Music Videos

A Perfect Circle Came Back At The Perfect Time

Fourteen years. That's how long it has been since we've had an album from A Perfect Circle, the supergroup fronted by Tool's Maynard James Keenan. 

In 1999, Tool had released one EP and two studio albums for the decade, and there were strong indications that there wouldn't be new Tool material while the band was tied-up in record company contracts. So a side project from one of the greatest lead vocalists in rock was more than welcome. And while the lyrics in APC songs are not as complex or as profoundly pretentious as Tool songs, thunderous musicianship and atypical time signatures are still employed. Take their latest track, Talk Talk. It's an incredibly well-timed song about the uselessness of "thoughts and prayers," and has references to Christ that Keenan has done before. But what makes the song good is its use of the 3/4 time signature. Guitarist Billy Howerdel and company made the song ready for recording when they switched the tempo from 4/4 to 3/4.   

I thought this band was dead. I had forgotten that one of the greatest guitarists of the 1990s, James Iha, had joined A Perfect Circle in 2003. The 90s was a decade full of virtuoso guitarists, and I had simply assumed that the band would never record original songs with Iha. But then, in December 2017, this dark song dropped. A Perfect Circle had returned with dark tracks for these very dark times. I love The Doomed because, well, we are doomed. 

Keenan is having one of the busiest years of his life. The new APC album comes in April. He and his Tool bandmates are almost ready to record their fifth album (and first in twelve years). And he might be recording new tracks with his other side project, Puscifer, now. 

Goodbye, R.E.M.

I've had two weeks to digest R.E.M.'s inevitable breakup announcement. I have to say, they went out with class. While they lost of lot of listeners after New Adventures in Hi-Fi (1996), the last four R.E.M. albums were all very good. They were true to the band's roots, involved a fresh dose of Brian Wilson influences, and a few times went back to the sound of perhaps their most loved album, Automatic for the People (1992).

R.E.M. spent over 10 years as a consensus choice as one of the best rock bands in the US. They shared that title with other acts that have come and gone, including Talking Heads, The Pixies, Living Colour, Soundgarden, Metallica, The Smashing Pumpkins, and Luna (and some that have stayed, such as Wilco and Interpol). They were not only one of the best bands in the US, but they were also part of the New Wave. They entered the scene thanks to airplay on American college radio alongside the likes of Talking Heads and U2. And they were simultaneously part of the Athens Georgia music scene, which, along with Boston, Chicago, and Seattle, is a founding city of the Indie music scene of the 1980s and 90s (later to be branded "Alternative" by the music industry). R.E.M. is one of the few bands (the only band?) to bridge the New Wave movement and the American Indie movement, and arguably helped to found the Indie movement. While their Athens counterparts, the B-52s, remained in the New Wave movement, R.E.M. established the framework of how a small band from a college town could get radio airplay nationwide and music videos on MTV. In just four short years, R.E.M. went from having a critically acclaimed, yet underground album (Murmur (1983)), to a breakthrough video on MTV in September, 1987 for The One I Love:

I entered high school with Document, graduated college weeks after drummer Bill Berry suffered a ruptured aneurysm on atage (and bought a Georgia farm in preparation for his retirement), and firmly settled into New York to the sounds of New Adventures in Hi-Fi. I rocked out in my dorm room to the contemporary, distortion pedal sounds of Monster (1994) and enjoyed drinks in a bar in north Amherst with friends and the occasional female to the sounds of the honest, somber masterpeice, Automatic for the People.

There have been magnificent articles and books written about R.E.M. I close this post with some recent articles I've read in the past few years.

 Josh Modell, Spin:

Here, [in Collapse Into Now], they discover the glow of middle age, warmly acknowledging the past -- hello again, Peter Buck's mandolin -- while realizing that the present can feel just as comforting. The sober, pretty "Uberlin" sounds like a happier cousin to "Drive." Twinkling ballad "Every Day Is Yours to Win" updates "Everybody Hurts" for the other side of despair, when optimism seeps back in. "Discoverer" and "All the Best" deliver sexy crunch for Monster fans. It's R.E.M.'s many faces, collapsing into now.

