I Wanna Rock


Let’s face it: our country is at war with itself. Red against blue. Liberal against conservative. Rich against poor. Cat against dog. We need something that can pull us together, something we can all rally around. We need… the power of music.

*Ahem.* I said, “We need the power of music.”

(I swear, there’s never an inspirational John Williams score around when you need one. Okay, we’re doing this the hard way.)

Almost a decade ago, I was tired of listening to the same old music, so I decided to ask my friends for suggestions. Of course I couldn’t be so pedestrian as to just say “what do you recommend?” I had to have some fun with it. Instead I asked, “If there was a music festival coming to town, and you found out a specific act was there, what one act would make you buy a ticket no matter what?” I promised I would listen to any suggestion, and the fifteen best would be in my fantasy music festival.

Well of course I started getting suggestions like The Beatles and Pink Floyd among some more modest, less famous acts. That didn’t seem entirely fair to me, because OF COURSE you’re gonna have The Beatles at your music festival, right? So I decided to create the Stage of Legends, five acts so amazing they transcended the form and deserved to be, well, Legends. And thus was born Bobapalooza, The Greatest Show That Never Was, with five acts on the Stage of Legends and 15 Main Stage bands.

It was so popular (and honestly so much fun) that by popular demand I brought it back several times. But like all good things, it had its season, and I’ve only even attempted to do a Bobapalooza once in over a decade.

I think it’s time to change that.

BOBAPALOOZA 2025: ONE NATION UNDER BOB
Has a nice ring to it, doesn’t it? Now it’s time to do your part and contribute.

Here’s the rules:

MAIN STAGE

1. You have to pick a band you would sit through the entire set. Not “I love this song!” I want “I love this band!”
2. Yes, you can post as many as you like, but really, how many bands are THAT good?
3. If you intend to post more than one, please don’t spam the feed (more than 10 bands a day from one person is a bit much. I do have a life. And see 1 & 2.)
4. If you post it I will listen to it, so please, be gentle.
5. Please note that this is a Main Stage entry.
6. Any band that made it to the show in a previous year (main stage or Stage of Legends) will not be considered for the main stage this year. See the lists below.

STAGE OF LEGENDS

1. All of the rules for Main Stage apply, only even more. I mean, think about 1 & 2 especially. These guys are supposed to be LEGENDS.
2. Testify! Tell me (and the world!) why you think this band deserves to be named a Legend. For an idea of the sort of thing I have in mind look at the write up from Bobapalooza 2011 or Bobapalooza 2012.
3. Any band that made it to the Stage of Legends in a previous year will not be considered this year, however, Main Stage acts may still be nominated.

And remember, just as Master Yoda told us, “Do, or do not; there is no try.” Once a band has been nominated for the Stage of Legends, they are no longer in the running for the main stage. The whole point of the Stage of Legends is to give a fair shot to lesser known bands. If you think your favorite band has what it takes to compete with the big boys, put ‘em in, but don’t hedge your bets. Go big or stay home.

To answer a question I get all the time, YES, you can nominate a Main Stage alum for the Stage of Legends. They just can’t come back to the Main Stage.

Submissions can be made via comment or DM at @bobbonsall.bsky.social. Send me a link to your favorite song by the band you want to nominate as well as letting me know if this is a Main Stage or Stage of Legends submission. If you don’t say I will assume Main Stage to give them the best chance, unless they are not eligible for the Main Stage. (If they aren’t eligible for Bobapalooza at all, I will taunt you a second time.)

Starting July 1 I will decide who the winners are, and I will post my fifteen favorite bands for the main stage and the five act Stage of Legends. I will also give credit to the first person who suggested them, so get in early for your shot at fame!

If you still have questions, please feel free to comment on this blog post or DM me at @bobbonsall.bsky.social. Insightful questions will receive careful, well-thought-out answers. Off-hand questions will get off-hand answers. Questions that prove you didn’t bother to read everything I already wrote will be met with shame and ridicule, not necessarily in that order.

Stage of Legends Alumni:
The Beatles
Rush
Led Zepplin
Iron Maiden
Pink Floyd
Bob Marley
David Bowie
Michael Jackson
The Cure
N.W.A.
Nirvana
The Doors
Sting
Nine Inch Nails
Johnny Cash
Jefferson Airplane
AC/DC
Weezer
Black Sabbath
Simon & Garfunkel
Depeche Mode
Alice in Chains
Madonna
The Grateful Dead
Tori Amos

Main Stage Alumni:
Flogging Molly
The Yeah Yeah Yeahs
The Decemberists
Mumford and Sons
Owen Pallett
Regina Spektor
Moyseis Marques
R.E.M.
Grinderman
Foo Fighters
Mika
Our Lady Peace
Jessie J
A Sunny Day in Glasgow
The Beastie Boys
Gorillaz
Silversun Pickups
Amadou and Mariam
Rancid
Lindsey Sterling
The Band Perry
The Airborne Toxic Event
Manchester Orchestra
Grimes
Deadmau5
Fun
Glen Hansard
Muse
Foxy Shazam
Adele
Matsiyahu
Awol Nation
Volbeat
Divine Fits
Axis of Awesome
Garbage
KMFDM
The Heavy
Aesop Rock
Animal Collective
Preston Reed
Dream Theater
Death
K’Naan
The Thermals
Boney M
The Cult
George Thorogood
Kae Sun
Metric
Disturbed
Al Green
Sitali
Me First and the Gimme Gimmes
The Black Keys
Soundgarden
Petite Noir
James
DJ Kool
Dominique Pruitt
Artic Monkeys
Billy Talent
The Explorers Club
Pop Evil
Orville Peck
Rhianna
Aaron West and the Roaring Twenties
MGMT
Rival Suns
Public Enemy
Moby Grape
P!nk
Eminem
Portugal. The Man


There’s a Difference Between Being Righteous and Being Right


This is going to be a long post, and I’m sure it will lose me some friends. I’m okay with that.

