Thursday, December 01, 2022

Painful Midterm Templates

To the great detriment of my mental health and overall well being, I follow midterm elections very closely. This year was especially taxing on me because my dad was ill and my spouse Lori Palmeri was running for Wisconsin's 54th assembly district seat. Dad passed in late October. As for Lori, her race turned out to be highly contentious. Thanks to the Wisconsin Republican Party the state's legislative districts are among the most gerrymandered in the nation, leaving no more than a dozen (out of 99) assembly districts that can be called truly competitive. The 54th happens to be one of them, and so I had to watch defamatory attacks on Lori featuring partisan ferocity usually reserved for candidates running for US Senate, Governor, or President. Thanks to her hard work knocking on doors and the support of dozens of spirited volunteers, she won the race. But as a sign of how fucked up our politics have become, her opponent never called to offer congratulations and told the Oshkosh Examiner that he lost not because of his own shortcomings or that maybe all the nastiness backfired, but because the voters apparently "want to hire a criminal."  Class act right there. [Note: Lori's alleged "criminal" past was thoroughly vetted by local media. People of good faith understood that her story of surviving a childhood and young adulthood filled with abuse that nearly killed her was in fact a story of great courage and character. Only bad faith actors, like the partisan hacks who produced the attack ads, would conclude that Lori's past should define her as "criminal."]. 


Clearly Lori's race was painful for me because of my personal connection to it. But like millions of Americans, I found the ENTIRE midterm election season painful. Part of the pain was a product of the establishment media's reliance on tired, stale, demobilizing templates to frame coverage of the races. Reliance on tired templates is a feature of lazy journalism, something I commented on in a piece written during the 2018 midterm cycleTo put it bluntly, political journalism in Wisconsin--by which I mean the reporting and editorializing produced by the establishment, corporate media that reaches the largest number of readers/viewers/listeners--does not cover elections in our state in a way that provides meaningful information and commentary capable of provoking increased voter participation. In a word, the quality of journalism concerning elections in Wisconsin is LAZY. (It's also vapid, scandal obsessed, and privileges "insider" views--but those are all byproducts of the laziness.).

What I described four years ago has become, by any measure, substantially worse. Here are some of the most painful templates of the most recent campaign season. 

*The Hack Template: The Hack Template refers to the tendency of establishment media to treat purely partisan attacks as if they are legitimate contributions to campaign discourse. In 2016 Donald Trump became a master of manipulating this tendency of the press; screeds against "Low Energy Jeb" or "Little Marco" would end up as feature segments on the talking head shows and get commented on by so-called "serious" pundits. The schtick caught on: It's not an exaggeration to say that competive elections have now become little more than expensive exercises in trolling. 

The Fourth Estate should be the firewall preventing the trolls from polluting campaign discourse. Yet mainstream Wisconsin journalism rarely reports on candidates without making as part of the story some cheap-shot trolling by the opponent. Especially in a social media era in which false or misleading information gets shared across multiple platforms instantly, one would think that ethical, rigorous journalism requires vetting attacks before publishing them. That does not happen in mainstream Wisconsin journalism, probably out of fear of offending the political king and queen makers in Madison. Meanwhile the television stations are more than happy to broadcast horrific troll ads for the right price. It's really pathetic and outrageous. 

*The Will S/he Drop Out of the Race Template: This is a template that is doing substantial harm to the Democratic Party. I trace it to the presidential primaries of 2016, when Bernie Sanders faced enormous pressure from Party operatives to drop out of the race before all states had held their respective primaries or caucuses. Since then it has become somewhat of an article of faith among establishment Democrats that candidates who "don't have a shot" at winning (presumably because they do not have high poll numbers, do not have huge personal fortunes, or have not successfully tapped into the wealthy donor base) should just drop out. 

2022 Democratic candidates for US Senate invited to debate: Mandela Barnes, Sarah Godlewski, Alex Lasry, Tom Nelson, Steven Olikara. Only Olikara, who could not break double digits in the polls, stayed in the race until election day. 

Unfortunately the mainstream media adopted "will s/he drop out" as a template for campaign coverage. In the 2020 presidential primaries, all of the so-called "moderate" candidates (Buttigieg, Klobuchar, and others) spent the final months of their campaigns mostly commenting on whether or not they would stay in the race. Eventually they all bowed out to "clear the moderate lane" for Joe Biden. 

In Wisconsin in 2022, there were a number of talented candidates running for US Senate on the Democratic side (Mandela Barnes, Tom Nelson, Sarah Godlewski, and Alex Lasry were the most prominent). For some reason, the Party establishment in Washington immediately latched on to Barnes as the preferred candidate. By primary election day every major candidate had dropped out except Barnes. The lack of a truly competitive primary ended up seriously hurting the Barnes campaign, as it reinforced the illusion that the Lt. Governor had already locked up support among constituencies that Democrats have to do well with to beat the GOP in a close statewide election. Tragically, voter turnout in Milwaukee in November was down substantially from 2018. It's pure conjecture on my part, but I firmly believe that if the primary candidates had remained in the race, that would have mobilized a higher primary vote in Milwaukee (and other areas of the state), which would have ultimately benefited Barnes in November. (Note that Evers/Barnes won the 2018 election in spite of the fact that few of the primary challengers dropped out before primary election day.). 

*The "Some People Think the Ads Are Racist" Template: Senator Ron Johnson and his campaign flacks insisted with a straight face that their ads run against Mandela Barnes were primarily about highlighting differences between the candidates on the issues of crime and the economy. To me that sounded as if D.W. Griffith, maker of the most racist film in history ("The Birth of a Nation") had said that the film was about different perspectives on how to rebuild the south after the Civil War. A film critic writing about Griffith's film who did not acknowledge its portrayal of the KKK as virtuous heroes and African-Americans as predatory buffoons, or could only muster up a tepid "some people say the film is racist," would be rightly castigated as incompetent or perhaps racist him or herself. 

