Archive for the ‘Media’ Category

Pick Your Poison’s Here / Where I Stand

Monday, October 25th, 2004

It actually came on Tuesday, but it’s been a busy week. Tomorrow, I’ll do my best to get a couple of Missoula vendors to sell copies for me. I might even look into a PayPal arrangement for ordering them online.

It looks great — type is readable, colors are vibrant, and the whole package looks pretty professional. I’m psyched. As I was staring in awe at my one-year-in-the-making baby, I noticed that I come across pretty negative on the record. But that’s NOT the case! I swear. So, here is my not-so-expert opinion.

Where I Stand

I got my George W. Bush ‘LIAR’ shirt in the mail today. I was prepared to engage at least one Bush supporter in a less-than-intelligent conversation about it, but all I got was ‘Cool shirt.’ Silly liberal campus. Anyway, I had a response prepared for what I thought was inevitable: well, my “Kerry LIAR” shirt is in the wash. There is no shirt that I’m aware of. But the more I thought about it, the more I thought that, given the choice, I would wear one. After all, it’s sort of a prerequisite to being a politician (or a human being). Everybody hurts (sorry Michael), and everybody lies.

And that bothers me. The basic stance of Pick Your Poison is that you’re damned if you do, you’re damned if you don’t. Vote for Bush, four more years of stupidity. Kerry doesn’t look any better. But the problem I see goes way beyond the candidates; it’s the parties themselves, and the two-party system, that’s to blame. We’ve becomed trapped in a mindset and it’s a very destructive one: black and white, left and right, one and zero, Kramer and Kramer. Things just aren’t that simple. But the American people have grown up all their lives being told that only two choices are viable, so they have to round off their views and go with the lesser of two evils.

Which is exactly wrong. Why would you vote for a candidate who only supports 60% of your own views? Fear isn’t an answer. To vote Kerry just to keep Bush winning is spiteful, cowardly, and wrong. If you don’t believe in somebody, you don’t vote for them. It’s that simple. It’s time we stopped turning elections into exhibits of fear and started turning them toward the issues.

As I said, our current method of choosing our representatives is outdated. We need a more representative system, one where the winner does not claim everything. The majority is not right all the time. That’s a simple fact. Politics has been stagnating for as long as I can remember. You’d think that with Internet and TV, people would be more informed, but the opposite is true. The Internet is binary by its very nature, ones and zeros, and that binarism filters down, or up, to its information. Every blogger’s either a militant Republican or a smarmy, smart-ass Democrat. Where’s the middle ground? Or the area outside the middle? TV is no better.

We’re heading down a dangerous road. Right now, the two parties in control have made it so that no other parties can possibly be able to challenge them or change things. Thanks to our advances in technology and culture, we’ve accelerated the fall-of-empire syndrome. What took Rome hundreds of years may take us only a few. And that sucks, because America is great, and it still can be. What we need to do is get off our asses and scream, We’ve had enough!. It’s time to stop shouting down others’ views and time to listen, it’s time to make things right. Not the way each of us wants them, but right.

It’s a long road, but it’s possible. Back in 1776, I’m sure that a nation that chooses its leader peacefully was as much a pipe dream as my wish. Anything’s possible, given the power of change.

Pick Your Poison

Tuesday, October 19th, 2004

My first ‘official’ solo CD, Pick Your Poison, is finished. I went all the way on this one — it’s being printed up by CD Print Express, so there will be a profesisonal-looking eight-page color booklet (well, as professional as I made it). It will be here within the week and will officially be ‘released’ on Tuesday, October 26.

I’m planning to sell this bad boy for $6.00, which means I would made a whopping $0.25 profit off of each disc sold.

The CD expresses my frustration with our current ‘all or nothing’ political system (see my rant below), which values the snide remark over the well thought-out argument. More than half the songs are political in nature, but it’s not like I wrote one called “Vote Bush Out” or anything like that. I’m disgusted with the whole system, not just Bush the Younger.

The music is all over the map, from driving rock (“Double Take”), to epic folk (“Lonely Planet”) to hymn (“Starting a Religion”), dreamy, tripping ballads (“Dreaming Awake”) and fast-as-hell punk rock meets medieval military marches (????) (“Good Fences”). This is also the first project I’ve recorded that I put money into — $100 for a cheap condenser microphone and stand, as well as the cost of having them printed up.