Let me establish two things up front: I voted for Kamala Harris, and no, it wasn’t a “protest vote”. I sincerely wanted her to win, because I believe that she was the better candidate and that her vision for America was and is a good one. That being said, I voted AGAINST every Republican candidate on the ticket as a protest vote, because anyone who would willingly associate with Donald Trump will never get my vote. We clear? Good.

Why did I feel the need to establish that? Because I’m going to say some things that I think need to be said, and I don’t want anyone accusing me of being an apologist for Donald Trump. He’s slime. I don’t know why anyone would vote for him. But over 50% of the country DID vote for him, and that’s something we need to recon with. I see a lot of people saying the same kinds of “not helpful” things that have been said for at least eight years that are not going to change things for the better. Here’s the perspective of a “reformed” libertarian that will hopefully give you a little perspective.

See, the big mistake I saw so often and for so long among libertarians that finally drove me away was confusing “righteous” for “right”.

THERE’S A DIFFERENCE BETWEEN BEING RIGHTEOUS AND BEING RIGHT

A lot of what I’ve been seeing is people posting about how Trump voters are racist, sexist, homophobic, Islamophobic (and I’m sure I’m missing several others) bigots. I haven’t seen anyone posting about how they voted against their own interests, but I’m sure those will be coming along shortly, since that usually comes as sure as night follows day. Now, I’m sure that feels good, but where do you get that from? I know, I know, they voted in the Republicans, whose platform is basically “human rights are for heterosexual cisgender white men, or as we prefer to say, people.” But that assumes a rational voter. Find me two of those to rub together and I’ll buy you an ice cream cone.

As soon as you start assuming you know why  people voted the way they did, and particularly when you assume they voted based on what you want, you’re already off-track far more often than not. I talked with a lot of people to understand why they didn’t accept the “obviously superior” libertarian way of thinking, I finally came to a realization. They understood it. They just didn’t value it.

See, that’s the thing that seems to go right past a lot of people. Folks will yell past each other on the same issue, because they will try to defend (or attack) the thing they are discussing based on what they value. Then when the other person doesn’t agree with them or worse attacks their position, they assume it’s because they disagree based on that same value system. Now, sometimes that’s true, but often it’s not, and the other person has a completely different value system. In my case, I had to accept that most people just don’t value personal freedom as much as I do. On the other hand, they do value community more than I do. And that’s okay! Those are different value sets, and once I got that, I understood why pure libertarianism will never work. But that doesn’t mean we can’t find common ground and shared goals, once I understood how to approach them.

A non-political example would be pet ownership. Owning a dog entails a lot of things, including walking them, cleaning up after them, feeding them, etc. Some people will say this isn’t a lot of work. Other people might even say this is fun. Some people think it’s a lot of work. Then there’s the expenses such as food, medical bills, toys, adorable outfits for TikTik videos, and so on. Again, some people think it’s worth it, some don’t. But you’re all working within the same value system. As soon as someone says they don’t like dogs, people view them as evil. (They might just happen to prefer cats.) And of course, we don’t negotiate with terrorists. You see where I’m going here?

SHOW YOUR WORK

The next big issue is that people have a tendency to assume WAY too much. A big example that came up recently for me was school vouchers. Now, I was a big proponent of school vouchers for a long time. The only argument I ever heard against it (or several variations on the theme) was basically “they take money out of the public schools and put them in the private schools!”

You don’t say.

This, children, is what we in the industry call “a feature, not a bug.” People who support school vouchers generally want to take money out of the public school system. They believe that the public school system is inefficient and bloated, whether or not this is accurate. When you keep harping on the same point, especially one that your opponent actively desires, you’re not going to change minds.

Then one day, I heard a report on NPR (that liberal bastion) that actually resonated with me. Now, if any of these points seem blazingly obvious to you, I want you to kick yourself in the ass, because this is exactly what I’m trying to make a point out about. This report pointed out how school vouchers pull money out of schools in areas with many lower-income families. They divert that money to private schools in wealthier districts. This process forces poorer families into an impossible choice. They must send their kids to even more deprived schools or find a way to get their kids to a school halfway across the city without school buses. Public transportation? Yeah, that’s safe. Uber? Did I mention poverty. Speaking of which, private schools mean private school costs like books, uniforms, food, and all the other things vouchers don’t cover, like the other half of the tuition.

Again, if this all seems obvious to you, give yourself a big kick in the ass. For years, I never heard any of these arguments being brought up. All I heard was “it’s a big giveaway to the rich!” Which, yeah, once you SHOW YOUR WORK, it really looks like way. But until you do, it just sounds like the standard liberal hobby horse: eat the rich. On this and so many issues, if you actually show the work, explain where you’re coming from instead of assuming it’s obvious, sometimes people come around. What’s the worst thing that happens, they still disagree with you?

IT’S NOT ABOUT YOU

Look, I get it. For a lot of people, the Republicans being in power is, literally, an existential threat. I’m sure at this point some folks are tempted to say “what would you know about it, Bob? Must be easy to sit there in your straight, white, middle-class maleness and say it. You don’t have to live it.” Yeah, try adding disabled pagan to that and think again. I lived several months in Indiana. Every time I heard “Didn’t see you in church Sunday” with that look, I got real uncomfortable. I changed the subject real quick. So yeah, I have it easier than a lot of folks, but not so easy as you think.