Annie Zaleski, Salon:

Even as the band’s popularity increased — Top 10 Billboard hits, MTV heavy rotation, arena tours, mainstream radio airplay — there was nothing overtly contemporary about their music.

 Chris Sullentrop, Slate:

From almost the beginning, there's been something backward-looking about R.E.M. fandom, a secret wish that R.E.M. never become more than a heralded but middling-selling college band from Athens, Ga.—even though such obscurity would mean that the vast majority of R.E.M. fans engaged in this Edenic pining would never have discovered them.

 Dan Kois, Slate:

Even R.E.M.'s "political" songs of the era, like "Fall on Me" or "Exhuming McCarthy," are tricky to parse. " Fall on Me" could maybe be about acid rain, or maybe air pollution in general, or maybe, uh, missile defense? Whereas U2's political songs of the 1980s are a little easier to work out: "Pride (In the Name of Love)" is about Martin Luther King Jr., for example, and "Sunday, Bloody Sunday" is about Bloody Sunday. Stirring as those songs are, there's very little a listener can bring to them; they are Bono's take, not yours, unlike "Fall on Me," which, for me, in 1987, was a deeply personal song about the crushing whatever of existence.

 

Ante Up, Bitches

Oh this is brilliant. Produced this past July and approaching 3 Million hits. And yeah, I just discovered it. The song is "Ante Up" by Mash Out Posse (M.O.P.). Video produced by a young Norwegian on YouTube named stianhafstad..

Huh (huh) huh (huh) huh (huh) huh (huh)
Yeah (yeah) yeah (yeah) yeah (yeah) yeah (yeah)

Lil Fame:
Take minks off! Take things off!
Take chains off! Take rings off!
Bracelets is yapped, Fame came off!
(Ante Up!) Everything off!
Fool what you want? We stiflin them fools
Fool what you want? Your life or your jewels?
The rules, (back em down) next thing, (clap em down)
Respect mine we Brooklyn bound, (bound! now, (now!))

Billy Danze:
Brownsville, home of the brave
Put in work in the street like a slave
Keep rugged dress code
Always in this stress mode
(That shit will send you to your grave) So?
You think I don't know that? (BLOW!)
Nigga hold that! (BLOW!) Nigga hold that! (BLOW!) Nigga hold that!
From the street cousin, you know the drill
I'm 900 and 99 thou short of a mill

Chorus:
Ante Up! Yap that fool!
Ante Up! Kidnap that fool!
It's the perfect timin, you see the man shinin
Get up off them god damn diamonds! Huh!
Ante Up! Yap that fool!
Ante Up! Kidnap that fool!
Get him (get him) get him!
Hit him (hit him) hit him!
Yap him! (Zap him!) Yap him! (Zap him!)

Our 500th Post

Not bad for a tiny, semi-private blog that get more hits for automotive posts than political and environmental posts. Time to toss out a music video and mark this milestone. But what video to post? Well Dhalgren has spent his summer unemployed, and some of the songs that got him through this period were 80s New Wave tunes. So here are three of them:

Echo and the Bunnymen, 'Lips Like Sugar' (1987):

And since that video was directed by the great Anton Corbijn, I might as well post another video from the same auteur. Here's Depeche Mode with 'Behind the Wheel' (1987):

And with Halloween coming up, here is a goth staple. Siouxie and the Banshees, 'Cities In Dust' (1985):

Red Sox Doubleheader In Chicago. Time To Break 'Em Off.


This has been a productive day as I have been at home, overseeing renovations at my apartment. This morning I finally got around to watching American Beauty. Great performances, but did Sam Mendes have to be so pretentious? Did he know he was writing Oscar material when he wrote it? It does have the best one-liners of 1999, but you could have gotten all of them from the trailer. I will stick to Magnolia for best pretentious, Oscar-nominated drama of 1999. In 2004, when I observed that Desperate Housewives was a mix of Blue Velvet and American Beauty, I wasn't aware of how right I was. I was just guessing.