Even though the Milwaukee Journal Sentinel published photo evidence of the GOP's willful darkening of Mandela Barnes' skin tone, the racist nature of the ad campaign was still framed mostly as an accusation made by Democratic partisans. 

Establishment journalists in Wisconsin were not comfortable calling out the blatant racism in Johnson's ads. Take the Milwaukee Journal Sentinel, which headlined a story by two of their most prominent political writers like this: "Supporters of Mandela Barnes accuse Republicans of airing racist ads in Senate race with Ron Johnson." "Supporters accuse" implies that the racism in the ads is somehow up for debate. This in spite of the fact that the most prominent of the ads linked Barnes to three women of color (AOC, Ilhan Omar, and Rashida Tlaib) seen on the screen while Barnes is labeled "different" and then "dangerous."  Other ads show a person committing a crime circled in red while Barnes' name is on the screen in an obvious attempt to link the two. And of course some of the ads darkened Barnes's skin in a way designed to make him appear more threatening to a certain type of White voter. No one denies that Mandela Barnes' positions on crime or any issue are legitimate topics for campaign ads. But the aesthetic of these ads were despicable in their deployment of subtle and overt racism. The ads actually reminded me of the late Senator Jesse Helms' "Hands" ad run against his African-American opponent Harvey Gantt. Helms and his cronies insisted the ad was merely about the candidates' positions on racial quotas. But clearly it was a racist attempt to frighten White voters in North Carolina. 

*The "Wave" Template:  Is it finally time to retire the "wave" metaphor when discussing midterm elections? In 2022 the wave template, which dominated establishment media coverage of the election season for months, never seemed to have any basis in reality. While polls were showing that Democrats would lose seats (as is the norm for the Party that controls the White House), never did any reliable poll suggest a blowout. In fact the idea of a "red wave" seemed to come primarily from the Republican Party itself. For reasons that are not clear, the establishment media took a GOP talking point (i.e. "2022 is going to be a Red Wave year") and made it one of the dominant framings of the campaign season. 

Even if there had been a Red Wave, the volatility of the electorate this decade could easily give us a "Blue Wave" in 2026 or 2030. It's long past time to retire the Wave metaphor. 

*The High Stakes Debate Template: In theory, debates between candidates competing for votes should be a valuable part of the election season--perhaps THE most valuable.  A real debate provides engaged voters with clear evidence of whether or not candidates have a compelling message, can communicate their thoughts coherently, and (especially in the this era of Trump-endorsed candidates) are grounded in objective reality. 

Mainstream media enjoy promoting candidate debates as some kind of "high stakes" event that will make or break the election. Debates are framed as boxing matches, in which candidates aim to score a "knockout blow." Consequently, the debates become nothing more than an extension of the trolling found in the candidate ads and other campaign communications. In fact in this social media age, the main function of the debates is to produce "viral moments," which are usually clips of a candidate saying something profoundly stupid, or making an odd nonverbal gesture, or "owning" his or her opponent. If the Kennedy-Nixon debates occurred in a social media age, Nixon's 5 o'clock shadow would have had 90 million shares by midnight. 

Arizona Democratic candidate for Governor Katie Hobbs (left) refused to debate her Republican opponent Kari Lake, claiming that Ms. Lake was only interested in "spectacle." Given that Hobbs won the election, we can probably expect more candidates in the future to refrain from debating. 

Even though today's political debates are largely a sham, I still find it unfortunate when candidates refuse to participate in them in the probably naive hope that we might be treated to some substance. It's especially troubling when Republican candidates refuse to debate not out of any concern with promoting troll culture, but because they think the League of Women Voters and other debate sponsoring organizations are part of some liberal conspiracy. 

Arizona's Katie Hobbs, the Democratic candiate for governor who ultimately won the election, refused to debate her opponent, former TV broadcaster Kari Lake. While I believe Hobbs should have debated, her reasons for not doing so were at least rooted in opposition to troll culture. She said that a debate with her opponent would be fruitless because "Kari Lake . . . has shown that she is not interested in any kind of substantive conversation, she's only interested in creating a spectacle." For anyone who watched Lake's primary and general election campaigning, it's hard to disagree with Hobbs. (Note: As I write in late November, Lake still refuses to concede, confirming what she said in the campaign about how a loss for her could only mean that cheating took place. Does that sound like someone who deserves to be invited to a serious debate? I think not.)

Mainstream media need to stop promoting debates as if they are literal fights. That kind of "high stakes" framing encourages the kind of spectacle Hobbs refused to participate in. 

*The Horse Race Template: The horse race template is like the curmudgeonly great-grandfather of all the others mentioned. It conceives of election coverage as an insider baseball affair filled with nonstop coverage of polls, campaign strategy, and "moments." It enables and empowers the Steve Bannons of the world, who infamously said that the way to deal with media is to "flood the zone with shit." Indeed, the Bannon shit strategy is why so many pundits anticipated the "Red Wave." Mainstream media gave credence to and reported on junk polls (i.e. "shit") that suggested a Republican landslide. Media hungry for horse races ate it up, like Secretariat grazing on grass planted in manure compost. (Read NYU journalism prof Jay Rosen's 2018 thread on the citizens' agenda for an alternative.).

In conclusion, maybe American politics is so inherently awful that it will inevitably produce pain for anyone who dares to monitor it. But this post really is not about politics as much as journalism. Political journalists have choices in how to cover campaigns, but consistently make choices that enhance the pain. Some will argue that the coverage templates I am describing are merely a product of the commercial pressures faced by modern mainstream media. But if that is true, what evidence is there that these templates actually increase rates of viewership, readership, or listenership? None that I am aware of. If anything, these templates are furthering the decline of political journalism. That's tragic, because we've never needed fresh, principled, rigorous political journalism more than we need it now. 

