Sunday, November 04, 2007

NYT on Iraq, more lies from The Nation

In Sunday's New York Times two Iraq stories appear on A4. Andrew E. Kramer's "Iraq, With U.S. Support, Voids a Russian Oil Contract" sketches out the foreign interference in Iraq for anyone paying attention. It's not Iran, no, it's the US. Guiding ("American legal advisers") the puppet government through a cancellation that opens the West Qurna oil field (southern area) "up for potential international investment in the future."

Kramer acknowledges the charges that the illegal war was about oil but then goes on to assert "There is little evidence to date that the war effort has given American oil companies an inside track to Iraq's reserves" while noting only the Russian deal has been cancelled. Apparently Kramer missed the whole Hunt Oil-northern Iraq wheelings and dealings as well as the Americans writing the theft of Iraqi oil (which still hasn't made it through the parliament).

Helene Coopers and Richard A. Oppel Jr.'s "Turkey Skeptical of Iraqi Vows to Stop Kurdish Raids" tells you that puppet of the occupation Nouri al-Maliki paints a "rosy picture." Meeting with US Secretary of State and Anger Condi Rice and Turkey's Prime Minister Recep Tayyip Erdogan on Saturday, al-Maliki offered more words (you can be sure Condi did as well) which included a fanciful tale of two raids in northern Iraq that shut down "offices of a political party affiliated with the P.K.K." but, read on, for this:

But a senior party official, Dr. Abu Bakr Majid, said later the party members had been told to go home but had not been ordered out of the city, and that officers told them their computers and other equipment would not be removed.

But al-Maliki presents it as 'getting tough.' As Turkey notes, they've seen this song and dance before.

Since this is the Times entry we'll go ahead and note a non-Iraq story that will appear tomorrow written by Ad Nags and Jeff Zeleny which features cry baby Kate saying last week's debate -- where all but Richards piled on Clinton -- is not sexism. Oh, Kate, dear, ineffective, sobbing, whimpering Kate. Go beg and plead to the Senate again not to confirm a Supreme Court justice. Put on that brave face and then, after, cry publicly about betrayal. Whine to everyone about how it's time for a change and vow you're running for the Senate only to drop that when Dem leaders ask you not to. So pathetic, so useless, so much to blame for the erosion of reproductive rights.

She's reminding me of another male-covering woman who did so much harm to women in Miami back in 1972.

Ain't it good to know you've got . . . an enabler?

Geraldine Ferraro, whom I am no fan of, gets it right (Kate supports Edwards' campaign, Ferraro supports Clinton's) when she notes that America would not have seen the same treatement of Obama. (Although, they would see it during a general election debate.) John Edwards mades the usual fool of himself declaring, "The standard should be exactly the same. I think she's entitled to be treated like every other candidate is treated, and that's exactly what I'll do." Really John-John? If you're done fluffing your hair, how about explaining how you let Obama walk all over you in early debate and never said a damn word. Or how about explaining why it took a tag-team effort for you to decide to go after Hillary? One minute, you're caught on mike whispering with her about how to eliminate other Dem candidates from the debates, the next you're joing in a dog-pile on her. Obama claims he's not 'played' the race card. That would be the bi-racial Obama who likes to pose "Black." That would be Baby Obama that no one's laid a glove on including the press. Despite that, Hillary beats him in the polls.

Ferraro, who as Isaiah noted only a few weeks back knows more than a bit about other candidates employing sexism, declares she's been "bombarded by e-mail" supporting Clinton. I'm sure she has. We caught that debate with students and they were offended. These are students who don't like Hillary's stance on the illegal war. In the discussion after, it didn't matter. They were offended. This was only echoed on every campus we visited. This may or may not translate into votes for Clinton but it is true that people are offended.

And that's really not a surprise because we've talked here many times about the conditioned response when either Bill or Hillary is attacked. And we've noted that The Nation can't take down Hillary by emulating (failed) tactics of the right.

