Tuesday, July 14, 2020

Ten Bold Cover Tunes Part VIII: Classical Music Covers

Prior Ten Bold Cover Tunes Posts: 
Part I
Part II
Part III: Guitar Hero Edition
Part IV: Dare To Cover Johnny Cash Edition
Part V: I Won't Back Down Edition
Part VI: Bring It On Home To Me Edition
Part VII: The Kennedy Center Honors Edition

Way back in Part I of this series, we defined cover artists as being BOLD in a couple of ways: 

*In choosing to cover a song already identified with another artist, the cover artist risks professional humiliation. Just DARING to cover certain songs is an act of boldness.

*Taking the original version of the song and performing it in a unique way is one of the boldest moves an artist can make. When done well, the cover version takes on a life of its own and almost sends the original into obscurity.


Can you think of any better way for a rock or pop artist to risk professional humiliation than to take a stab at covering a piece of classical music? The persona of the classical score--highbrow, sublime, deliberate--does not at first glance appear to lend itself to the chaotic and often amusing improvisation of rock. Indeed, the progressive rock era bands that consciously produced a rock/classical hybrid (Yes, King Crimson, Electric Light Orchestra, to name a few) were always known to be more "serious" than their pure rock contemporaries. 

It's virtually impossible to send a score by Beethoven, Bach, Mozart or any classical composer into obscurity, no matter how good the rock/pop interpretation. The ten mentioned below are simply some of my favorites. 

#10: Frank Zappa's cover of Ravel's "Bolero." The late Frank Zappa's irreverence, outspokenness, and overall wackiness made it easy to forget that he always surrounded himself with world class musicians. In 1988 he toured with a big band, adding horn arrangements to his own original songs and some covers. The cover of "Bolero" is remarkable in how it mixes big band and reggae, 
Video: Frank Zappa conducts "Bolero"

#9: Rick Wakeman's cover of Gershwin's "Rhapsody in Blue." Rick Wakeman is the legendary keyboardist most known for his work with progressive rock band Yes. When his version of "Rhapsody in Blue" (from the album Rhapsodies) came out in 1979, I heard it on a New York City FM radio station and thought that he was just one more classic rock icon struggling to stay relevant by putting a disco beat in his music. The Rolling Stones, Rod Stewart, and other classic rockers had given in to the same pressure at that time. Forty-plus  years later, I now see the disco elements in Wakeman's cover of "Rhapsody in Blue" as its most endearing quality. 
Video: Rick Wakeman "Rhapsody in Blue"

#8:  Procol Harum's Reworking of Bach's "Air on a G String" ("A Whiter Shade of Pale"). Okay, so Procol Harum's rock classic "A Whiter Shade of Pale" is not really a cover of a Bach score as much as it is "inspired" by it. Still, I include it in this list of Ten Bold Covers because I suspect Bach himself (who died in 1750) would have appreciated the beauty of his melody accompanied by Gary Brooker's vocals. 

Procol Harum's 2006 performance of "A White Shade of Pale" in Denmark proudly plays up the classical foundation of the song. 
Video: Procol Harum "A White Shade of Pale"

#7: Ekseption's cover of Beethoven's 5th. The Dutch band Ekseption, active from 1967-1989, were classically trained. In 1969 they released a rockin' version of Beethoven's 5th symphony that remains an important early contribution to the rock/classical hybrid genre. 
Video: Ekseption's cover of Beethoven's 5th

#6:  Sky's cover of Bach's Toccata and Fugue in D Minor. In 1980 the Australian/English band Sky released an amazing version of a Bach standard. The guitar of John Williams, the synthesizer and keyboards of Francis Monkman, and the drums of Tristan Fry all manage to make a familiar melody fresh and vital. 

#5: The Who's cover of Edvard Grieg's "In the Hall of the Mountain King." This cover was originally recorded during the sessions for the 1967 "The Who Sell Out" album, the band's last album before their breakthrough with the rock opera "Tommy" in 1969. "In the Hall of the Mountain King" was not heard by the general public until the re-release of "The Who Sell Out" in 1995. What I love about it is the sheer rawness. Because the Who became one of the prime exemplars of rock-and-roll as a kind of high art form demanding lots of studio time to produce the perfect track, it's easy to forget that early in their career they could jam with the best of them. "In the Hall of the Mountain King" is one such jam. 

#4: Apollo 100's cover of Bach's "Jesu, Joy of Man's Desiring." Apollo 100's 1972 cover of "Jesu, Joy of Man's Desiring" was one of the catchiest tunes of the 1970s. The band's performance makes them major contenders for the title of World's Greatest One-Hit Wonder. 

#3:  B. Bumble and the Stingers' cover of Tchaikovsky's "The March From The Nutcracker." B. Bumble and the Stingers released two great instrumentals in 1961 and 1962, "Bumble Boogie" and "Nut Rocker." "Nut Rocker" was a cover of a classical score from Tchaikovsky's The Nutcracker. Before the Beatles got to the states in 1964, pop music was in pretty lackluster condition. B. Bumble and the Stingers were one of the few high energy groups out there. 
Video: B. Bumble and the Stingers, "Nu Rocker"

#2: Jethro Tull's cover of Bach's "Bouree in E Minor".  Some people might be offended by all the covers of Johann Sebastian Bach scores on this list. They would say if it's not baroque, why fix it? (This entire post was designed to set up that line :-)). 