I have also dusted-off several recent issues of Maxim (both the English and Latino versions) and GQ (both the US and UK versions) that I had in my incoming mail pile. Besides looking at fall clothes I cannot afford, I learned that I am still young enough to wear a pair of brown Avirex P-45 sneakers. I have a $15.00 bid on eBay for them. Wicked cheap and very similar to the pair of Reebok BOKS F-117's I wore in the summer of 1992. Oops.

OK. This is a fun Friday afternoon. The Red Sox have yet another golden opportunity to put more distance between themselves and the Yankees with a doubleheader today in the south side of Chicago, at one of the worst ballparks in the league, New Comisky Park.

So while I want to post videos from Joy Division as we inch closer towards the US premiere of Control, the Ian Curtis biopic (October), there is still time to serve-up some rap. See, when I visited the Avirex website, the first thing I heard was Break 'Em Off. Not only is it a better song than Grillz, it mentions Big Papi. So I have to post it here. That's my logic anyway.

So here is badass white rapper, Paul Wall, with Break 'Em Off.

Go sox!! They have gotten into early trouble in the 1st, but they should come back from that 1-run deficit.


I’mma break ‘em off real bad, I’mma show'em pourin up a duece while ridin slab

I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab

[Paul Wall]
Now I gotta work ma wood grain wheel
Poppin’ trunks, poppin’ pillz, still poppin’ seals
Higher than a hill with ma mind on millz
Piece and chain swangin’, bank roll, shiny grill
Baby, I got million dollar dreams, with ma mind on cream
I’m in that mean green machine clean on 19s


Hold up. He rides on 19s? My dad rides on 18s. He'd better upgrade. The regular folks are riding on bigger rims nowadays.

Flat screens in the headrest, swangin’ like a swing set
Brandy wine, paint wet, comin’ down that's a bet
I’m in the lot chasin’ broads like a lesbian
Full of that Kush flower, I’m breakin' off pedestrians
Higher than a street light, floatin’ like a parachute
Buzzin’ like a bumble bee, mustard green Bentley coupe
Young gangsta, Mac game, sharper than a thumbtack
Breakin’ ‘em off, makin’ all the boppers attract
Then they watch me, I’m rocked up fully loaded and sloppy
Tryin’ to hit it and quit it
And walk off like Big Papi then break ‘em off

I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab
I’mma break ‘em
I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab

[Lil' Keke]
Aye, aye
I pull up like this, untouchable white wrist
I’m hotter than warm piss, berry grape Sunkist
The truck blow mist five 50 snow bunny
Bentley continental with the mink floors dummy
Paul Wall money, dat’s expensive taste
And ‘em frilly ass fools we send ‘em to myspace
I’mma break ‘em off until the backbone broken

Stainless steel drop phantom, leave the top open
Shit done hit the fan, better cover your nose
And the Kush done start burnin’, better cover your clothes (that’s right)
Concrete crumblin’, glass shootin' lazers
Crawlin’ and cuttin’ up on 24 razors
I’mma show ‘em how to make the slab look phenomenal
Chasin’ paper in the mornin’, call me Houston Chronicle
Hold on then u buckle up the seat belt
Swisha House, Young Don, capital TF

I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab
I’mma break ‘em
I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab

[Paul Wall]
Already
Higher than the satellite, crawlin’ like a baby
Maneuverin’ thru the traffic like I’m Tracy McGrady
Still choppin’ on ‘em buttons, I’m struttin’ and lookin’ fresh
Switch hittin’ like Berkman, this is ballin’ at its best
In dat minute maid droppa’, with retractable roof
Finer than wood, wavin’ the hood, student loans on the two
The fifth wheel on the ground, and the trunk in the air
Paul Wall, baby I’m the definition of playa
Ma skillz is so ill when workin’ the wood wheel
Tippin’ 4s like a waiter, beware of the oil spill
Wide screen mind frame, panoramic pimpin’
I’m sippin’ on dat Osama, baby leanin’ like I’m limpin'
In dat 2 seater feeder, it’s me and a senorita
3 ounces up in the liter, and it’s ten up in the heater
Mackin’ a mamacita
Runnin’ game like a cheetah
I’m knockin’ ‘em out the park
Similar to Derek Jeter (Break ‘em off)

