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The CHIRP Blog

Nicole Oppenheim: Ear Candy writesMidwestern Housewife: Dancing with Myself…and Andy Williams

There used to be this commercial on TV from Staples, the office supply store. You know the one: a white, overweight, balding stereotypical “dad” guy dances while pushing a cart full of school supplies. Two tweens, presumably his children, sulk behind him, dragging their feet and looking forlornly from one another to their uber-embarrassing father doing arabesques through the aisles to the tune of Andy Williams’ “It’s the Most Wonderful Time of the Year.” Then they look at the floor and follow their dad slowly off screen as the week’s sale items are displayed for our viewing pleasure.

As a kid, I hated this commercial. I thought it was lame and overblown. Parents don’t really feel that way. They’re so trapped by their crap jobs and stultifying worldviews, having the kids home would have to be great, right? Everyone knows parents have no desires of their own, because as we all learned from John Hughes movies and Peter Pan, when you grow up, your heart dies. The fun part of your parents’ lives is over! Stupid Staples. Parents don’t dream of their kids going back to school, much less dance through the aisles of a store (in public!) at the mere thought of it. Yes, I actually thought this. Now that I have children, I realize how foolish I was.

My kids were enrolled in camp 5 mornings a week for 7 weeks this summer. Since the kids were born 3.5 years ago, these 7 weeks have been the best part of my life. I had my mornings free! Tuesdays and Thursdays I was free until 1 o’clock! Oh, joy of joys! Free time! I could do whatever I wanted to do! I could even practice ballet moves behind a cart at an office supply store! I didn’t, but I could’ve.

Every morning after I dropped the kids off at camp, I felt like painting half of my face blue and running down State Street in a kilt yelling “FREEDOM!” at the top of my lungs. It was better than the feeling of 3 o’clock on the last day of school before summer break. I could take off the Mommy hat for a few hours and put the Nicole hat back on. The kids were safe. They were happy. And I had time to become myself once again.

And it wasn’t just me who experienced this transformation. All the other moms and even some nannies were so much more themselves once the kids were in the able hands of the preschool teachers. The parental film was blinked away from our eyes. We saw the world anew. We drank coffee together. We talked about things other than children’s shows and potty training and others we knew who were pregnant (suckers!). We swore and told stories about drunken debauchery in college and more recent years. We showed off tattoos and talked about crushes we had on various actors, singers, guitar players. Yes, we devolved. And it was delicious.

We’d all been wearing the mantle of parental responsibility for so long that it felt great to put it down (folded properly, of course) for a while and let our inner giggly girls run free. Except now our giggly girls are much wiser women. We still love to giggle, but it’s giggling with a purpose. Just as giggling at age 12 and 13 helps distance you from your parents, giggling with peers as a thirtysomething helps distance you from your children. It reminds you that not only are you still who you are and who you’ve always been, but also that you’re not in this thing alone. You have your sisters to help you through it. Your girlfriends helped you grow and survive the crazy transition from childhood to adulthood. (Oh, adolescence. So painful, but so necessary.) Your girlfriends will also be there for you in the even crazier transition from non-parenthood to parenthood. I can’t speak for the dads out there, but I’m sure a similar safety net of friends exists for men, too. If not, man, are you guys screwed.

So there I was, happy in my small amount of freedom each day, when the unthinkable happened. Camp ended. It was over July 29th. School doesn’t start up again for the kids until September 15th. That’s 6 whole weeks for those keeping track at home. My initial response was to go out and buy a couple cases of whiskey and Scotch, aka magical mommy juice, that would ensure maximum relaxation for me once the kids went to bed. I didn’t do this. I seriously thought about it, though. But at the last minute I was once again saved by a girlfriend. In this case, it was my own mom who saved the day.

She offered to take the kids back to Ohio for two weeks to give me a break from parenting and to let me work on some non-kid-related projects I’ve started. She even drove out here to pick them up! Who is this woman? How is she possibly the same person who used to yell at me when I’d play my music too loud or nag me incessantly about getting homework done or caution me about the boy I was madly in love with who would only go on to break my heart? She was so clueless and such a bore. How did she become so awesome?

The answer is that she always was. She was simply cloaked in that parental mantle I was talking about, hiding her true self from me. But now that I’m an adult, she can be herself around me. I can join her circle of girlfriends and giggle knowingly about the world. We can all dance together down the aisles of any store, office supply or otherwise, and embarrass the hell out of our children and grandchildren because we know the secret. We know that people never really change. They simply have responsibilities. And when raising a child is their main responsibility, they take it very, very seriously.