Jethro Tull's version of Bouree appeared on their 1969 album "Stand Up," a breakthrough for them and one of the more important records in the history of progressive rock. Ian Anderson's vocals and flute, along with Martin Barre's guitar, produced one of the most original, recognizable sounds in the history of rock. They certainly did justice to Bach. 
Video of Jethro Tull's Bouree

#1:  Emerson, Lake, and Palmer's cover of Aaron Copland's "Fanfare For The Common Man."  Released in 1977, ELP's cover of the Copland score became forever the definitive version. Keith Emerson was arguably the preeminent keyboardist of his generation, and "Fanfare" one of his many high points. They rhythm section of Greg Lake on bass and Carl Palmer on drums brought a dynamic quality to any genre the band dabbled in, including classical. Given the constraints presented by modern corporate radio and the short attention span values of streaming site audiences, it's hard to imagine something like "Fanfare" being recorded today. That's sad.
Video: ELP cover of Copland's "Fanfare for the Common Man" 

Wednesday, July 01, 2020

Obama in Osawatomie and Trump in Tulsa: Tempered Trolling v. Toxic Trolling

I've been teaching public speaking, at introductory and advanced levels, for more than 30 years. In all of that time, I've always used the speeches of presidents of the United States to demonstrate how basic and more sophisticated principles of rhetoric operate in the "real" world. While my own personal politics lean closer to FDR, LBJ, and Barack Obama, I've never hesitated to pull from the rhetoric of Dwight Eisenhower, Ronald Reagan, or Bush 41 and 43 to demonstrate rhetorical techniques. You can find an excellent archive of historical and contemporary speeches of presidents and other public figures at 

President Trump is the first White House occupant I cannot work into a public speaking course. The problem is not that I am so "woke" that I will not allow my students' innocent ears to be exposed to Trumpian rhetoric that is time and again divisive, demonstrably false, and dopey. Unfortunately, you can find those qualities in much of what passes for political rhetoric in the United States. 
Politicians have engaged in trolling since the beginning of time. "Tempered" trolling invites debate and is consistent withe values of ethical public speaking. "Toxic" trolling is more akin to the social media norms of bitterness and division. 

The problem is that outside of his State of the Union addresses, in which the president hesitates like the Godfather's  Frank Pentangeli being coerced into perjuring himself lest the mob knock off his brother, Mr. Trump does not really deliver anything that could in good conscience be called a "speech." For centuries, effective public speaking has been conceived of as a mindful, well-prepared attempt to deliver a clear message, tailored to particular audiences, in a situation that provides constraints the agile speaker attempts to overcome. Great public speaking is the opposite of narcissism: rather than fixate on self, the mindful speaker is forever cognizant of audience needs. Being cognizant of audience needs does NOT mean "telling them what they want to hear." That's demagoguery. Being cognizant of audience needs means, from the perspective of the speaker, "telling them WHAT I BELIEVE, with evidence to support it, in a language everyone can easily understand." 

At his rallies, which since 2015 have been Mr. Trump's preferred vehicle for verbal communication, he typically stands at a podium and words come out of his mouth. That's pretty much all those presentations have in common with "public speaking" as I've defined it. Even at their worst, ALL prior presidents have respected the fact that their remarks must reach beyond merely stoking an uncritical base of supporters. For most prior presidents, reaching beyond the base happened even at campaign rallies in front of cheering supporters. 

The point here is not that Donald Trump is an exceptionally bad public speaker; I wrote about that in 2016, referring to him as "the bad man speaking poorly." The point is that what Donald Trump does on the political stage is public speaking only in the most narrow, technical sense. More accurately, what he does is a form of Internet trolling done openly on stage for the world to see. It's an inflammatory effort to trigger or "own" his opponents in a manner equal parts vacuous and vicious.Think of it this way: If a quarterback constantly spits at the defensive linemen, repeatedly accuses his opponents of cheating with no evidence to back it up, blames all his mistakes on his team mates, doesn't attend practice sessions, and only recognizes the fans wearing his jersey, is he really playing football? Technically yes, but not in a manner we would teach Pop Warner league kids in the "how to play quarterback" training camp. And that's why it's extraordinarily difficult to work Mr. Trump into classroom instruction on "how to compose and deliver a public speech."

Which is not to say that there's not room for some form of trolling in political speech. I can explain what I mean by comparing President Obama's campaign speech in Osawatomie, Kansas on December 6, 2011 with President Trump's rally in Tulsa on June 20, 2020. Why compare these two events? Because when first-term presidents announce intentions to run for a second, shortly after the announcement they typically give an address designed to set the tone for the campaign season. The events in Osawatomie and Tulsa were designed to serve that purpose for Obama and Trump, respectively. What I will argue is that while both Obama's and Trump's remarks featured trolling, Obama's was a kind of "tempered" trolling that falls within the bounds of acceptable public speaking practices in that it was designed to highlight policy differences between the president and his opponents. Trump's trolling was of the "toxic" variety in which policy differences take a back seat to crude attacks and exploiting the personality cult surrounding the president. 
Obama in Osawatomie: Tempered Trolling 

Barack Obama assumed the presidency in 2009 at the height of the worst economic conditions since the 1930s. While his stimulus program did spark a recovery, Obama was lambasted on the right for going too far, and on the left for not going far enough. The roll out of the Affordable Care Act ("Obamacare") was sufficiently disastrous that the Republicans were able to take solid control of both houses of Congress in the November, 2010 midterm elections. With the Republican Congress making explicit vows to work against the Obama agenda, the president's reelection in 2012 was not at all guaranteed. 