But I truly believe there’s a whole lot of folks who aren’t out there trying to roll back the clock to the days when “colored folk knew their place, dammit!” Rather, I think a lot of folks are trying to roll back the calendar to when they could go to the grocery store without having to take out another mortgage. Is that the fault of the Democrats? Maybe not. But the perception is that Joe Biden was in charge of the country when the economy went to shit. Inflation went through the roof. People couldn’t afford to live their lives. Meanwhile, they look back and when they think of Covid (if they think of it at all), a lot of them think that it can’t happen again. Or if it does they think that Trump got the vaccine out quick (again, perception versus reality).

EXCEPT IT KINDA IS

Speaking of perception versus reality, there’s a perception, fair or not, that Democrats care about the flavor of the month “special interest group” rather than America as a whole. This comes from a lot of little things that get turned into big things, but also the fact that Democrats really focus hard on the things that matter to them and damn the consequences. That passion can be great. It can also lose the middle. Let’s face i, if “turning out the base” was a winning strategy, it would have succeeded here. Instead, Trump GAINED over his last performance. And it’s not groundless, as so many people like to claim. Here’s one of my favorite examples: Remember the #MeToo movement? How it was all about women being sexually harassed in the workplace, and how it was about bringing attention to women being sexually assaulted? Yeah, about that. Terry Crews was one of the first celebrities to come out about his sexual assault. Brendan Fraser spoke out about his assault, and it was waved away as “just a joke.” Soon enough all male stories were swept away as the movement became one of female empowerment. We hear stories about how few women are in the C-suite. This is true. But how often do we hear about the gender imbalance in “lesser” professions? They’re called garbage men for a reason after all. The gender breakdown for the psychology profession according to the American Psychological Association is 69/31… in favor of women. I could go on, but I don’t want to be accused of cherry picking. The point I’m trying to make here is that there seems to be a strong focus on social justice in many cases. In contrast, the lived experience of over half the country is different. Those who have the power and the money are white men. Yet, not all white men have money and power. It’s like how a square is a rectangle but a rectangle isn’t a square. The same can be said for groups like Asians and Jews. These groups often face persecution. However, they don’t receive social justice support. (One of my exes referred to Jews like herself as “Schrodinger’s White People: we’re only white when it counts against us.”) I don’t want to try to speak for groups I’m not a part of, but I have heard plenty of complaints from people in those groups, and there are some legitimate issues that need to be addressed.

I’M NOT ALLOWED TO NOT CARE

At what point did silence become violence? No, seriously, because I got an English degree, and last I checked, words mean things. This isn’t a problem just for the Left. The Right is equally bad at not letting me have an opinion on their pet issues. But I gotta tell ya, the Left is way more aggressive about it on a lot more issues. The whole “you’re with me or you’re against me” thing? Read that sentence carefully and think about the potential ramifications. Now try this one on for size: “If you’re not with me, please stay out of my way.”  Do you see a potential difference? This again circles back around to the whole “righteousness” thing. If you’re so determined to force people to choose a side, you damn well better make sure they’re going to choose your side. Because all it takes is… well, 51% of people deciding not to. On the other hand, if you just ease up a little on the throttle and let people say, “I may not agree with you, but I sure as shit don’t agree with THEM,” you might find 49% of people agree with you… but only 48% of people agree with them. It’s a small difference but it can be enough.

IS THE PRICE OF POWER YOUR SOUL?

I get it, I do. It seemed like Progressivism was having a Moment. Pushing hard for what you believe in, especially when it seems like you can finally overcome the inertia of millennia is a huge high, and like my Dad always said, “when you’re top dog, you gotta hump for all you’re worth.” The problem is the harder you push, the harder you get pushed back. It doesn’t help when you demand tolerance and respect and all you offer in return is intolerance and disrespect for anyone who deviates from your vision of the world as it should be, not the world as it is. And yet… I circle back around to the fact that I am not unsympathetic to the fact that the current Republican platform is literally an existential threat  to a not-insignificant number of people. How do you thread that needle? How do you stand tall against the monsters without alienating people who just have different but still acceptable values? Where even is that line?

SO WHAT’S YOUR SOLUTION, SMART ASS?

First, let me congratulate anyone who even made it this far. Even if you’re just taking notes to put me on blast, I know a lot of what I wrote here wasn’t easy to get through (and not just because of me being barely literate.) Second, I’m going to admit up front I don’t have the answers. No, not any of them. What, did you think I was some sort of political guru? People, I write fart jokes on the internet for an audience of three people, two of whom are related to me. If I had the answers I would be selling them, not giving them away for free.

If you’re expecting some pithy bit of wisdom like “get woke, go broke,” I’m going to have to disappoint you. Like I said before, I voted for Kamala Harris not just because she wasn’t Donald Trump, but because I thought she had the superior vision for the country. But here’s the thing: I didn’t get there overnight. It took YEARS to get me there. And it wasn’t because a lot of angry people yelled at me and told me the world was a shit show because of me, and that I had to be ready to move over and let someone else have power. It was because friends, family, and respectful colleagues took the time to respectfully  listen to me, hear what my concerns were, address my pain points, sharing their stories without casting blame, and avoiding judgement by association. That’s not to say we didn’t have disagreements, sometimes deep ones, but we at least tried to work them out, and sometimes agreed to disagree. And yeah, there were times when I slipped backwards, usually because someone in the media targeted an identity group I am a part of and blamed all the worlds ills on it. Big hint time: if I wanted to associate with a bunch of assholes who think tolerance is only associating with people who already look like you, think like you, and act like you, I would be a Republican.

Is that going to be enough? Obviously not. But it would be a start.


