We're seeking new members for our 2025 Board of Directors, as well as our founding Associate Board for young professionals 35 and under. Details and application at each of the links above.
The CHIRP Blog
Mike Bennett writesiPod/MP3 Friday Shuffle — Happy Birthday Anson Williams Edition
What’s the iPod/MP3 Shuffle? It’s just a way to get people to share music and foster some discussion. I started doing this on my Facebook page a while back and it’s been great seeing friends exchange comments on each others lists. Every Friday, I get out my 120 GB iPod (which has about 24,000 songs now), hit shuffle and write about the first 10 songs that come up. Sometimes the 10 songs are kind of conventional, sometimes there’s a lot of obscure stuff. So check mine out and please add your own shuffle or discuss other people’s shuffles!
————————————
Let’s give it up for the man who played Potsie on Happy Days, Anson Williams. He may not have been as cool as the Fonz, but he was the lead singer of the band he was in with Richie Cunningham and Ralph Malph. That’s worth something, isn’t it? In Anson’s honor, grab your iPod/iTunes/MP3 player, hit shuffle and share the first 10 tunes that come up!
- Translator — Sleeping Snakes (Heartbeats and Triggers): This ’80s band mixed a wide array of influences — everything from post-punk to jangle rock to even some jamming tendencies. As is often the case, the band’s debut album, which this tune is from, was its high water mark, though they put out some other good stuff. This song is definitely post-punk gone Cali, with a cool choppy guitar part and military style drumming with dollops of melody and ’60s folk-psych style vocals. Great song.
- The Plod — Neo City (Velvet Tinmine): Velvet Tinmine is a swell compilation of obscure UK ’70s glam rock. Almost every song is a winner. This sounds like the compilers couldn’t get the master tape and worked off an off-center 45. Unlike a lot of the songs on this comp, The Plod aren’t so indebted to Sweet, Slade or T-Rex, as they are The Raspberries. And what’s with the band name? How about The Sloppy or The Unrehearsed or The Turgid?
- The Wondermints — Tracy Hide (Cover Version)(Wonderful World Of The Wondermints): If you want to know how The Wondermints became the core of the band that has backed Beach Boys genius Brian Wilson on his tours, this original off the band’s second album would answer all questions. Written by Darian Sajanaja, the musical director for Wilson, this is simply a gorgeous song in the Beach Boys tradition with that certain melancholy yet sunshiney melody that Wilson patented, a strong lead vocal and a brilliantly inventive backing vocal arrangement. Wonderful.
- The Everly Brothers — Poor Jenny (24 Golden Classics): Speaking of harmony vocals, how about Phil and Don? This is a country song that is pepped enough to be classified as an early rock ‘n’ roll song. It’s a great tale about a bad girl having a bad night. Did I mention those harmonies — wow! And lyrics like, “It seems a shame that Jenny had to go get apprehended.”
- Guided By Voices — Shocker In Gloomtown (The Grand Hour): GBV was so prolific, great songs could come from anywhere — an album, a 7”, an EP, a bootleg. This was from an EP and the tune was later covered, quite well, by The Breeders. It centers on a repeated guitar riff and the nifty up-and-down rhythm, and like a lot of Guided By Voices tunes, ends a bit too soon. Always leave you wanting more.
- New York Dolls — Babylon (Too Much Too Soon): Like a lot music that influenced and pre-dated punk, it’s important to put the Dolls in context. Not that their flashy variation on Stones-y rock ‘n’ roll doesn’t hold up on its own, but if you put this up against the prog rock and Laurel Canyon singer-songwriters and plodding metal bands that were touring the nation, true rockers in drag were revelatory. Of course, having a great guitarist like Johnny Thunders was a help and David Johansen was, and still is, a wonderful singer who does a theatrical take on R & B styling and gets away with it because he gets it, if that makes any sense.
- The Long Blondes — Round The Hairpin (“Couples”): The second and, sadly, last Long Blondes album was not as well-received as their debut, as the band delved further into post-punk. This track exemplifies the approach, as it is premised on a droney electronic rhythm track and isn’t nearly as poppy as most of the first album. I think the chilly music is perfect for Kate Jackson’s clenched teeth delivery and the guitar fills add a little heat to the proceedings. I hope Kate is involved in a new project soon, but I’d rather this band get back together.
