If there is one thing that is well known it is that Americans like to eat. They may not always eat the best of foods (predicated on the proliferation fast-food restaurants), but be that as it may, they go out to do it. Yes, there is an explosion in delivery service demand, but there is the reopening—and reclosing—of restaurants across the country.
The researchers at Morning Consult asked a statistically valid group of Americans about when they’d feel comfortable doing certain things.
And when it comes to “Going out to eat,” the number of Americans is robust.
That is, 30% of those answered “Next month.” And the information is as fresh as July 20-22.
In addition to which, 18% said next two or three months, 9% next six months, and just 28% said more than six months. Only 14% didn’t have an opinion.
But when it comes to concerts, things are not as robust. A full 46% said it would be more than six months. Eleven percent said within the next six months. Twenty-four percent had no opinion. The remainder is split between next and the next two to three months. Doing the math, that says 55% are looking at early next year and if we add the uncertain 24%, that means that there is only 21% who are saying they’ll go soon.
So this means about a fifth of those surveyed are ready to go. That should be contrasted with the 38% of the hungry who are going to be served within the next three months.
(In case you’re wondering, going to the movies is slightly less challenged, with 52% saying six or more months before buying a seat and a bucket of popcorn.)
Perhaps what some music promoters ought to do is to bring back dinner theater.
Admittedly a cringeworthy idea, but they’re going to need more than 21% to make their nut. So maybe they need to forget the whole concerts at drive-ins and setup concerts at restaurants.
In both economics and philosophy there is an interest in the notion of altruism, doing something selflessly for someone else.
As it is described in the Stanford Encyclopedia of Philosophy: “Behavior is normally described as altruistic when it is motivated by a desire to benefit someone other than oneself for that person’s sake. The term is used as the contrary of ‘self-interested’ or ‘selfish’ or ‘egoistic’—words applied to behavior that is motivated solely by the desire to benefit oneself.”
It goes on to say that there is a question of whether that is ever really the case that one behaves in such a manner: “According to a doctrine called ‘psychological egoism’, all human action is ultimately motivated by self-interest. The psychological egoist can agree with the idea, endorsed by common sense, that we often seek to benefit others besides ourselves; but he says that when we do so, that is because we regard helping others as a mere means to our own good.”
In other words, if you have $5 in your pocket and are on the way to Starbucks to buy a beverage but then see someone who is evidently needy and panhandling, by giving that person your $5 are you being selfless and altruistic—forgoing that delicious drink—or is the act of giving that person the money even more satisfying to you than the beverage, therefore providing a benefit to yourself?
The Beths - "Jump Rope Gazers" (official music video)
Directed by Annabel Kean. From 安卓永久免费网络加速器, out now via Carpark.
Not as immediately catchy as the singles from 2018’a Future Me Hates Me, the latest from the New Zealand’s finest takes a while to sink in. The hooks are more subtle, but they’re in there.
I’ve never been the dramatic type
But if I don’t see your face tonight
I… well I guess I’ll be fine
I’m still regretting not going to see the Beths when they played a tiny venue in my town last year. Can’t remember what my lame excuse was for not going, but I can guarantee it was stupid. It sure would be fun to see a show at a club, wouldn’t it?
Don’t you wish you lived in New Zealand right now, where they have effectively beat this fucking coronavirus? I do. Apparently, I’m 极光加速器官方网站: 80,000 Americans expressed interest in relocating in May. I guess “I’m moving to New Zealand” is the new “I’m moving to Canada.”
At least maybe then we would get to hang out with the Beths.
The Beths: bandcamp, twitter, amazon, apple, spotify, wiki.
“Musick has Charms to sooth a savage Breast,
To soften Rocks, or bend a knotted Oak.”
“The Mourning Bride”, William Congreve, 1697
It may be hard to conceive, but there was actually legislation presented in the US Senate this week to help keep the spotlights on and the amps operating at small music venues.