The Second Annual Not So Humble Film Festival


In the modern day, media dominates our daily lives. Whether it’s old media, new media, print media, or social media, the way we learn, interact, and entertain ourselves is quite literally mediated. That’s why the theme for the Second Annual Not So Humble Film Festival is Media.

It’s important to be upfront about the judge’s criteria in selecting this year’s festival entries. (I say “judges like there’s some secret panel. It’s me and Dr. Pat again. If you really care that much, send me your information and I’ll be sure to lose it before I do this again next year.) First, when selecting the nominees, we decided that “media” in some form had to be a “character” in the movie, not just a framing device for the film (bonus points if the media was being manipulated in some way). Second, no movies about the theater/plays. Yes, there are many good movies in that genre, but we had to decide what the boundaries of “media” are, and frankly that’s just not in the common vernacular. Besides, if you include jukebox musicals, there’s an entire festival to be had right there.

With all of that out of the way, I present this year’s lineup, “Media”:

Network (1976)

Spotlight (2015)

All the President’s Men (1976)

The Social Network (2010)

Pump Up the Volume (1990)

Tootsie (1982)

Soapdish (1991)

Jay and Silent Bob Strike Back (2001)

Anchorman: The Legend of Ron Burgundy (2004)

Airheads (1994)

High Fidelity (2000)

Almost Famous (2000)

The Paper (1994)

Pirate Radio (2009)

Chaplin (1993)

Ed Wood (1994)

RKO 281 (1999)

Good Morning, Vietnam (1987)

Quiz Show (1994)

Be sure to check out the First Annual Not So Humble Film Festival as well!


The Odd Man IN


My fellow Americans,

The time has come, once again, for me to announce my candidacy for Presidency of the United States of America. Now I can hear you asking, “Why you? Why now? Why won’t you go away?” These are all fine questions mom, and I’ll answer them one at a time.

First, I believe that the country needs a strong, suitable leader, but in the absence of one, I’m offering myself as an alternative. Let’s face it, when you’re shopping at the dollar store, you don’t get name brand goods. And we’re hurting for a good choice these days. Lacking one, why not settle? Face it America, you’re not getting any younger. Your age is showing, and folks have started to swipe left a lot more.

Speaking of the left, Democrats, we need to talk. You guys may think you love Kamala Harris now, but you play musical candidates so often you got a DJ for the roll call at your convention. “Quick, everybody grab a seat in the administration before the music stops!” She only has two things going for her: you don’t know anything about her, and you do know she isn’t Donald Trump. Well, I’d like to point out that you don’t know anything about me, either, and I also am not Donald Trump. So when you finally decide you’re bored with the flavor of the month, I’m right here.

As for the Republicans… oh, boy. Listen, I’m a little worried that Donald Trump is paranoid what with the people trying to kill him, so I’m going to right this next part in super-secret code so he can’t read it: Andpagray isyay uckingfay utsnay. Face it, he picked a vice-president who’s claim to fame is a politically charged book about a place he might have visited but he certainly didn’t grow up there. You wouldn’t nominate L. Frank Baum as Vice-President for writing The Wonderful Wizard of Oz, would you? Speaking of claims to fame, Donald Trump doesn’t, speak about his claim to fame that is. Oh, that’s right, you guys don’t believe in the coronavirus, which is why he doesn’t talk about the fact the vaccine was developed during his administration, which is about the only thing he didn’t manage to get in the way of despite his best efforts.

Now that this is no longer the sequel to Grumpy Old Men that nobody wanted or asked for, what you guys clearly want and need is someone who can do nothing while not getting shot at. I have decades of experience with that, and to sweeten the pot, I’m not under investigation by the Department of Justice for any crimes I may or may not have committed.

Look America, you’re hard up for good choices these days, and you obviously need me more than I need you. I may be coming on a little strong here, but we’ve been doing this dance for a long, LONG time now, and I’m tired of playing around. You’ve had your flirtations with the other guys, and you see what it got you. Come home to poppa.


The Wishing Game


It was a quiet night at O’Malley’s, most of the regulars having left early. Matthew Whelan was behind the bar, nursing a cold glass of water and a sore right hand. He had been required to educate a few young men on what he wouldn’t tolerate in his bar, and he was in a contemplative mood.

“I’m sorry you had to do that, Matty,” Kadin said, sipping his beer. “I am not unaccustomed to dealing with such ruffians.”

“Maybe so,” Matty replied. “But I won’t have it in my bar. I don’t care what excuse they use, 9/11 or Afghanistan or the fall of Rome. I won’t tolerate it. Even worse, they were Irish boys, from this very neighborhood! They should know better.”

Kadin raised an eyebrow. “And why is that?”

“Wasn’t so long ago, every shop up and down this street would have a sign in it: ‘Help Wanted – No Irish.’ We may be welcome now, but if we start turning our backs on our fellows, how soon before they turn their backs on us?” Matty iced his hand some more.

Kadin nodded. “You have a point. We have no need of djinn when we do this to ourselves.”

Matty got a wary look in his eye. “Djinn. That would be like the genie in the lamp, right?”

Kadin nodded. “Yes, although the djinn were trapped in all sorts of vessels. Lamps, rings, bottles, all manner of household objects. They are infamous for twisting the wishes of their masters so that they are never what is intended, always to the letter of the wish, and always in the worst possible way. Do you have legends of such tricksters from your own country?”

Matty leaned back, a faraway look in his eyes. “Oh, yes. It is well known that if you catch a leprechaun, they must grant you a wish. But every fool who does make a wish regrets it.”

Kadin leaned forward, interested in Matty’s tale. “And why is that?”

“Some fools wish for the love of a beautiful woman and find out too late she is a shrew. Others wish for riches, only to discover the hand of every associate and relative reaching out for a piece of their unearned wealth, and no idea who a true friend may be. But even that isn’t the worst.”

