Short Takes: “Promised Land” — Michele Bachmann, politics & pop music (from History is Made at Night)

Another repost from the always insightful History is Made at Night blog.

Promised Land

 Last week in Iowa, Michele Bachmann launched her bid to become the Republican candidate in the next US presidential election. On the Tea Party far right of American politics, she has a long, lamentable history of anti-gay and anti-abortion activism not to mention whitewashing the history of slavery.
As she made her way to the podium in Waterloo at the weekend ‘Elvis Presley’s Promised Land belted out’. Well the notion of manifest destiny and Americans as the new chosen people is a hardy right wing trope, and at one level there is a connection between the idea of the Promised Land and the American frontier.But we cannot leave the Promised Land in the hands of US Conservatives. The name itself derives of course from the Book of Genesis where God promises Moses the land of milk and honey, not a metaphysical utopia but the actual land of Israel. Over the millennia that tribal foundation myth of a people in the prehistoric Middle East has taken on a universal appeal, holding out the hope of a better world somewhere, some place, some timeIt’s hardly suprisizing that Bachmann chose Elvis Presley’s version of the song, rather than the original by its black songwriter. When Chuck Berry sings it there is no doubt that the songs works on at least two levels. On the surface it is simply a description of a journey from Norfolk, Virginia to California, part of the 1950s/early 1960s mythologisation of travelling across the USA (Route 66, Highway 61, On the Road).

“S.F.’s Cuban Cowboys flavor Latin grooves with punk power” (SF Weekly)

The Cuban Cowboys bring together rock ‘n’ roll and Latin beats with a punk sensibility that brings to mind such post-punk genre busters as The Pixies, Manu Chao, Jonathan Richman, and Moroccan cha’abi rockers Hoba Hoba Spirit. Musically promiscuous and lyrically inventive, head Cuban Cowboy, Jorge Navarro, has found the musical voice on their new album Diablo Mambo that was only hinted at in the Cowboys’ debut album, Cuban Candles – but he didn’t find it on his own. A couple weeks ago I interviewed Jorge for a piece in SF Weekly and found out the fascinating backstory behind the band and the new album. Check it out!

Trails Mixed

By Jeffrey Callen

The Cuban Cowboys‘ new album, Diablo Mambo, doesn’t hesitate to let you know what it is all about. Drop the digital needle on the first track and you learn all you need to know within the first 50 seconds: A Jimi Hendrix lick establishes the rock bona fides before the track morphs into a mambo section overlaid with a post-punk, art rock guitar pattern. The Hendrix lick then returns and signals the transition to driving punk guitars, but with a difference — the usual straight up-and-down thrash is blended with the sway of a Cuban son rhythm pattern. Two musical streams — rock and Latin music — are introduced, then blended, before the story of the song begins.

Bandleader/songwriter Jorge Navarro has interesting, engaging stories to tell. The opening track, “Cojones,” relates an early lesson in navigating the contradictions of the code of machismo taught by his knife-wielding grandfather. Navarro’s songs portray his family’s memories of a mythical Cuba born out of the nostalgia of exile and his experiences as a first-generation Cuban American, immersed in American pop culture and drawn to cowboy boots and rock ‘n’ roll. These two themes establish the narrative poles for the songs on Diablo Mambo, and Navarro skillfully navigates this bi-cultural territory, spinning tales of romance, sex, politics, and family. The music plays an essential role in the effectiveness of the stories, weaving together various tributaries from the two main musical streams — classic rock, punk rock, doo-wop, post–punk, rockabilly, and son, mambo, calypso, and salsa. (to read the rest, go to SF Weekly).

Reimagining the classics — Turtle Island String Quartet does Hendrix

After being exposed to Brian Wilson Reimagines Gershwin — a piteous collection of pop dreck — I reluctantly turned my attention to the Turtle Island String Quartet’s Have you ever been…? While the latter’s set of Hendrix covers has not received the level   of acclaim that Wilson’s butchering of the songs of the Gershwin brothers, it stands head and shoulder’s above it in terms of inventiveness and musicality. [I came to both these cds via NPR's music website, which features an interesting mix of artists but has never raised a critical eyebrow.]