Further complicating Mr. Obama's reelection chances was the emergence of the Occupy Wall Street movement in September of 2011. Occupy's populist "We Are The 99 Percent" rhetoric and stinging critique of corporate America were not-so-subtle digs at the Administration's failure to hold Wall St. criminals fully accountable for corrupt practices that led the country into recession. Combined with Tea Party sniping on the right, the president was suddenly at risk of losing one of the major powers of the office: the ability to proactively SET the national agenda rather than defensively RESPOND to agendas set by others. 

Seen in that context, the purpose of President Obama's Osawatomie speech was to define what should be the critical issue on which the 2012 election should turn, and thus once again take control of the national agenda. With a clear nod to the Occupy movement, Obama framed the campaign this way: 

“There’s been a raging debate over the best way to restore growth and prosperity, restore balance, restore fairness . . . But, Osawatomie, this is not just another political debate. This is the defining issue of our time. This is a make-or-break moment for the middle class, and for all those who are fighting to get into the middle class. Because what's at stake is whether this will be a country where working people can earn enough to raise a family, build a modest savings, own a home, and secure their retirement.”

In his engaging memoir Confessions of a Presidential Speechwriter (Michigan State University Press, 2014), Craig R. Smith is guided by the Greek philosopher Aristotle's theory of rhetoric and argues that "a campaign speech is usually a mix of a deliberative agenda, a forensic condemnation of the sins of the opposition, and a ceremonial celebration of certain American values . . . " The "forensic condemnation of the sins of the opposition" can be thought of as a form of "trolling." 

In the best presidential campaign rhetoric, trolling is "tempered." That is, it is not simply a series of cheap shots, straw man arguments, and red meat for the base. Rather, tempered trolling issues a challenge to real or perceived opponents. The troll forces the target to consider if the troll might actually be right. Harry Truman's 1948 Whistle Stop reelection tour, rooted in a stinging critique of the Republican "Do Nothing" Congress, was a classic case of tempered trolling. Truman challenged the Congress to defend its record on labor rights, farms, civil rights and other issues. The GOP leadership's inability to make the case led to "Give 'em Hell" Harry's  stunning upset victory in November. 
In 1948 Harry Truman was widely expected to lose the presidency to Republican Thomas Dewey. Truman's tempered trolling of the "Do Nothing" Republican Congress helped reinforce the president's populist image and propelled him to an upset victory. 

Obama's Osawatomie speech included some overt--but tempered--trolling: 

*The fact that he chose Kansas as the location for the address, a mecca of Red State America, by itself was an act of trolling the Republicans.The New York Times coverage was headlined "Obama Strikes Populist Chord With Speech on G.O.P Turf.

*In many ways Obama's campaign pitch was an updated version of Teddy Roosevelt's "New Nationalism" speech delivered in Osawatomie on September 1, 1910. By identifying heavily with a Republican icon, Obama challenged the Republicans to demonstrate that they--more than he--were the rightful heirs to TR's economic policy legacy. 
Barack Obama and Teddy Roosevelt
In his Osawatomie speech, Barack Obama practiced tempered trolling by channeling a Republican icon--Teddy Roosevelt--and suggesting that he (Obama) was a better heir to his populist legacy than the modern GOP. 

*Obama characterized the modern GOP as being in league with the same elements that opposed TR's reforms: 

"Now, just as there was in Teddy Roosevelt’s time, there is a certain crowd in Washington who, for the last few decades, have said, let’s respond to this economic challenge with the same old tune. 'The market will take care of everything,' they tell us. If we just cut more regulations and cut more taxes -- especially for the wealthy -- our economy will grow stronger. Sure, they say, there will be winners and losers. But if the winners do really well, then jobs and prosperity will eventually trickle down to everybody else. And, they argue, even if prosperity doesn’t trickle down, well, that’s the price of liberty." 

The fact that tempered trolling places pressure on opponents to defend their positions is significant. But even more significant is what tempered trolling does to the troll: it challenges him or her to "walk the talk." In staking out a populist position, Obama placed pressure on HIMSELF to have to deliver the goods should he get reelected. Indeed, the Osawatomie speech put Mr. Obama on record as supporting a range of policies for the economy not always enthusiastically endorsed by the corporate wing of his party. In taking such positions, he challenged the American public to ask if he was "up to the challenge" to deliver. 

In short, any public speaking teacher regardless of political orientation could easily use President Obama's Osawatomie speech as an example of how real world speakers can advocate policy without having to resort to vile and empty attacks. Obama's "tempered trolling" put pressure on the Republicans to show why their brand of populism was more credible than the president's, and put pressure on Obama to demonstrate that he could deliver. 