Why is what is literally named the “Save Our Stages” act so surprising is because it is sponsored by two people who seemingly have nothing more in common than the fact that they work in the same building.
One of the sponsors is Amy Klobuchar (D-MN), the woman who had been running for the Democratic presidential nomination with the message that a bit of common sense and decency (contrasted with the ways and means of the current resident of 1600) are in order.
The other is John Cornyn (R-TX), the man who is generally seen only standing behind Senate Majority Leader Mitch McConnell, positioned in such a way that you have the sense that he would take a bullet for Mitch, the senator who has proven to be as craven as is conceivable.
The word from Klobuchar is “Minnesota’s concert halls, theatres, and places of entertainment, like First Avenue in Minneapolis, where Prince famously performed, have inspired generations with the best of local music, art, and education. This legislation would help ensure that small entertainment venues can continue to operate, and serve our communities for generations to come.”
Which has a sense of Midwestern practicality and forthrightness about it: she evidently understands that the arts are not superfluous to the education of people of all ages.
Cornyn said, “Texas is home to a number of historic and world-class small entertainment venues, many of which remain shuttered after being the first businesses to close. The culture around Texas dance halls and live music has shaped generations, and this legislation would give them the resources to reopen their doors and continue educating and inspiring Texans beyond the coronavirus pandemic.”
Given that the reopening of Texas—based on the explosion in the number of cases of COVID-19—occurred a bit too soon thanks to Governor Greg Abbott’s evident fealty to the King Who Is Wearing No Clothes, one hopes that this means that the reopening Cornyn is referring to is something that will happen only after there is control of the virus.
Cornyn strikes me as the kind of politician that only Hunter S. Thompson could have adequately described.
What is interesting (and laudable) about the act is that it would provide six months of financial support to venues (including paying employees; it would allow the Small Business Administration to make grants that are equal to the lesser of either 45% of operation costs from calendar year 2019—you need to base the amount on a normal year—or $12 million) that are not arms of giant organizations.
Continue reading An Odd Couple Create a Lifeline for Venues→
When you think of Seattle, there is undoubtedly an entire genre of music that comes to mind, one spawned from the misty environs and which continues to resonate even throughout culture at large in a way that few other types of music do, and it is all the more unusual in that it is known by people who have never heard a dour note of the sound.
Seattle, of course, is the place from whence Starbucks arose, and when people go into their local store (and given that in 2019 there were approximately 15,000 Starbucks outlets in the US, local is absolutely nearby) and order the “regular” coffee, Pike Place, that goes to the Pike Place Market in downtown Seattle, which was a hip farmers’ market before things like that existed.
And Seattle is the home of Microsoft, which has somehow become far less evil than it was once perceived to be (and Bill Gates has gone from a guy who had horns drawn on his picture to one of the few sensible non-political public figures on the planet, which is validated by the fact that there are those of the mouth-breathing set who have conspiratorial views of the man), as well as Boeing—although the company moved its HQ to Chicago, and given everything from the 737 debacle to the fact that British Air has announced that it is going to permanently park its fleet of 747s—and it is the airline with the greatest number of those flying behemoths—it is perhaps not the industrial crown jewel of Seattle as it once was.
Last but certainly not least, there is Amazon, too.
Given the diversity of these things—from Cobain to Bezos (and let’s not forget Tom Robbins became a Seattlite)—there must be something in the. . .coffee.
In 1962, for the World’s Fair being held in Seattle (named the “Century 21 Exposition,” which probably has nothing to do with the real estate firm of that name), the 605-foot Space Needle was opened. (At this point you’re thinking that there isn’t a whole lot of music in this, so know that during the first year the Space Needle was opened, Elvis took the elevator up to the saucer-shaped structure where people can see the planet below, and 31 years later 坚果加速器下载官网. And another musical aspect is that if you take the monorail—yes, part of the Century 21 execution—and get off at the stop for the Space Needle, you’re just as proximate in space to the Frank Gehry-designed Experience Music Project and Science Fiction Museum and Hall of Fame, which was founded by the aforementioned Gates’ Microsoft co-founder, the late Paul Allen in 2000; it is now known as the Museum of Pop Culture, and among the pop cultural artifacts are those of Jimi Hendrix, another son of Seattle.)
