Tag Archives: Katy Perry

The Advice Guy Is In!

Wikimedia Commons.
Wikimedia Commons.


“how to sick solar panel to car bonnet”


“where can I buy graham crackers in london”

Round the shops, guv.

“el final de Breaking Dawn: Part II”


“face Stockholm French martini”


“have I displeased you”

Yes.  And you know why.

“what does being forged through fire mean”


“did john lennon appear in on her majesty’s secret service”


“professor splash sexy picture”

Borat, is that you?

“life lessons learned from Mario”

  1.  Eat every mushroom you can find
  2. Stars are a plentiful source of invincibility
  3. Avoid bananas on the rainbow road
  4. The princess is in another castle
  5. Keep leaping because there’s always another barrel coming

“my little pony dude”


“google coldplay”


“snack crackers shape”

Trapezoidal, because five-sided crackers are for posers.

“sequence of events to become president”


  1. Make a lot of money
  4. Run for office and don’t say too many stupid things
  5. ??????

Alternatively, use the Frank Underwood House of Cards method:

  1. Be evil
  2. Convince everyone between you and the presidency to resign

“conjuring demons through music katy perry”


“sean bean 2012”


“argument for god the devil and the perfect pizza”


“I just wanna spend my life with you lyrics”


“tolkien rips off harry potter a lot”


“things people do not know about graham crackers”


“the parent trap the end”





Cat lady economics

"Job creator."
“Job creator.”

P.T. Barnum would be so proud:  One of the biggest con jobs ever successfully sold to a maddeningly enormous percentage of the masses in Western democracies, particularly in the United States, is that “tax cuts for the rich create jobs.”  It is dispiriting to see this nauseating mantra repeated as fact by low-income individuals who have bought in to the false promise of a country of “haves and soon-to-haves” – that is, the outright lie that everyone can be rich if only they work hard enough (shouted loudest by those who have usually fallen into their fortunes through accidents of birth).  (It was also fascinating to watch conservatives sit stone-faced on their hands as the President promoted the diametrically opposite view in last night’s State of the Union.)  I’m not an economist and I don’t intend to fog up the essence of my argument here with a lot of facts and figures, because the premise gets lost among the spreadsheets and pie charts.  It’s a more basic question, one that goes to the nature of human beings and their capacity for materialism.  Yet it proves just as solidly that supply-side economics will never, ever work.

The presidential election in 2012 offered Americans a stark choice of an incumbent president who had come from a poor family and worked his way up to the highest office in the land – the prototypical American dream, if you will – versus a natural born plutocrat with a silver spoon wedged firmly in his nether regions who dismissed almost half of the public as irredeemable and irrelevant moochers; and, thanks to unprecedented advertising spending and voter intimidation in key states, they came very close to picking the latter.  A remark from President Obama about successful businesses needing to use public infrastructure paid for by the collective taxes of the people was taken out of context and used by the GOP as their rallying cry.  Mitt Romney’s entire presidential campaign, characterized best by the video in which he railed about the “forty-seven percent” to fellow travelers, was trying to assert that the wealthy and successful were singular paragons of virtue, economic growth and American spirit, forever being harassed by a tyrannical, over-reaching government determined to claw away every preciously earned penny and spend it freely on undeserving deadbeats.  (Hardly a rousing “we shall overcome” or even “I like Ike.”)

Basically, Republicans tried to claim that Democrats were demonizing success, sort of a “don’t hate us because we’re beautiful” whine from the country club set. What’s ironic is that on any list of the most admired people in the world, it’s rare to find someone whose net worth is anywhere south of at least a few million.  Rich and famous celebrities are worshiped.  You’re hardly seeing a climate where the likes of Brad Pitt and Katy Perry are dragged from their mansions and paraded naked through the streets by the bedraggled masses.

Even in the aftermath of Romney’s humiliation at the polls and in the new congressional term, Republicans and their sympathizers insist that if we just keep giving rich people more money, well, I don’t really know what the endgame is supposed to be other than giving rich people more money for its own sake.  Perhaps the thought is that if they have $400 million instead of $300 million, that extra $100 million will simply fall from overflowing wallets like proverbial pennies from heaven, as opposed to being stashed in an offshore tax haven.  Even if we try to apply some logic to this argument and suggest that a more-rich person will be more inclined to use his windfall to start a new business that will hire some other folks, who’s to say that business will be successful and produce a product that will resonate and guarantee that these new jobs endure for decades?  It’s lining up all one’s fiduciary chips on a single roulette number and trusting in the decency and intentions of the person you’re enriching.  Communism never worked as Karl Marx intended it to because it failed to account for human nature – if you read The Communist Manifesto, Marx’s ideal state sounds utopian, but it can’t function unless everyone is really, really, REALLY nice to one another – a point lost somewhat on every oppressive Communist world leader ever, which is pretty much all of them.  One might overdose on the irony of capitalism failing for the same reason.

See, here’s the thing with wealthy people.  They may become wealthy because of hard work or, more cynically, because they have a famous surname, but they stay wealthy because they don’t spend their money.  They hoard it with the same obsession and zeal as the sad cases you see every week on A&E who have houses overflowing with old magazines, pieces of broken furniture and used diapers.  And the reason why they hoard it is because they are paranoid – scared to the depth of their bone marrow – that the unwashed barbarian hordes at the gate are coming to take it all away.  Perhaps they’re mindful of the tragic tale of Jack Whittaker, the West Virginia Powerball winner whose prize of $315 million led to him being sued over 400 times by greedy opportunists, the loss of his daughter to drugs and the last of his money to her dealers.  (Whittaker is apparently now broke and wishes in hindsight that he had torn up his ticket.)  But it’s the quintessential human problem of attachment to material things that renders the “more tax cuts for billionaires!” argument utterly unworkable in the real world.  Giving more money to a wealthy man and expecting that act to benefit the economy is like giving a crazy cat lady more cats.  Is the cat lady going to take her new surplus felines and hand them out to deserving orphans who’d love a little kitty of their own?  You can judge the chances of that based on the smell of her house.