Trump in Tulsa: Toxic Trolling 

Donald Trump is unique among the 45 presidents in a number of ways, including the fact that he has been holding campaign rallies continuously since shortly after his inauguration. In each one, he does pretty much the opposite of what a public speaking teacher would suggest: 
 What Speech Teachers Suggest
 
 What President Trump Does 
 Prepare, Prepare, Prepare 
 vs. 
 Wing It 
 Adapt to multiple audiences 
 vs. 
 Speak only to narrow MAGA base 
 Treat your opponents fairly 
 vs. 
 Mock and ridicule opponents 
 Demonstrate goodwill to all
 vs. 
 Demonize all who disagree
 Get your facts straight 
 vs. 
 Introduce "alternative facts"
 Organize ideas coherently
 vs. 
 Scattered all over the map
You get the idea. When a speaker openly violates so many of the basic rules of public speaking, at some point you have to accept the fact that he's really not doing public speaking in any meaningful sense. What he is doing is the in-person equivalent of Twitter, with millions of characters espoused instead of just 280

Twitter and other social media have become known as "safe" spaces for a particular brand of bitter, toxic trolling that often features heavy doses of bullshit, bluster, and bullying. The traditional public speech, if prepared and presented ethically, seeks to invite disagreement and hopes to resolve it through civil debate in the public sphere. Toxic trolling is not interested in any of that; it seeks only to "own" the ______________ (fill in the name of your favorite enemy) and "trend." 

President Trump's June 20, 2020 rally in Tulsa was a classic example. As with most toxic trolling events, the build up to it was as important as the actual event. Cable pundit shows fixated for days on whether or not people would wear masks, if there would be a literal civil war outside the arena between Black Lives Matter and MAGA activists, and if the president's promise of a standing room only crowd would come to fruition. (As it turned out, the campaign itself was trolled by teen Tik Tok users, who successfully conned them into thinking there were a million requests for tickets. The actual event ended up being quite small by presidential rally standards.). 

What to make of the president's actual remarks? Anyone hoping that it would define Mr. Trump's vision of what Campaign '20 should be about, as Obama did in Osawatomie, had to be disappointed. Instead it was a never ending stream of consciousness filled with personal grievances, bizarre formulations of the pandemic and the protests, and a cartoonish effort to frame establish Democrats and Mr. Moderate Joe Biden as "radical left" and anarchist sympathizers. 

Mainstream media, still trying to judge the president's rallies as if they are sites of public speeches, of course concluded that it was a disaster. They don't understand that Mr. Trump is not trying to be judged by traditional public speaking standards. In fact there's a line in the Tulsa remarks, wherein he recounts a conversation with Melania after his speech at West Point, in which he shows that he grasps the purpose of toxic trolling: 

"I call my wife, I said, 'How good was that speech?' I thought it was a … Hey look, I will tell you when I make good ones and bad ones. Like so far tonight, I’m average, but we’re having fun, we’re having fun. So far tonight, but I call my wife and I said, 'How good was it, darling?' She said, 'You’re trending number one.' I said to our great first lady, I said, 'Let me ask you a question. Was it that good of a speech that I’m trending number one? Because I felt it was really good.'"

"You're trending number one." THAT is what the critics of the president's style generally do not get, because they are using a standard for judgment rooted in a game that he is not playing. 

Conclusion: Where Do We Go From Here? 

In this rant I've shown how Barack Obama and Donald Trump, in participating in the tradition of incumbent presidents trying to set the tone for the reelection campaign season, both performed forms of trolling. Obama's "tempered trolling" was consistent with the principles of traditional public speaking, pressuring his GOP opponents to defend their brand of populism and pressuring Obama himself to be able to demonstrate that he could deliver on his promises. Trump's "toxic trolling" was not public speaking at all, and was more interested in triggering opponents and trending online as opposed to staking out policy positions to guide the campaign year agenda. 

Given my background as an educator, I am concerned that President Trump's brand of toxicity is becoming normalized as a legitimate form of public address. I urge my colleagues in all teaching areas to resist the urge to normalize toxic trolling as public speaking, and to do so in a way that does not alienate students or others who might be sympathetic to some of the president's views. As I suggested at the start of this rant, a good way to do that is to use examples from presidents of both parties to demonstrate that your objection to President Trump's trolling is not partisan. For example, my students are sometimes shocked to hear that I consider George W. Bush's Second Inaugural Address to be one of the better ones of the last 50 years. While I disagreed with Mr. Bush on pretty much every public policy issue imaginable, and I think his two terms were terrible for the world, that particular speech articulated a humane vision of conservatism and America's place in the world not typically promoted on Fox News (or in Mr. Bush's actual policies, tragically). 

At the same time, we need to make sure that citizens, young and old, are aware of the reality of and power of toxic trolling in our world. Mr. Trump's BS, bluster and bullying can sound "edgy" and "authentic" to people not familiar with the code he is operating in. As more people recognize and reject that code, they might begin to demand basic standards of decency in public discourse as a condition for getting their vote. 

If you ever find yourself having to give a policy speech, here's my advice. Stay positive and try to avoid needless trolling. But if you have to troll, be more like Obama in Osawatomie than Trump in Tulsa. If you do the former you might not trend online, but you won't contribute to the debasement of our public discourse. Who knows, you might even provoke people who disagree to see things your way. 

Wednesday, June 03, 2020

Deep Purple's In Rock at 50: In Praise Of Metal For The Ear

I'd like to take time out from the many crises facing the world, including the disturbing suppression of free speech here in the States, to celebrate one of the foundational recordings in the rock-and-roll metal genre. Deep Purple's In Rock album turns 50 years old today. Were it not for the fact that the song "Smoke on the Water" (from the album Machine Head) forever branded Purple as the band known for that famous riff, In Rock in my humble opinion would be more widely recognized as the band's signature piece of music. 
Deep Purple's 1970 In Rock album cover. From left to right, the band members were Ian Gillan (vocals), Ritchie Blackmore (guitar), Jon Lord (keyboards), Roger Glover (bass), and Ian Paice (drums). Though not an explicitly political band, Purple's  idea of British rockers  as enshrined on Mt. Rushmore  can be read as an ironic statement of how pop stars had replaced politicians as icons in that turbulent time. 