Tuesday, November 01, 2022

Tribute Songs For My Old Man

My dad passed away on October 23 at the age of 93. Music icon Jerry Lee Lewis died almost a week later and in our celebrity obsessed culture he will get more attention. But when it came to being a husband, father, and son, Frank Palmeri was the real Rock Star. You can see his obit here

Father Frank was all about family, food, and frugality. The sacrifices that he made for his family--which included working long hours to help pay for his kids' private school education and caregiving for many years for his elderly parents--were acts of love done without expectation of payback or praise. After retiring from the shoe repair business he learned his way around the kitchen and became an amazing cook, and was especially extraordinary at Italian cuisine. He experienced great joy from the act of preparing meals for others; it was his method of gift giving. (If you watch Stanley Tucci's excellent "Searching For Italy" program on CNN, you'll see that my dad's penchant for seeing food as a gift is a profoundly Italian way of imagining the proper relationship of people to meals.). And as for frugality, my dad was legendary for holding on to his limited possessions until they absolutely had to be replaced. I always chuckled when he insisted that his more than 50-year-old suit was "brand new" because he had only worn it a few times. By contributing little to the landfills and being satisfied with what most of us would call a minimalist lifestyle, Frank Palmeri was "green" before it became chic. 

Frank Palmeri was able to feed a small army with just a small charcoal grill. Preparing meals gave him joy and was his main form of gift giving.

At this point you must be in the mood for music. I've always been a fan of tribute songs. When someone close to me--or someone not close to me but whom I admired--passes, I find myself thinking of these songs. Here are the top 10 I find myself coming back to often. This time I dedicate them to my old man. 

#10: "My Old Man" by Ian Dury and the Blockheads. The late Ian Dury was one of the true originals of the British New Wave rock movement of the 1970s, a brilliant lyricist whose albums oozed irreverence, snark, and satire. I've always loved "My Old Man" because Dury's description of his dad as a proud and gritty working class dude immediately reminded me of my own. 

My old man was fairly handsomeHe smoked too many cigsLived in one room in VictoriaHe was tidy in his digs

Ian Dury and the Blockheads: My Old Man

#9: "All Those Years Ago" by George Harrison. This and the next two songs have a connection to John Lennon, my favorite rock star of all time. John's bandmate George wrote a touching tribute for his friend that has a spiritual vibe we can all send to the departed in our own lives. 

Deep in the darkest nightI send out a prayer to youNow in the world of lightWhere the spirit free of liesAnd all else that we despised

George Harrison: All Those Years Ago

#8: "Empty Garden" by Elton John. One of the most touching songs ever written. Elton was talking about John Lennon, but all of us know of "a gardener like that no one can replace." 

Who lived here?He must have been a gardener that cared a lotWho weeded out the tears and grew a good cropAnd we are so amazed, we're crippled and we're dazedA gardener like that one no one can replace

Elton John Empty Garden 

#7: "Julia" by the Beatles. John's tribute to his own mom. I have always found the first line to be quite mesmerizing: 

Half of what I say is meaninglessBut I say it just to reach you, Julia

The Beatles: Julia

#6: "I'll Be Missing You" by P. Diddy and Faith Evans. Diddy's 1997 paean to his hip hop soul mate Christopher Wallace (aka The Notorious B.I.G) beautifully samples "Every Breath You Take" by the Police. All of the songs on this list relate to different stages of grief; Diddy's is about that initial state of shock when we still have not quite accepted that our loved one is gone. 

It's kinda hard with you not around (yeah)Know you in Heaven smilin' downWatchin' us while we pray for youEvery day we pray for you'Til the day we meet again

P. Diddy and Faith Evans: "I'll Be Missing You" 

#5: "Carry on Jon" by Blackmore's Night. Jon Lord of Deep Purple was one of the great keyboard players in rock history, creating a unique sound for Purple that helped distinguish them from other blues-based metal bands. His former bandmate Ritchie Blackmore, a guitar god in his own right, paid tribute by writing and recording a beautiful instrumental. The melody and instrumentation sparks memories of the best Lord/Blackmore jams of the early Deep Purple days. 

Blackmore's Night: Carry On Jon

#4: "Tears in Heaven" by Eric Clapton.  Written after the tragic, accidental death of Clapton's 4-year-old son Conor, "Tears in heaven" is a penetrating expression of grief that balances the debilitating impact of sorrow with a hope for strength to carry on. 

Would you know my name?If I saw you in heavenWould it be the same?If I saw you in heaven
I must be strongAnd carry on'Cause I know I don't belongHere in heaven

Eric Clapton; Tears in Heaven 

#3: "Miss You C." by Nils Lofgren. Long time guitar player in Bruce Springsteen's E-Street Band (and before that a short stint in Neil Young's Crazy Horse), Nils Lofgren wrote and recorded a tribute for soul great Ray Charles called "Miss You Ray." After the death of the legendary E-Street Band saxophonist Clarence Clemons, Nils rewrote it as "Miss You C." It's a touching tune with a great line for those of us missing our dads: 

I miss you Dad, your gentle spirit wayStill life is grand, I owe so much to you

Nils Lofgren: Miss You C.

#2: "Wish You Were Here" by Pink Floyd.  The song that expresses in the most direct, simple way possible what all of us feel when we think of our departed loved ones: How I wish you were here

How I wish, how I wish you were hereWe're just two lost soulsSwimming in a fish bowlYear after yearRunning over the same old groundWhat have we found?The same old fearsWish you were here

Pink Floyd: Wish You Were Here


#1: "No Time To Cry" by Iris DeMent. One of my all-time favorite songs. Alternative country artist Iris DeMent has a way of plucking the heart strings in ways that few artists can match. "No Time To Cry" explores how difficult it is for us "grown ups" to experience true grief. 