I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab
I’mma break ‘em
I’mma break ‘em off real bad, I’mma break ‘em
I’mma break ‘em off real bad,
I’mma break ‘em , I’mma break ‘em off real bad
I’mma show'em pourin up a duece while ridin slab

Friday Music Videos II

It's KMFDM, bitches! Nothing subtle about these Germans. But I still like them for their humor and danceable beats. Here they are with New American Century (2006) accompanied by a homemade video from a fan.


Count your blessings
Walk the line
Don't move too fast
Or fall behind
There are rules you must obey
They get re-written by the day
Don't do this - don't say that
Your every move is logged and tracked
By the all oppressive eye
Spy satellites in friendly skies

The new american century
Has only just begun
No one exempt from the tragedy
Counterattack start pushing back

Fight the power
That chokes your speech
Fight the power
That makes you bleed
Fight the power
That propogates lies
To keep you weak
Keep you in line

No one dares to say a word
Our panic drives all human herds
In the land where cash is king
Our silence bought and sold for free
The future's banging on our door
When real I.D. will be the law
Love thy neighbor and turn him in
It's call patriotism

The world is watching in disbelief
Chanting shame on you
How can you stand by so quietly
Letting them rape your liberties

Fight the power
That chokes your speech
Fight the power
That makes you bleed
Fight the power
That propogates lies
To keep you weak
Keep you in line
Fight the power
that reigns you in
Divides and conquers
Defines your sin
Fight the power
For one and all
Before the power swallows us whole

Those who cannot learn from history
Are doomed to repeat it!

You can't be bothered or concerned
You see no reason for alarm
Prejudice, religion hate
Usher in the new mandate
Absolute and resolved
One nation under one god
Lack of interest has its price
As we're stripped of all our rights

Fight the power
That chokes your speech
Fight the power
That makes you bleed
Fight the power
That propogates lies
To keep you weak
Keep you in line
Fight the power
that reigns you in
Divides and conquers
Defines your sin
Fight the power
For one and all
Before the power swallows us whole

Friday Music Videos I

I just got the Japanese import edition of Interpol's Our Love To Admire CD. As an Interpol fan since 2003, I am not disappointed at all. Here they are performing Mammoth, the fifth track on the album.


Spare me the suspense
Spare me the suspense
I got no currency, but I'm heaven sent

So spare me the suspense
Just spare me the suspense

Hey lady wait, oh, I so hope you try
You're late, babe you know it's your time

And I won't let you sit by
So cold in the pitch
Night, alone
You can't make amends

No I won't let you sit by
So cold in the pitch
Now we should dance like two fucking twins
Just spare me the suspense

There are seven ancient pawn shops along the road
And the seven aching daddies you may want to know

Oooh, right on

Hey lady wraith, oh baby I can't deny
I got a taste, a taste, a taste and it's time

But I won’t let you sit by
So cold in the pitch
Night, alone
You can’t make amends

No, I won’t let you sit by
So cold in the pitch
Now it’s enough with this fucking incense
Just spare me the suspense

There are seven ancient pawn shops along the road
Oh I know seven aging daddies you may want to know

When you played your heart out
It made me turn around

Oooh, right on

Wait, and you froze in the night
You're late, there's a hole in the sky
No haste, no lesson, no lie
Got a taste that I can't deny

(Spare me the suspense)

And you wait till you know that it's time,
You wait till you know that it's time
You wait till you know that it's time
You wait till you know that it's time
You say that I'm sent from God (you sent black lies), do you know
You said that I'm sent from God (you sent black lies)