This is why you rarely see any holes in the mantle when you’re a kid. It’s because your parents care about you and want you to be safe, happy, and healthy. It’s only when you get older and can take care of yourself that you see who your parents truly are. They are the kind of people who tell dirty jokes, drink too much on occasion, make stupid decisions, and sing along with their favorite songs on the radio. They are people like you. I don’t say this to frighten you. I say this because it’s true. We’re all pretty much the same when you get down to it, we just express ourselves differently. For some, it’s dancing at a store, for others it’s dressing up like an extra from “Braveheart” and running down one of the busiest streets in the world proclaiming your freedom for the world to hear. (I didn’t actually do this, but wouldn’t it be great?) However you choose to express it, express it you must. But I would seriously recommend against dancing to anything sung by Andy Williams. That stuff’s not cool no matter how old you are.

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Categorized: Midwestern Housewife

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Bobby Evers writesRediscovering Our Record Collections: Harvey Danger’s “Where Have All the Merrymakers Gone?”

My sister went to California and informed me of a new song I absolutely had to hear. But because we had DirecTV with MTV2 back at Mom and Dad’s, I’d already heard it. I didn’t get the record right away; I borrowed it from a friend and listened to it over and over again before buying it myself. Thankfully I was able to exchange an Everclear CD at K-Mart and traded it for this disc.

Keep Reading…

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Categorized: Rediscovering Our Record Collections

Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Phil Lynott Edition

He was the charismatic black Irishman who melded Irish folk music with hard rock, sometimes sprinkling in some Van Morrison, yielding the indelible classic, “The Boys Are Back In Town”. If you ever see a video of Thin Lizzy, one thing is obvious — Phil Lynott was a rock star. While U.S. success was fleeting, Lynott fronted the band known for its dual lead guitars, cranking out dozens upon dozens of great songs and top notch albums like Jailbreak, Live And Dangerous and Black Rose (A Rock Legend). When punk and new wave came blasting out, Lynott didn’t run and hide. He rubbed shoulders with them, paying tribute on the tune “Back in ’79” (from his first solo album) and working with Midge Ure of Ultravox. Today, you can hear other bands influenced by Thin Lizzy, such as Ted Leo + Pharmacists (check out “Timourous Me”, which is pure Lizzy homage, though Ted claims otherwise). Let’s pay tribute to the great Phil Lynott on his birthday by grabbing the ol’ iPod/MP3 player, hitting shuffle, and sharing the first 10 tunes that come up.