Monday, June 01, 2020

How Joe Biden Can Unite Factions: The Pope-A-Dope Strategy

[Full Disclosure: While I am not a practicing Catholic, I still consider myself to be a member of the Church. Growing up I attended 16 years of Catholic School, including St. John's University in NYC. --Tony Palmeri]

Given that he's running for the presidency in the middle of a global pandemic, depressed economy, and the most widespread racial justice protests since 1968, it's not surprising that Joe Biden's religious background has received limited media attention. Yet if he does prevail in November, Mr. Biden would be only the second Catholic ever to occupy the White House. The first of course was John Fitzgerald Kennedy. Biden takes his faith seriously, and in 2005 said, "The next Republican that tells me I'm not religious, I'm going to shove my rosary down their throat." 

Back in the day, anti-Catholic bigotry made it virtually impossible for Catholic candidates to capture the presidency. New York Governor Al Smith, Democratic party nominee for president in 1928, could not overcome hysterical reactions to his Catholicism in some parts of the country; in the deep south the Ku Klux Klan campaigned actively for Republican Herbert Hoover. Political historian Allan Lichtman concluded that “the religious issue was by far the most important influence on voting.” (cited in Jay Dolan, "The Right of a Catholic to Be President," Notre Dame Magazine, 2008). 



Above: Sample Ku Klux Klan rhetoric used against Al Smith in 1928. Klansmen argued that if a Catholic were elected President, he would take orders from the Pope. Such  sentiments had widespread support in the United States for many years.  

Wednesday, May 20, 2020

Ten Bold Cover Tunes Part VII: The Kennedy Center Honors Edition

Annually since the late 1970s, a range of performance artists have been honored in Washington by the Kennedy Center. Even though the president of the United States has no direct role in selecting the honorees, the number of popular music artists recognized seemed to increase during the Obama years--perhaps a nod to #44's rock star image.

The most fun part of the annual ceremony is when popular artists serenade honorees with covers of the honorees' well known tunes. During these televised performances, the director always treats the audience watching at home to reactions shots of the honoree(s) and the POTUS and First Lady. The former can often be seen to be forcing back tears, while the latter reveal themselves to be human beings capable of appreciating the art of the masses.

What follows, in no particular order, are ten noteworthy Kennedy Center cover performances.

#10: Beyonce's Cover Of Tina Turner's "Proud Mary." "Proud Mary" was written by John Fogerty and recorded originally by his band Creedence Clearwater Revival. But Ike and Tina Turner's gritty and energetic version was so captivating that the song forever after became associated with them.

Beyonce's 2005 cover at the 2005 Kennedy Center Honors captures the energy of the Ike and Tina version. President George W. Bush's reaction suggests that the song transported him back to his pre-politics partying days, which were legendary.


Video: Tina Turner "Proud Mary"


#9: Lyle Lovett's Cover of the Beach Boys' "God Only Knows." Before the 1960s, rock lyrics about relationships existed on a spectrum from macho male posturing (inherited from Chicago blues) to tear-jerking sentimentalism. With the Beach Boys "Pet Sounds" (1966) and Beatles' offerings of the same time period, rock songs about relationships became outer expressions of internal grief; odes to codependency and control that have probably exerted more influence on youth over the years than the raunchy sex and violence recordings that the so-called "pro-family" groups have been obsessing over for many years.(Perhaps that's because the so-called pro-family groups are led by people for whom relational co-dependency and control are common states of being.). Brian's Wilson's "God Only Knows" from that Pet Sounds album is perhaps the archetype in the genre: 

If you should ever leave me
Though life would still go on, believe me
The world could show nothing to me
So what good would living do me
God only knows what I'd be without you

Yep, if you leave that old singer he might actually kill himself! Really healthy message, eh?

I enjoy Lyle Lovett's cover from the 2008 Kennedy Center Honors because he looks and sounds like a wedding singer who can't figure out why the bride is marrying that obnoxious asshole. 

But even better is Brian Wilson's reaction shot: I imagine him thinking, "If people knew the pain I was in when I wrote that song they would be crying instead of cheering." 

Video: Lyle Lovett "God Only Knows" 


#8: Eddie Vedder's Cover of Bruce Springsteen's "My City of Ruins." At the 2009 Kennedy Center celebration of Bruce Springsteen, with the country still reeling from the worst economic crisis since the 1930s, Pearl Jam's Eddie Vedder performed a perfect song for the times. Springsteen's "My City of Ruins"--written in 2000--may experience a resurgence as our current recession/depression almost makes prior crises seem like cakewalks by comparison. 

Video: Eddie Vedder, "My City Of Ruins" 


#7: Mavis Staples and James Taylor's Cover of the Beatles' "Let It Be." At the 2010 celebration of Paul McCartney, the great Mavis Staples transformed "Let It Be" into a Sunday sermon. When she and James Taylor were joined by rocker Steven Tyler and a choir for an uplifting version of "Hey Jude," the capacity of the Beatles' music to unite genres was on glorious display for all to see and hear. 