Of course, COVID-19 shut the Space Needle down. A recent story in GeekWire—another Seattle-based endeavor—details the measures that are being taken by Needle to make it safe to reopen, measures that include visitors—and know that pre-C-19 there were thousands per day some days—passing through Far-UV-C devices that kill the virus (no mere thermal scanning here). What’s more, there is an extensive use of UV lights throughout the structure, including in the elevator cars, which travel outside and which bring in outside air that is treated before it is expelled: there are Far-UV-lights on the ceiling of each of the elevator cars. And there will be elevator operators in each of the cars pushing the buttons, just like in the early days of the elevator.
Continue reading The Lights (ultra-violet) of Seattle→
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Video: Young Antiques: “Goin’ Home” (ft. Kelly Hogan)
YOUNG ANTIQUES (FT. KELLY HOGAN) - GOIN' HOME (OFFICIAL VIDEO)
From Another Risk Of The Heart, out now on Southern Lovers Recording Co.
Back in 2001 she told Jim Derogatis that she’d record with just about anybody who asks (“I’m pretty slutty that way, pretty easy, but I always enjoy a challenge.”), but she’s been more selective lately. The drummer for Young Antiques used to be in Hogan’s old band the Jody Grind.
“Goin’ Home” is a wistful ballad that ponders the eternal question of whether or not it’s possible to go back home again.
Tell me we made it through
Tell me all of us and me and you
I guess I feel older
I look right on time
Hogan tweeted, “Proud to be part of the song/video ‘Goin’ Home’ from the new album by Atlanta’s Young Antiques – all done remotely, pre-quarantine. I had to learn how to film myself (w/my laptop sitting on my washing machine, nekkid lightbulbs shining in my face, lyrics taped to the walls.)”
Antiques singer-guitarist Blake Rainey says, “We’re all broadcasting in from different places. And now the whole thing suddenly feels very of-the-moment, like we tapped into this new reality in advance. And in the wake of the pandemic, who knows what’s going to happen? It makes getting back together with the Young Antiques even more special. If we hadn’t done it when we did, who knows if it ever would have happened again?”
So maybe you can go home again.
Young Antiques: web, twitter, bandcamp, amazon, apple, spotify, wiki.
I remember seeing a photograph of The Beatles nearly buried in a massive snowdrift of fan mail.
Or maybe it was The Monkees.
Either way, there were certainly a lot of cards and letters sent their way by adoring fans and probably by a number of people who they would have probably preferred liked the Stones. (Assuming we’re talking The Beatles here. Otherwise I’m not sure who the appropriate foil would be. The Archies?)
Certainly, there were people who worked for the bands who opened the letters and possibly responded to them. Remember: this was an earlier time when things like that were conceivable. (E.g., I sent a letter to Morgus, host of “Morgus Presents,” and I received a postcard in return, so while the host of bad horror movies at 11:30 pm on Friday nights may not have been to the level of any of the aforementioned, it proves my point. Somewhat.)
If you think about it, bands today have a lot of people working for them. There are the folks like the managers and the publicists. There are the people who take care of instruments. There are the people who take care of the equipment, everything from amps to snacks. There are the people who handle logistics. And on and on and on. A veritable not-necessarily-so-small business.
Many of us have a romantic notion of what a rock and roll band is (talking in the context of bands who more people are aware of than who, for example, remember Morgus).
Like as Roger Daltrey writes in his Thanks a Lot, Mr. Kibblewhite, of The Who’s early touring:
“It was on one of those long trips to Margate, Folkestone or Dover that I broke our beautiful new van. Okay, it wasn’t beautiful and it wasn’t new either. It was an old Post Office Austin with sliding doors. . . . The main thing was that it worked. . .or did until I hit a railway bridge. . . .