As always, it was recorded at Why?-Fi studio in Corvallis, which is slang for my pump house and dorm room. The photo of me on this blog was actually taken while I was “in the studio” (slang for ‘next to the boxes of macaroni).

The Flogging Molly Show

Monday, October 18th, 2004

It’s gonna be a good show when your glasses are destroyed. That’s what happened to me about ten minutes into the set. Some fellow concertgoer accidentally knocked ’em from my nogging, and though Carrie, some really nice guy, and I tried parting the sea of bodies and looking for about five seconds, they were gone for good.

Creepily, the glasses managed to get back to me. Toward the end of the set we were standing around the concession stand, where things were less crazy, and Carrie found them on the floor, sans lenses and beat to crap.

I liked the opening acts, especially the Briggs. I wanted to get their CD, but didn’t notice that their merch table was separate from the Flogging Molly / Street Dogs table. So I got Savin Hill by the Street Dogs. It’s okay, but some of the songs sound the same.

On the way back, we got three dozen Krispy Kreme donuts. Sugary Heaven.

Bruce Springsteen Hates America

Tuesday, August 10th, 2004

Current Listening: REM – “Ignoreland” (Automatic For the People)

These bastards stole the power from the victims of the Us v. Them years / Wrecking all things virtuous and true / The undermining social democratic downhill slide into abysmal / Lost lamb off the precipice into the trickle down runoff pool

So Bruce Springsteen, once renowned for his extreme Patriotism (he recorded the pro-America anthem “Born in the USA”) is embarking on a tour with a string of Kerry Supporters and bleeding-hearts such as John Mellencamp, REM, and the Dixie Chicks. I never thought I’d see the day when the Boss would cross over and embrace such obviously anti-American politics.

I never understood why celebrities think they know anything about politics. The only people who should be involved in politics are the politicians. We don’t want every celebrity idiot (and there are lots of non-celebrities who do this too) giving us his two cents about peace, love, and all that unrealistic hippie bullshit.

Review: Spider-Man 2

Saturday, July 3rd, 2004

Current Listening: REM – “Drive” (Automatic For the People)

Smack, crack, bushwhacked. / Tie another one to the racks, baby. / Hey kids, rock and roll. / Nobody tells you where to go, baby. / What if I ride? What if you walk? / What if you rock around the clock?


The Good: More humor, more conflict, and Aunt May has a bigger role, too.

The Bad: Do you love me? Waaah. Sob. Sob. Kiss. Waaah.

The Ugly: Stan Lee’s cameo was barely recognizable — “Watch out!”



I’ve got a soft place in my heart for Spidey. While not professing to be an extreme fan, I have about sixty comic books, a few of them bought at comic book stores and maybe worth a little bit. So I couldn’t understand when some of my friends, including my girlfriend, said they didn’t really like the first movie. I chalked it up to naïvety — how could they know the greatest superhero in the world?

Then it occured to me that they didn’t have the comic books. They didn’t know about Spidey’s inner struggle. They couldn’t see that his world was as much the world of jobs, homework, and trouble with friends as it was the world of web-slinging.

Well now they can. Call me brash, but Spider-Man 2 makes the original Spider-Man flick look like Batman Forever. It’s bigger, swetter, more dramatic, and the villain is cooler.

That villain would be Otto Octavius, also known as Doctor Octopus. For those who say that a superhero is defined by his villains, Doc Ock is the perfect example. Alfred Molina does a great job playing the altruistic scientist-turned-raging-madman. In this Spider-Man universe (as opposed to the comic books), the arms take over the scientist, turning him into a bystander-killing, Spidey-hating machine. You can still see the struggle in his eyes, though, and at the end we see that Octopus is just as tortured as our favorite webslinger.

Spidey, by the way, has plenty to fret about. He’s losing jobs, his grades are slipping, and Mary Jane, though still interested, is moving on the bigger and better things — namely, J. Jonah Jameson’s astronaut son. A temporary loss of his power — and subsequent tumble from twenty stories up — convinces the webslinger to retire the webs. And thus we are exposed to the internal conflict of the movie — how much should a hero give up for the good of mankind?

