Here’s Bruce Springsteen in September of this year:
“I believe that there’s a price being paid for not addressing the real cost of the deindustrialization and globalization that has occurred in the United States for the past 35, 40 years and how it’s deeply affected people’s lives and deeply hurt people to where they want someone who says they have a solution. And Trump’s thing is simple answers to very complex problems …The whole thing is tragic.”
Most of Bruce Springsteen’s audience voted for the man.
But poor Bruce, he wound up playing for Hillary Clinton in Philly before the roof fell in. And Obama a day or so ago. Such pointless rearguard actions.
But today, reading from the Guardian:
On Sunday night, in Perth for the first leg of his third Australian tour in four years, Springsteen laid his cards on the table early. “Our hearts and minds are with the hundreds of thousands of women and men that marched yesterday who rallied against hate, and division, and in support of tolerance [and] inclusion,” he said. “On E Street, we stand with you. We are the new American resistance.”
At this juncture Bruce and the E Streeters asserting they’re part of some American resistance is about as inspirational as coming home from the supermarket and finding you’ve mistakenly bought turkey franks instead of the all beef ones as you unpack.
. “Springsteen played a private gig for President Obama’s staff last week. Did those in attendance and those in the elite circles of the Democratic party leadership think that the world the Boss created on The River and Nebraska came out of nothing? That the scars of those brutal years had gone away? Did they really think that those fat GDP figures and Obama’s job creation record meant all boats had been lifted on a rising tide? Why is it that a nationalist demagogue has to be the one to say: ‘The establishment protected itself but not the citizens of our country.’ ”
From the Dept. of Just Sayin’: In the dollar store, almost everything is from China. I shop at the dollar store for almost everything! Like tens of million in the rigged US economy.
If President Trump slaps a 47 percent tariff on everything from China, the dollar store becomes the buck and a half store. Ten crappy plastic disposable razors for 99 cents becomes five or six crappy plastic disposable razors for the same.
I’m talking about the fact that multiplying a very small amount by a percentage equals still a small amount. (100 pennies x 50 percent = 50 pennies. 100 pennies plus another 50 equals $1.50)
Now, if you buy at Target, where it’s all from China but more high-button, your pair of Chinese-made plastic fake leather, call them pleather, shoes for 30 bucks is now about 45. If they last only two weeks before cracking this may give you pause.
Expensive luxury items made in China, think Apple, become more exclusive and the company takes a hit. Or maybe it doesn’t.
Apple, the corporate tax dodger, is innovative. It will attempt to shift manufacturing to another serf labor country. Also, consider that America’s shoeshiners, the detail workers for the plutocracy, like the brand. They can afford to be soaked for another two or three hundred dollars.
During the election, Trump attacked Apple. Of course, who knows what his position will be tomorrow? You could always ditch your iPhone for a 10 buck LG smart burnphone and a pay-as-go card at the supermarket.
Across the pond at the Guardian, a curious article on Brexit and the rise in price of American-made goods like Gibson and Fender guitars due to devaluation of the English pound:
British guitar buyers could soon be playing the Brexit blues as price rises caused by the slump in the value of the pound feed through to music stores.
Prices are increasing by double digits as top US brands such as Gibson and Fender increase list prices to make up for the weaker purchasing power of sterling.
Anthony Macari, co-owner of Macari’s on London’s Denmark Street, said: “We are seeing increases of 10-15%, not just on American guitars but on guitars coming in from Europe and China. Everyone is catching up.”
Who in the working class in England could afford to buy new Gibsons, though? They’re largely high end pieces. Zero or bad credit? Forget it.
It’s part of the reason the guitar rock industry is flat. Think that wonderful term from teh Great Recession, delinquent or non-performing assets.
Well, there are always “Chibsons,” Chinese counterfeits sold through Alibaba. (Furthermore, are counterfeits subject to tariff?) Or Epiphones and Squiers, still cheap from China.
Here, if Trump actually implements a 47 percent tariff on them the rock bottom models only rise from 80-110 dollars to 160. It’s the Mexican-made Fenders where such a tariff would really begin to bite into Fender’s business since they’re the mid-level price instruments. A tariff shoves their prices up into the lower range of an American-made Fender, rendering the Mexican manufacturng facility uncompetitive.
But the American-made guitar industry has been in the doldrums for a long time. Classic rock is no longer hip with young people; neither is playing the electric guitar. Rising prices due to trade war just might not mean that much for the industry domestically.
A newspaper piece, fresh today:
“The industry’s challenge — or opportunity — is getting people to commit for life,” said Andy Mooney, Fender’s chief executive officer. “A pretty big milestone for someone adopting any form of instrument is getting them through the first song.”
The $6 billion U.S. retail market for musical instruments has been stagnant for five years, according to data compiled by research firm IBISWorld, and would-be guitar buyers have more to distract them than ever. So how do you convince someone to put down the iPhone …
“Fender says it hauls in about a half-billion dollars a year in revenue and is on track to grow in the high single digits this year,” continues the piece. “That’s still down from its $700 million in revenue in 2011 …”
What do do? What to do?
There’s not a lot that can be done. The electric guitar, the basic models, anyway, are as near perfect in design as possible. Adding software and chips to them has been sngularly meh. Largely, no one cares, who already plays.
Fender thinks development of tuning apps may be one answer. I’m not sold but I’m the old white coot.
What’s left is to curry and maintain the high-end snob market, embracing the American-based artisanal business model for the few left with any money, now that the middle class is largely gone. “[The] most devoted … evolving into collectors, their walls hung with high-end instruments,” is how the newspaper puts it.
The paradox, or tragedy, which I’ve mentioned before, is that Leo Fender made his instruments and amplifiers for that middle class. And it is in the hands of that class, here and in England (where the musicians were working class) that the instruments rode to into the history books.
