Wednesday, August 04, 2004

ZOZOBRA GLOOM

Forget Bush, Kerry and the presidential race. It looks like the most divisive political battle in Santa Fe at the moment is the decision over who is going to be Fire Dancer at Zozobra.


James "Chip" Lilienthal was responsible for that role since 1970 when it was passed on to him by the original Fire Dancer Jacques Cartier. Last year Lilienthal announced he was retiring and was "passing the torch" to his daughter Katy. I interviewed Chip back in 1980 or '81 for The Santa Fe Reporter and he said back then that when he retired, he'd like one of his daughters to take his place.

However, the Kiwanis Club of Santa Fe, which owns the rights to Zozobra, had a different idea. The club announced Tuesday that Helene Luna, a former Santa Fe resident now living in Denver, is the new Fire Dancer. The Kiwanis press release said pointedly that the role was not Lilienthal's to give away.

I wrote about it in today's Santa Fe New Mexican. CLICK HERE.


Monday, August 02, 2004

SANTA FE OPRY PLAYLIST

Tom Knoblauch, who substituted for me on the Santa Fe Opry Friday, just sent me his playlist. Tom subtitled his show "Country Music the way Goddess Intended," and dedicated it to Bonnie Hearne.

Friday, July 30, 2004
KSFR, Santa Fe, N.M.
Now Webcasting
10 p.m. to midnight Fridays MDT
Guest Host: Tom Knoblauch


Come On In by Patsy Cline
I Want to Be With You Always by Bill Hearne
Full Moon Night/How Can I/Lay Your Head Down Baby/Tumbleweed/Forever Young by Albert & Gage
Dark Side Of Town/Milk & Honey/Peace Call by Eliza Gilkyson
Have Mercy/Women's Prison by Loretta Lynn
Blue State of Mind/Sing to Me by Grey DeLisle
Wrecking Ball by Gillian Welch
I've Got a Tender Heart/Tell Me Twice by Eleni Mandell
Burning Down/Lonesome Wind/Blue Sky Lonely/Why Is Love Like That by Toni Price
Man Overboard by Libbi Bosworth
You Don’t Care What Happens to Me/I'd Understand Why/Exactly Like You by Hot Club of Cowtown
Heartbreak Hill/Bluebird by Emmylou Harris
I Fall to Pieces by Patsy Cline
World Without Tears by Lucinda Williams
Raven Dove by Dolly Parton
Tornado by Rory Block
Full Moon Night by Albert & Gage

TERRELL'S SOUND WORLD PLAY LIST

Sunday, August 1, 2004
KSFR, Santa Fe, N.M.
Now Webcasting
10 p.m. to midnight Sundays MDT
Host: Steve Terrell

OPENING THEME: Let it Out (Let it All Hang Out) by The Hombres
Help On The Way by The Grateful Dead
You Can't Sit Down by The Electras
A Little More For Little You by The Hives
No Regrets by The Von Bondies
Del Davis Tree Farm by Primus
You Don't Love Me Yet by Roky Erikson
Don't Slander Me by Lou Ann Barton

Moonlight by Bob Dylan
Shame by P.J. Harvey
Molly's Chambers by Kings of Leon
The Slim by Sugar
One Hit Wonder by Texas Terri Bomb
Death of the European by The Three Johns
The Poliitcs of Time by The Minutemen
The Godfather by Satan's Pilgrims
Champagne Time by Rithma

I Wanna Be With You by The Isley Brothers
Call My Name by Prince
Blowin' Your Mind by O.C. Smith
Lost and Paranoid by The Soul of John Black
Children of Production by Parliament
Jon E. Edwards is in Love by Jon E. Edwards

Drink to Me, Babe, Then by A.C. Newman
Are We Family by The Tragically Hip
Come by Fleetwood Mac
Requim for the Masses by The Association
Theologians by Wilco
CLOSING THEME: Over the Rainbow by Jerry Lee Lewis

Sunday, August 01, 2004

TERRELL'S TUNE-UP: HIP IS HIP

(I knew I'd forgotten something ... here's Friday's Tuneup)

As published in The Santa Fe New Mexican
July 30, 2004

The Tragically Hip is one of those bands that’s consistently strong, during their 20-year history. With their muscular guitar attack and the passionate vocals of Gordon Downie -- whose voice suggests Michael Stipe with more testosterone -- these Canadian road warriors virtually always satisfy.

The Hip’s new album, In Between Evolution, is a dark but inspirational work, if not quite their best. That honor belongs to Day For Night, their 1995 effort.

No song on the new one quite matches "Nautical Disaster" from Day For Night, a terrifying you-are-there account of a nightmare. But surprisingly the one on the new CD that comes closest has a seemingly light-hearted title. "Gus The Polar Bear From Central Park."

With its distorted guitar hook and plodding beat, Downie seemingly gets into the mind of a zoo animal to create an offbeat treatise on isolation and paranoia.

"What’s troubling Gus overhearing conversations/that it’s because your either them or me/when it’s either them or it’s us anything that moves and/everything you see is something to kill and eat."