My father died a year ago today,The rooster started crowing when they carried Dad awayThere beside my mother, in the living room, I stoodWith my brothers and my sisters knowing Dad was gone for good
Well, I stayed at home just long enough to lay him in the groundAnd then I caught a plane to do a show up north in Detroit townBecause I'm older now and I've got no time to cry
I've got no time to look back, I've got no time to seeThe pieces of my heart that have been ripped away from meAnd if the feeling starts to coming, I've learned to stop 'em fastCause I don't know, if I let them go, they might not want to passAnd there's just so many people trying to get me on the phoneAnd there's bills to pay, and songs to play, and a house to make a homeI guess I'm older now and I've got no time to cry
I can still remember when I was a girlBut so many things have changed so much here in my worldI remember sitting on the front porch when an ambulance went byAnd just listening to those sirens I would breakdown and cry
But now I'm walking and I'm talking doing just what I'm supposed to doWorking overtime to make sure that I don't come ungluedI guess I'm older now and I've got no time to cry
I've got no time to look back, I've got no time to seeThe pieces of my heart that have been ripped away from meAnd if the feeling starts to coming, I've learned to stop 'em fastCause I don't know, if I let them go, they might not want to passAnd there's just so many people trying to get me on the phoneAnd there's bills to pay, and songs to play, and a house to make a homeI guess I'm older now and I've got no time to cry
Now I sit down on the sofa and I watch the evening newsThere's a half a dozen tragedies from which to pick and chooseThe baby that was missing was found in a ditch todayAnd there's bombs a-flying and people dying not so far awayI'll take a beer from the 'frigerator and go sit out in the yardAnd with a cold one in my hand I'm gonna bite down and swallow hardBecause I'm older now and I've got no time to cry

Saturday, October 01, 2022

Free Speech Survey Returns To University of Wisconsin

Last April, University of Wisconsin-Whitewater interim chancellor Jim Henderson resigned abruptly, in part because of his objection to the manner in which System campuses were being mandated to conduct a "free speech" survey that he and other chancellors objected to. Initially, then UW System interim President Michael Falbo agreed with the chancellors and halted system participation in the survey. For reasons that are not completely clear, Falbo changed course and once again communicated to the chancellors that the survey would go on. According to Henderson"That discussion focused more on the political fallout of not doing the survey rather than the merits of doing it." 

Henderson's resignation succeeded in placing the survey on the radar of system faculty, staff, and students. At that time Matt King and I interviewed first amendment scholar Chris Terry, who explained numerous problems with the survey including vague questions and the real possibility of participants' identity being compromised.

 

Many others expressed similar concerns, leading the UW Stout Menard Center for the Study of Institutions and Innovation to go back to the drawing board and revise the survey based on feedback received. 

Well, the survey is now back, and I regret to say that--at least based on the draft I have seen--it actually seems worse. To be clear: I have no interest in questioning the motives of the researchers, and I take them at their word that they are only interested in gathering data that can better inform discussions about possible changes to UW policies on free speech and expression. If the five researchers behind the study were motivated by politics or were being exploited by Republican politicians in search of data to continue their long standing vendetta against the UW, then it would be the job of each campus' Institutional Review Board (IRB) to call that out. So far the IRBs have not done that. 

Here are my main concerns: 

1. The Menard Center is funded by the Koch and Menard families, both major Republican donors. Financial support from corporate interests does not necessarily undermine academic research, but in the interests of full transparency the survey instrument should let student participants know more about the funding sources of the Menard Center

2. A large number of the questions are very difficult to comprehend. I have been teaching a class on the First Amendment and Free Speech for more than 20 years, and yet the majority of survey questions puzzle ME. Here's an example: 

"How much do you feel that people who express political views you find offensive are causing harm to those they offend." The answers that participants can select are: 

  • Not at all 
  • A little 
  • Somewhat 
  • Quite a bit
  • A great deal

Because we have no idea what kind of situation the survey writers have in mind, the only possible answer for such a question is "it depends." A survey participant might think that a group of men yelling "The Jews will not replace us" as they march across campus is quite harmful to the entire campus community. That same participant might be offended by someone carrying a "Re-Elect Ron Johnson sign" on campus, but not see it as harmful as much as irritating. We can imagine literally thousands of scenarios that would change the way a person thinks about the question. So do they answer "A little"? "Somewhat"? 

3.  The survey seems to discourage critical thinking about free speech controversies. Take this question, for example: "If some students feel that certain views expressed on campus cause harm to certain groups of people, what do you think university administrators should do?" The responses are:

  • They should ban the expression of those views. 
  • They should allow the expression of those views. 

The only rational response to a question like that is "I'm not sure." What views are we talking about? Holocaust Denial? 9/11 Conspiracies?  #Blacklivesmatter? #Metoo? Where are the views expressed? In the classroom? In assigned materials for a course? At an event sponsored by a recognized student organization? In a private meeting room among like-minded students? What CAN the administrators do based on UW policies and court precedents involving student speech? The question is asking for a black/white response on something that is inherently gray. A critical thinker expects the administrators to wade through the gray area and arrive at a rational decision based on the facts and the law, but that response is not allowed. 

4.  The survey includes a somewhat bizarre section which the researchers claim is designed to "gauge students' engagement in free expression behaviors and their perceptions of experiencing negative consequences for engaging in such behaviors."  Here is a sample question: 

"Since you have been a student at your current university, have you ever disagreed out loud with one of your instructors about a controversial topic?"  If yes, "Did you receive any negative institutional consequences, such as being reported, suspended, or expelled, for disagreeing out loud with one of your instructors about a controversial topic?" Yes  No 

This section of the survey almost seems to invite explosive headlines: "UW students report being suspended and expelled for disagreeing with instructors." What's likely to occur is that the number of students claiming to be reported, suspended, or expelled for expressing disagreement will far outnumber actual reports. Thus, the survey is in effect inviting students to take what might be unfair, cheap shots at instructors. It's kind of like a "ratemyprofessor.com" approach to survey research. 