Ferraro notes, "They say we're playing the gender card. We are not. We are not. We have got to stand up. It's discrimination against her as a candidate because she is a woman." And she's right. The desk jockeys can make any claims they want. It's not, however, reality. Students are the most vocal against Clinton's stand on the illegal war and they were offended. Women's groups we spoke with were offended as well. And even a group of vets last week were noting how disgusting the Democratic males were in the debate.

For those wondering why the out-of-touch desk jockeys couldn't get it, they couldn't grasp that Anita Hill wasn't an issue that ended with the confirmation of Thomas. Like the treatment of Hill by the all male Senate body, the treatment of Hillary will not be set aside. This is a major issue and it will continue to be. As with Hill, it will largely happen away from the clueless mainstream press. And include the 'independent' media as well who, for the record, didn't see how big the issue of Anita Hill's treatment was either. Maybe that's because too many males and too many women trying to pass work in the media?

This isn't going away. Edwards and Obama can kid themselves that they wounded Hillary. They didn't. What they did do was drive up people's sympathy factor towards Hillary Clinton and since they (as Republicans did earlier) have tried to portray her as cold and calculating (check out the transcript of Obama's interview with Gordo and Zeleny the Times' website posted last week), driving up her sympathy factor, making her relatable was not part of their game plan the "big" "boys" were working from.

Let's break it down for the stupid. The Dems (with the exception of Mike Gravel) have largely avoided attacks. One exception was Barack's attacks on Edwards which did not lead Edwards to return fire just to wonder what happened to the politics of hope? Last week, America watched as one woman was on a stage with a group of men expecting the usual fluff and instead saw the men (all but Richards) go after the lone woman. For the idiots who can't remember, the Hill-Thomas hearing involved a similar dynamic and led to the gender quake of the 1992 election. The masculinst media, big and small, didn't see it coming because they didn't grasp how serious the issue of Anita Hill's treatment was. They are again making the same mistake.

They are saying that it's to be expected when a woman is running for president. They made similar excuses for Hill's treatment. But the thing is, America knew that was not the way all witnesses were treated by Senate committees and, the thing is, Americans know that is not how the Dems have conducted themselves in the 'debates' and that is certainly not how the men on stage have interacted with one another. This is not going away. It will simmer for some time. It will go well beyond the ones who viewed the 'debate,' well beyond those who saw the next day news stories. This isn't minor and only a lame brain press would think it was.

For visitors who will feel the urge to e-mail, the above is not an endorsement of Clinton. I haven't and won't endorse anyone.

Oh, Gina just e-mailed Ari Merbler's crap at The Nation blog ("Who's The Guy In The Obama Mask?"). He's lying about Saturday Night Live. In a skit, SNL made like the mainstream press and skewered all the Dem candidates except Obama. Actually there were two skits. He's yammering on (and lying) about the first one. He tells you Hillary was called a "witch" a few times. That is a lie. She was called a witch by all the candidates except Obama (so high roading! -- he appeared as himself in this skit). When Obama complimented her on her costume (she was a bride), even that required the Bill Clinton character to call her a "witch." The skit also had him saying of Dennis Kucinich and his wife Elizabeth, that they had a marriage the man wouldn't regret in 30 years. Ari's a liar and The Nation hates Hillary. Mike Gravel, John Edwards, Bill Clinton, Joe Biden . . . all calling her a witch and Ari lies and says she was called a "witch" a few times.

Ari lies further claiming that Amy Poehler's Hillary "giggles." That wasn't a giggle.

Ari ignores the second skit (maybe it was past his beddy time?). In that one, Obama's again given a pass. Neither he nor an actor playing him appears in the skit. Though Hillary's not in the skit, she's the focus. Edwards leads the discussion of how to take out Hillary with pressure put on Bill Richardson to do the hit. In the skit, note, Richardson is called "half-Mexican." Amazingly, the same point isn't raised about bi-racial Barack. As a "half-Mexican," they all agree (except Richardson), he can hit Hillary on universal health care. As their hatred brews and simmers, Mike Gravel will announce what they need to do is kidnap Hillary. They plot who will chloroform her and who will hold her and then they'll tie her up. All agree (Kucinich holds out for a bit but finally agrees).