  1. Jawbox — Send Down (Novelty): A number from the second Jawbox album, which found the band starting to really define its angular post-punk sound. This tune isn’t as intricately constructed as later song and has more of an early emo anthem vibe. In that respect, it plays a little bit closer to a Naked Raygun song. J. Robbins has a powerful enough voice to pull it off.
  2. Neil Finn — Souvenir (Try Whistling This): Finn’s first solo album did a great job of building on what he had been doing with Crowded House. This means Finn continued to pen superb sophisticated pop songs with layered instrumentation, articulate lyrics and melodies on par with John Lennon, Paul McCartney, Andy Partridge and Robyn Hitchcock. This song has a neat structure, using synthesized strings in the verses to play static parts to build tension, released by a jangly guitar that kicks the chorus in. The song has many parts to it, and they flow together seamlessly.
  3. The Sights — Talk To You (Are You Green?): These Detroit area garage rockers came in early during the wave of revivalists — i.e., right around the time of the The White Stripes. The band see-sawed between riffy proto-punk and cheerful Kinks-y pop tunes. On this song, both sides are on display. Which is very cool.
  4. Mott The Hoople — Momma’s Little Jewel (All The Young Dudes): A mid-tempo track with a little barroom piano added to the mix. This song sounds like a more playful version of Free.
  5. Big Dipper — Wet Weekend (Supercluster: The Big Dipper Anthology): A spin off of the likeminded Kansas post-punk pop band The Embarrassment, Big Dipper specialized in catchy rock tunes that were just a little bit askew. The lyrics often were a bit off-beat and the rhythms and melodies had little wrinkles that indicated they came from a post-Velvet Underground/Big Star world, rather than a more mainstream perspective. This is a very typical song, with a bouncy rhythm and a strong lead guitar line throughout the entire track, building up to a big chorus. This is the essence of ’80s college radio.
  6. Kitchens of Distinction — In a Cave (Love Is Hell): The Kitchens, on their first album, hadn’t fully fleshed out their big dramatic rock sound, but it was already pretty big. This is a slow burner of a song with ample helpings of the reverbing My Bloody Valentine-ish guitar work that was their trademark. Unlike MBV, the Kitchens had a much more spacious song, which was needed so vocalist Patrick Fitzgerald could have room to emote. These guys were lumped in with the shoegazer movement, for good reason, but they had the most vocal personality by far.
  7. The Guess Who — Baby’s Birthday (Shakin’ All Over): Before this Winnepeg, Canada band became stars for hits like “American Women”, they were a pretty typical ’60s rock band. They had a garage rock phase, but even during that period, they tried on all sorts of styles. This is a jangly rock tune that sounds somewhat like a Mike Nesmith Monkees’ tune. Randy Bachman’s twangy guitar sounds great.
  8. The Jam — Strange Town (Direction, Reaction, Creation): A fantastic tune that combines a Motown rhythm with a classic Brit pop tune. This is one of those songs that clearly inspired bands like Blur, The Smiths, The Stone Roses and others. Paul Weller at his best.
  9. All — Sugar and Spice (Allroy Sez): After Milo left The Descendents, Bill Stevenson formed the similar All. The first All album is an outstanding pop-punk record, chock full of great songs. Moreover, the playing, especially in the rhythm section, is really creative, giving the songs a unique stamp. This song is a warning about a girl who is going to break a friend’s heart. It has a dramatic, ominous feel to it, and has a super cool middle eight where the song breaks down to a whisper before slamming into the urgent chorus.
  10. Watermelon Men — Seven Years (Children of Nuggets): If someone hasn’t put together a compilation of this ’80s Swedish garage band, they should. The Watermelon Men really captured the feel of the original era of garage bands, with better fidelity. This song is one of those doomy folk-psych garage tunes.

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Categorized: Friday MP3 Shuffle

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Erin Van Ness writesKing Pignacious and His Merry Swine: One Awesomely High-Concept CHIRP Fundraiser

Get ready for a three night “Modern-Day Multimedia Rock Opera” at the Viaduct Theater!

CHIRP is thrilled to have the energetic 10-piece King Pignacious performing “A Swine’s Rise to Power”—a music and multimedia concept show about the hog army’s hard fight against employer based healthcare. Or, in their words, the fight to “Cut the Tubes and Free the Youth.”

If you’re a fan of great music and daring performances (being a CHIRP listener suggests you are), you won’t want to miss any of these three great shows.

Sat 8/28: w/ Red Hot Annie’s Burlesque Show and Stephanie Rearick
Sat 9/4: w/ Four Star Brass Band
Sat 9/11: w/ Fluid Minds

Tickets for each night are only $10 and one-third of that will help CHIRP in the fight for excellence in independent radio. We can’t wait to see you there!

THE VIADUCT THEATER
3111 N Western Ave.
Doors at 9pm. Show at 10pm. 21+

Read more and RSVP online!
http://www.myspace.com/kingpignacious
http://www.facebook.com/pages/King-Pignacious/184425784261

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Categorized: Event Previews

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Mike Bennett writesFriday iPod/MP3 Shuffle—Happy Birthday Feargal Sharkey Edition

His insistent ultra-Irish voice was the perfect vehicle for songs about teenage kicks, Mars bars, perfect cousins and wanting to be a male model. Feargal Sharkey was urgent and powerful, a perfect combination of bravado and uncertainty (the former, of course, masking the latter), and an energetic, lantern-jawed frontman for the pride and joy of Derry, Northern Ireland, The Undertones. While it’s possible that the ‘tones would have been successful with another singer, due to the high quality of the songwriting, Sharkey was the spirit that made the songs reach their full potential. Sadly, he has not come along with the boys since the band reunited, and wisely, the band found another Derry singer who sounds a fair amount like Feargal. Let’s pay tribute to Mr. Sharkey by grabbing the ol’ iPod or MP3 player, hitting shuffle and sharing the first 10 tunes to come up.