Friday Music Video

I'm rollin' up I-95 up to Boston tonight. Need a good driving song. Something that represents my northern Manhattan. Got it. I have to keep in mind that Archetype and M are seeing The Police at Fenway Park Saturday night. But still, this is my first track choice.


this is why I'm hot
this is why I'm hot
this is why, this is why, this is why I'm hot
this is why I'm hot
this is why I'm hot
this is why, this is why, this is why I'm hot

I'm hot 'cause I'm fly, you ain't cause you not
this is why, this is why, this is why I'm hot
I'm hot 'cause I'm fly, you ain't cause you not
this is why, this is why, this is why I'm hot

this is why I'm hot
I dont gotta rap
I can sell a mill sayin nothin' on the track
I represent New York, I got it on my back
niggas say that we lost it, so Imma bring it back
I love the dirty dirty, cause niggas show me love
the ladies start to bounce as soon as I hit da club
but in da Mid-West, they love to take it slow
so when I hit the club I watch them get it on da flo'
and if you need it hifey, I take it to da bay
Frisco to Sac-Town, they do it erryday
Compton to Hollywood, soon as I hit LA
I'm in dat lo-lo, i do it da Cali way
and when I hit da chi, people say that I'm fly
they love da way I dress, they like my attire
they love how I move crowds from side to side
they ask me how I do it, and simply I reply

this is why I'm hot (hot)
this is why I'm hot (hot)
this is why, this is why,this is why I'm hot
this is why I'm hot (hot)
this is why I'm hot (hot)
this is why, this is why, this is why I'm hot

I'm hot 'cause I'm fly, you ain't cause you not
this is why, this is why, this is why I'm hot
I'm hot 'cause I'm fly, you ain't cause you not (mims)
this is why, this is why, this is why I'm hot

this is why I'm hot, catch me on da block
every other day another purse another drop
16 bars, 24 a pop
44 a song nigga gimme what you got
I'm in to drivin cars, fresh across da lot
I'm in to shuttin' stores down, jus so I can shop

if you need a bird, I could get it chopped
tell me what you need, you know I get 'em by da flock
I call my homie black, meet me on da avvve
I hit wash heights with the money in the bag
we in the big spendency, my pimpin neva a drag
find me with different women that you niggas never had
but those who say they know me, know I'm focused on my green
player you come between, you better focus on da bean
I keep it so mean, the way you see me lean
and when I say I'm hot, my nigga this is what I mean

this is why I'm hot hot
this is why I'm hot hot
this is why, this is why,this is why I'm hot
this is why I'm hot hot
this is why I'm hot hot
this is why, this is why, this is why I'm hot

I'm hot 'cause I'm fly, you ain't cause you not
this is why, this is why, this is why I'm hot
I'm hot 'cause I'm fly, you hate cause you not (mims)
this is why, this is why, this is why I'm hot

this is why im hot, shorty's see da drop
ask me what i paid and i say yea i payed a guap
and den i hit da switch dat take away da top
so chicks around da way they call me cream of da crop
they hop in da car, i tell em all aboard
we hit da studio, they say they like how i record
i gave them black train, and now i did you wrong
so everytime i see them man they tell me thas they song
they say im da bomb, they love the way the charm hanging
from the neck it compliments the arm, which compliments
the ear, then comes tha gear so when i hit tha room
tha shory's stop and stare niggaz start to hate
rearrange they face little do they know i'm keeping
things buy waist side so i reply no body got ta die
similar to lil weeze coz i got tha fire

this is why I'm hot hot
this is why I'm hot hot
this is why, this is why, this is why I'm hot
this is why I'm hot hot
this is why I'm hot hot
this is why, this is why, this is why I'm hot

I'm hot 'cause I'm fly, you ain't cause you not
this is why, this is why, this is why I'm hot
I'm hot 'cause I'm fly, you hate cause you not (mims)
this is why, this is why, this is why I'm hot

New Age Hits

Friday music videos again. I am not going to touch the Red Sox on this blog until I know what the hell is going on with them. Instead of pulling-away from the Yankees, they are being reeled-in. Scary.

