A Loss of Electricity

Two years ago my boiler stopped working just as the outside temperature plummeted to the single digits, leaving my family scrambling for a solution as our thermostat displayed 55 degrees and falling.  Luckily a knowledgeable neighbor provided a quick fix until I could get my HVAC guy in, and all ended well, but the episode left me aware of just how unprepared I am to withstand even the shortest power outage, especially in the winter months. 

Although numerous communities in the U.S. have suffered severe outages as a result of natural disasters, as a nation – with the exception of the short-lived Northeast blackout of 2003 that affected over 55 million people – the U.S. has managed to avoid the widespread calamity that Ted Koppel illustrates in his new book, Light’s Out: A Cyberattack, A Nation Unprepared, Surviving the Aftermath.

Poke around on-line about the electric grid and you’ll soon find commentary from the most extreme elements of our society (i.e., complete wack jobs).  Fortunately, veteran journalist Ted Koppel’s voice lends a degree of sanity to the polarizing issue.  Will his voice make any difference?  Time will tell, though I think he’s done a great service to highlight to the general public just how vulnerable our electrical grid is to terrorism – most likely of the cyber variety.  We’re talking potentially a hundred million people without power for weeks or months, a crippling of the U.S. economy and the U.S. military, and people’s worst instincts taking hold through looting and violence.  (You know, the kind of scenarios we pay millions to see as long as they’re on the big screen and not happening in our own backyards.)

Koppel provides expert testimony from both in and out of the electric industry and the government agencies who are supposedly equipped to either handle a major crisis (FEMA) or prevent a crisis in the first place (DHS).  (A word of caution: neither has a plan in place to respond to a major cyberattack.)  When Koppel asks General Lloyd Austin of U.S. Central Command if there is a danger of a cyberattack taking out a major section of the U.S. electric grid, he answers, “It’s not a question of if, it’s a question of when someone will try that.”

The words of a paranoid?  We would do well to recall the domestic terrorist attack on a California substation in April of 2013 that knocked out ten transformers.  Many think that this event was a dry run to something bigger, but with a cyberattack one doesn’t need AK-47s to inflict damage to the electrical grid – it can all be down remotely.  As Koppel reports, there are nation states to be concerned about like China and Russia, but they have a limited desire to inflict damage on a country that could inflict as much damage in return.  Of more concern is a country like North Korea who’s already demonstrated a desire to inflict damage to the U.S., who’s already hacked Sony, and who has absolutely nothing to lose.  Of course, a cyberattack wouldn't need to be state-sponsored; terrorist organizations also pose a significant threat.

Light’s Out isn’t all doom and gloom (though it is, mostly).  Koppel interviews a number of “preppers” – people who prepare for the worst through a variety of measures, including the storing of food, water, medicine, fuel and the like – who would likely be able to withstand an electrical outage for months.  Yes, some of them are wack jobs, but many are just regular people who want to have a plan in place in case of a long-term loss of power.  Even better prepared are the Mormons who – in addition to instructing personal actions – have a structural system in place that would help provide safety for its members in the event of a national disaster.

Where does that leave the rest of us?  Koppel doesn’t delve into details, which is rather a shame, but there are countless resources on-line and in print that can help the average Joe become a little more prepared than he is currently.  We're not talking silly duck and cover drills in the event of a nuclear explosion; we're talking sensible steps involving freeze-dried food, water storage and the like.  If enough Americans do this, then some of the panic that might ensue after a significant loss of power can be avoided while responders attend to those who are most in need. 

I’m going to devote a little time and a little money in 2016 to be a little more personally prepared, and I hope you consider doing so.  Getting our politicians to prepare will be a whole other endeavor.

The Wall DVD: Waters Mucks it Up

I recently considered writing a review of Elvis Costello’s self-indulgent, smug and laborious book, Unfaithful Music & Disappearing Ink (a conclusion in stark contrast to that of The New York Times and other reviews), but decided not to dwell on a man who when I last saw him told the audience at the Chicago Theater to “fuck off,” thereby ending an era during which I shelled out good cash to finance his illustrious career.  He hasn’t made a dime off of me since. (I borrowed his book from the library.)