Even worse, this survey allows anyone who HAS been disciplined for harassing or threatening communication to rebrand himself or herself as some kind of free speech champion. 

5. Regardless of what the researchers tell us, I am not convinced that the anonymity of the respondents will be protected. The survey asks for gender identity, race or ethnicity, sexual orientation, religious preference, political party identification, and political leaning. Even if no individual names will be reported out, surveys like this invite gross generalizations about entire groups based on their responses to questions that lack specifics. We will end up with conclusions like this: "White, male, conservative, Protestant Republicans do not believe that offensive views are harmful while Black, female, liberal, Protestant Democrats do." 

6. Rather than help to shed light on the "culture war," this survey places the University of Wisconsin IN the war. Almost all the questions feed into the narrative of campus conservatives being censored or cancelled by the "woke" mob of professors and liberal students. At a time when System schools are facing enrollment crises, mental health challenges, difficult budgets, and failing to retain quality faculty and staff, the UW will somehow give prominence to a survey that will inevitably reinforce Wisconsin's legislative Republican fantasies about campus free speech. 

Please do not misunderstand. I DO believe that investigating the state of the first amendment on college campuses is important and valuable. The issue is what is the best way to investigate it. My suggestion is for the System President to put the brakes on the Menard Center survey. Then, the Board of Regents should recruit a team of actual first amendment scholars to perform a "Free Speech Audit" of the UW System. My preference would be for the scholars to be from outside of Wisconsin so that they are not as easily subject to pressure from the bad faith actors running the current state legislature. 

As part of the Free Speech Audit, the team would hold forums on each campus for the purpose of giving students an open forum to speak out about their free speech concerns. That would actually accomplish what the Menard Center researchers say they want: civil discussion on the campuses about topics that matter. 

Thursday, September 01, 2022

Celebration of the Music of 1972, Part 2

Back in July I celebrated 26 albums released in 1972, one of the most magical years in the history of popular music. In that year, a number of established artists reached their creative high point and--thanks to the idealism of FM radio programmers of the day--felt empowered to take risks and challenge the listening audience to think beyond the traditional 2-4 minute tune. 

That listening audience was primarily aged 30 and under. Their embrace of this music was a powerfully symbolic way of distancing themselves from the older generation.  That's why when listening to this music today, what's remarkable is how its appeal is now multigenerational. When I teach "The Rhetoric of Rock and Roll" at UW Oshkosh, most students get introduced to these artists and tunes for the first time and the majority become fans instantly. 

The purpose of the July post and this one is NOT to wax nostalgic about great music of a bygone vinyl era. I am not one of those boomers convinced that today's music is unlistenable. A plethora of great bands and individual artists exist in our digital streaming era. I guarantee you someone will be celebrating today's tunes 50 years from now. My guess is that the best of today's artists are also fans of the music mentioned in these posts, and probably see themselves as consciously continuing the tradition of stretching creative boundaries. 

So without any further adieu, let's get to 25 more albums of 1972: 

#25: Curtis Mayfield, "Super Fly." The soundtrack from the film of the same name, Super Fly is a masterpiece of soul, in the same league as Marvin Gaye's "What's Goin' On" in terms of its poignant fusing of social commentary and gripping melodies. I've always loved these lyrics from "Freddie's Dead," one of the album's signature tunes: 

We're all built up with progressBut sometimes I must confessWe can deal with rockets and dreamsBut realityWhat does it mean?

Curtis Mayfield, Freddie's Dead 


#24: Steely Dan, "Can't Buy a Thrill." Steely Dan's first album. It's hard to communicate just how fresh and vital this music sounded at the time. The founders of the band, Donald Fagen and Walter Becker, were the essence of COOL. The first time I heard Elliott Randall's lead guitar on the hit song "Reelin' in the Years," my 11-year-old Brooklyn brain thought, "What the fuck is that?" Years later I found out that Led Zeppelin's guitar maestro Jimmy Page considers Randall's guitar work on that tune to be his all time favorite guitar solo. It also turns out that Elliott Randall was great friends with Jimi Hendrix, and he claims that the two of them were great fans of . . . you guessed it: Curtis Mayfield. 



#23: The Eagles, "Eagles." The first album from what would become one of the most successful bands in history, with a sound that defined "country rock" for a generation. For me, the Eagles did not become a truly outstanding band until guitar hero Joe Walsh joined them for the 1977 "Hotel California" album, but this Walsh-less debut effort is still a classic. After the turmoil of the 1960s, "Take It Easy" became a clarion call for everyone to chill out just a bit. Glenn Frey's and Don Henley's vocal harmonies filled the void left when the Beatles' John Lennon and Paul McCartney pursued solo careers. 



#22: Roxy Music, "Roxy Music." The debut album from one of the groundbreakers in the "glam rock" or "art rock" genre. Listening to this recording fifty years later, the sophistication of the lyrical themes, instrumentation and melodies is quite striking. For pop music historians, Roxy's lead singer Bryan Ferry and keyboardist Brian Eno are--rightfully--icons of the progressive rock sound of the early 1970s. Moreover, the band's visual image ended up inspiring early 1980s MTV electro-pop bands. 