Video: Mavis Staples and James Taylor "Let it Be" 


#6: Kings of Leon Cover of the Eatles' "Take It Easy." Kings of Leon are multiple Grammy Award recipients and big stars in their own right, but I have to think that it must have been super intimidating for lead guitarist Matthew Followill to perform the guitar solo on "Take It Easy" just a few feet away from Joe Walsh--arguably one of the greatest guitar players in the history of the universe. Followill acquitted himself quite well, as did the entire band in a cover that stays true to the country and western vibe of the original while maintaining the Kings' flair for energetic rock. 

Video: Kings of Leon "Take It Easy" 


#5:  Bruce Springsteen's Cover of Sting's "I Hung My Head."  No one will ever come close to Johnny Cash's version of "I Hung My Head," but in this 2014 celebration of Sting, Bruce Springsteen comes close. 

Video: Bruce Springsteen "I Hung My Head" 


#4:  Snoop Dogg's Cover of Herbie Hancock's "Cantaloupe Island." What's priceless about this 2013 Snoop Dogg celebration of the great Herbie Hancock is how the brash rapper gets a crowd of uptight DC bureaucrats to discover their inner Break Boy and Break Girl. 



#3:  Garth Brooks' Cover of Billy Joel's "Goodnight Saigon."  Also in 2013, Garth Brooks delivered up a special rendition of Billy Joel's epitaph to the Vietnam War. Actual veterans join Brooks on stage, presenting the audience with literal enactments of the song's lyrics. I'm always wary of the showcasing of veterans at establishment entertainment and/or political events, mostly because such spectacles are typically the result of some producer willing to exploit the soldiers' service and pain for cheap patriotism points. In this case however, the soldiers exude a genuine love and expression of solidarity for each other that transcends whatever ill intent the producers might have had. It's quite amazing. 



#2:  Bettye LaVette's Cover of The Who's "Love, Reign O'er Me."  This 2008 cover of the classic Who tune from the rock opera "Quadrophenia" is probably my favorite cover of the ten mentioned in this post. Bettye LaVette, one of the most underrated blues/soul singers of her generation, captures the song's emotional roller-coaster of grief and hope in a way that perhaps only someone schooled in (or has lived) the blues and soul can deliver. Watching Pete Townshend, Roger Daltrey, and Barbara Streisand all mesmerized by the performance is an added treat. 



#1: Heart's Cover of Led Zeppelin's "Stairway to Heaven."  Ann and Nancy Wilson of Heart, accompanied by Jason Bonham (the late Zep drummer John Bonham's son) on drums, a wicked horn section and other orchestral elements, a guitar player who has the solo down,  and a gospel choir, deliver a ridiculously great version of one of the iconic tunes of the classic rock era. One wonders if the Wilson sisters, who grew up as Zep fans, ever dreamed they would someday perform the tune in front of their heroes. The reactions from surviving Zep members John Paul Jones, Robert Plant, and Jimmy Page is also endearing. Jones appears to be studying it as if he is a musicologist, Plant looks like he wants to burst out crying, and Page just seems overjoyed that for one night no one is thinking about whether or not he plagiarized the song



Prior Posts in the Ten Bold Cover Tunes Series: 

Friday, May 01, 2020

COVID-19's Challenge to Free Speech

Note: For a video version of this rant, click HERE.

In 1963 the Speech Association of America (SAA) adopted a "Credo For Free And Responsible Communication in a Democratic Society." The SAA later became the National Communication Association, and reaffirmed the Credo in 2017. 


As someone who regularly teaches a course called "Freedom of Speech in the United States" and relies on First Amendment freedoms to provoke students, produce blogs, and engage in other forms of activism, I find myself coming back to the Credo often. Regularly reminding myself of the Credo's six principles helps me to make sure I am holding my students and myself to high standards worthy of the life and death struggles for freedom that preceded us and continue to this day. 

We free speech advocates have always assumed that active use of First Amendment freedoms enhances civic health. COVID-19 challenges that assumption, as we now find ourselves in a bizarre and disturbing place where some citizens insist that "peaceful assembly" includes the right to risk infecting oneself or others with a deadly disease at a public gathering. Huge segments of social media and cable television denigrate and distort peer-reviewed medical findings while amplifying junk science. Meanwhile, the President of the United States treats daily briefings as a kind of Open Mic Night where he feels free to riff on whatever comes to his mind, even to the point of suggesting that ingesting bleach or disinfectants might cure the virus. In another essay I've argued that these types of bullshit, bluster, and bullying tactics are never particularly helpful in any context, but are absolutely useless when confronting a novel coronavirus. 



Forgive me for having to state what is or should be an obvious point: Just because an act of communication might technically deserve First Amendment protection, it does not follow that that same act of communication is responsible. In "normal" times, irresponsible communication in the public sphere certainly produces negative consequences, from distracting our attention away from urgent issues to defaming good people to delaying actions needed to fix what's broken in our society. 

In the COVID-19 era, the irresponsible communicative acts of distraction + defamation + delay = DEATH. (I want to say that we can and must do better, but my fear is that the response will be "OK Boomer."). 

What follows is the Credo for Free and Responsible Communication in a Democratic Society. Please read it, reflect on it, and use it as a way to hold yourself and others accountable for your and their communication practices. Be especially mindful of the admonition in principle #5 that we should "expose abuses of the communication process." Those abuses, some of which I mentioned earlier, are having a profoundly negative effect on our ability to loosen the deadly grip of the coronavirus on our nation and world. 