“No?” Kadin finished his beer and signaled for another, captivated by Matty’s story.

Matty sighed as he drew a fresh pint for his friend. “Aye. The worst of them all are those who wish for a long life. The little bastards twist it around so that they outlive all those they love, watching them waste away while you live past them, watching your children wither and grey. It’s a terrible curse, a long life.”

“I see. Is there no way to win this game of wishes?”

Matty paused and looked at Kadin. “Well, I’ve had some time to think about it, and I think the solution is pretty simple. Most people just get too greedy. They see this pot of gold in front of them, and they can’t help grabbing with both hands, instead of just taking a single piece, as it were.”

Kadin smiled at the analogy. “So, tell me, then, if you had a genie in one of those bottles behind you, what three wishes would you make?”

Matty paused reflectively, then slowly said, “I would wish to be as happy as my circumstances allow, as healthy as my age permits, and to always have you as my friend.”

Kadin raised his glass to the old bartender and said, “Your wish is my command.”


Bob’s Jukebox: Angel Dust


Let me start by admitting I am not much of a metal head. I don’t dislike heavy metal, and in fact a few of my favorite bands are metal bands, but I’m not exactly a huge fan of metal either, to the point where I can’t really name more than a few metal bands. Most of the ones I could name I imagine most folks could name as well, so I’m not exactly a font of knowledge about heavy metal. Still, I’m not a complete stranger to the genre either.

All that being said, “stranger” is kind of a good word for Angel Dust. While it isn’t the most extreme album I’ve heard, nor is it the most disturbing (I’m sure we’ll get to that someday, and I may even include a trigger warning because GWAR), it is stranger than a lot of albums I have heard. Faith No More came out the gate swinging on this one, and they really didn’t slow down until the end. It makes for an often uncomfortable, sometimes tedious, but often fascinating album that comes across (to me, anyway) as an exploration of anxiety and existential angst. Let’s break it down, shall we?

The album starts off with a pair of tracks – “Land of Sunshine” and “Caffeine” – that lyricist and lead singer Mike Patton wrote the lyrics to during a sleep deprivation experiment and yeah, it comes through. The music for “Land of Sunshine” has an energetic and anxious vibe about it. The carnivalesque sound is somewhat disorienting, which I have no doubt is fully intentional. It helps to lend an air of “otherness” and even paranoia to the song.

 The best word I can come up with for “Caffeine” is “uncomfortable”. The best sentence I can come up with for it is “icky icky icky oh my god I feel like bugs are crawling all over my skin please make it stop!” But you know. In a good way. Lyrically this song probes all kinds of uncomfortable places, but in small, indirect ways, which makes it worse somehow than if they would just come out and say it. It’s like the idea that the monster in the horror movie is always scarier when you don’t show it, because what you imagine is worse than anything that can be shown on screen; this song (lyrically and sonically) tries to trigger your own trauma rather than offering any specific trauma for you to empathize with. It’s brutal in that way, and yet fascinating to listen to. Not sure it’s my favorite in terms of the sound, but still a good song.

“Midlife Crisis” is not as deep or frankly as disturbing as the first two, but the music more than makes up for it. It’s great for just rocking out. One of my favorite songs on the album. “RV” is equal parts funny, sad, and disturbing. More performance art than song as usually thought of on an album like this, it’s worth listening to multiple times to get the full impact. With “Smaller and Smaller” the music and energy suddenly shift back to the sort of metal sound you expect out of the album, but again with a twist as they incorporate Native American chants midway through what seems to be intended as somewhat of a protest song. It’s straightforward metal, nothing quite as experimental and outré as the earlier songs on the album, but still a solid entry.

I love “Everything’s Ruined” for a lot of reasons, not least because it’s wide open for interpretation. The music somewhat takes backseat to the lyrics, but the lyrics are enigmatic. I have two possible interpretations: one in which the child simply turns out to be a bad person who ends up in jail (hence the lyrics “And how were we to know/He’s counterfeit”). The other possibility, and one that I prefer, is simply that the parents are overbearing, and the kid grows up having to be their “perfect son” until he’s able to get away from them (“Now everything’s ruined, yeah”). That would allow for the same lyrics, but in a totally different way. I love that both versions work, and other interpretations would work as well.

“Malpractice” is definitely heavy metal, although here is where I get to plead ignorance because I don’t know the different flavors of metal so I don’t know if there is such a thing as “experimental” metal which this certainly would be, and it’s bordering on and perhaps influenced by industrial. Disturbing lyrics are overshadowed by a surreal, almost unhinged soundscape that combines music and effects to produce an unsettling atmosphere. It’s probably not a surprise I usually skip this track.

Lucky for me, we go from one of my least favorite to one of my most favorite. “Kindergarten” has great music (although to be fair, it is far more conventional fare than some other tracks I enjoy, and definitely more conventional than “Malpractice”), and the lyrics once again take central importance. The obvious metaphor for someone stuck in the past and refusing to face the future is no less powerful for its obviousness, and the multiple clever references that all allude to the narrator’s inner turmoil are nicely placed.

As for “Be Aggressive”… Honestly, I’m not sure what the point of this song is other than to be transgressive, particularly given the time it was written. It’s got a good beat, but I just can’t dance to it.

“A Small Victory” could be my favorite song on Angel Dust. It was the first song I heard off the album, and only the second Faith No More song I can remember hearing (the first was “Epic”, which back in the day if you had MTV there was no way you couldn’t feel it, see it, hear it today.) I thought “Epic” was fine, but not great. (Yes, I’m that guy. You may feel free to stone me if you want. I suggest scheduling an appointment, I expect I’ll be quite booked up.) “A Small Victory” was so vastly better I can’t even describe the difference. The music is amazing, and the lyrics just work for me.