#21: Yes, "Close to the Edge." I have no hard evidence to back it up, but my gut tells me that in 1972 the progressive rock band Yes were probably extremely popular among college Liberal Arts majors. The band's complex musical arrangements and cryptic lyrics no doubt inspired some intense--often marijuana facilitated--conversation between youth for whom Philosophy, Rhetoric, and English Literature made a difference. I personally am a huge fan of Herman Hesse's classic novel "Siddhartha," and when I discovered that "Close to the Edge" was based on the novel, my appreciation for both increased dramatically. Lead singer Jon Anderson considers "Close to the Edge" to be the band's greatest achievement. In our attention deficit era it is hard to imagine a band setting out to write and record an 18-minute song, but in 1972 FM radio was interested in raising the aural bar, so albums like this could actually get a fair hearing. 



#20: Deep Purple, "Machine Head." This is the album that features "Smoke on the Water," the song that gave us THE RIFF that every novice guitar player since 1972 has set out to master. Air guitar players figure it out pretty quickly.  In all seriousness, I've often wondered if Deep Purple wish they had never recorded THE RIFF. Sure it made them tons of money and gave them international recognition, but it's actually not even close to being the best song on "Machine Head," and it stereotyped them as a typical heavy metal band when--in actual fact--the heavy metal label is way too limiting to describe Purple's musical style. Deep Purple went through a number of personnel changes over the years, but the "Mark II" version performing on Machine Head (and the next album on the list, "Made in Japan") is widely recognized as the classic line-up. Ian Gillan on vocals, Ritchie Blackmore on guitar, Roger Glover on bass, Jon Lord on keyboards, and Ian Paice on drums gave us many hours worth of glorious jams. They deserve to be remembered for more than THE RIFF. 


 

#19: Deep Purple, "Made in Japan." Riding on the success of THE RIFF, Deep Purple later in 1972 released a live album; four vinyl sides of in-your-face, blues based rock and roll. "Highway Star" was an FM radio mainstay for many years. In terms of production quality, what I love about "Made in Japan" is that, like the Who's classic "Live at Leeds," the crowd noise is minimized so that nothing distracts your ears from the remarkable jams. You almost get the feeling that you are sitting in the front row. 



#18: Johnny Cash, "America: A 200-Year Salute in Story and Song." A patriotic opus from an artist who managed that rare feet of being admired by liberals and conservatives alike. Lincoln's Gettysburg Address is, for me, one of the top-5 speeches in American history. Cash's rendition of it here is amazing. 



#17: Black Sabbath, "Volume IV." If we judge the greatness of rock and rollers by the sheer number of artists they've influenced, then I would say the greatest rock and roll artists of all time have to be Chuck Berry, The Beatles, Jimi Hendrix, and Black Sabbath. Yes, Black Sabbath. Even though their music was literally censored from FM radio throughout the 1970s, they developed a loyal and insanely dedicated following. Their influence can be heard in virtually all heavy metal that followed, from the greats like Metallica and Korn to the local garage band that you call the cops on to get the noise turned down. Ozzy Osborne's personal quirkiness made it difficult for him to be recognized as for what he was: one of the truly great rock singers and lyricists of his generation. Meanwhile guitarist Tony Iommi created a unique, power lawn mower guitar style that's been imitated extensively but rarely done with the melodic flair of its originator. 

Volume IV is probably my favorite Sabbath album, in part because the metal is balanced out with some mellow tunes. People old enough will remember how impressive were the color, glossy photos included in the jacket of the vinyl edition. 



#16: Jimmy Cliff, "The Harder They Come." When Americans think of reggae, they think of Bob Marley. Marley is the reggae GOAT of course, but the artist that "brought reggae to the world" is Jimmy Cliff. The soundtrack to the movie "The Harder They Come" is the archetype of hard core reggae: soulful social commentary backed up with syncopated beats. "You Can Get It If You Really Want" is a social justice activist anthem, and the title track is about as hard core reggae as you can get. A truly inspired and inspiring record. 



#15: Dr. John, "Dr. John's Gumbo." A tribute to the music of New Orleans played by some of the greatest session musicians of the era. Dr. John (born Malcolm John Rebbenack, Jr. in 1941 in New Orleans) had a clear love of New Orleans jazz and R & B, and that love shines brightly in every tune on this spectacular recording. 



#14: Jethro Tull, "Thick as a Brick." A masterpiece in the progressive rock genre. In vinyl album terms, I would say that the first side of "Thick as a Brick" is one of the most memorable album sides in the history of recorded popular music, right up there with side two of the Beatles' Abbey Road in terms of sheer innovation and musical surprises. Thick as a Brick was supposed to be a kind of parody of the excesses of progressive rock, yet ended up becoming iconic in the genre. It is probably Tull front man Ian Anderson's creative high point, and it's hard to imagine anyone playing guitar any better than Martin Barre does on Thick as a Brick.



#13: Gary Glitter, "Glitter." Given that Gary Glitter (born Paul Francis Gadd) was convicted of child sexual abuse in the 2000s, it is difficult to present him with any accolades. But regardless of his horrible crimes, it is still true that the 1972 "Glitter" album broke new ground in the "glam rock" genre. His energetic covers of 1950s records gave a new, fresh voice to those tunes, while "Rock and Roll" parts 1 and 2 became staples at pro sports and other events for decades. Fans of the movie "The Joker" will recall how Rock and Roll Part 2 is heard while Arthur dances down a staircase. 



#12: Alice Cooper, "School's Out." Not Alice's best album by any means, but still a rockin' good time throughout. The title track was in heavy rotation on radio stations in the summer of 1972. If such a song were released today, an era that cannot grasp satire and parody, the artist would be accused of promoting anti-Americanism and school violence. 



#11: Waylon Jennings, "Ladies Love Outlaws." Waylon Jennings got his start in Buddy Holly's band. He survived "The Day The Music Died" (i.e. the day in 1959 that Buddy, the Big Bopper, and J.P. Richardson were killed in a plane crash) when he gave up his seat before take-off. Jennings became a successful solo artist, and in the early 70s was one of the recognized founders of the "outlaw country" sub-genre of country music. "Ladies Love Outlaws" is foundational in that sub-genre. 