Here is the Credo: 


Recognizing the essential place of free and responsible communication in a democratic society, and recognizing the distinction between the freedoms our legal system should respect and the responsibilities our educational system should cultivate, we members of the Speech Communication Association endorse the following statement of principles: 

Principle #1: We believe that freedom of speech and assembly must hold a central position among American constitutional principles, and we express our determined support for the right of peaceful expression by any communicative means available. 
Protesters, many of them armed, berate security officers at the Michigan State Capital. Though protesters had their temperatures checked before entering the building, we know that coronavirus carriers are often asymptomatic. Can this possibly be a form of "peaceful expression?" (photo from BBC News)
Principle #2: We support the proposition that a free society can absorb with equanimity speech which exceeds the boundaries of generally accepted beliefs and morals; that much good and little harm can ensure if we err on the side of freedom, whereas much harm and little good may follow if we err on the side of suppression. 

Principle #3: We criticize as misguided those who believe that the justice of their cause confers license to interfere physically and coercively with the speech of others, and we condemn intimidation, whether by powerful majorities or strident minorities, which attempts to restrict free expression. 

Michigan Governor Gretchen Whitmer has faced the most hostile reaction to stay-at-home orders, from threatening signs to armed militia members showing up at her private residence. Polls show support for the governor's coronavirus actions even as strident protesters try to coerce her into retreat.  Masses of people who understand and accept the need to maintain stay at home orders until there is a clear downward trend in coronavirus cases--with full knowledge of the economic harm the orders are causing their communities and them personally--are the true "silent  majority." 
Principle #4: We accept the responsibility of cultivating by precept and example, in our classrooms and in our communities, enlightened uses of communication; of developing in our students a respect for precision and accuracy in communication, and for reasoning based upon evidence and a judicious discrimination among values. 

Principle #5: We encourage our students to accept the role of well-informed and articulate citizens, to defend the communication rights of those with whom they may disagree, and to expose abuses of the communication process. 



[Note: Chris Hayes' exposure of "coronavirus trutherism"is a good example of how a public sphere pundit can expose abuses of the communication process. MSNBC is not a great news and opinion network, and not everything on Fox is awful; but one of the worst media tragedies of our time is that the loyal followers of each will never see the segments worth seeing on the "other side." Fox viewers really do need to see this segment by Hayes--it might literally save their lives.] 

Principle #6: We dedicate ourselves fully to these principles, confident in the belief that reason will ultimately prevail in a free marketplace of ideas. 
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Will reason ultimately prevail in the free marketplace of ideas? Given the extreme levels of misinformation and disinformation--some of it shared innocently on social media but much of it promoted willfully by bad faith actors--I am not sure that reason WILL prevail. We need to prepare ourselves for what will in our public sphere probably be a long period of malicious efforts to distract us from the urgency of the crisis at hand and defame  those good faith actors doing all they can to lead us through it. Distraction and defamation will succeed only in delaying actions necessary to help solve this terrible problem. Remember, distraction + defamation + delay = death. 

Some seem to think that reason would stand a better chance of prevailing in the marketplace of ideas if private sector social media companies would simply censor all of the bad faith nonsense out there. If history has taught us anything, it's that censorship does not stifle stupidity, and more dangerously any censorship regime gives too much power to whoever decides what communicative acts are "in" and what communicative acts are "out." You might love the censor when he shuts down what you despise, but it's only a matter of time before he cancels you too. 


If people of goodwill refuse to act, then documents like the Credo For Free and Responsible Communication in a Democratic Society are nothing more than pious platitudes on a page. I urge all of us to digest the principles and take an honest inventory of where we come up short. Monitoring my own communicative weaknesses and pledging to do better puts me in a much better position to expose the weaknesses of others. The alternative is to continue living in tribal, self-righteous bubbles overflowing with BS, bluster, and bullying. How's that working for us? 

Tuesday, April 28, 2020

Saturday, April 25, 2020

Oshkosh Independent Column and Audio: Evers Confronts BBB with BBB

Check out my latest State of the State column HERE

An audio version can be found HERE

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Thursday, April 16, 2020

Ten Bold Cover Tunes, Part VI: Bring It On Home To Me Edition

In this Ten Bold Cover Tunes installment, we learn about and listen to covers of the late Sam Cooke's 1962 soul classic "Bring It On Home To Me." Before talking about it, let's listen to Sam's original.   

"Bring It On Home To Me" is one of three Sam Cooke songs recognized by the Rock and Roll Hall of Fame on the list of the 500 Songs that Shaped Rock and Roll.(The others being "A Change is Gonna Come" and "You Send Me."). Released as a single in the old days of vinyl, "Bring It On Home To Me" was actually the B-side of "Having A Party" and borrows its melody from Charlie Brown's and Amos Milburn's (1959)  "I Want To Go Home." The song is not typically thought of as a duet, but the great Lou Rawls' backing vocals on the track most certainly contributed to its power and popularity. Years later Rawls released his own spectacular soul-funk version of the song. 