“Reimagining” the works of classic artists is nothing new to Turtle Island String Quartet. Their previous interpretations of John Coltrane also hit the mark (on A Love Supreme). Here’s a sample, their rendition of “My Favorite Things” informed by Coltrane’s inspired 1961 recording of the Rodgers & Hammerstein composition.

Taqwacore updates (courtesy of جون بلوتن)

More on Taqwacore from جون بلوتن (Tales from Bradistan)

(1) A short excerpt from AMERICAN ARAB, an in-progress Kartemquin Films documentary by Usama Alshaibi, featuring Marwan Kamel of the Taqwacore band Al-Thawra.

(2) Another repost from Tales from Bradistan with some great photos of the Kominas

The Kominas Live In Bradistan

Following the ending of the taqwacore tour in the UK, Boston band The Kominas stayed on in order to play more shows. A hastily arranged session was put together in Bradistan and held at the Bradistan Playhouse. There was barely over twenty-four hours time to promote the gig plus it coincided with the world cup final so it was no surprise that it was very sparsely attended.

The gig was about as punk as it gets – no stage, half a drum kit with no microphones, no monitors and buzzing guitar leads – but the sound wasn’t that bad. The Kominas put in a typically energetic performance that lasted for around an hour. In the end they were taking requests from the audience and everyone who attended left satisfied.

Here is a selection of photographs that I took at the concert.

For more photographs click here

Taqwacore — Islamic hardcore — “Sharia Law in the USA”

I’ve been meaning to educate myself and write something on Taqwacore but instead I’m going to repost a series starting today (July 2, 2010) on Tales from Bradistan (below). If you’re unfamiliar with Taqwacore, it is a sub-genre of punk music based on Michael Muhammad Knight‘s 2003 novel, The Taqwacores. Knight depicted a fictional Islamic punk scene in western New York State. By 2005, an actual Taqwacore scene had emerged in the U.S. with the label adopted by bands, such as The Kominas, Sagg Taqwacore Syndicate and Fedayeen.

There is not a definitive “taqwacore sound,” as artists incorporate various styles, ranging from punk to hip-hop, and musical traditions from the Muslim world; the Kominas describe their sound as “Bollywood punk”, Sagg Taqwacore Syndicate are rap and techno inspired music while Al-Thawra uses the term “raicore“, based on Arabic Raï music. (Wikipedia).

Reposted from Tales from Bradistan (more to come):

Sharia Law In The USA

As a taster for my forthcoming piece on the American taqwacore bands The Kominas and Al Thawra, here is one of the most important tunes from this emerging punk scene. This is The Kominas with the song “Sharia Law In The USA” and is particularly notable for its lyrical links to the Sex Pistols’ incendiary “Anarchy In The UK” which shook the nation way back in 1976. Just as punks and bored youth back then were looked down upon, it is too often Muslims these days who are the easy target for the ignorant. I love the opening lines “I am an islamist, I am the anti-christ” which perfectly sum up this situation.

Skindred (“best live band in Britain”) – punk/metal/reggae pop

Thanks to Abdelhalim El Hachimi (of Tales from Bradistan) for turning me on to Skindred, a British band that brings together metal, punk and reggae to create damn good pop music. Below is the first part of his excellent post on Skindred — a lot of info on the band, scads of links, nice photos, and insightful reflections on punk history.

Skindred

Kerrang magazine consistently labels Skindred as the best live band in Britain. I would go further than that and say that they are the best band in Britain full stop. There isn’t much originality or creativity left these days amongst home-grown groups and Skindred stand well apart from the rest of the pack. Their effective fusion of metal, punk and reggae, infused with a pop sensibility, works consistently well and there is literally none like them.