For some reason they still hit me in the gut, all these years later; maybe it’s the simplicity of it, particularly the chorus. “It shouldn’t bother me, but it does.” There are so many things in life that we ignore, push down, or disregard, and all those petty slights add up and after a while it shouldn’t bother me, but it does. That’s a feeling I can get behind, that resonates with me.  Even more is the last stanza of the song, which seems somehow more relevant than ever:

If I speak at one constant volume
At one constant pitch
At one constant rhythm
Right into your ear
You still won’t hear

Think about someone you disagree with politically. Imagine trying to convince them of… anything, really. Anything at all. Sound like the stanza above? Now imagine how they feel talking to you. And that’s the world we live in today. And it shouldn’t bother me. But it does.

Well, that got all deep and personal. Let’s lighten up, shall we? Nah. “Crack Hitler” is wicked and interesting, the music is funky and cool, playful without getting into the weird places that “Malpractice” and “Caffeine” get into (although it does go to some weird places). It gestures at “Secret Agent Man” without quite sampling it, and then goes all the way off the rails in the most understandable way. On a personal level, it feels like the sonic equivalent of having one of my manic phases. Not sure if that’s why I like it so much, but this song definitely appeals to me. It’s not my favorite on the album, but it’s up there.

Then there’s the unfortunately titled “Jizzlobber,” which is a sonic assault of screaming, heavy guitar riffs, drumming, and other assorted noise. And that’s me being charitable. I assume someone somewhere likes this song. Find them and ask them what’s good about it, because I can’t tell you. We finish the album with “Midnight Cowboy”. From the worst to one of the best, this delightful instrumental is one of the most shocking tracks on the album, mostly because it comes from Faith No More. It’s not the most innovative or beautiful instrumental I’ve ever heard, but I do like it.

If you’re a fan of heavy metal or experimental music, I highly recommend Angel Dust. While not every track is great or aged as well as some others, there’s more than enough here to warrant more than one listen, and the re-release versions have some bonus material that is even more worthwhile, including the excellent FNM cover of “Easy” by the Commodores. If you’re sensitive to delicate subjects, loud music, or offensive material, I’d take a pass on this one.


Bob’s Jukebox: Recovering the Satellites


I’ve been away for a while due to holidays and technical issues, so I thought I’d do something a little different this time. Nah, just kidding. Back to the early Nineties we go!

More serious and reflective than the earnest and, dare I say, innocent sound of their debut album August and Everything After, Recovering the Satellites is an unusually effective and affecting sophomore outing for Counting Crows. From what little I understand of the music industry, this tends to be because record executives like to “strike while the iron is hot” as it were, which is to say they don’t want to spend more money promoting a band they already spent money promoting while they already have songs on the radio. So, the push is on to get another album out practically as soon as the first one is done (sometimes even before the first one is done). This tends to result in a significantly less… well, less album, for lack of a better way to say it. Whatever it was that made the first album spectacular (or even tolerable) tends to be missing, because it was often the work of years, and the record execs want it in months, and inspiration and artistry can’t be turned on and off like a faucet.

Fortunately for us, Counting Crows waited three years (and apparently did a fair bit of touring) before releasing their second album. The tone is a bit more somber and introspective, which pretty well fit the mood of the time judging by the top albums of the year (and no, I don’t care that Celine Dion is on that list. If anything, that just proves that people felt like the end times were only a few years away, and they were trying to suck up to the Antichrist*). Either way, it made for a solid evolution for the band, moving them forward without being so different that fans were unable to identify with their sound anymore (Metallica, I’m looking in your direction). And speaking as a fan, I have to say I very much enjoy the entire album. So, let’s break it down.

The first track, “Catapult”, feels like it could have been on August, but it would have been one of the more somber songs on the album (it’s a bit more somber in tone than “A Murder of One”, if not subject matter). “Angels of the Silences” may well be my favorite song on the album; a powerful and poignant song with driving guitars and a surprisingly deep message if you take the time to listen. “Daylight Fading” is a fine song, well-constructed and performed with a bit of a western twang to it. “I’m Not Sleeping” could also have been off of August, but again it lacks the innocence of that album; it has an edge to it that the former album lacked, which is not a slight to either album but simply an acknowledgement of reality; in fact, the song even states it:

Spend my nights in self defense
Cry about my innocence
But I ain’t all that innocent anymore, more, more, more

“Goodnight Elisabeth” is a beautiful song by itself, but it also reminds me of someone I knew decades ago, which gives it a special personal meaning to me. “Monkey” is a cute song, fun basic pop. Otherwise, it’s another one that reminds me of someone I used to know which also gives it special personal meaning. (And no, I’m not going to talk about either of them, so don’t bother asking.)

“Children in Bloom” is fine, although to be honest I find it a bit self-indulgent. That’s not to say I don’t listen to it, but it really depends on my mood. If I’m in the mood to listen to anything and everything Counting Crows, absolutely. If I’m just listening to the songs I particularly care for, I tend to skip right past it. “Another Horsedreamer’s Blues” is far more to my taste and seems to me to be what “Children in Bloom” is trying to be, even if it never quite gets there. It has a restrained urgency to it, a desperate yearning and subdued anger that at the same time feels somehow on the edge of hopeful.

“Have You Seen Me Lately?” is fine. It’s bouncy background music, mostly standard pop, but it does have an edge of harshness and even a bit of bitterness born from experience that works for it. It’s like the bit of lemon that cuts through the sweetness of a cola. “Miller’s Angels” is pretty, if somber.