My girl told me this morning that she had this song, Shattered Dreams, in her head. We were trying to determine who performed it. Well, it is Johnny Hates Jazz. Remember this one from 1987?

This is the US video, in which the lead singer, Clark Datchler, is unshaven and more masculine than he appears in the color UK video. So for the US, he's got black & white stubble, very much like the dude in Cutting Crew, which had a hit just months before this single. Interesting also how this single went to # 2 in the US, while it peaked at # 5 in the UK. Could it have been the result of the better video in the US? It was their biggest hit, along with Turn back the Clock (featuring Kim Wilde on vocals).

These guys are not to be confused with the slightly more funky Level 42 around the same period (1985-1987). Level 42 would be grouped into the same sub-category of white UK acts that dabbed in R&B and soul, like Living in a Box, Joe Jackson, and Rick Astley.

Friday Video: Live To Tell

I thought about posting a video in honor of W's 61st birthday. The Smiths did a song called "Unhappy Birthday." and the first few lines apply to W ("you're evil and you lie"). But the song is sung from the perspective of a lover who commits suicide.

So I wanted something dark and beautiful. And then I remembered hearing a Madonna song in the distance while waiting for the fireworks in New York harbor. The song was La Isla Bonita, from the album True Blue. That reminded me of the best song on the album, Live to Tell.

You might recall that True Blue was dedicated to Sean Penn, who is described in the liner notes as, "the coolest guy in the universe." The single, Live to Tell, was the theme to the film At Close Range, which starred Sean Penn, Chris Penn, Mary Stuart Masterson, and Christopher Walken. It was directed by James Foley, whos other great accomplishment was the movie version of Glengarry Glen Ross (accompanied by the same DP and editor, which counts for a lot.

If The Falcon and the Snowman didn't turn Sean Penn into an A-list actor, then At Close Range surely did. It was also a very dark film. I mean dark; darker than Sopranos. It told the semi-true story of a crime family in rural Chester County, Pennsylvania. Christopher Walken is a believable psychopath who murders one of his own sons and his other son's girlfriend. In a decade where dark films were rare, At Close Range and Blue Velvet stood-out as the darkest mainstream dramas of 1986. That was a year in which Reagan's popularity was at its peak, and there was some national unity over the Challenger disaster as well as our skirmishes with Libya (recall that the top-grossing movie of 1986 was Top Gun).

So here is a well-mastered video that shows key clips of the film accompanied by Madonna's song. Some graphic violence and spoilers in this one:

And here is the original music video from 1986. This is is one of Madonna's greatest songs, in my opinion. You know...along with Open Your Heart, Rain, Take a Bow, Deeper & Deeper, Express Yourself, and Frozen. Oh yeah.

Our 100th Post

Here's XTC with Generals and Majors. Perhaps the most English of British rock bands of the 20th century. Very fitting on the 40th anniversary of the Sgt. Pepper album, which has rocketed back to # 6 on the US Amazon sales chart.


Generals and majors ah ah
Theyre never too far
From battlefields so glorious
Out in a world of their own
Theyll never come down
Till once again victorious

Generals and majors always
Seem so unhappy less they got a war

Generals and majors ah ah
Like never before are tired of being actionless.

Calling generals and majors
Generals and majors everywhere
Calling generals and majors
Your world war 3 is drawing near

Generals and majors ah ah
Theyre never too far
Away from men who made the grade
Out in a world of their own
Theyll never come down
Until the battles lost or made

Generals and majors ah ah
Like never before, are tired of being in the shade

What [We've] Done

I understand that Generation Y uses "I" and "me" an awful lot. But if this is the kind of timely pop that sometimes emerges from the kids, then I'm all for it. This is Linkin Park's biggest single yet, crashing the charts over a month ago. But I have finally come around to like the song. It is timely. It can be interpreted in many ways. It is not explicitly partisan or Christian. I found the video to be somewhat shocking at first, but I have come to like it. Maybe it was my PTSD. That is "my" building falling down, after all. But it isn't anywhere near as shocking as Chevy using images of Americans being victimized to sell pickup trucks.