  1. Kenickie — Millionaire Sweeper (At The Club): A short-lived British all-female rock band who were named after a character from Grease (I think Jeff Conaway played him in the movie). Kenickie was somewhere in between Voice Of The Beehive and The Primitives, They specialized in wistful mid-tempo observational pop songs like this one. Romance never went very well in their songs, and this tune has a slight girl group vibe with a modern edge, and it comes across as sad but not utterly resigned to the prospects for love in the future. This is worth checking out as it is in dollar bins throughout the country.
  2. The Swingin’ Neckbreakers — Little Miss Copycat (The Return of Rock): The Neckbreakers are an excellent example of why garage rock will never get old. The blues chord progressions are standard, while the playing is spirited and Tom Jorgenson’s rough vocals are full of personality. The Neckbreakers were more than capable of Sonics-like intensity, which they balanced with lighter tunes such as this one.
  3. Glen Mercer — Whatever Happened (Wheels In Motion): The name might not be familiar, but Mercer is one of the main men behind The Feelies. He released his first solo album a few years ago, and it’s exactly what you’d expect from a Feelie. A heavy Velvet Underground influence and a mix of quieter songs with slow burning rock tunes ornamented with percussion fills. This is the best song on the whole album, and it fits in the burner category, creating a droning groove that could last forever as far as I’m concerned. I hope Mercer (or The Feelies) have something in the pipeline, as he is still a creative force.
  4. Steve Forbert — You Cannot Win If You Do Not Play (The Best of Steve Forbert): One of many artists who was unfairly saddled with a Bob Dylan comparison, Forbert was a talented folk-pop songwriter with a raspy voice. His biggest problem wasn’t as prolific a songwriter as he needed to be to put out really top notch albums. But every album had some gems on it. This is an upbeat bluesy folk-rocker. Nothing amazing, but Forbert is fully engaged and this song must have killed live.
  5. Divinyls — Back to the Wall (Essential Divinyls): The Aussie band best known for “I Touch Myself” started out as a ferocious rock act. I saw them open for the Psychedelic Furs in 1983, and they remain one of the loudest bands I ever heard. Saucy singer Christian Amphlett had one of the coolest raspy voices around. The band always had a penchant for hooks and their sound smoothed out as time went on. This is a mid-tempo slice of drama with a bit of ’60s pop influence. Good tune.
  6. Little Richard — Slippin’ and Slidin’ (Peepin’ and Hidin’)(The Georgia Peach): This is one of Richard’s own, but it sure sounds like a Fats Domino song, because of the distinctive voice of the one and only Richard Penniman. He’s not as crazed as on his best known songs, which only allows one to hear what a fabulous singer he was when not pushing the needle in the red. One other thing — his early sides always feature great musicianship, especially the drumming, which really swings.
  7. The Clash — Somebody Got Murdered (Sandinista!): As time marches on, more and more people are appreciating the greatness of Sandinista!. Obviously, over the course of nearly 3 hours of music, not every song works. But so many do. Joe Strummer and Mick Jones were spinning out some of the most amazingly diverse rock ever. This song is almost the flip side of the band’s angry cover of “Police On My Back”, with Jones full of empathy, decrying the taking of a life. The melody is fairly simple and guitar riff that drives the song is anthemic, but played in a toned down fashion.
  8. Sparks — How You Getting Home? (Indiscreet): My iPod is on an Indiscreet kick, apparently. This is Sparks’ take on ’50s rock and roll. You can hear some basic traditional rock, but with loads of extra chords and tempo changes that take traditional song structures and twist them. This song actually has about five or six different sections that mix together so fluidly that they might go by unnoticed. This is a second tier Sparks song, yet it still provides another example of the genius of Ron Mael.
  9. Wondermints — Darling (Wonderful World of Wondermints): The second Wondermints album is chock full of covers. This is a fantastic treatment of a song by The Stories, who are best known for their cover of Hot Chocolate’s “Brother Louie”. “Darling” is much more in the vein of The Left Banke, which is no surprise, since there were two former Left Banke members in The Stories. The Wondermints should do another covers album.
  10. To My Boy — Outerregions (Messages): This British band was a throwback to the ’80s post-punk synth-pop groups. This song sounds like Orchestral Maneouvres In The Dark meets Erasure (or any Vince Clarke project). This song is excellent on many levels, from the big hooks to the layered arrangement to the fine use of dynamics. A shame this didn’t capture the public’s fancy.

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Categorized: Friday MP3 Shuffle

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