The title track, “Recovering the Satellites”, is kinda middlin’ and kinda maudlin. Another one that I don’t mind listening to, but I wouldn’t seek it out specifically. “Mercury” is a pop song with a funky southwestern twist. It’s a good track, worth listening to.

And at last, we come to “A Long December”. Look, I love this song. It’s a great song. Sweet, sad, poignant. If you somehow haven’t heard it, rectify that situation right the fuck now. Yes, that was aggressive, but seriously, I think it’s a great song, and everyone should hear it once. Once.

See, I have a couple of friends who post “A Long December” toward the end of the year on Facebook (for obvious reasons), and I have to say, with all the kindness, love, and respect I can – let it go. Please, find your inner Elsa and Let. It. Go. This is a tradition that, much like my own gone and in no way lamented tradition of listening to Pink Floyd’s “Time” every year on my birthday, has far outlasted any value it may have once had. Just to be clear, this album was released in 1996. That’s almost thirty years of “A Long December”. It’s been long enough. And this is coming from a guy whose sister told him he was stuck in the Nineties, and I wear her scorn as a badge of honor.

“Walkaways” honestly feels like the perfect way to finish the album. Simple, bittersweet, ambivalent, like the album itself.

What’s my takeaway? If you are a Counting Crows fan, you should already have this album. If you don’t, why not? If you’re new to Counting Crows, I suggest starting with August and Everything After. I think it would just be a little too hard to walk back to after starting here, although probably far from impossible. There’s enough good music here, and certainly enough great music here, to make the whole album a solid buy and a solid listen all the way through at least once, although on subsequent listens you’ll probably be sticking to your favorite tracks (although please do me a favor and don’t post them to social media.)

*I’m not saying Celine Dion is the Antichrist. I’m also not not saying it.


Bob’s Jukebox: The Crow Soundtrack


Hi everybody! Been a busy month, but I didn’t want to let Gothtober go by without an album review. As anybody who knew me in my early teens to late twenties can tell you, I have a plethora of self-indulgent choices, ranging from the obvious to the obscure (don’t worry Cure fans, I’ll be getting to Disintegration eventually). Fortunately for me, I was watching Awkward Ashleigh review The Crow, and I remembered how much I enjoyed the soundtrack which I also haven’t listened to in well over a decade, so here we are. (And not for nothing, but you should totally check out Awkward Ashleigh’s channel on YouTube. She’s adorkable.)

This album is pure 90s post-punk nirvana, with goth-industrial, alternative, and grunge all up in the mix, with only a single song at the end of the album being the lone dissenter. It’s so on-point in the artists and songs that were selected that, from the distance of a few decades, it almost feels like satire; it’s just that perfect at depicting a specific time in a particular sub-culture. There’s no fat on the bone here, no deviation from the clear focal point of the album (that one song not withstanding; it borders on being goth with its pretentious self-absorption). That is both a blessing and a curse; while I got exactly what I came for, by the time the album was over I couldn’t help yearning for some Neil Diamond or Captain and Tennille as a palette cleanser.

To be fair, there are a lot of bangers on this album. “Burn” by The Cure, “Golgotha Tenement Blues” by Machines of Loving Grace, “Big Empty” by Stone Temple Pilots, “Darkness” by Rage Against the Machine, “Color Me Once” by Violent Femmes, and “Milktoast” by Helmet. So, most of the first half of the album. There are a couple of minor exceptions though.

I enjoy “Dead Souls” by Nine Inch Nails, even if it is one of Trent Reznor’s more commercial entries. (For those of you who disagree, I refer you to basically anything off of The Downward Spiral. Seriously, even compared to “Closer” this is tame.) This may be because it’s a cover of a Joy Division song, although quite frankly just about anything off of Pretty Hate Machine would have worked for this movie. I guess they figured it was overdone by that point, and with Spiral releasing the same year as The Crow, Trent wanted to keep all the fresh stuff to himself.

“Ghostrider” by Rollins Band is… I mean, it’s Henry Rollins. Do you like Henry Rollins basically screaming into the microphone over top of screaming guitars and banging drums? If you’ve never tried it, I promise, it’s better than I make it sound. But it is a distinct sound, and either you’re gonna like it or you’re not. Personally, I kinda like it, but I’ve never been a Rollins fanboy, so it’s only just okay for me.

Then we get into the second half of the album, or as I like to call it, “we frontloaded the album so you would buy it without looking at the entire track list”. That’s not to say there’s no good songs here, far from it, but it definitely isn’t as strong.

“The Badge” by Pantera is another one that’s fine but not great. I’m just not much of a thrash metal fan, and there’s nothing about this song that’s going to change my mind on that count.

“Slip Slide Melting” by For Love Not Lisa is good but not quite great. I’d rate it somewhere between the big hitters that started the album and “Dead Souls”, more satisfying than the latter, not quite in the range of the former. “After the Flesh” by My Life with the Thrill Kill Kult is about the same, although with the caveat that I don’t see this one being for everybody (I just happen to be a Thrill Kill Kult fan).

“Snakedriver” by The Jesus and Mary Chain is about on par with “Dead Souls”, although I can see someone who is more of a fan of that specific alternative sound enjoying it more (again, this is my own personal bias creeping in; I’m not big on The Jesus and Mary Chain).

“Time Baby III” by Medicine is nice and mellow, leading into the aforementioned last song on the album, “It Can’t Rain All the Time” by Jane Siberry, which for all of my poking fun at it is still quite beautiful.

Would I recommend buying this album? That depends entirely on whether you like this specific sound. This album is very much of its time, and there are some songs on here you would have trouble finding anywhere else if at all. Then again, streaming services are a thing now, so there’s that. But there is something to be said to hearing them all together, experiencing the moment, as it were. If you don’t know if you like this sound, or this genre, this is an excellent sampler. If you do like it, this is also an excellent sampler. So yeah, I would definitely recommend it.