In this farewell,
There’s no blood,
There’s no alibi
‘Cause I’ve drawn regret,
From the truth,
Of a thousand lies

So let mercy come,
And wash away

What I’ve Done
I’ll face myself,
To cross out what I’ve become
Erase myself,
And let go of what I've done

Put to rest,
What you thought of me
While I clean this slate,
With the hands,
Of uncertainty

So let mercy come,
And wash away

What I’ve Done
I’ll face myself,
To cross out what I’ve become
Erase myself,
And let go of what I've done

For What I’ve Done

I start again,
And whatever pain may come
Today this ends,
I’m forgiving what I’ve done
I’ll face myself,
To cross out what I’ve become
Erase myself,
And let go of what I’ve done
What I’ve done

Forgiving What I’ve Done

Fernando Alonso Wins the Malaysian Grand Prix

For you, Freddie. It is a song about the Mexican Revolution, and not about racing. But it's for you.

You're not a kid anymore. You are now winning races for Ron Dennis. Juan Pablo couldn't make him happy. Perhaps you can.

But the cold beer goes to Lewis Hamilton. The 22 year-old rookie held-off Ferrari's Kimi Raikkonen to secure 2nd place. Not only does it keep himself in the World Championship hunt, it puts his team further ahead of Ferrari in the points.

It's a frustrating fact in Formaula One that the contenders for the Championship emerge early and are rarely upset. If a team cannot produce a winner within the first three races, they have no chance at either the Drivers or Constructors Championship. And I'm being liberal. Most experts would say a team is virtually out if it can't score a podium within the first two races.

So we have seen two races, and Ferrari and McClaren have won a race apiece. And McClaren have been more impressive overall in both races. The team that is trailing in 3rd is BMW Sauber. If Nick Heidfeld can't win the next race in Bahrain next week, then this is truly a 2-horse race between Ferrari and McClaren. And it should be a close race through the summer.

Waking Up With Snow Patrol

I was at the Theater at Madison Square Garden last night to see OK GO and Snow Patrol. OK GO was fun and entertaining. Snow Patrol exceeded my expectations. Emotional rock (EMO rock) is very popular nowadays. Coldplay, Snow Patrol, Keane, Postal Service, and Death Cab for Cutie are all in the same genre, and most of them know each other well and/or were discovered by the same A&R guys.

Yes, rock is dead. But I still like this Northern Ireland band very much. And so do thousands of screaming teenage girls. Gary Lightbody has to be one of the friendliest rock stars around. He talks to the audience after every second song. He lets a girl sing the female vocals to their UK hit, "Set The Fire to the Third Bar," at each concert. Last night, he let 2 girls sing it, and they did a great job. I was smack in the middle of the age range in the crowd of 4,000. There were many parents and older couples there. So I'm not yet the geezer in the audience.

I'm impressed by the audio quality of this cell phone bootleg. Here is the encore song, "Open Your Eyes."


And here is their greatest song, Run (radio edit, 2004).

Opening the Blog with Black Sabbath

Before we introduce ourselves, we're going to kick this off right. It's dark, iconic, and a product of both living in Liverpool and watching Vietnam war footage on TV. It's War Pigs.

Read about it here.

Generals gathered in their masses
Just like witches at black masses
Evil minds that plot destruction
Sorcerers of deaths construction
In the fields the bodies burning
As the war machine keeps turning
Death and hatred to mankind
Poisoning their brainwashed minds, oh lord yeah!

Politicians hide themselves away
They only started the war
Why should they go out to fight?
They leave that role to the poor
Time will tell on their power minds
Making war just for fun
Treating people just like pawns in chess
Wait till their judgement day comes, yeah!

Now in darkness, world stops turningA
s the war machine keeps burning
No more war pigs of the power
Hand of God has sturck the hour
Day of judgement, God is calling
On their knees, the war pigs crawling
Begging mercy for their sins
Satan, laughing, spreads his wings
All right now!