“It had a huge dent in the front, which we fixed with the help of a lamppost opposite my mum’s house, a heavy chain, and a flying start in reverse. I sorted out the door with some two-by-four timber, a hacksaw, and some sheet metal. Any further dents, Pete painted red to look like dripping wounds. Good as new, except the rest of the band had to climb through from the driver’s seat.”
That was then. This isn’t.
While I am confident that there are a multiplicity of young and hungry musicians out there right now—and who would be out there on the road right now were it not for so many closed clubs, halls, bars, fairs, basements and other venues—many bands that we are cognizant of aren’t a group of rag-tag scrappy performers so much as proprietors of businesses.
Continue reading Workin’ for a Livin’→
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As Disney+ has brought Hamilton to screens across the country, there is one character who has a standout performance and he is the guy who, presumably, we are supposed to love to hate: King George III. Here’s a guy who got the throne in 1760 and before too long, the ornery Americans started acting up and caused him all manner of trouble. In 1781 General Cornwallis surrendered at Yorktown, and then in the following year, the Treaties of Paris were signed, thereby putting an end to the UK in America, at least until February 7, 1964, when the Beatles landed in a Pan Am flight from Heathrow at JFK. Since then, British musicians have pretty much taken back what Cornwallis lost.
COVID-19 has had an effect on the UK. just as it has on other countries. In fact, the UK government has done a particularly poor job of addressing the pandemic (well, not as bad as the U.S. government, but that is a whole mess onto itself), and even Prime Minister Boris Johnson was hospitalized, having contracted the virus.
According to the Johns Hopkins Coronavirus Resource Center the UK is seventh on the list of countries with confirmed cases and third on the list of deaths from the virus. (Yes, the U.S. tops both of those lists by a considerable number: as this is being written the number of deaths in the U.S. is 129,438, which is more than double that of Brazil, at 61,884. What was that about “Great Again”?)
As can be readily imagined, the music industry in the UK has been hammered by the virus. So a campaign has been established named “Let the Music Play” and it is arguing that it needs “the Government to help the music industry, which contributes £5.2 billion to the economy annually and sustains almost 200,000 jobs to ensure it remains world-leading following the damage caused by this pandemic.”
George III would certainly like that “world-leading” bit.
The war she referred to was the Iraq War, which overthrew Saddam Hussein. It was the war that was part of the search for WMD. It was the war that included pronouncements from Iraqi Information Minister Mohammed Saeed al-Sahaf that were so absurd and disconnected from reality that he became known as “Baghdad Bob.”
Here we are 17 years later, when the current president says things—at home and abroad—about his political foes, people from other countries, the media, judges, elected officials, and others that make Maines’ comment a case study in “Why was that a big deal?” Who talks about things like the COVID-19 pandemic in a way that makes what Baghdad Bob was saying seem as though it was sage, thoughtful commentary.
Maines’ comment in 2003 pretty much tanked the band’s career for a number of years because it was taken to be the height of insult, something that just wasn’t said, especially when one was in a different country. (Maines was born in Lubbock: one would imagine that proud Texans would have vociferously stood up for one of their own. After all, George W. Bush may have moved to Texas, but he was born in New Haven, Connecticut.)
The last time we checked in on Benson he was telling that it was good to be alive. And now he’s sharing a couple verses about people who are barely hanging on.
Some days, it comes over me
And I can barely breathe
All this fury pressing down on me
I don’t ever want to leave
It’s got me hanging on
To dear life
“There’s something about this record,” Benson says. “A friend of mine called it ‘life-affirming.’ I thought it was a joke at first but then realized, well, it’s about life and death for sure. I don’t know if that’s positive or optimistic or whatever, but that’s what’s going on with me.”