- Bad Religion — I Want Something More (No Control): I find that most hardcore punk has dated pretty badly. This is not the case with Bad Religion, as evidenced by this song off of what may be their very best album. I think it’s because the band managed to play fast but clean. The songs don’t pound so much as they take off and soar. This is helped by Greg Graffin’s powerful vocals that are much more than pointless shouting. He puts his Ph.d to use with lots of big words, which is tough enough to do with a mid-tempo song.
- The Fuzztones — As Time’s Gone (Lysergic Emanations): This NYC band was one of the better mid-‘80s garage revivalists. Led by Rudi Protrudi, the ‘tones channeled equal parts of The Seeds and The Sonics, and added a certain haunting vibe to their songs. This song is, at its heart, a hyped up folk-rock number, but add some atmospheric organ and a rhythm that is perfect for driving down a dark highway at night, and it sounds pretty cool.
- Scissor Sisters — Comfortably Numb (Scissor Sisters): The Sisters’ swell debut album had been out in the UK for a while when they played their first Chicago gig at Double Door. A pal of mine was working for their U.S. label and I asked him if they’d release this discofied Pink Floyd cover as a single, and he said no. But this is the song that got the biggest reaction from a crowd that was probably 50 to 60 percent gay men. Of course, that might be why they passed on it, but this is a great cover. The guitar part from the original is stripped down, a mid-tempo dance beat is pumped up and the vocals are falsetto a la the Bee Gees. The arrangement is brilliant. It’s club ready yet the best aspects of the melody and hook are intact. Moreover, despite the dance floor aspects the emotional poignancy of the song is not messed with one bit. Awesome.
Emily Agustin writesGrrrl on Grrrl: Goldie & The Gingerbreads
Before we get started, a quick word of introduction.
CHIRP was formed, in part, to focus on independent musicians and artists that are underrepresented on the bigger, more commercial stations. All too often, in my opinion, that group includes female artists. Or rather, female artists that are more than just a pretty face and an auto-tuner. As a classically trained percussionist and a drummer, the subject of women in rock is one that is near and dear to my heart. I co-hosted the Women on Women Radio Program for years, I have spoken on panels devoted to women in rock, and heck, I even wrote my Master’s thesis on female musicians.
This post then, marks the first in a series of mini-bios highlighting female musicians who are particularly noteworthy or groundbreaking, female-led bands that have injustly slipped through the cracks into obscurity, and/or just my personal favorite ladies in the industry. I’d like to start off this feature with a look at one of the first all-female rock and roll bands: Goldie & the Gingerbreads.
Born in the era of girl groups, American band Goldie & the Gingerbreads stood out for one very important reason: they played their own instruments. In fact, the Gingerbreads were the first all-female rock band signed to a major label (Atlantic subsidiary Atco), and the first to have any sort of chart success. While other girl groups and female artists had already gained popularity within rock and roll and made an impact on the charts, these women were primarily, if not exclusively, singers. Furthermore, their backing bands were nearly always 100% male. With Goldie Zelkowitz on vocals, Carol MacDonald on guitar, Margo Lewis on organ, and Ginger Bianco on drums, the Gingerbreads were nothing short of groundbreaking. At the same time, however, they were something of a novelty in the male-dominated music industry. MacDonald readily acknowledges this fact: “‘We didn’t think anything of it,’ she says. ‘We got more jobs because they were exploiting the hell out of us. All Girl Band! They’d do the whole thing, tits and ass. And we didn’t care. We were happy because we knew we could play, and we were knocking the socks off most of the male bands. And the guys couldn’t believe it. They’d start laughing, and then they’d walk out crying’” (Garr 59). In fact, the Gingerbreads toured with some of the biggest male rock acts of the time: the Rolling Stones, the Kinks, the Yardbirds, and the Hollies, to name but a few. They even had a hit in England with the song “Can’t You Hear My Heartbeat,” which was later a hit in the U.S. for Herman’s Hermits.