Bob’s Jukebox – Off to See the Lizard


This one’s a little late for a tribute, but I’m on Margaritaville time, so I’m sure Jimmy won’t mind. I decided to do Off to See the Lizard as my first Jimmy Buffett album because it holds a special place in my heart. It wasn’t the first album of his I ever heard (I’ll get to that one eventually), nor is it my favorite (I’ll get to that one as well), but it does have the special distinction of being tied to the first concert I ever attended.

Yes folks, I was a big ol’ Parrothead when I was younger (as My Not So Humble Sister can attest to, much though she might wish otherwise), and when I was just about to turn 15 Jimmy released this album and came through my neck of the woods on tour. My dad took me to see him at Merriweather Post Pavilion, and it was one of the greatest experiences of my life. If nothing else, I will always be grateful to Jimmy for giving me the memory of sharing my first concert with my Dad.

So what about the album itself? Well, I’ve already admitted it’s not my favorite Jimmy Buffett album, but I should probably qualify that. Mr. Buffett is one of those rare artists that I put into the category of “self-compare”. What I mean by that is that they have transcended their genre or are just in general too good to compare to other artists; it wouldn’t really be fair to those other artists. The best you can do is to compare them to their own work. That being said, do I like the album? Of course I do! But if I were to pick one Jimmy Buffett album to listen to, it wouldn’t be the first, or even third, I would reach for.

In some ways I feel like this is a good “introductory” Jimmy Buffett album. It has more of a contemporary pop sound than some of his other albums I have heard, which lean more into a country/reggae sound. I feel like that pop sensibility might make it more approachable for the casual listener who isn’t familiar with Jimmy’s work. Unfortunately for me, I feel like it dilutes his unique sound. Not overmuch, but it does take away somewhat from what I find enticing about his earlier albums. I also find some of the lyrics to be a little too “attempt to be clever” and “forced to fit” rather than actually clever or a good rhyme scheme and scansion. This probably has a lot to do with the album being paired with Jimmy’s first book of stories, Tales from Margaritaville, which I received for Christmas that year. If I’m being honest, I think I would recommend the book of fiction over the album, but not by much. Both are good, but not great, although I loved them both when I first experienced them.

Most of the songs I really enjoyed: Take Another Road, Gravity Storm, Boomerang Love (one of my favorites on the album, which is not surprising, since it is one of the ones most reminiscent of his earlier work), I Wish Lunch Could Last Forever (he makes it sound so perfectly decadent), The Pascagoula Run, and Changing Channels (the other one of my favorites on the album, which is also not surprising, since it is the other of the ones most reminiscent of his earlier work).

A few of the songs on the album I think are perfectly acceptable, I just don’t find them outstanding: Carnival World, Why the Things We Do, and Strange Bird.

And then there’s a few songs that I just skip past, because I feel like they exemplify all the flaws I talked about earlier: That’s My Story and I’m Sticking to It, Off to See the Lizard, and Mermaid in the Night.

When you consider the majority of the album is songs I enjoy, and even of the ones I’m not a huge fan of half of them I still listen to, that’s a solid album. Like I said before, if you haven’t heard much (or any) Jimmy Buffett (although how you’ve managed to completely escape him before now must be a miracle), this is a good album to start with.


The First Annual Not So Humble Film Festival


Today is the anniversary of the first Cannes Film Festival (which I did not know going in to this, so thank you Bing), but that just makes this all the more appropriate.

The other day I was reminiscing about some of the films of my youth, and I realized they all had one thing in common: an unabashed, almost pornographic devotion to the glorification of American exceptionalism. Now, I’m not talking about your garden variety American exceptionalism like you might find in your typical John Wayne film or something somber and serious like The Right Stuff. I’m talking the kind of over-the-top, in your face, “America! (Fuck yeah!)” kind of American exceptionalism that was so aptly parodied by Team America: World Police. I had an idea, a delicious, awful idea, and I called on my friend Dr. Pat for help. (I should note Dr. Pat has an exceptional memory for pop culture that exceeds even my own, which made him perfect for this.)

I wanted to put together a list of films that fit the category of “American Exceptionalism Porn”. The criteria were that the film in question had to not only celebrate American greatness but had to do so in such a way as to be either over the top, in your face, utterly shameless, or patently ridiculous. We talked about it for quite a while, and I have to say I’m quite gratified with the results. While the list is dominated by action movies (and the rest of the films have at least some action in them), that’s not exactly a surprise, is it? If the theme of the festival was “Best Anime EVAR” you’d expect to see a lot of Miyazaki movies. They span 15 years, which is a bit further than I was expecting. I am not at all surprised that the bulk of the films are from the 1980s, although whether that has more to do with the nature of the times (height of the Cold War, post-Vietnam energy, etc.) or simply the fact that Dr. Pat and I are both children of the 80s and those are the movies we best remember is an open question.

Regardless, if you are interested (or just morbidly curious), here are the entries in the first annual Not So Humble Film Festival, “American Exceptionalism Porn”:

Uncommon Valor (1983)

Missing in Action (1984)

Red Dawn (1984)

Rocky IV (1985)

Rambo: First Blood Part II (1985)

Top Gun (1986)

Iron Eagle (1986)

Heartbreak Ridge (1986)

The Rescue (1988)

Navy Seals (1990)

Toy Soldiers (1991)

True Lies (1994)

Executive Decision (1996)

Independence Day (1996)

GI Jane (1997)

Air Force One (1997)

Armageddon (1998)