Liar Ari misses the obvious point of both skits which is Obama is untouchable by comedians the same way he is by the press. They give him a pass. Of course that pass hasn't translated to public support.

Well if The Nation could lie they might actually have to cover the illegal war. It should also be noted that since SNL has never (under Lorne) been known for their foward racial thinking (Eddie Murphy did not work for Lorne, he joined after Lorne left), they really don't have a cast member to play Obama. They hire only large (fat) African-American males these days who really can't play polished (in fact, as the Weekend Update sketch showed, the man can't even read his lines without breaking up in guffaws). Now if Hillary's not onscreen, they think nothing of letting Amy play Dennis Kucinich (because he's so 'womanly'?) but they wouldn't put a White performer in blackface and, unlike Mad-TV, they really don't have a role for African-American males who don't or won't play stereotypes. While I'm not endorsing anyone, it sure is interesting the kid gloves Obama and John McCain gets from all Lorne properties. I have no idea how much Lorne's given (or not given) to Obama (he has given to Chris Dodd) but I do know an original Not Ready for Primetime cast members is outraged that he's given as much to presidential candidate McCain as he has to Senate candidate and former SNL writer Al Franken ($2,300). I didn't have the heart to point out that Lorne's also given money to McCain's organization two years ago and that money -- though FEC loopholes disguise it -- also went to McCain's presidential campaign.

The e-mail address for this site is common_ills@yahoo.com.






Isaiah's The World Today Just Nuts "When Front Runners Attack"

whenfrontrunnersattack

Isaiah's latest The World Today Just Nuts "When Front Runners Attack" about last week's 'debate.' John Edwards, with curlers in hair and wearing a "NASCAR MANLY" t-shirt, tells Hillary Clinton, "You gotta have cajones to be prez." while Barack Obama, wearing a diaper, pipes up, "Yeah. Yeah. And I would have voted against the Iraq War if I'd been in the senate and against the Iranian resolution if I'd shown up for the vote. Goo goo." You can also refer to a previous Isaiah comic to see the bully that spawned the two 'men.'







Kat's Korner: Planet something, but it's not earth

Kat: Jazz great Charles Mingus' "If Charlie Parker were a Gunslinger, There'd be a Whole Lot of Dead Copycats" comes to mind when listening to Prince's Planet Earth. Were Prince a gunslinger, the corpses of Ready for the World, Justy Timberlake and a host of others would be littering the highways of America. So maybe it's about time that Prince copied Prince?

Track one, the title track, seems exceedingly familiar musically to anyone who's listened to Parade so much so that you may feel the CD needs cleaning because it appears to be jumping back and forth between "Sometimes It Snows in April" and "Mountains" with "Christopher Tracy's Parade" for the instrumental break before it returns to the back and forth interplay of the first two songs. What's he singing? Who knows?

It's not that I can't hear the lyrics he's singing, it's that who knows what the hell "so it is written, so it is done" is supposed to mean in terms of the environment. "Planet Earth" is his big environmental song -- the album's big song, in fact, with a searing guitar solo -- but in terms of point of view or even a belief, it's a failure.

"Guitar" follows, one of the album's hits and for good reason. You're not noticing that, from line to line, Prince's eco-religion-sexual brew doesn't blend. "I love you baby, but not like I love my guitar" isn't dense, obscure or grafted. It's the most straight forward of Prince's recent singles and possibly his most straight forward single since 1991. On the verses, on the choruses, he comes off like Lou Reed vocally which isn't a bad thing, as any who remember his flirtations with rapping will know. He's chanting, not singing and for radio play of the moment, it's worthy. It won't enter his canon but it provides real life to the album. Which is why "Somewhere Here on Earth" is such a disappointment.

