Showing posts with label Jill Sobule. Show all posts
Showing posts with label Jill Sobule. Show all posts

Thursday, June 16, 2022

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Jill Sobule: When They Say We Want Our America Back (What The F#%k Do They Mean?)
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It’s been a while since I’ve gone off on a full out political rant here (although, to be fair, it’s been less than a month since my post about the dB’s “Change With the Changing Times” veered off course at the end). 

I’ve been watching the January 6 Committee hearings, and the videos that they played of the insurrectionists who attacked the American Capitol and attempted to steal an American election from American voters all seemed to be justifying their actions with some variation of wanting to take America back. Or, at least, that they were operating at the instigation of a man who popularized the slogan, Make America Great Again—which implies, of course, that it was once great, but now isn’t. Which implies that things were better when straight (or closeted) white Christian men ran things, and everyone else knew their place and was supposed to be happy for the crumbs. 

After the first night of the hearings, one of my college classmates, a Black woman who is a prominent and successful orthopedic surgeon, posted on Facebook, “What did Trump do for them??? They keep saying they were so grateful for all he had done for them??” And it’s an interesting question. Because the one legislative “accomplishment” of that administration was a tax cut that would likely not have benefited most people at the coup attempt in any significant way. He didn’t improve their health care, or raise the minimum wage, or protect their health or safety. My response was, “Made them feel their white supremacy was supported.” 

But it really was more than that. Trump preyed on the fear that his followers have of losing their advantage if the playing field was equalized. As Lyndon Johnson, a president who did many great and terrible things during his administration once noted, “If you can convince the lowest white man he’s better than the best colored man, he won’t notice you’re picking his pocket. Hell, give him somebody to look down on, and he’ll empty his pockets for you.” And that’s what Trump did, and still does. He fed their fears, their white supremacy, their anti-immigrant hatred and their economic worries, despite doing nothing tangible for them. And then, he picked their pockets, again and again and again. Although I think that part of the reason that Trump attempted a coup was to keep his power, I think that the reason that he wanted the power was to be able to continue the grift. Remarkably, he’s been able to keep the swindle alive, even without the power (and his son-in-law, the dead-eyed Jared Kushner, seems to have learned that lesson, too.) 

Back in about 2015, when Rand Paul was running for president on a nationalist platform, Jill Sobule wrote our featured song, asking the all-important question, when these people say that they are going to take America “back” then “What the Fuck Do They Mean?” And I think that the answer is becoming more and more clear. By getting rid of the Voting Rights Act, and by gerrymandering wildly and making it harder for poor people and minorities to vote, they are limiting the power of Black, Latino and other groups to have fair representation in state legislatures and Congress. By increasing income inequality, they are concentrating power in a handful of people and companies.  By facilitating the likely end of abortion rights, they are imposing Christian sharia law, and again making it harder for women, particularly poor and minority women, to control their own bodies. And giddy with success, there are increasing calls to attack the right to use birth control, marriage equality, and even the right to interracial marriage. All while doing nothing real to prevent gun violence. 

The version of the song above is from Monster Protest Jamz...Volume 1, a compilation of new protest songs that included the work of artists like Tom Morello, Todd Rundgren, Amanda Palmer, Wayne Kramer, Wendy & Lisa, and many others, which was part of Sobule’s “My Song is My Weapon” project. Unfortunately, it appears to be unavailable because it was issued by Pledgemusic, which went bankrupt and was liquidated. 

But I’ll also insert this video of Jill singing the song in August, 2016 (before we got the Election Day shock), with my beautiful and talented wife singing backup.

Sunday, April 1, 2012

Surprise!: Karen by Night


Jill Sobule: Karen by Night

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Prepare to be surprised. If you look on the sidebar to your left, you will see that our new theme is Surprise!. It’s pretty vaguely defined, so it should be all the more surprising. Pretty much anything can happen here for the next 24 hours. The surprise may be a feature of the music, a narrative turn in the lyrics, a cover song that you always thought was the original, or something else. Even I don’t know all of the surprises in store, but I can’t wait to find out.

Consider our first example. This one is all about the lyrics. Karen is nice, if somewhat mousy. She runs a shoe store, and all of her employees agree on this point. But they have never seen what happens after dark… The surprise actually comes fairly early in the song, and then only deepens. Jill Sobule displays here the odd sense of humor that made her song I Kissed a Girl, (what I call the real one), a novelty hit. Sobule can also get serious, and is a fine songwriter either way, so I am doing her something of a disservice in sharing another of her “funny” songs. I encourage you to learn more about her work.

Sunday, February 6, 2011

Seven Deadly Sins -> The Kiss: I Kissed A Girl


Jill Sobule: I Kissed A Girl

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Long before cherry chapstick popstar Katy Perry kissed her girlfriend, popfolk goddess Jill Sobule kissed hers. And she liked it, too.

It fits the lust category, I suppose, and reinforces, in a way, the way the cardinal sins open up a world of bevaior generally considered deviant from the Catholic perspective - though this is a sweet song, in the end, and an odd sort of gender-role covetousness and curiosity are more the tune here. But it's going to be Valentine's Day, and we're going to run the week on kissing, so this will do quite nicely. Need we say more?

Oh, really?

Then here's yer bonus, fresh from the cover vaults: an antithesis to pop, courtesy of one of my favorite sensitive indie folksmen.