Skindred were formed in 1998 from the ashes of Dub War, the former band of Skindred frontman Benji Webbe. Dub War had a reasonable amount of success but for me the different elements of their sound never came together in the way that Skindred have successfully managed to achieve.

Their first album “Babylon” appeared in 2002 and was subsequently (for the rest, click here…)

UPDATES: more Skindred photos from Tales of Bradistan

NOTES FROM THE NOISE POP FESTIVAL (UPDATED AGAIN)

The Noise Pop festival of indie rock in San Francisco (23 February to 1 March 2010) for its 18th year. I’m checking it out and pondering what exactly is “indie rock?”

  • NOTES FROM THE NOISE POP FESTIVAL (24 February)
    • Wondering what exactly “indie” rock is? Is it a genre or a sensibility?
    • Anton (violinist) of “string metal” band Judgement Day told me Noise Pop is not about genre but about showcasing innovative bands.
    • So this is where the ’80 new wave led: The Fresh & Onlys (REM meets The Cure meets Live) at the Rickshaw Stop.
    • Sean Lennon at The Independent — mostly neo-psychedelic singer-songwriter stuff (competent but not interesting or engaging) . Only time  he seemed to have his own voice was on the encore song ‘This World is Made for Men.” Then, with only a solo acoustic guitar and a harmony vocal, he made a statement — simple, unadorned, poetic
  • NOTES FROM THE NOISE POP FESTIVAL (25 February)
    • Art of Noise cocktail party — only thing more boring than the art was the party.
    • Tape Deck Mountain at Cafe du Nord: a great psychedelic trio with no stage presence but great songs with piercing, funny, sometimes touching lyrics. Play those pedals! Look at all those pedals! Ended the set with a straight-forward, funny, touching song: “I’ll Tell You Lies.”
    • Greg Ashley followed Tape Deck Mountain: interesting finger-picked psychedelia on a Les Paul. No lyrics — seemed like a collection of intros. Got bored and left during the third song.
    • Picture Atlantic: good hard pop rock band with good vocals but a little heavy on the hooks. How many pedals do you need to play pop rock? Tight song structure but ultimately nothing to set it apart from other competent, enjoyable bands. Three songs and I’m out.
    • Indie rock –  is it a continuation of ’80s new wave (also not well-defined) without the sense of style or the attitude but keeping the sense of humor (like new wave even when it’s morbid, it’s funny)

  • NOTES FROM THE NOISE POP FESTIVAL (26 February)
    • No club hopping tonight – spending the evening at Cafe Du Nord where the Mumlers close the show tonight.
      • Four band bill:
        • The Ferocious Few: guitar/drums duo that began busking the streets of San Francisco — great roadhouse vocals (singer with standard hipster — skinny jeans, scraggly beard,  little hat — I should open a little hat store with nothing but little hats)
        • Sonny and the Sunsets: bass/guitar/drums trio that plays catchy, quirky tunes a la Jonathan Richmond
        • The Growlers: five piece local band with a devoted following — good bar ban
        • The Mumlers: six piece ensemble out of San Jose — neo retro Memphis soul — absolutely great! Could be big with a little seasoning and a little luck

  • NOTES FROM THE NOISE POP FESTIVAL (27 February)
    • Industry Noise conference on the business of music
      • Highlight is keynote by Claudia Monson who handles the business side of Stephen Merritt and also plays with his Magnetic Fields ensemble.

There isn’t one Stephen Merritt style — I like this one:

  • NOTES FROM THE NOISE POP FESTIVAL (28 February)
    • Dizzy Balloon at Bottom of the Hill (all ages / afternoon show)
      • One of the best bands at Noise Pop and one of the youngest — good poppy, almost bubblegum songs with Green Day panache. I was skeptical when Kevin Arnold, festival creator, touted them as one of the bands that the festival might give a bounce but, lo and behold, they are that good. Live, they’re completely professional, musically tight and FUN!
      • They ended the show with a good and very fun cover of the Jackson Five’s “I Want You Back.”
      • The clip below is “Crazy Jane”

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