Not only is it the second longest track on the CD, it shows up right after "Guitar" gets things cooking. In his original run at Warner Bros. a track like this would have closed one of the two sides. Though not a bad song, it's a badly sequenced song. Vocally, he seems to be emulating Annie Ross which isn't a bad thing either; however, I don't know that the world's been waiting for Prince to bend vocal notes or double up the vocal tempo on a second verse.

Having killed the life of the album, he now offers up "The One U Wanna C" which should have followed "Guitar" and is a strong track. Again, he's not singing. He's shouting. Which did leave me wondering if Prince only sings on ballads these days? "Future Baby Mama" came up on the road three weeks ago. I was talking music with a student following the Iraq discussion and he wondered why Prince was promoting violence? I was confused and he explained, "That song, 'Hit Your Baby's Mama'." That mishearing is actually far more interesting than the song itself.

"Future Baby Mama" clarifies the problems with Prince's career today more than anything else. Like every other song of the last few years, Prince seems to believe the audiences see him as a high school student. Or maybe that's just how he wants to be seen? He'll be forty next June and there is something incredibly sad about the fact that, lyrically, he remains an adolescent. Like too many of the males before him, he seems intent on posing as James Dean well past middle age. It's an embarrassing pose.

It leads to lyrics, such as the ones in "Somewhere Here On Earth," that really don't work for adults. Years ago, Rick Springfield tried to follow up his one deserved hit ("Jesse's Girl") with a bunch of crap including a song entitled "How Do You Talk To Girls?" and Prince appears to be working the same terrain. To buy into "Somewhere Here On Earth" or "Future Baby's Mama," you really have to be just starting your adult life or stupid because the idea of Prince going any length of time without a woman or entering his first love affair is just laughable.

Of all of the singer-songwriters of that genre, only Carly Simon repeatedly works the concept of perspective into her lyrics. Her male peers seem convinced that, though they've got a canon of love songs, they can keep singing about falling in love for the first time.

The only thing resembling personal perspective on the CD is the highly embarrassing "Mr. Goodnight" where Prince sings about himself to a woman waiting in his "courtyard." Relatable? Not at all. And that's before he starts his bad boast of limos and being known all over the world. It does sound, unlike the other lyrics, realistic. Who couldn't picture Prince checking with a date for the evening to ensure that their outfits match? But it's a jarring moment as he suddenly (and thankfully) leaves the Saved By The Bell years to become an adult with experiences (bad ones, including, apparently, watching the lame Chocolate as foreplay) and a huge crush on himself. Though not five minutes-plus, the song seems oh-so-much-longer due to his spoken word at the end.

"All the Midnights in the World" sounds like a blend of vintage Dionne Warwick and Laura Nyro initially and then he starts going on about "children" and "spiritual food" and you wonder exactly what world Prince exists in these days?

"Chelsea Rodgers" ("this for Jersey, right here") pumps musically but "try to catch her if you can" applies to the meaning of the song as well. Prince's initial spoken words appear to condemn the loss of role models but "go on, Chelsea" appears aimed at a woman who doesn't eat meat and reads books. If this is a unique character in the Prince universe, he should come out to the Bay Area and spend a week with me while I introduce him to about a half-million similar women. Chelsea "kept her tears in a bottle" and I'm not sure how that, or talking to the ghost of Jimi Hendrix, is supposed to measure up to MLK?

"Lion of Judah" covers the terrain that has gone from symbolic and poetic to dead on the nose (and unlistenable) since Sign of the Times' "The Cross." This time Prince climbs on to the cross of the heart with a lot of Old Testament shout outs. It's weaker Stryper and only for those attending the Church of Prince each Sunday morning.