Their success, however, was limited, and their enjoyment of fame tempered by Atlantic’s manipulation of their public image. Before MacDonald joined the Gingerbreads, she recorded solo for Atlantic under the name Carol Shaw. “‘They wanted me to be Lesley Gore,’ she says. ‘My first record, “Jimmy Boy,” was that type of thing. So they give me this image, and I’m not happy. I’m not playing guitar, number one, and I’m not doing my own music” (Garr 58). Her annoyance only increased when, a few years later, the Gingerbreads were asked to record “Can’t You Hear My Heartbeat.” “‘I hated the song,’ says MacDonald. ‘We’re doing stuff like “Harlem Shuffle,” and then they give us this “Every time I see you… dee da dee de dee.” Eeeow! I said, “Goldie! What are we doing?” She said, “We gotta do what they say!” It’s like we had to do everything they said or we were not going to be successful’” (Garr 60).
Still, the band engaged in their own small rebellions against the prevalent negative stereotypes of female musicians. Goldie recalls, “‘We’d walk into a club with all our instruments and you could see the owner going “Oh my God, these broads? They know how to play? They really know how to play?” We’d set up and have a sound check and play totally out of tune, and I would sing the wrong lyrics. And the guy’d be chewing on his cigar going “Oh my God! Oh my God! Oh my God!” And by the time we went on and counted off the song, we were cookin’. You could see the cigar drop and the guy had a heart attack… We had fun with this’” (Garr 59).
Ultimately, however, Goldie and the Gingerbreads folded due to misappropriation of finances by their management, the pressures of relentless touring, and the disappointment of never breaking big in the States. Goldie went on to become Genya Ravan and front Ten Wheel Drive (who reportedly turned down a spot at Woodstock), and later produced the Dead Boys’ debut record. Carol MacDonald and Ginger Bianco went on to form the influential jazz/funk band Isis, which later also included Margo Lewis and original Gingerbreads’ pianist Carol O’Grady. While the Gingerbreads may not have found the widespread acceptance or acclaim they craved, by the mere fact of their existence they nonetheless fought the rigidly institutionalized sexism that limited women in the music industry at the time, and paved the way for future all-girl bands to be taken seriously.
Works Cited:
Garr, Gillian G. She’s A Rebel: The History of Women in Rock and Roll (expanded second edition). New York: Seal, 2002.
Additional Reading:
Wikipedia
AllMusic
Genya Ravan’s homepage
This article also appeared on the WOW Music Blog
CHIRP DJ writesRediscovering Our Record Collections: Lemonheads’ “It’s a Shame About Ray”
I remember 1990 pretty well. I was just really getting into punk rock and all of it’s connected genres and an older friend of mine loaned me his copy of “Hate Your Friends” by the Lemonheads. With the exception of their cover of “Amazing Grace,” that record was pretty solid. I dubbed the cassette and it went into the archives. A few years later, I was watching 120 Minutes on MTV and this pop-punk cover of the Simon and Garfunkel song, “Mrs. Robinson” was playing. I missed the opening credits, but was really intrigued, because it was really good. The end credits came on and it was the Lemonheads. I wasn’t sure if it was the same Lemonheads that my friend Dave had shown me, but they definitely were a band worth looking into.
CHIRP DJ writesPilfered Punch lines in the Chicago Comedy Scene
Sampling and trading jokes are a common occurrence that famous comedians have to deal with; they also deal with the annoying hassle of their jokes being stolen. Joke stealing appears to be occurring more frequently and lately it is happening in Chicago.
“It’s survival of the fittest,” says South Side Comedian Kevin White, who has had several jokes stolen and later used on national TV.
It may be survival of the fittest; but also stealing jokes can affect a comedian’s own creditability as well as their professionalism. Some comedians who are victims of theft can shrug it off and continue writing new and even better jokes, while others suffer setbacks.
Comedians may spend months writing jokes and perfecting them, but to later have them stolen can be emotionally upsetting, professionally frustrating, and offensive.