But no hero can call it quits for good, can he?

This installment was much truer to the comic books than its predecessor. It even managed to capture the teenage angst of the early Spidey books. My only problem with this angst is that some of it was unnecessary. For example, Peter Parker has a money-hungry landlord with a teenage daughter who obviously has a thing for Pete. One scene, in which he eats chocolate cake with her after hanging up his webs, was extraneous baggage.

Sam Raimi did a great job directing, and even managed to throw in some of his trademarks — namely, Bruce Campbell and a scene with Doc Ock’s living metallic arms that could have been straight out of Evil Dead. Raimi always manages to make humor and action work well together, and this film was no exception. Laughs came during the height of the action and were intersperced with the drama, lightening what otherwise might have been a heavy-handed movie. I wish Spidey had some acidic one-liners for Doc Ock and the other criminals he battles (a comic book trademark), though.

My only other quibble with the film was its ending. I don’t want to give it away, so let’s just say that it had some closure (yet we all know there will be at least two more sequels), but also left us hanging and me worried that the next villain would be Harry Osbourne as the Green Goblin. Sure, the comic book fans might like that, but moviegoers would have to sit through another movie of the Green Goblin’s crappy costume.

And I’d like to see Spidey fly off the handle at some villain and really wail on him. You know? He got some punches thrown at Doc Ock, but I wanna see Spidey kick the crap outta somebody. The villains get to do it to him, but turnabout is fair play, right?

Your Punk Rock Friends

Friday, July 2nd, 2004

Current Listening: Swingin’ Udders — “Next in Line” (Fat Music Vol. 3: Physical Fatness)
freedom’s the only thing you need but the truth is something few understand and an unwelcome reality now it’s dark and black and sad and gone you express and repress the thing gone wrong

I just got an e-mail about my article on the Nerds With Instruments website, Dave’s Ten Punk Tips. This letter was of course filled with hatred because they thought I ‘didn’t get it.’ If the person had actually read the essay, he might have found that I was being sarcastic. So far, I’ve gotten about 15 hate-mails, and 1 message from someone who ‘got it.’

So, being the punk expert I am, I have decided to create a guide to punk rockers. As always, send comments to nirvanasongs @ yahoo.com!

The Old-School Punker

hardcoahicuh imbelisus

The epitome of punk rock. No job, no respect for authority, can barely speak without drooling over everything. These guys hate everything. Unemployment, employment, the government, anarchy, everything. The only discernable skills they have are the ability to sneer for hours on end. They only go to shows to say how terrible punk rock has become. They don’t own any records released after 1985. If a band signs to a label that most people have never heard of (i.e., Epitaph, Fat Wreck Chords, Hopeless), then they immediately hate the band, even if they were its bigger fan before.

The Hot Topic Punk

gothicus lame

Covered in tattoos, piercings, and eye shadow, these punks live a twisted, troubled life. Mainly from the ass-whoopings they receive at the hands of the Old-School Punkers. These punks have a lot in common with typical goths, except that their self-hatred is only feigned. See, some goth found out a long time ago that girls with low self-esteem and scars on their wrists would sleep with him if he acted depressed and deep, too. Now, goths really feel that way, but the Hot Topic Punk only feels that way when he sleeps with one of the said goth girls and finds out that he got some new, interesting, collectible venereal disease.

Whereas Goths are generally sincere, this species really couldn’t give a damn. They listen to AFI, in an effort to look cool. When asked why they like that type of music, they generally reply, ‘because it’s so deep.’

The Skinhead

docmartenicus humongicus

Never weighing less than 300 pounds (all muscle), these punks are the behemoths of their class. Contrary to popular belief, not all skinheads are white power idiots – most of them are just idiots. They bray on and on about being working class, despite the fact that the bands they listen to generally stay in four-star hotels and only interact with the working class when they want a Big Mac. These guys don’t consider a mosh pit to be cool unless bones are breaking and blood is flowing.

The Emo Brat

cryingabouteverything withtheirstupidglassesola

This species orginated when the thin, whiny kids who used to hang out with the jocks realized they couldn’t get any because they did not run around like big idiots and try to ‘score’ with big, muscular men. So they decided that they would become introverts and cry about everything.

