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With a combined four decades in the biz and a prolific output on both ends, Tom Morello and Boots Riley must be two of the most seasoned revolutionaries in music today. So it speaks volumes that while their second release as Street Sweeper Social Club isn't their best (as a group or individuals) it's still an engaging piece of work.
The signs are unmistakable as you walk through downtown. In fact, the closer you get to the lake, the more they slap you in the face. The cold, gray chain-link fences, the almost Orwellian jumbo-trons, an absurd police presence--even for Chicago--all underpinned by the giant blue and orange sign reading “Lollapalooza.”
Dear Elton,
First of all, I hope you don’t mind that I refuse to call you “Sir.” Knights swing swords and ride horses. You play a piano.
And nobody can really deny that you play that piano well. You are about as close as one can get to being a living musical legend. “Benny and the Jets.” “Crocodile Rock.” “Levon.” “Rocket Man”. Great stuff.
But I have to say: I only admit that begrudgingly. Over the past few months you have managed to severely piss me off. And I’m not alone. In fact, it’s safe to say that you’ve pissed off thousands, if not hundreds of thousands of people who are engaged in a whole spectrum of movements for justice and equality.
It was 1980. The ‘60s were definitely over. Then-president Jimmy Carter had spent the past few years deregulating everything but the kitchen sink. With Ronald Reagan about to win the White House, the sink was now on notice. An era of unchecked corporate power was on the rise.
Around the same time, a band of artistic misfits from Akron, Ohio who had spent the past seven years kicking around the underground made it big with their song “Whip It.” This was no t-shirt and blue jeans rock band. They wore neon Hazmat suits and weird futuristic dome hats. They gyrated onstage like feral robots. And the single sounded like a pepped-up supercomputer that had somehow run off the rails and gained an acerbic sense of humor.
It’s created a buzz well before its release date. For the past several months, every pop music outlet has speculated on its content.
It's not infrequent in our highly depoliticized society for an outspoken artist to be attacked for daring to take a stand. As long as profit comes before integrity, then "shut up and sing" will be the rule of the day in the music industry; musicians will be in the position of defending their views and actions.
The Gaslight Anthem must be sick of the Springsteen references by now. Ever since bursting into international consciousness a few years back, there’s been no shortage of critics willing to draw the connections between them and the Boss.
It’s not that these comparisons are wrong. The members of Gaslight have been quite open about the cue they take from Springsteen, and have even shared a stage with him (they are, after all, from Jersey). Anyone who hears the group’s exaggerated garage rock dynamics or lead-singer Brian Fallon’s gravel-gutted, heart-on-sleeve testimonial can clearly hear the influence.
Lately it seems like the only thing following M.I.A. around more than controversy is bad journalism. To call Lynn Hirschberg's recent New York Times Magazine article on Mathangi (M.I.A.) Arulpragasam "weak" would be too generous.
Israel- Gaza Aid Flotilla Protest/Counter Protest. Fights occur, foul language, and hate is in this video... please watch with caution. June 4, 2010 Los Angeles, California.
Kanye West. Massive Attack. Tenacious D. Sonic Youth. Joe Satriani. On the surface these artists might not have much in common. But on May 25th, all joined on with the latest wave of outrage directed at Arizona's draconian new immigration law.
It's called the Sound Strike.