#10: The Moody Blues, "Seventh Sojourn." By 1972 the fans of the Moody Blues treated them somewhat like gurus, intensely perusing the words on each album for insights about the human condition. "Seventh Sojourn," the band's 8th album, is a bit more political than their prior offerings (especially in the songs "Lost in a a Lost World," "The Land of Make Believe," and "When You're a Free Man."). But the album's best known song, "I'm Just a Singer in a Rock and Roll Band," is a pointed rejection of the band's guru status. 


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#9: Frank Zappa and the Mothers of Invention, "Just Another Band From L.A." The year 1972 was an active one for Frank Zappa. This live album represented his collaboration with Howard Kaylan and Mark Volman (aka The Turtles). The songs are the kind of irreverent comedy that, at the time, would have reminded listeners of iconic comedians like Lenny Bruce and George Carlin. I have have always loved Zappa's sarcasm in "Call Any Vegetable." 

Questions, Questions, Questions, flooding into the mind of the concerned young person today. Ah, but it's a great time to be alive ladies and gentlemen. And that's the theme of our program for tonight, "It's so FUCKING GREAT to be alive"! Is what the theme of our show is tonight, boys and girls. And I'm wanna tell ya, if there is anybody here who DOESN'T believe that it is FUCKING GREAT to be alive, I wish that they go now, because this show will only bring them down so much... 

God Bless America
Land that I love

Frank Zappa, Call Any Vegetable


#8: Frank Zappa, "The Grand Wazoo." Zappa's trademark goofiness often hid the fact that he was one of the truly great jazz composers and musicians of his generation. "The Grand Wazoo" is a remarkable work of modern jazz, featuring primarily instrumental pieces in big band formats. In terms of composition and production quality, "The Grand Wazoo" may be Zappa's finest album. 


#7: Nina Simone, "Emergency Ward!" This is Nina Simone at her most activist and radical, her Vietnam War album recorded in the studio with a few tracks recorded live at Fort Dix. Her cover version of George Harrison's beautiful song "Isn't It a Pity" is classic Nina Simone in how she almost seems to be in dialogue with the song; trying to discover its essence. She added some new lyrics to the song: 

Lord knows it's a pityMankind has been so programmedThat they don't care about nothin'That has to do with careC-a-r-e

We take each other's mindsAnd we're capable of take each other's soulsWe do it every dayJust to reach some financial goalLord, isn't it a pity, my GodIsn't it a pity, my GodAnd so unnecessary

Maybe one day at least i'll see meAnd just concentrate on givin', givin', givin', givin'And till that dayMankind don't stand a chanceDon't know nothin' about romanceEverything is plasticIsn't it a pityMy God.



#6: Hot Tuna, "Burgers." Hot Tuna in 1972 were led by three former members of the Jefferson Airplane (guitarist Jorma Kaukonen, bassist Jack Casady, and violinist Papa John Creach). "Burgers" was the group's first studio album, and it consists of an appealing mix of folksy and bluesy lyric tunes and instrumentals. Their cover of Julius Daniels' "99 Year Blues" is amazing, and "Water Song" showcases Kaukonen's ability to produce heavenly guitar melodies. 



#5: John Lennon and Yoko Ono, "Sometime in New  York City." This was a double album, with one studio disc and another recorded live. The studio tunes were filled with grassroots political themes on feminism, prisoners' rights, racism, war and peace, and the war on drugs. No doubt many of the old Beatles fans listened to this and thought, "is that the same guy who sang 'She Loves You' and "I Want To Hold Your Hand?'"  In "Attica State," a commentary on the tragic New York prison riot of the time, Lennon's lyrics represent one of the earliest statements against mass incarceration. 



#4:  Al Green, "Let's Stay Together." A truly extraordinary album from a man who would have to be in the conversation for GOAT when it comes to soul singers. Everyone loves the title song, but really everything on this record is splendid. Al Green deservedly gets all the attention because of his superior vocals, but the rhythm and horn section deserve just a much recognition. They were right up there with Motown's Funk Brothers for finding ways to make the singer shine bright. 



#3: Bo Diddley, "Where It All Began." Chicago's great grandfathers of rock and roll (Howlin' Wolf, Muddy Waters, Bo Diddley), were all still recording new music in the early 1970s, but even the progressive FM rock stations did not give them much attention. Consequently, some great music never got the hearing it deserved. One example is Bo Diddley's "Where It All Began." Apparently tired of his famous "Bo Diddley Beat" being ripped off by numerous artists without even citing Bo's influence, in 1972 Bo recycled the beat for himself in the song "I've Had It Hard." There are lots of other goodies on this album, including a searing guitar solo on "Bad Trip," and some funny, funky tunes like "Look at  Grandma," "Hey Jerome," and "Take it All Off." 



#2: Bill Withers, "Still Bill." Bill Withers, from a small mining town in West Virginia, spent nine years in the United States Navy before starting a professional music career. His voice was one of the most unique in the history of popular music. "Still Bill" gave us the monster hits "Lean on Me" and "Use Me," but really everything on the record is of superior quality. Definitely one of the top five albums of 1972. 



#1: The Rolling Stones, "Exile on Main St." Exile was a "back to the roots" record for the Stones, four vinyl sides of rock and roll designed to showcase the Stones R & B, blues, old school rock, and soul influences. Definitely one of the better efforts of the Stones, with  drummer Charlie Watts and bassist Bill Wyman at their rhythmic high point, and featuring some of the greatest original Mick Jagger/Keith Richards songs. Amazingly, they still perform a number of these songs in concert. 



Hope you enjoyed this celebration of the music of 1972. Rock on! 