Whereas the Hot Topic Punk at least is willing to pierce himself to get laid, the Emo Brat only puts on stupid, thick-framed emo glasses. Their haircuts, moussed and sometimes spike, are vestiges of their jock heritage. They spend most of their time on weblogs, writing about how their (often) imaginary girlfriend just dumped them and writing stupid, stupid poetry about it. They like to wear workshirts too and bray about how they’re ‘so totally individual’, despite the fact that every one of them listens to Thursday, Thrice, and other such bands with stupid names.

These punks often keep journals about their suffering, and whine about never getting jobs, despite the fact that they refuse to work a day in their lives. Most are in college, and try to justify their bad grades with excuses ‘depression.’ But they’re not fooling anybody.

High School Punks

punkrockus knowitallis

The worst of the lot. These kids are whiny, know-it-alls, and trendy as hell. Their lyrics are sophomoric, trite, and often about girls. They play shows with their screaming high school friends and record demos with money that their mommies and daddies gave them. They often get expensive guitars and Marshall stacks as birthday presents, and if not they can afford to buy them because they don’t have real expenses, like rent/car payments.

Fortunately, this is a short-lived species. After about two years, they realize how stupid and idealistic they were, and either give up music for real work or turn into a crusty Old-School Punk.

Remember, nobody is as punk as me, nobody.

Questions, comments, disagree? E-mail: nirvanasongs@yahoo.com.

Camping Galore

Tuesday, June 29th, 2004

Current Listening: The Queers — “Surf Goddess” (Surf Goddess)
There’s no doubt that you’re just about / The prettiest girl that I’ve seen / You look so cool hanging by the pool / You’re the only girl for me / Surf goddess, I’m in love with you”

I just finished up the website for my family’s reunion at Priest Lake, which can be viewed at www.shortfamily.net. I had a program that did most of the stuff, but — me being the perfectionist that I am — I went through and changed the style a little bit, using a handy little relative expression technology called grep, so it only took me a couple of hours instead of a couple of days.

Carrie called last night and said that she has three days off next week, on Monday through Wednesday, which is perfect! We were planning on going camping, and the perfect time off for her would have been three days off early in the week.

My solo album, Pick Your Poison, is finished. I will make up some copies sometime, then offer to sell them right from this very website! I’d give them away, but it costs money to print and ship, so there you go. In the meanwhile, you can listen to the three MP3s in the litle bar to the left.

I watched Adaptation last night. It was pretty good, I thought; and the irony at the end was very fitting. The whole Nicholas-Cage-playing-his-own-twin-brother thing threw me at first (it was, after all, a Charlie Kaufman film), but I managed to adjust. Expect a review soon!

Review: Bad Religion – The Empire Strikes First

Sunday, June 27th, 2004


The Good: Everything Bad Religion is known for: catchy, thoughful, fast songs, plus a little bit of musical experimentation.

The Bad: Too many tom-tom breaks in the bridges.

The Ugly: Ewww — black, white and red for the cover? Since when did Bad Religion have to knock off the White Stripes for a color scheme?



Bad Religion’s got a strike against them.That strike, of course, is the fact that they’ve been around for over two decades. With this longevity comes a stigma: of course, the old stuff is better. Ask any crusty punk who was at a show in ’88, and he’ll tell you that How Could Hell Be Any Worse was better than anything Bad Religion is putting out now.

But I say screw that. Why give a band demerits for having longevity. AC/DC’s been around forever, as well as the Rolling Stones… well, maybe they deserve a few. Anyway, Bad Religion should not be docked because they’ve been on this earth longer than I have. If a band gets docked, it should be for writing shitty songs or not showing the least bit of change.

Thankfully, Bad Religion has evolved artistically. The Empire Strikes First has its share of warp-speed songs under two minutes, but it also has a few slower number that give you a pensive respite from the breakneck tempos. The first song — if we really can call it a song — is a slow, vaugely regggae (the extra ‘g’ is for great!)-ish intro to the album’s first song proper, “Sinister Rouge.” This track demonstrates what BR does best — soaring vocal harmonies (there’s even an opera singer adding heft to them), high-octance but tasteful guitar solos, and pissed-off-but-still-melodic vocals that actually have something to say — in this case, a rant against the Catholic church, “Comin’ back for more / To even the score.”