Chicago Stand-Up Comedian Damon Williams referred to theft in the comedy world as great minds thinking alike and having the same joke is just a coincidence.
But Williams adds, “There is a fine line between stealing and sampling. As a comedian you often run into a situation where you have the idea but another comedian has already fleshed that idea into a joke.”
Radio host and stand-up comedian Brian Babylon disagrees. He says he seen his fair share of “Carlos Mencia’s” in the Chicago comedy world, referring to the largely publicized accusations of Mencia plagiarizing jokes from other comedians.
Most famously, popular stand-up comedian and UFC announcer Joe Rogan confronted Mencia on stage about his alleged plagiarism. George Lopez, of “The George Lopez Show,” has also made accusations of Mencia stealing his material.
What does this say about the world of comedy? About Chicago Comedians? Does joke stealing prevent local comedians from making it big?
“This is a business,” says Babylon who believes a comedian’s jokes is their property. He feels that it is not unreasonable to assume that a comedian can become financially affected when theft occurs.
For comedians who steal, “They don’t really think about the integrity side of it, because they just don’t feel like they are stealing anything. They just feel like they are doing the joke better than the comic who first put it out there,” says Mary Lindsey, Bronzeville comedy club owner of Joke and Notes. “It happens all the time,” say Lindsey.
Lindsey says ninety percent of the time the audience do not recognize the joke is stolen unless they are heavily involved in the comedy business. Lindsey attributes joking stealing in Chicago, to the over saturation of comedy in the city and every person believing they can easily become comedians.
Burt Haas, comedy club owner of Zaines, attributes some of the theft to the demands of the entertainment industry. Celebrity comedians are under constant pressure to produce jokes faster than they can handle and sometimes the only recourse is stealing.
When asked directly about their thoughts on joking stealing the Chicago Comedians responded with mixed feelings.
“It’s desperation and I’m aggressively going after that person. You’re an intellectual thief.” and “You will become notorious for stealing,” says Babylon.
Williams adds, if a comedian has their material stolen they should not, “dwell on it.” He believes one stolen joke does not affect comedians from making it out of Chicago or establishing a name in the comedy business, he advises local comedians who are victims of theft to keep writing.
White initially felt upset when his jokes were stolen and also felt he could not make it big if his jokes were making it to TV before he did. Later he was flattered by the theft of his jokes, because it shows he is a good writer and his jokes are good enough to make it on to national TV.
Many comedians reach a point in their career where they are desperate, under pressure or are on stage performing and need a joke to save them from getting heckled. In the culture of comedy, many concepts like grasping, reaching, and stealing seems to be a natural occurrence.
Are there rules in the comedy world? What can be done about joking stealing?
Williams says the universal rule in comedy is if two comedians have the same joke then the first person to perform the joke on TV is the one that validates the joke.
Timing is most important in the comedy culture because comedians have to constantly write material that is funny enough to perform and funny enough to make it on national TV. Sometimes the best way to protect their material from being stolen is to perform it live on TV, and even that is not always good enough.
“Getting the strongest protection possible is the first step toward getting their work protected,” says Exavier Pope, Chicago Entertainment Attorney.
Pope says there are many steps a comedian can take to protect their material, which first includes getting all work copyrighted by the U.S Copyright Office.
Copyright law protects any expressible forms of ideas or information that are substantive, discrete, and fixed in a medium which includes jokes and other written material. Once a copyright has been obtained, the next step would be an order to “cease and desist” to the party committing the infringement, then move towards establishing the extent of the infringement and seeking monetary damages.
“The entertainment industry can be cutthroat at times” but Pope says the rule of thumb is, “First in time, first in line.”
Mike Bennett writesiPod/MP3 Friday Shuffle — Happy Birthday Otis Sistrunk Edition
What’s the iPod/MP3 Shuffle? It’s just a way to get people to share music and foster some discussion. I started doing this on my Facebook page a while back and it’s been great seeing friends exchange comments on each others lists. Every Friday, I get out my 120 GB iPod (which has about 24,000 songs now), hit shuffle and write about the first 10 songs that come up. Sometimes the 10 songs are kind of conventional, sometimes there’s a lot of obscure stuff. So check mine out and please add your own shuffle or discuss other people’s shuffles!