Monday, August 01, 2022

Media Rants At 20

2024 Update: This post is continuously updated to include links to Media Rants written POST 2022 --Tony P.

Believe it or not--and most days I personally cannot believe it--August of 2022 is the twentieth anniversary of Media Rants. It started out as a monthly print newspaper column for the independent Fox Valley (WI) SCENE newspaper, which at that time had an office in Appleton, WI. Then editor Tom Breuer was familiar with (and a fan of) my media work in Oshkosh, and he asked me if I would write a monthly column of media criticism. He even suggested calling it "Media Rants." The first column was called "Local EAA Coverage Buries the Lead." 

Back then the Fox Valley SCENE newspaper was available throughout the Valley in coffee shops, grocery stores, street vending machines and other locations. Readers frequently contacted me (usually via email or phone) to offer feedback, or praise the column, or condemn it. I didn't realize that the column actually had somewhat of a "following" until April of 2006, when I was invited to participate in a panel at the Appleton Public Library on the topic of George Clooney's film "Good Night and Good Luck" (an award-winning dramatization of legendary broadcaster Edward R. Murrow's courageous stand against the red-baiting Wisconsin Senator Joseph McCarthy.). I met dozens of people that night who were familiar with the column, which shocked me because I had always assumed that the readership was probably little more than a handful of alienated political junkies like me. One person I met at that public library forum was Ms. Lori Hoover, who told me afterward that she was a regular reader of Media Rants. In 2013 Lori and I got married, so in a real sense Media Rants impacted my personal life as much as my public one. 

 

A big audience showed up to the Appleton Public Library on April 27, 2006 for a panel discussion of "Good Night and Good Luck." 

 

The late Ed Murrow is one of my heroes, so it was an honor to be invited to discuss him. Discovering that night that Media Rants had a following was an extra bonus. 

I know I don't have the years exactly right, but around 2010 the SCENE had Media Rants (and most other columns) in both print and online versions. Around 2016 publisher Jim Moran removed Media Rants from the print version, apparently because one of the paper's major advertisers was bothered by my criticism of Fox News and threatened to stop advertising with the paper if Media Rants stayed in. Moran could not afford to lose the revenue, so he gave in to the commercial blackmail. 

I was not upset with Jim Moran, as I knew he had a deep respect and appreciation for what I had contributed to the paper. Of course I did not like being removed, but I also understood how difficult it was to keep a small independent newspaper afloat. Seeing the SCENE survive was more important to me than seeing my name in print. Besides, by that time most of the print readers of the column had discovered the online SCENE and this blog, so I did not see any noticeable drop in attention. I told readers upset with the removal of Media Rants to contribute financially to independent media so that they do not have to rely on advertising for support.  

Unfortunately, the SCENE went out of business not too long after dropping Media Rants from the print version. Though much independent media (most of it online) has emerged since, none of it in my humble opinion matches the breadth and depth that the SCENE had during its "golden period" when it was edited by Tom Breuer and then Jim Lundstrom. The loss of the The SCENE was a huge loss for the Fox Valley. 

The photo that ran in the SCENE for quite a few years.

Even without a print or online newspaper to host it, Media Rants has continued on in this space. Social media platforms drive a significant amount of traffic to it. The column continues in part because it's important to me to "practice what I preach" to my college students. As a teacher of rhetoric and civic engagement, I'm always urging my students to think critically about public issues not only so that they become more engaged as individuals, but so that they can help others frame those issues in ways that might lead to positive change. Media Rants, for better or worse, has always tried to model some of the lessons I teach students: 

*Be engaged with the community and world around you. 

*On whatever issue(s) that matter to you, avoid the temptation to repeat back tired talking points. Be original and unpredictable. 

*Do not sacrifice your integrity in order to get more clicks or expand your audience. If you cannot look at yourself in the mirror after writing or speaking on an issue, you're doing something wrong. If your work makes a genuine contribution to the public sphere, an audience will find you. 

*Appreciate that you do NOT need an audience of millions to have an impact. If all of us positively impacted a HANDFUL of people in our immediate environment, we would be in a much better place as a city, state, nation, and world. 

I've gone back over the 20 years worth of columns, and it seems like they fall into eight categories: 

  1. Local History 
  2. Media Criticism 
  3. Media Theory 
  4. War and Peace 
  5. The First Amendment 
  6. Democracy and Human Rights 
  7. Music Criticism 
  8. Public Address Criticism 

Below are links to some of my favorite Media Rants columns in each of those categories. Some of them have hyperlinks in them that are no longer active that I have not had a chance to fix--my apologies. Columns with three asterisks (***) next to them are the ones that are either my personal favorites and/or received the most audience feedback.  

Local History: 

In my high school years in the 1970s I read Ralph Nader's "Unsafe At Any Speed" and was impressed by his passionate activism. Meeting and introducing him in Oshkosh in 2004 was a huge honor.

Media Criticism

War and Peace

Tony Palmeri and Lori Hoover met on April 27, 2006 at an Appleton Public Library event sponsored by the SCENE newspaper in which Media Rants appeared. They got married in Las Vegas on May 31, 2013.

Media Theory

First Amendment

The UW Oshkosh Learning in Retirement organization invites me to speak at least twice a year. Most times I talk about themes that appear in Media Rants columns. It was an honor to receive a teaching award from the organization. 

Democracy and Human Rights 

Music Criticism

Public Address Criticism

If you got this far, I want to offer my sincere thanks for your support of Media Rants over the years. A special shout-out to UW Oshkosh Learning in Retirement, an organization that has a number of Media Rants fans as members and invites me to speak at least twice a year. Usually for LIR I do expanded, interactive versions of what I perceive to be the most engaging Media Rants columns. The response of LIR has been inspiring, and the organizers tell me that my sessions are always the most well attended. I'm deeply appreciative of the opportunity to engage that community. 

Thank you for a great 20 years!