Now Sam Cooke was such a breathtaking singer that he could have crooned the contents of a milk carton label and no one would have minded. Having said that, I've never quite been able to get behind the lyrics of "Bring It On Home To Me." It's kind of like the prototype "baby please come home" tune, expressing what became (especially in pop music) the standard mix of glossing over the problems that led to the  breakup, hyperbolic promises and passive aggression. In the song, we never know why the relationship partner left (Abuse? Boredom? Value differences? etc. etc.). The singer "laughed" when the partner left, but apparently now in a fit of loneliness realizes he "only hurt himself." To get the partner back he's going to give jewelry, money, and is even willing to be the partner's slave until he's "buried in my grave." And that all sets up the passive-aggressive part: "I tried to treat you right, but you stayed out late at night. But I forgive YOU." So really, the singer says, this breakup was as much your fault as mine. Not surprisingly, many covers of the tune actually leave out the "I forgive you" part. 

When I teach "The Rhetoric of Rock and Roll," one of the messages I try to get across is that you can reject the message of a song and yet still like or love it. The key is to THINK CRITICALLY about a musical message just as you would any other. No message gets a free pass just because it's accompanied by a gripping melody and a beautiful voice. Some years ago the Boston Public Health Commission produced a very good "song nutrition" scorecard that can help people (and not just young people) discover the extent to which a song urges healthy or unhealthy relationships. 

Okay, enough lyric analysis. Between recordings and live performances, there have probably been many hundreds (if not thousands) of covers of "Bring It On Home To Me." I'm going to focus just on ten of my favorites. Numbers ten and nine (by Eric Burdon and the Animals and the Supremes) were released not too long after Sam Cooke's untimely death in 1964 and are notable tribute versions. The remaining covers, as we will see and hear, bring unique approaches to the song. So let's get to it: 

#10: Eric Burdon and the Animals:  One of the most important British Invasion bands of the sixties, the Animals were heavily influenced in all their recordings by American blues, R & B and soul. This was one of the last Animals' songs to feature the extraordinary keyboard work of Alan Price, and Burdon's vocals ooze with sincerity. 
#9: Diana Ross and the Supremes: In 1965 the Supremes (featuring Diana Ross) released "We Remember Sam Cooke," a tribute to Sam featuring covers of his greatest hits. A song that's like a mini soap opera fit perfectly within the Motown ideology of the time, and the Supremes as usual did not disappoint.

#8:  Eddie Floyd:  As time went on the covers of "Bring It On Home To Me" became less tribute-like and added minor or major twists to it. The legendary Eddie Floyd (best known for his soul classic "Knock On Wood") released what I would call a disco version of "Bring It On Home To Me" in 1968--about seven years before anyone even knew what disco was. (Notice how Floyd reworks the lyrics to say "you only hurt YOURSELF" when you left).

#7: Aretha Franklin. The Queen of Soul released her version of the tune on her much underrated "Soul '69" album. Like most of the songs on the album, "Bring It On Home To Me" is given a Sinatra-esque big band arrangement. The big band coupled with Aretha's piercing vocals produces a stunning result.

#6: John Lennon. After years of dabbling in highly experimental, often psychedelic, and frequently self-indulgent rock with the later Beatles and in his early solo albums, John Lennon in 1975 got back to his roots with the "Rock and Roll" album. His cover of "Bring It On Home To Me" provides a clue as to what he must have sounded like at the Cavern Club in Liverpool in the days before the Beatles hit the big time.

#5:  Rebecca Pidgeon. Actress and indie-rocker Rebecca Pidgeon adds a backstory to "Bring It On Home To Me" in the form of an original poem set to the melody of Auld Lang Syne. The mash up of the New Year's Eve standard with a classic soul tune is unique and appealing.
#4: Van Morrison. The classic rocker performs what is probably the angriest version of "Bring It On Home To Me," sung from what sounds like the perspective of a man who feels he got screwed over in a divorce settlement. Van sings, "I gave you all the money I had in the bank, now it's time for you to say thanks." And then, "I ain't gonna be a slave, when I'm dead and buried in my grave." Ouch! Tone and victimage aside, Van Morrison like Sam Cooke is just not capable of badly singing a song.

#3: Chadwick Stokes. This is a stripped down version of the song, with just Stokes on the acoustic guitar. Most versions of the tune minimize or don't at all capture the grief of the main character. Stokes emphasizes the grief. Of special note is the way he expresses the word "ALL" at around the 2:13 mark.

Chadwick Stokes: Bring it On Home To Me

#2:  Roger Ridley and Playing For Change. This is probably the most remarkable version of "Bring It On Home To Me," in that it literally unites musicians from around the globe in a glorious jam. The late Roger Ridley, a long-time street artist from Santa Monica, CA leads off the tune with the most passionate vocal style west of the Mississippi. He's joined by equally compelling singers and musicians from Italy, Cuba, Japan, and other place. All of this was made possible by the Playing For Change organization, activists who support music education and many other causes.

#1: The Tedeschi-Trucks Band With Sharon Jones and Doyle Bramhall II. In this absolutely outstanding cover of "Bring It On Home To Me," two soul/blues legends (Susan Tedeschi and Sharon Jones) produce a searing duet that recreates the studio energy that Cooke and Rawls brought to the original. Derek Trucks' slide guitar solo is the definition of awesomeness, matched only by Doyle Bramhall's guitar theatrics a minute later. Just an incredible performance all around.
Previous Posts In The Ten Bold Cover Tunes Series:
Part I
Part II
Part III: Guitar Hero Edition
Part IV: Dare To Cover Johnny Cash Edition
Part V: I Won't Back Down Edition