The record maintains its pace until thingsd slow down a bit with the first single, “Los Angeles is Burning.” The single must be making some sort of impact, because my friend Patrick, who only listens to the radio, mentioned it to me. It’s catchy and in a major key, which is a rare occurance for Bad Religion. It’s also pretty straightforward for a song written by Brett. I think it’s actually about fires in Los Angeles. Anyway, I can’t help but singing along.

Next up on the list of artistic changes is rap. Yes, rap, thanks to Sage Francis, another Epitaph artist. I’m sure some punx (notice kewl ‘x’ in spelling) screamed ‘Sellouts!’ upon first hearing this, but I like it. I’m not a fan of rap, but it fits the song somehow. There’s some nice interplay between Graffin and Francis, and it shows BR branching out. Hmmm… maybe next time, an album of polka music? Anyway, the rap comes on top of a little tom-tom riff courtesy of Brooks Wackerman, which would be okay but the next song, “God’s Love,” has the same damn thing in its bridge. C’mon, guys, couldn’t you put one song in between these two?

The First really slow song is “To Another Abyss.” This song’s got some great vocal harmonies — when Greg and Brett (maybe?) sing “purity” together it gives me goosebumps. The song’s 4 minutes long, but doesn’t really drag. The only problem I have with it is that the little lead guitar line (it sounds vaugely like a slide guitar, but it’s just a ghost bend) that comes in at the end of the chorus and ends the song sounds just like the lead guitar line from “Superheroes” from The Rocky Horror Picture Show. Every time I hear it, I think “I’ve done a lot / God knows I’ve tried / To find the truth / I’ve even lied.” I love the way this song ends — just the fading chord with feedback rising, a little groove on the ride cymbal, and then the guitar hook — God bless it — again.

The title track is another slow one, but what a damn-catchy chorus. Like Aretha Franklin, Bad Religion knows that when you spell something out in a song (in this case, E-M-P-I-R-E), people will sing along. This song, like “Let Them Eat War,” is an attack on America’s policy in Iraq. Bad Religion rarely is so blatant in its politics, so this is a nice change. Unfortunately, this song also has a tom-tom break in its bridge. Gettin’ a little old, guys. The album ends strongly, with a slow, introspective song that has some neat poetic devices (one rhyme sound, “said”), some poetry that I’m guessing was written by Gurewitz (“Beyond Electric Dreams”), which dissolves into feedback and overlapping-vocal madness, and the last song — “Live Again (The Fall of Man)”, which is a great way to end the record — Fast, bouncy, catchy, and with a serious message — if you could give it all up for heaven, would you?

Except for my stupid little quibbles, this is a great album. I think it’s better than pretty much anything they’ve put out. True, it’s not montonously fast and there are some artistic experiments, but they lean in the right direction. This is one of Bad Religion’s top two or three records ever.

Review: The Rocky Horror Punk Rock Show

Tuesday, March 16th, 2004

Review: The Rocky Horror Punk Show

The Rocky Horror Picture Show is a tad bit tame these days. After all, with women kissing on awards shows and other ‘lewd’ acts on network television, nothing seems shocking anymore, and Rocky Horror, even with its blatantly hedonistic overtones, suffers as a result. The same might be said of the film’s music — and rock ‘n roll in general. In its heyday rock ‘n roll was shocking enough to prompt several cities to attempt to ban it. Now, a rock song plays in almost every television commercial and supermarket; rock’s backbone, its backbeat, is as natural to us as a microwave or a ride in a car.

How interesting this album should be. Punk rock reinvigorated rock ‘n roll in an age when it was dying, when guitar players took no shame in indulging in twelve-minute solos. Punk was based around three chords and the truth. The music from Rocky Horror is itself similar to punk — from listening to the original soundtrack, one got the impression that the instrumentalists were bashing the hell out of their instruments in much the same way as Dr. Frankenfurter was bashing the hell out of his new playthings in the sack. This album should be just the thing to reinvigorate the 35-year old movie, giving it new energy and purpose.