"Resolution" ends the album and for any who haven't already given up, it's the best song of the collection. He starts with something resembling vocal music. He's not up in that ridiculous falsetto that even Smokey Robinson wouldn't touch and he's not shouting. He's making some musical noise. Then the song kicks in and he's actually singing a non-ballad. He's dropped the sweaty-school boy pose -- a huge relief -- and is telling us the main problem with war "is that nobody wins/ The next generation grows up/ And learns to do it all over again." It is the best song on the album -- musically, vocally and lyrically. But you had to sit through nine songs prior and most of them wouldn't have been dubbed 'good' even in the lean years (Crystal Ball).

In England, this album was given away for free and maybe that reflects his belief that it's not solid enough to expect people to pay for it? Certainly the packaging is an embarrassment and anyone thinking about downloading it but fretting over the loss of any bonuses should cease worrying immediately. The cheap package is so cheap that it doesn't even include a song listing. The font is embarrassing not just because The Matrix is hardly of the moment but also because it makes much of the (very basic) album credits unreadable. Sam Jennings receives credit for the package design, but I'd argue this stiff little carboard means he should receive blame. Along with a lame cover that harkens back to Diamonds & Pearls (hold it one way, it's a symbol! tilt it and it's Prince!). Open it up and you've got picture of Prince looking like a cast member of West Side Story in a 70s track suit and the CD. Lift the CD and you can try to read the album credits on the page beneath. The back cover's an embarrassing attempt of the solar system that wouldn't qualify for "good" if a middle school student produced it.

It would be easy to write off Prince and he has been many times before. "Resolution" and "The One U Wanna C" suggest there's still art and the ability to connect. The former especially suggests he could yet rival Stevie Wonder or Marvin Gaye for a socially conscience work that perfectly captures the times we are living in. But that would require him and the fans admitting he is not 17-years-old and that he has a (long) romantic history. It would require him realizing that Warner Bros. was right in one regard: Everything he records does not require a release.

I say that as someone firmly on Prince's side when he changed his name and broke with Warner Bros. The albums had been so wonderful -- some of them classics to this day -- and how dare a label hold up his best stuff? Then came the self-releases such as Crystal Ball which had about one dics' worth of listenable songs -- one disc' worth provided you got the three-disc set with the bonus fourth disc entitled The Truth. From those four disc, you had enough to construct a one hour mix tape that was relatively strong. As I waded through that period, I was willing to assume he'd lost a bit of his muse and that might have been part of the aftermath of the ugly battle with Warner Bros. Then came The Vault: Old Friends For Sale providing fans with a look at just what Warner Bros. wasn't releasing "beginning 1/23/85 and ending 6/18/94" -- as the liner notes proclaimed. Ten songs and nothing worth hearing let alone ending a contract over.

Were it not for "Resolution," I'd argue Prince's best days were long, long behind him. Even "The One U Wanna C" owes more to the past than anything going on musically today. But maybe the problem with Prince's musical output is, heresy though it will be to some, the point Warner Bros. was making over a decade ago? Maybe he really does need a label that says, "No, this isn't up to releasing?"

For me, the run of album classics begin with Controversy (1981) and end with Sign of the Times (1987). By Lovesexy, he's stumbling. He gets back on track with a commercial sound but the art continues to flag. And that has been the pattern ever since. "The One U Wanna C" is the best example of that. It's catchy as hell but, listening, I feel a little like a forty-year-old in the late 70s, pointing to "Grease" and saying, "See, Frankie Valli is back!" Yeah, it sounds good but, like Valli's comeback, does it really say anything worth hearing? Nope. It's really this year's "Grease is the word that you heard . . ."

As an adult and a longterm fan, the only thing I can point to with pride is "Resolution." An album that used that as a starting point (instead of a closer) might really mean Prince is back. Until then, I guess we'll all have to settle for faux excitement that, in 2007, he can 'rock' the world with a Superbowl performance of 60s chestnuts and three tracks from his 1984 soundtrack. The copycats, if anyone notices, are picking the bones from those years, from 1980 to 1987. No one's rushing to emulate Prince beyond that. Imitation is a form of flattery only in that it's copying something significant. On the imitation scale, Prince hasn't done an album in 20 years that's been worth flattering.