The idea that the world has turned into a colder, harsher place permeates this album. There’s the ominous song "Meanstreak" creates the image of a town invaded by "strangers": ""The sssh sound of their boots/on the tops of the grass/as their hay wagon/rolled past …"

War images pop up everywhere. "Makeshift," built around what sounds like a long-lost Bachman Turner Overdrive riff, starts out "You do the combat math, I’m the war artist/You can’t take your shots back, I have to watch them miss."

"If New Orleans Is Beat" has one of the prettiest melodies the Hip have ever played, but keeps with the basic theme of a world turned wrong. "No one will give you a thing these days/They’d rather kill it or throw it away/you don’t `do’ dark American streets so/if New Orleans is beat … where’s that leave you and me?"

According to Downie, the macho, jingoistic hot-new-country star Toby Keith inspired "It Can’t Be Nashville Every Night."

"He said `We are what we lack’/and this guy’s the autodidact/Stares in to the glare of them TV lights/It can’t be Nashville every night."

The obliqueness of the words combined with the passion of the band’s playing create a foreboding mood that’s hard to shake.

More Canadian cool:

The Slow Wonder by A.C. Newman.
Last year we knew him as "Carl" Newman, one of the front people -- along with Neko Case and Dan Bejar -- of The New Pornographers, those quirky and infectious rock/posters from Vancouver. (For those keeping track, their album Electric Version topped my Top 10 list last year.)

Newman’s first solo album sounds a lot what you’d imagine the third New Pornographers CD will be. Sure you miss sweet Neko’s singing, but most the other "pornographic" elements are here: snappy, hum-able melodies and addictive hooks that stick to your innards, simple guitar-based arrangements, and Newman’s rubbery voice that often slips into falsetto. There’s not a song here that wouldn’t have fit in on Electric Version.

Like the Pornographers, Newman’s album already is earning him comparisons to The Kinks, Paul McCartney, Brian Wilson and Harry Nilsson. I’ll add a couple of my own -- Badfinger and The Replacement’s Paul Westerberg, especially his early solo work. And the last song, "35 in the Shade" with its relentless drumbeat might remind you of The Who’s "Armenia City in the Sky."

Though The Slow Wonder is consistently satisfying, the strongest two songs are right at the beginning of the CD.

The opening song "Miracle Drug" starts out with a drum beat that might make you think you put on the Wild Tchoupitoulas CD by mistake. But when the guitars come in, and especially when Newman’s voice comes in a few seconds later, you know it’s no Mardi Gras. In a rushed, near frantic voice Newman sings, "He was tied to the bed with a miracle drug in one hand/In the other a great lost novel that, I understand, was returned with a stamp that said 'Thank you for your interest, young man.’ "

From that crazed image of rejection, suicide and craziness, Newman gives us one of his prettiest songs to date, "Drink to Me, Babe Then," a wistful song of love. The melody is sad as an acoustic guitar strums prominently (a snakey slide guitar waiting until the refrain.) The whistling solo in the middle of the song (a call-and-response with a subdued wah-wah guitar) brings an almost vaudeville or British music hall feel.

With or without the Pornographers, Newman is going to be a musical force to watch.

Also Noted:

Together We’re Heavy By The Polyphonic Spree. The robes are back. But is this a good thing?

I was initially fascinated by this group of 20-plus Texans in their shall-we-gather-at-the-river robes that made you wonder whether this was the product of some bizarre love cult, a group whose first CD, The Beginning Stages of The Polyphonic Spree, inspired about two thirds of the critics who reviewed it -- including me -- to mention Up With People.

Yes, I was smitten by that album, especially the song "Follow the Day," which also captured the imaginations of Volkswagen, who used it on an t.v. commercial and the makers of the movie Eternal Sunshine of the Spotless Mind, who put it on their soundtrack.

But while I compared the first album to The Flaming Lips and Mercury Rev, this time out the sound is closer to bad Electric Light Orchestra and stale Moody Blues, even with former Pere Ubu member Eric Drew Feldman helping out on production.

O.K., I admit, I'm grudgingly fond of the self-help hymn "Two Thousand Places." But not much else here makes me want to put on a robe and witness for the Spree.

Maybe next album they’ll change their style to a ’70s revival band and call themselves "The Polyester Spree."

CONVENTION NOTEBOOK FINALE

More tales from the Democratic Convention
As published in The Santa Fe New Mexican
Aug. 1, 2004

BOSTON _ Pundits and critics have complained that last week’s Democratic convention was a scripted production without a trace of spontaneity or real drama.

Indeed, Wednesday morning at the New Mexico delegation breakfast, John Pound -- a Santa Fe lawyer who headed John Kerry’s state campaign during the New Mexico Presidential Caucus season -- discussed plans for a t.v. moment that would take only a few seconds later that night -- the ritual roll call vote, when all the state delegations official cast their votes for Kerry.

At the convention, Pound was one of two New Mexicans who, during the floor sessions, was stationed in “The Tank,” a room that in Pound’s words, was in “the bowels” of the FleetCenter. His job was where his job was to keep an eye on how the delegation looked on television. He had to make sure the delegates held up the right sign at the right time, etc.