Sadly, it does not. Some of the highest-energy tracks from the original soundtrack are some of the dullest here, and the vocals are to blame. Granted, most punk singers probably have not had experience in the theater or acting, but you’d think their performances would carry a little bit more emotion. Rocky Horror’s best-known track, “The Time Warp”, is given a particularly lackluster performance here. The Groovie Ghoulies’ vocalist doesn’t give any heart to the words he’s singing, he sounds nasally monotone throughout. In the context of the play, the Transylvanians are ga-ga over this dance: it is the center of their world. The Time Warp should make listeners want to get up and dance, but all I wanted to do was hit the next track button on my CD player. “Hot Patootie” is another one, changing Meatloaf’s impassioned ode to Saturday night makeout sessions to an almost militarliy-barked chant does not work. It drags, and the synthesizer in the background doesn’t help much. “Dammit Janet” suffers particularly in the vocal department.

The tracks that work best here are the lesser-known ones. Luckie Strike’s version of “Rose Tint My World”, clocking in at over just a minute, gallops along, with sincere performances from all its vocalists. “Wild and Untamed Thing”, one of my favorites, is given an interesting instrumental make-over, but once against the vocals drag the performance down. Perhaps the best all-around treatment comes from Ruth’s Hat, who soups up “Superheroes” enough to give it punk weight, but keep the track’s trepidated feel, merging the two perfectly. “Over at the Frankenstein Place”, “Sword of Damocles”, “Sweet Transvestite”, both versions of “I Can Make you a Man”, “Toucha-Toucha-Touch Me”, and “Science Fiction Double Feature” (understandably, since the Me First and the Gimmie Gimmies did an entire album of show tunes, this among them) are other standout tracks.

The rest of the tracks sit somewhere in the middle, not dragging but not kicking me out of my chair, either. Middle-of-the-road, just like most rock today. Bottom line: the album needs more passionate singing. Perhaps if the bands had approached this as scenes from a play, instead of individual songs to cover, the album would have come off a lot better. As it stands, it’s a good concept implemented poorly.

New Album in Works

Sunday, November 2nd, 2003
Current Listening:
Drag the River: “Forgiveness”
My daddy preached to me

Everyday for years

The day that he died

I swallowed my tears

The tip of the bottle

And a wish you were here

I’d trade forgiveness for a beer

Wow. Somebody threw strands of toilet paper through the trees in front of Jesse. In its own way, it’s really pretty. Like streamers of garland. That are supposed to wipe asses.

I was a Ninja for Halloween. Black pants, a black t-shirt, and another black t-shirt to make into my mask. There was this other guy in a ninja costume, but he was wearing a long sleeve shirt (with a logo!) and a bandana for a mask. I was so much sweeter than he. We did Trick or Eating, which meant we went to the Davidsons College and got a route, then went door-to-door collecting canned food. We got two bags full, which is a decent amount. Then we watched a late-night screening of The Shining. Interesting flick. So much so that I want to read the book.

I got some books at the library, thanks to Carrie. an Amiri Baraka treasury, Dave Barry’s Complete Guide to Guys (A Very Short Book), and Stephen King’s autobiography/work about writing, On Writing. I’m about thirty pages into each.

So I’m slowly collecting another album’s worth of material. If all goes well, I should record it over the Thanksgiving break. This album will be my most acoustic yet: acoustic guitar, piano, and few electric guitars. It has some of my strongest stuff yet, though (I think). “Starting a Religion”, a slow, hymnal number; “Double Take”, an offbeat song about the similarty of the two ‘opposite’ political parties, and “Danse Macabre”, a visual, piano-driven piece.

Left Hanging

Nobody wants to explore anymore.

All we want is a copy of National Geographic and

a bologna sandwich, preferably with Super-Size Fries.

Can you blame us? Who’d want to leave

the serenity of a newspaper floor, our own feces

floating in a water dish, and pretty, shiny bars?

Thank God for the bars. If we squint and look

with what little imagination we’ve got,

we just might see a menacing cat staring us down.

He’s got mange, he’s missing an eye,

and a gleam in his good eye like a madman’s watch.

Watching the birds outside the window, we laugh nervously,

dismissing what we fear most. Let them live on the edge each day,

just outside the cat’s cracked paws. Let them live.

At least they don’t have to read old issues of National Geographic until they die.