Then there’s Roger Waters, another self-indulgent musician, who just released the long-awaited DVD of The Wall, recorded on Waters’ worldwide tour that I completely missed and have been kicking myself for ever since.  I know Pink Floyd fans who think very little of The Wall, but for me it’s among the greatest achievements in rock history and it was a hugely important album for me when it came out in 1979.  So why didn’t I see the show?  I don’t know.  It was a weeknight, I didn’t know anyone who wanted to go, my wife was traveling and I had three kids at home.

In other words, I was being a lame, old suburbanite.

So it was with eager anticipation that I opened the DVD last night, turned off the lights, put on the headphones, leaned back and pressed play.  And look, it was good.  But @@leave it to the ever self-important Waters to muck up what could have been a terrific vicarious concert-going experience.@@

I knew that the film wasn’t only a concert and that it included scenes of Waters talking about his father who died in World War II.  That’s cool.  I get it.  But he didn’t just include these scenes at the beginning and ends of the film (or better yet, as a completely separate film), but rather interjected the scenes throughout the concert!  He’s not the first to commit this sin (Paul McCartney’s In Red Square, Joe Jackson’s 25th Anniversary Special), but interrupting the flow of concept album like The Wall completely detracts from the experience, akin to playing the album in shuffle mode.  It utterly misses the point.  Other bands have released remarkable concert DVDs that include a documentary in the extras, and that would have made much more sense for The Wall.  At the very least the menu should have given the viewer the option of watching the concert with or without the documentary footage. 

So, yes, I’m glad the DVD was released.  Yes, I teared up during various tunes.  Yes, I loved being able to finally witness the technological advances Waters added to the production since last performing the show in Berlin in 1990.  And yes, I even didn’t mind the highly staged scenes in which Waters visits the graves and/or memorials of his father and grandfather.  I just didn’t need to see them between songs during one of the most spectacular tours ever staged.

What a bummer.

Joe Jackson in Chicago

In 2012 when I last saw Joe Jackson perform, he led a 7-piece band that showcased interpretations of Duke Ellington originals.  Last night at the sold-out Thalia Hall in Chicago, it was back to the basics.  Only four musicians graced the stage, including Jackson’s long-time bassist Graham Maby and two fabulous session musicians: guitarist Teddy Kumpel and drummer Doug Yowell (whose crack of the snare is still ringing in my ears).  Together they blazed through a set that included Jackson’s usual fare, a couple of surprises and several new songs that held up very well against the older material.

Jackson – sporting an olive suit, white shirt and black shoes – began the evening as a solo artist, playing familiar versions of “It’s Different for Girls,” “Hometown” (a sentimental song about “a place that’s hard to be sentimental about”) and “Be My Number Two” before covering The Beatles’ song “Girl” (yawn).  He then played the first of seven songs off of what was supposed to have been four EPs but instead became the full-length Fast Forward due to record company pressure.  It was during the complex title track that it became abundantly clear that Jackson was reading his own lyrics – he even pressed the button on his tablet to “fast forward” to the next page of lyrics (and/or chord changes?).  Unfortunately, he spent the rest of the evening squinting in what I can only deduce was mock emotion as a way to conceal his reading of the written word.  Embarrassing?  Well, if he’s suffering from memory loss, then I’ll give him a free pass.  Otherwise it comes off as sheer laziness, as he even appeared to be reading lyrics that he’s played live for over thirty years.

After “Fast Forward” the band came up one by one during “Is She Really Going Out With Him” (an act that would be reversed in the closing encore of “A Slow Song”) before kicking it in for “Real Men” – with Kumpel’s lead guitar effectively taking place of Jackson’s original “Oh ohhhh” chorus – and “You Can’t Get What You Want.”  The new album then took center stage.