As far as Wednesday night’s roll call was concerned, New Mexico’s Lt. Gov. Diane Denish, who was the head of the delegation, would do the talking for the delegation. The question, Pound said, was who would get to gather around the lieutenant governor when she cast the vote.

“It’s a human tendency to want to get up by the New Mexico banner to be on television,” Pound told the delegates. But he said delegation leaders were deciding on which people would get to surround Denish for that moment. He said the decision would be made on factors including ethnicity, gender and other factors, the goal being to reflect the state’s diversity.

Stand-off on Canal Street
But early Thursday evening there was a potential outburst of drama and spontaneity outside of the convention hall that few wanted to take place -- a confrontation between police and protesters.

Earlier in a week a Boston police officer walking through the so-called “Free Speech Zone,” a stark fenced-off area near the FleetCenter, told a reporter while the protests had been low-key up to that point, large numbers of “anarchists” to come to town on the last day of the convention.

“We’re calling Thursday `D-Day,” the officer said.

Indeed, Thursday saw a large influx of anti-war protesters. A few hundred marched up Canal Street to the barricades on Causeway Street near the convention center. Someone burned an double-sided effigy of Kerry and George W. Bush and police responded quickly.

Hundreds of black-clad, helmeted riot police, with chest and shin pads and ominous night sticks formed rows and pushed the protesters back a few yards. And there they stood for the next hour or so in a tense stand-off.

On the other side of the fence on Causeway Street, out of the view of the protesters -- but right in from of the media pavilion next to the convention hall -- another battalion of riot police gathered in rows. Reporters watched from the outside stairway as the officers prepared to replace their fellows on the front line.

But despite the obvious tension, on Canal Street, at the line where police stood almost nose to nose with the demonstrators, it didn’t seem that anyone really wanted violence.

A few yards back from the front line, a man with a bullhorn congratulated the demonstrators for standing up to the police and not backing down.

But none of the protesters were baiting the cops. And though the officers looked grim and Darth Vaderish in their black uniforms and helmets, beneath their visors were worried expressions of men who looked like they’d rather be almost anywhere else.

Things had gotten calm enough that reporter Amy Goodman of the left-wing radio and television show Democracy Now! was able to sit on the ground right up on the front line to tape interviews with demonstrators as police loomed above just a couple of feet away.

As protesters began drifting away, one Boston cop watching the action from about a block away on Canal Street agreed that the storm had apparently passed -- at least for Boston. In fact, according to press reports, the day ended with no serious injuries and only three protest-related arrests.

However he added ominously, “This wasn’t `D-Day.’ You know when `D-Day’ is? August 29, that’s when `D-Day’ is.”

August 29 is the day before the Republican National Convention starts in New York City. Far more protesters are expected there.

Amy, What You Gonna Do?
A few hours after the stand-off, gadfly Goodman had a confrontation with New Mexico Gov. Bill Richardson.


She caught Richardson immediately after he had been on a panel discussion on Larry King Live to talk about Kerry’s acceptance speech.

Though Richardson normally is eager to appear on national media, this time apparently he wasn’t.

Here’s a transcript of the brief encounter, cut short by the governor, posted on the Democracy Now! website:

Goodman: Governor Richardson,-- is Kerry’s foreign policy an escalation? He’s talking about more troops in Iraq and talking about the Sharon policy. I'm Amy Goodman with Democracy Now! Radio and Television.

Richardson: No. Senator Kerry is an internationalist. He wants to operate our foreign policy with our alliances, with our allies, and not go it alone.

Goodman: But he's talking about, he's talking about more proof —
Richardson: I'm sorry. Please get that out of my way.

Assumedly the “that” Richardson referred to was Goodman’s microphone.

Salsa as Security Threat
My only bad encounter with authority at the convention was Thursday afternoon when convention security confiscated my jar of Bill Richardson salsa at the X-ray machine in front of the FleetCenter.

The New Mexico delegation was giving away the promotional salsa -- actually it’s Garduno’s restaurant salsa with a promotional label -- at its daily breakfast meetings and at the convention itself.

A delegate had given me a jar at breakfast and I’d stuffed it in my laptop case. I hadn’t thought of any possible problems in getting it through security. After all, the night before comic/commentator Mo Rocca had shown a jar of the salsa during a segment on Larry King Live.

But when the security X-ray machine at the media entrance spotted the jar in my case, an officer told me that I couldn’t take it in. They had nothing against hot sauce or even Richardson. It was the glass jar that concerned them.

He put the salsa on the ground under the machine -- along with seven or eight other jars of Richardson’s salsa.

I went back to retrieve my jar when leaving FleetCenter after Kerry’s speech. However, an officer told me that all the salsa had been emptied and thrown away.

TERRELL'S SOUND WORLD PLAYLIST

Sunday, April 28, 2024 KSFR, Santa Fe, NM, 101.1 FM  Webcasting! 10 p.m. to midnight Sundays Mountain Time Host: Steve Terrel...