William Fitzsimmons: I Kissed A Girl

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Tuesday, December 15, 2009

Christmastime: Merry Christmas From the Family


Jill Sobule: Merry Christmas From the Family

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Although I learned later that this song is a Robert Earl Keen composition, I fell in love first with Jill Sobule's version on the You Sleigh Me holiday compilation - I remember laughing, wondering what was up with this crazy song... until she got to the harmonized Noel, Noel, The First Noel lyric, when I felt the prick of tears behind my eyelids...

It still hits me that way - they're wacky... they're imperfect... they're family. We can all relate - pun intended...

P.S. Todd Snider has covered this as well, but the bootleg version I have is low volume and virtually unlistenable - would love it if someone has one of better quality to share... :-)

Saturday, December 5, 2009

Leftovers (Little Black Book): Sharon and Karen Edition



Leftovers, especially this year, have been a lot of songs from “themes I missed in the time I was here.” That’s as true of my posts as anyone else’s. But I missed our Little Black Book theme because it happened before I became involved in Star Maker Machine. So I never saw the formal definition of the theme. It seems to me that a little black book implies that something illicit is going on. These ladies are not entirely respectable, and you keep them secret. Here are two who fit that description perfectly.

David Bromberg: Sharon

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Sharon is not the kind that you can make an honest woman of. To cheat on a girlfriend or a wife, you don’t have to talk to Sharon, or even set eyes upon her. The transgression has occurred as soon as you enter her tent.

Jill Sobule: Karen by Night

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Karen is trickier. By day, she seems respectable enough, boring even. But Karen has a secret. To learn it, add moonlight. And no, she’s not a werewolf. Nothing supernatural is needed here.

Thursday, December 3, 2009

Leftovers (Drugs): Stoned Soul Picnic


Laura Nyro: Stoned Soul Picnic

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The 5th Dimension: Stoned Soul Picnic

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Laura Love: Stoned Soul Picnic

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Jill Sobule: Stoned Soul Picnic

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It was the summer of 1968, a year before Woodstock, a year after the impromptu San Francisco gathering popularly referred to as the Summer of Love: the free love movement was thick in the air, and though the history books have surely magnified the scale of American awareness and participation in the movement, those of us conceived in the midst of it all have been taught to believe that hope was everywhere.

Into the midst of this swamp of countercultural change came two versions of a song: one by its author Laura Nyro, a popular white R&B and soul singer, the other by the popular African-American R&B quintet The 5th Dimnension, who would go on to chart with the Aquarius theme to the musical Hair in the following year. The dual versions became part of the bridge across the rapidly-closing racial divide, and within weeks, Stoned Soul Picnic was atop both the popcharts and the Black Singles Charts; according to apocryphal record, the song was sung on "every street corner", and - given its simplicity and its message - it's easy to see why.

As much as it reflects the civil rights aspect of the sixties counterculture, Stoned Soul Picnic is a product of its times on its lyrical and sensual merits, too. It's hard to figure out what, if anything, this song is really about, beyond the strange feeling that anything could happen, and should, if people would only join together in communal celebration. Other than the word "stoned" in the chorus and title, there's no direct mention of drugs or drug-taking; this is a promise of mood, not an instruction booklet for a movement.

But there's no denying the summery, soulful, swaying melody line of both original versions, which maintains a tone that clings to subsequent covers as if it were an inevitable aspect of the song. And the organic visualizations of nature that show up in every verse sound like a great trip, indeed.

Wednesday, February 25, 2009

Shorties: Lucky in Love



Jill Sobule: Lucky in Love

[Purchase info not available]

Jill Sobule had a hit some time ago with the song I Kissed a Girl. This is not the same as the recent Katy Perry song, but guess where Perry got the idea.

For Sobule, this has meant that bills get paid, but she has also gotten typecast as a singer of novelty songs. That’s a shame, because there is so much more to Jill Sobule’s music than that. Posting Lucky in Love is my attempt to try to set the record straight.

As noted above, you can not buy the album that Lucky in Love comes from. The song made its only appearance on a Valentine’s Day EP that Sobule put out in 2000. Jill Sobule doesn’t even sell this item on her own website. So I’m very happy to be able to present the song here.

Wednesday, June 18, 2008

Footwear: Big Shoes



Jill Sobule: Big Shoes

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A sweet, funny and heartbreaking tale about having to wear orthopaedic (yes, we use extra letters here in the UK!) shoes in school...

"When everyone wore loafers
I needed more support
I'd always hide when we take a drive
To that awful store
I had a choice of black or blue
The biggest ugliest ass shoes
but what could I do
My feet they came out funny

Mary McKay she had Mary Janes
With that patent leather shine
She was known as Tinker Bell
And I was Frankenstein

Big shoes before they were big
Big shoes I'll never forgive
My mother made me wear big shoes

In my school when Spring came
Sandals they were all the rage
With plastic beads on straps to match
Their painted nails
Heavy-footed in the hall
What I wanted most of all
Was red ball jets
So I could get over the schoolyard fence

Kip O'Neil she had high heels
She went all the way
By the time I got up to bat
They called off the game

Big shoes everyday
You can hear them coming a mile away
Outside you hear them say
Here comes Big Shoes

And when I could go to the real shoe store
On the shelves I looked in horror
On display were combat boots and platforms
Here comes Big Shoes

Big shoes before they were cool
Wanted feet so miniscule
I even wore them at the swimming pool
Here comes Big Shoes

Big shoes everyday
You can hear them coming a mile away
Outside you can hear them say
Here comes Big Shoes"