————————————
Let’s give it up for the man from the University of Mars, the man with the steam coming off his bald dome (bald in an era when real men had big afros), former Oakland Raiders defensive lineman Otis Sistrunk. In honor of Otis, grab your iPod/iTunes/MP3 player, hit shuffle and share the first 10 tunes that come up with everyone else.
I’m now over 23,300 tunes on my iPod and this is what I came up with:
- The Four Tops — Just Seven Numbers (Singles) This song comes closer to Southern soul than Northern soul, as it has more of a classic blues chord structure than the typical Motown single. Of course, Tops’ lead singer Levi Stubbs would have been great doing deep soul, with his gruff, passionate voice. This isn’t a great song, but it’s a nice change of pace.
- Glen Campbell — These Days (Meet Glenn Campbell) I’m not sure if this song has come up on a prior shuffle, but this recent comeback album has. This cover of the ’70s Jackson Browne staple fits in so well with the classic Glenn Campbell style. It’s like it’s the next best thing to Jimmy Webb. This may be the best song on this album.
- The Coasters — Yakkity Yak (Greatest Hits) The court jesters of ’50s rock ‘n’ roll, they had great material (primarily from Leiber and Stoller) and a good natured sass that was perfect for these songs. The fun never ends with The Coasters.
- Richard Thompson — You Dream Too Much (Rumor & Sigh) This might be my favorite Richard Thompson album. The songwriting shows off all facets of his personality and he was just spinning off great melody after great melody. This is a hooky number, somewhat akin to Crowded House, but with that special exuberant bitterness that only Thompson can provide.
- Tavares — Heaven Must Be Missing an Angel (The Best Of Tavares) The first crossover smash for Tavares, who were guided by producer Freddy Perrin, who was one of the first soul producers to successfully integrate disco into a vocal groups sound. Tavares did not boast a single great lead singer, but had such a winning, joyous sound. The harmonies, the strings, the woodwinds and that every present beat. Great song.
- Pernice Brothers — One Foot in the Grave (Yours, Mine & Ours) On this album, Joe Pernice and company showed that they weren’t just about reviving lush ’60s pop with a little alt-country mixed in. Here, the band shows its affinity for ’80s college radio, especially Brit bands like New Order and The Smiths. What is exceptional is that the core of the Pernice sound is intact, just dressed up a bit differently.
- Kid Creole & The Coconuts — Broadway Rhythm (Doppelganger) Funk never sounded more urbane than when Kid Creole and his menagerie laid it down. The chicken scratch guitar mixes with a percolating rhythm and a smooth melody. It’s no surprise that the Kid can still wow crowds in Europe, whereas August Darnell’s music never quite fit in with the rigid U.S. radio formats of the ’80s. One of the most underrated groups of their era.
- The Go-Betweens — The Streets Of Your Town (16 Lovers Lane) One of the singles from the album that closed out the initial phase of the band’s run. As the band honed its pop sense, it’s large debt to the Velvet Underground became less noticeable, and they developed such a distinctive sound. Literate, pretty and memorable.
- Biz Markie — Just a Friend (The Biz Never Sleeps) This song was featured in some annoying commercial with some Lincoln Park types in a cab singing along, joined in by the old fart cab driver. This commercial did not dampen my enjoyment of hearing the marble mouthed Biz’s big moment in the sun. Years later, he is a regular on Yo Gabba Gabba. Good for him.
- The Rutles — Living in Hope (The Rutles) The soundtrack to the Eric Idle Beatles spoof mockumentary was so key. While Idle’s parody of documentary filmmaking and the Fab Four was very funny, the music penned by Neil Innes of the Bonzo Dog Band turned it into the classic. Some songs are inside out rewrites of moptop classics. But this is a mid-tempo song for Barry Wom, the Ringo-esque drummer. I’m not sure if John Halsey (of the bands Timebox and Patto), the drummer played Wom actually did the lead vocal or if it’s Innes, but whoever it was nailed that Ringo hang dog vocal sound.