I don’t own Jackson’s first album of original material in seven years (yet), but if last night’s performance is any indication, Fast Forward is a collection of strong, complex songs that – when in the capable hands of last night’s supporting cast – are urgent, energetic and poignant. The album was recorded in four sessions (hence the original idea of releasing four EPs) from four different cities with four different groups of musicians, and last evening’s selections showcased what has become Jackson’s greatest skill – weaving memorable, tuneful melodies against unpredictable chord changes.  You won’t hear any three chord songs here, and I’m impressed with how Joe continues to find new ways to compose what are essentially pop songs.

Aside from Jackson’s personal teleprompter, the only other criticism I have of the show is his tendency to lean too heavily on familiar territory.  I get why he plays the hits, and sure, “Hometown” and “Be My Number Two” are great songs, but why not “Shanghai Sky” or “The Best I Can Do” as substitutes?  Instead of “It’s Different for Girls” why not “One to One”?  The only surprises of the evening were “On the Radio,” “China Town” and “Love at First Light” from Volume 4.   All sounded superb, and I wish there had been a few others.  As for the cover songs, “Peter Gunn” – with lyrics! – was a terrific example of one of only two reasons a band should ever play a cover song:  to offer a completely different interpretation than the original or to play a song people don’t already know by heart.  As for The Beatles’ “Girl” – what’s the point?

Stevie Wonder in Chicago

@@If Stevie Wonder ever begins to look his age and lose some of his ridiculous vocal range, take heed: the end is nigh.@@  Fortunately, neither has come to pass, as witnessed by a huge crowd at the United Center in Chicago on Friday night.  I was expecting to enjoy the show but ended up loving it, partially for the Man himself and for his amazing ensemble of backing musicians, but also because of the diverse and enthusiastic fans that left me leaving the arena feeling positive about the status of American racial relations.  Music can indeed bring people from different backgrounds together, something I learned back in 1987 when I attended Paul Simon’s Graceland tour, but in light of recent events and seen through eyes that are almost three decades older, Friday night’s concert was even more special to me.

Wonder came on stage first to talk to the audience – something I am not a fan of as it detracts from the thrill of the opening number – but quickly charmed the audience with what was for me a surprising sense of humor along with his well-known appeals for peace and love.  When he introduced the first song of his magnum opus Songs in the Key of Life, one certainly couldn’t argue that “More than ever, love’s in need of love.”  Six vocalists began the haunting opening phrase of the 1976 release, and Stevie followed with the familiar opening line, “Good morn or evening friends…” 

I thought Arcade Fire crammed a lot of musicians on stage last year, but Wonder put that band to shame, as six horns, six backup singers, two drummers, two percussionists, two guitarists, two keyboardists and a bass player graced the stage.  During peak numbers such as “Pastime Paradise,” an eight-piece string ensemble and approximately ten-piece choir joined the crew, and along with a harmonica player and conductor the total number of musicians exceeded forty.  Wonder highlighted just how thrilling it is to play with “real musicians” and allowed each to shine at various points throughout the evening, most notably a playful competition with his backup singers at the conclusion of “Knocks me off my Feet.”  While all the backup singers naturally held their own, I was amazed at how Wonder’s range continues to defy human physiology; he sounds as strong at sixty-five as he did at twenty-six when he recorded Songs in the Key of Life.

Stevie’s mastery of keyboards and the chromatic harmonica is well known, but during the second set he displayed his chops on an instrument that I thought was a stick but have learned since is actually a newer tapping instrument called a harpejji.  A cross between keyboards and guitar, it offered a terrific accompaniment to several songs, including what appeared to be the only off-the-cuff track, a Buddy Guy tribute of “Hi-Heel Sneaker.”

I always thought Songs in the Key of Life had some filler tracks on the second two sides, or at the very least some filler minutes of some otherwise decent tracks, and I stand by my conclusions after hearing the album in its entirety, but when you have kick-ass musicians on stage performing for a full three hours, it hardly seems to matter.  After the album's completion, Wonder’s alter-ego DJ Chick Chick Boom took over, playing snippets from a series of songs including the crowd-pleasing “My Cherie Amour” and “Superstition.”  Had he been able to find room for “You Haven’t Done Nothin’” I would have been beside myself.

