I decided to go with a group from Austin, TX, who released their debut album this past Fall.
Moving Panoramas consist of guitarist Leslie Sisson, drummer Karen Skloss, and bassist Rozie Castoe. They produce a sharp yet subtle indie-guitar rock sound that, while not overwhelming, keeps you guessing what will come next.
The album, One, has received some positive reviews, especially for its title track. However, I’d like to feature “Radar,” which I simply love and just had to play it for WSGW’s First Day audience this past Sunday.
My Sunday morning cohort Michael Percha has a fantastic segment on our WSGW First Day show in which he gets to pick a song to play. You see, I have five music minutes during the show, and Michael has to make the most of his music segment each and every week at 8:45am.
This week, Michael featured a song by Brooklyn-based band, She Keeps Bees. It’s from their 2006 album, Minisink Hotel, and it could be me, but I think Sharon Van Etten may have been slightly influenced by vocalist Jessica Larrabee. Or vice-versa. It doesn’t really matter. They’re both awesome!
Snyder made the big announcement last Monday: “I completely understand why some Flint residents are hesitant to drink the water, and I am hopeful I can alleviate some of the skepticism and mistrust by putting words to action.” He took three 1 gallon jugs of filtered Flint tap water home with him.
While some were skeptical of the “Challenge” considering the small amount of water Snyder took home (3 gallons of water, split between Snyder and his wife, who said she’d also partake, only amounts to 3/4 cups a day), the real skepticism should come with more recent news: On Saturday Snyder jetted off to Germany, Switzerland, and Italy for trade discussions.
Would the Flint water be coming along?
Snyder is paying a public relations firm some good money to help him through this crisis. Did this firm advise Snyder to flee the state–on a Saturday–to do some trade relations work? If so, he should demand his money back.
How many Flint residents traveled with Snyder to those European Socially-Democratic countries where their water is safer to drink?
Here’s this week’s “Pat Political Point” from Sunday’s First Day show on WSGW. I take issue with those saying Harriet Tubman doesn’t belong on the $20 bill! Once you learn more about Tubman’s history–and Andrew Jackson’s history, too–then your opinion may change somewhat.
Click here to read the Dan LaMothe piece I cited in my political point. It’s a good read.
The Economist goes into further detail how Tubman was selected to be the new face of the $20, and of the Treasury Department’s plans to put notable women in American history on the backs of other bills.
A new administration could scuttle the plans, but is that a legitimate possibility?
Click below to hear my brief comments on Prince from Sunday’s First Day show on WSGW.
It was a rough weekend. Prince’s death hit me pretty hard. It affected me more than the passing of Glenn Frey, Maurice White, and even David Bowie.
Perhaps it’s because I grew up with Prince. He was my generation’s Bowie.
When someone of Prince’s stature suddenly leaves this planet, we naturally tend to reminisce and revisit their work; including listening to certain songs we may have overlooked during the years to hear if we passed-on something great.
He could write a song so seemingly simple and lullaby-like, then sneak in dazzling complexities for those who scratched beneath the surface. He could twist a song on its head while keeping you captivated and immersed the entire time. As freaky as it got, it always maintained a sense of the familiar. Every time I heard his songs, I would hear new textures and detect new subtleties in the landscapes that I hadn’t heard before. He left things raw enough for the listener to go inside and feel for themselves. Even when the production turned shinier in latter albums, there was always a danger to the way things interacted in the arrangements, a kind of untamed energy so that even though he could shift the sound worlds dramatically they always felt authentically Prince – in the way they could grab you at the throat one minute then caress you the next. But he never shut the listener out with tricks. The syncopation was like hypnosis. The dissonance evoked intrigue, instead of isolating the audience. This balance of depth and accessibility is my endless fascination with Prince.
I’ve always considered Prince’s Super Bowl XVI Halftime Show to be one of the greatest, if not the greatest, of all halftime shows. The images of the pouring rain while he jams on the guitar during “Purple Rain” I think will remain one of the more lasting images in both sports and music history. The NFL produced this segment about that show, and how Prince turned what could’ve been a disaster, into a masterpiece.
Prince will forever be remembered not only as a remarkable songwriter, performer, and provocateur, but also as a damn good guitarist.
Check-out this example at the 2002 Rock and Roll Hall of Fame when Prince joined Tom Petty, Jeff Lynne, and Dhani Harrison to perform George Harrison’s “While My Guitar Gently Weeps.” I’m certain George would’ve proud and overwhelmed by Prince’s performance.