“But what about Wal-Mart?” someone from the old hoosegow screamed on my Facebook timeline. “Who is going to pay for all of this? WE ARE …”
I don’t entirely agree and am not actually opposed to potential trade wars with China or Mexico.
Hard as it is to currently believe, classical economics, as explained by a guy like Dean Baker used to call for rich nations like the US to perhaps run a trade surplus and export capital, while the emerging nations use the money to make things bought by their own people.
From Baker, last week:
In the economic textbooks, rich countries like the United States are supposed to be exporting capital to the developing world. This provides them the means to build up their capital stock and infrastructure, while maintaining the living standards of their populations. This is the standard economic story where the problem is scarcity.
But to justify trade policies that have harmed tens of millions of U.S. workers, either by costing them jobs or depressing their wages, the Post discards standard economics and tells us the problem facing people in the developing world is that there is too much stuff. If we didn’t buy the goods produced in the developing world then there would just be a massive glut of unsold products.
In the standard theory the people in the developing world buy their own stuff, with rich countries like the U.S. providing the financing. It actually did work this way in the 1990s …
Startlingly, I didn’t know this until I read his book, Rigged. Here in America, the received wisdoms have been just the opposite.
As a personal example, I can use five plastic crap razors from the dollar store instead of ten, twice as long. Now I won’t look so good on many days when they dull out but who cares?
What does happen if Wal Mart takes a hit?
From the archives — Fender.
Guitars made in China — the counterfeits.
Watched Oasis: Supersonic this weekend, a documentary slated to run one day in the US before going to DVD and streaming services.
It’s a pretty good record of the band’s volcanic rise on the music of the Definitely Maybe and (What’s the Story) Morning Glory? LPs, climaxing with a quarter of a million at Knebworth.
Which mostly meant nothing to me since I missed the boat on them, starting in 1994.
Supersonic’s also a good argument for strong social welfare programs as young people attempt to put something of their own together. “The dole,” informs the movie, financed the Gallagher brothers, first in a lifestyle of buying records starting out as strugglers and, more important, on the trip to a show as an opener in Glasgow. The Glasgow gig got them signed on the spot to Creation when the ower of the label showed up.
Oasis, Liam and Noel Gallagher, were from “council housing” in Manchester, an incredible cultural triumph of the working class, the young men being part of an English economic system that had given up on creating jobs for the working class and youth.
Noel Gallagher, it turned out, was a fantastic guitar pop songwriter. “Live Forever,” one of his first, is a tune the s band immediately realize is special when they hear it performed acoustically. His brother, Liam, is the perfect singer and frontman for the music. The debut, Definitely Maybe, immediately vaults Oasis into the first rank of British pop acts.
Until (What’s the Story) Morning Glory? it’s a continuous rise until Knebworth in front of a sea of humanity.
It had me listening to the three CD deluxe sets of their first three records, the two the movie follows and Be Here Now which marks a fall from peak popularity for music to constant notoriety for fighting and scandal sheet drug escapades.
Oasis singles’, delivered as the second disc of the Morning Glory package are quite an assembly of hits s ranging from rollicking goodtime rockouts to the wistful and elegiac: “Step Out,” “Down Are Way,” “Wonderwall/The Masterplan” and “Champagne Supernova.”
Like most of my countrymen, I whiffed. Attention deficit disorder mixed with a large dose of condescension. Our loss. In 1996 the appeal in their homeland is summed up by a quote from the New York Times:
“What Oasis has done in Britain, unifying an entire country under the banner of a single pop act, a band could no longer achieve in a country like the US. In Britain the band reigns unchallenged as the most popular act since the Beatles, there is an Oasis CD in roughly one of every three homes there.
In fact, for Supersonic the US is not in the picture, something for which the Oasis reputation is much better off. Their debut in country, at the Whisky in LA is shown as a now humorous disaster where the band and crew are so spun out on methamphetamine they were up for days. Rodney Bingenheimer introduces them and the wheels fall off. Noel Gallagher drily points out his set list, written up by a roadie, is different from everyone else’s. And that was only part of it.
Here in the land of the culturally splintered they were a passing fad, only for the coasts, written off by a gourmand at the New York Times as “low priced … cologne,” a band “more like the Rutles, the Beatles parody act of the 70’s that looked like the Beatles and played songs in the style of the Beatles but didn’t blatantly steal entire melodies and lyrics …” Even Noel Gallagher wears a “Rutles pin” jibes the writer.
After twenty years passage the disses are so over the top as to be hilarious, a comedy script from a lampoon of a rock critic as offbeat snob.
“[When] it all came together, we made people feel something that was indefinable … The love, the joy, the passion and the rage, and the joy that came in from the crowd,” says Noel Gallagher before the end credits. In Britain, Oasis were a reason for being, music to grow up to.
Just in, digital copy of Chuck Eddy’s “Terminated for Reasons of Taste,” published by Duke University Press.
I am entertained by the story of Eddy in the Army in Germany in 1983, where as a 2LT he’s commended by his reviewing officer for having whipped his unit into fine shape. Just in time for
Able Danger Able Archer, a NATO exercise the Soviet Union thought was going to be a first strike, mostly due to Ronald Reagan’s brainless yack about “the evil empire” and the deployment of the Pershing missile to Europe. So far, fine lunchtime reading.
I’ve know Chuck Eddy for quite some time. He was the first rock critic to review my “Arrogance” record for Creem magazine way back in the mid-Eighties. And much later, he was one of my editors when I free-lanced for the Village Voice from 2000-2006.
The title is taken from the reason given for his firing by the Village Voice when new ownership took over in 2006.
I’m enjoying it and will have more to say later. But, yes, I do review books.