Wonder’s creative output since 1976 has been sporadic, and – at times – embarrassing, but no one can deny that from 1972 to 1976 he was one of the best, if not the best, composers.  Forty years later, there’s no denying that he remains one of the best performers, and one of the few who can attract an audience of equal parts black and white, a special ability in a culture that so often separates itself along racial lines whether by circumstances or by choice.  It felt good to buck this trend, if only for evening.

A special thank you to my kids who bought me and my wife the tickets for our twentieth anniversary!

Rush's Last Stand

Watching Rush last Friday at the United Center in Chicago for what will likely be the last time, I was torn between the tale of two sets: one predictable and lackluster, and one that left me wishing the band would stick around for another tour or two.  The trio performed a reverse chronological set, but rather than mining deep into their catalog during the first half, they relied heavily on songs that were mainstays of their concerts for years (and they also skipped too many stops along the way).  The second set helped redeem the evening, and if this is truly the band’s last stand, it was an impressive way to end a forty plus year run.

One can forgive Rush for wanting to play three songs from their highly regarded last studio effort, Clockwork Angels, and though “Far Cry,” off of Snakes and Arrows was an uninspired choice since they just performed it two years ago, it’s still a great track.  So far so good.  However, the inclusion of “The Main Monkey Business” off the same album was a complete waste of time – an uninspiring instrumental that pales in comparison to some of the band’s other work.

Then Rush did what they often do, relying on what I refer to as the “first-track syndrome.”  Literally every other track of the first set (and the first of the second set) was taken from the first track of one of their albums, so instead of getting a surprise or two, we instead heard songs that have been performed numerous times in the past:  “One Little Victory,” “Animate,” “Roll the Bones,” “Distant Early Warning” and “Subdivisions.”  How much better would the concert have been if Rush had instead performed “Ceiling Unlimited,” “Between Sun and Moon,” “The Big Wheel,” “Kid Gloves” and “Digital Man”?  On alternating concerts, Rush has been performing “How it Is” from Vapor Trails and “Between the Wheels” from Grace Under Pressure, and both would have been better choices the night I saw them.

On a night that could have showcased each album of the band’s career, the most glaring error of the evening was skipping entirely the albums Test for Echo, Presto and Hold Your Fire.  Ignoring Power Windows made sense since the last tour highlighted five songs from that effort, but leapfrogging over the other three was unfortunate, especially since these are all strong albums that could have offered some interesting selections.

Then the band came out for the second set, and though I would have preferred a few additional surprises, the truth is that it was incredible from start to finish.  I also got lucky and got to see them perform both “Natural Science” and “Jacob’s Ladder,” whereas on other nights they’ve substituted the former for “The Camera Eye” or for nothing at all.  My second set went as follows:

Tom Sawyer

YYZ

The Spirit of Radio

Natural Science

Jacob’s Ladder

Hemispheres, Part 1: Prelude

Cygnus X-1, Part 1 and 3

Closer to the Heart

Xanadu

2112: Overture, The Temples of Syrinx, Presentation, Grand Finale

Lakeside Park

Anthem

What You’re Doing

Working Man

Geddy Lee had to screech his way through much of the latter part of the set, and I would have been just as happy hearing an instrumental medley, but overall he did a pretty solid job with the tunes.  The big surprises were “Jacob’s Ladder,” which hadn’t been performed live since 1980, and “Lakeside Park” and “What You’re Doing,” which hadn’t been played since 1978 and 1977, respectively.  It was also very cool hearing the first part of “Hemispheres” for the first time since the Counterparts tour.

Visually, the concert was appealing in that the band’s crew gradually simplified the stage, so that what started as an intricate steam punk theme slowly evolved into a simple stage with a few amps on chairs and a screen backdrop make to look like a gymnasium, a sort of Benjamin Button for the stage, if not for the performers themselves. 

As always, the band employed a great number of prerecorded tracks triggered via foot pedals, from backing vocals to keyboards and sound effects.  I’ve learned to accept this over the years, though it detracts from the musicianship of the band.  I would have much prefer to see three guys on stage playing everything live.  Nonetheless, the band will largely be known for its solid live performing, and last Friday’s show was no exception.  I bid Rush a fond farewell.