this will create a “chilling effect” on scientific debate over global warming, which is the obvious goal of the investigation, Nye says that’s just fine. “That there is a chilling effect on scientists who are in extreme doubt about climate change, I think that is good.”
As bad as that is, Nye’s justification for it is worse. “As a taxpayer and voter, the introduction of this extreme doubt about climate change is affecting my quality of life as a public citizen. So I can see where people are very concerned about this, and they’re pursuing criminal investigations.” I could make the case that Nye’s continued existence “affects my quality of life.” Should I get the government to do something about that?
But wait, there’s more. “The extreme-doubt-about-climate-change people—without going too far afield here—are leaving the world worse than they found it because they are keeping us from getting to work. They are holding us back.” It used to be that the Left wanted to limit “commercial speech,” but “political speech” was sacrosanct. Now it is considered acceptable to suppress other people’s speech precisely because they might have an impact on the political debate.
In other words: Bow to authority. My authority.
Bill Nye is just one entertainer, a third-rate popularizer of science. But he is totally representative of the Left’s real attitude about authority. Their fundamental conviction is that the conscience of the individual must be forced to yield to the demands of the collective, as decided by the authorities who presume to speak for it.
Try refusing to bake a cake for a gay wedding, and tell me whether you will be forced to bow to authority. Try running a fast-food joint or comic-book shop that can’t afford to pay its employees $15 an hour, and tell me whether you will be forced to bow to authority. Try keep men dressed as women out of your ladies’ restroom, and tell me whether you will be forced to bow to authority.
You should check out the Twitter feed A Crime a Day, which draws from the vast depths of the US criminal code to inform us of all the actions and decision of private individuals that have been transformed into crimes for no readily apparent reason. Take this one:
21 USC §§331(m), 333 & 347(b)(2) make it a federal crime for a retail establishment to sell margarine in packages larger than one pound.There is no real rhyme or reason to the vast patchwork of regulation except: bow to authority.
Thanks to the Left, we live in an era of authority. Authority is their entire agenda, in politics, in economics, in culture, in religion, in science. It’s grimly amusing when they try to hide this, and a lot less amusing when the pretense falls away, and they try to make us bow.
The Washington Post reports:
For the first time in more than a decade, the press is freer in Africa than in the Americas. Yet a global “climate of fear and tension” continues to erode press freedom around the world, according to the Paris-based Reporters Without Borders.
The group’s 2016 World Press Freedom Index reveals a “deep and disturbing decline in respect for media freedom at both the global and regional levels.” Global press freedom violations are up 14 percent since 2013, according to its scoring system.
“The climate of fear results in a growing aversion to debate and pluralism, a clampdown on the media by ever more authoritarian and oppressive governments, and reporting in the privately-owned media that is increasingly shaped by personal interests,” the group’s secretary general, Christophe Deloire, said in a statement. “Journalism worthy of the name must be defended.”
Overall, press freedom eroded in two-thirds of the 180 countries tracked since last year, resulting in a roughly 3.7 percent decline in press freedom. Europe’s news media is freest, by far. Africa is next, followed by the Americas, where violence against journalists is on the rise, according to the report. Asia and Eastern Europe are next, followed by North Africa and the Middle East.
“The survival of independent news coverage is becoming increasingly precarious in both the state and privately-owned media because of the threat from ideologies, especially religious ideologies, that are hostile to media freedom, and from large-scale propaganda machines,” the report’s authors write.
Tajikistan and Brunei fell the most in the ranks, each sliding 34 spots to 150th and 155th in this year’s rankings. That plunge was driven by rising authoritarianism in Tajikistan and self-censorship fueled by the growing weight of sharia law and threats of blasphemy charges. Poland fell from 29th to 47th because of the ultra-conservative government’s seizure of the public media, the group reports.Eritrea’s news media is the least free, followed by North Korea’s. Turkmenistan is next, followed by Syria and China. Finland is home to the world’s freest news media, followed by the Netherlands, Norway, Denmark and New Zealand.
Talking about burying the lede: I had to click several times to find out that the USA is No. 41 – 40 countries with more freedom of the press than the Land of The Free.
41st.