We do so love our possessions, and it is against our human nature to share them.  Sure, we donate to charity, we give away old clothes – but we keep the really nice stuff for ourselves.  We’re programmed to.  Buddhism correctly equates attachment with unhappiness – it even turned Anakin Skywalker into Darth Vader.  How else can one explain the legions of sour-faced billionaires like Joe Ricketts, Sheldon Adelson and the Koch Brothers who decided to open up their overflowing coffers not to improve the lives of their fellow Americans but instead into endless ad buys for the party that was promising to make things even easier for the likes of Joe Ricketts, Sheldon Adelson and the Koch Brothers?

It’s estimated that trillions of dollars in cash are missing from the global economy because they are being hoarded by corporate entities and others who are waiting for… well, it can’t possibly be the Rapture or the Mayan apocalypse since those both happened last year and we’re all still kicking.  This is the result of over thirty years of tax reductions by conservative and centrist governments clinging to the ideology of supply-side economics and still claiming despite a repeated pattern of failure that tax rates for the top should be reduced even further – since the growth they anticipate from cuts already in place isn’t happening (roughly the equivalent of saying that my house hasn’t caught fire yet so I should keep trying to light the carpet).  We also see pushes for right-to-work laws in multiple states and even Canadian provinces to cripple unions, force wages lower and boost corporate take-home higher.  This is not a plan for economic growth; it’s a plan to concentrate wealth into the hands of a rarefied few so they can continue their hoarding ways.  They forget the lesson of Henry Ford, who knew that his employees needed to be able to afford to buy the cars they were making in order for his company and indeed America to prosper.

“I never got a job from a poor person” is one of the most common retorts – as if one expects Uncle Pennybags and Scrooge McDuck to stroll down Main Street handing out employment contracts while bellowing like Oprah, “You’re getting a job!  And you’re getting a job!”  Lower and middle income workers are actually the people who generate these jobs.  Their spending is economic rocket fuel.  They’re the ones who buy, on a consistent and ongoing basis, the products that other workers make, necessitating that those jobs endure.  And when you earn less, you save less.  Because a higher percentage of their income is devoted to basic necessities, they can’t afford to stash it away, to hoard it in the Caymans and consequently away from the world’s economic engine like the world’s Romneys.  And they spend that money in their hometown or close to it, not on weekend jaunts to France on the private jet.

It continues to absolutely boggle my mind that any free-market conservative would be opposed to socialized medicine, given that absent the need to divert a huge chunk of their take home into monthly medical payments, people are more likely to spend that cash on clothing, furniture, new tech gadgets, you know, stuff that stimulates economic growth rather than the economic dead zone of a bloated insurance company’s bank account.  The same goes, and perhaps even more dramatically, for Social Security, as seniors aren’t likely to put much of their income into savings given they are in the autumn of their life.  They are more likely to spend that monthly cheque on things that require other people to work to make them.  What would “stop the motor of the world,” as the misguided Ayn Rand put it, would be a massive majority of the population unable to afford anything – not a bunch of billionaires throwing hissy fits and going away somewhere to sulk.

A rich guy may have vast reserves of cash, but he still has limited individual needs.  He is still only one mouth to feed and can only drive one car at a time (and can live in only one house at any given moment, even if he might decide to purchase six or seven more for kicks).  Is it not better to have a nation of millions who can all afford to buy food and a car and a home, thus ensuring robust employment for those who produce food, manufacture cars and build houses?  They’re the ones who need their tax burden reduced.  They are the real job creators – a rich man can start as many businesses as he likes, but if lower and middle income people aren’t buying what he’s selling, the businesses will fail and the jobs will disappear.  Ultimately, there will never be enough rich people to support the global economy on their own, because the one percent have no interest in doing so – they’ve proven that they want to keep the treasure for themselves, eternal Buddhist misery be damned.  And that’s why giving them more and expecting them to turn into Mother Teresas, and consequently expecting the economy to become a roaring prosperity factory, is a fatally stupid idea.

Selling out circa summer 2012

Like many things in music, The Who did it best.

What is the most annoying trend in popular music?  With YouTube and Auto-Tune making celebrities out of individuals who should never have come anywhere near a microphone, and genuinely talented singers continuing to struggle for any semblance of a break that doesn’t require an uncle in a senior management position with a record company, how could we possibly distil popular music’s faults down to the most egregious offender?  It’s ultimately a matter of opinion, but if I had to pick a single irritant that most damages my appreciation for today’s sound, it’s musicians recording multiple versions of their songs for different markets.  Nothing is more insulting to listeners than this shameless pandering to commercial interests.  Every time you hear one of these bowdlerized abominations oozing through your speakers, you can feel the greasy fingerprints of the Armani-suited marketing committee as they scrape at your eardrums.  Worse though are singers and bands bringing material to the studio they know they’ll have to re-record to ensure maximum market penetration (an apt metaphor if there ever was one).  It speaks of greed, cynicism, contempt for the fans and a fundamental lack of anything resembling artistic integrity.  And the worst part is, it’s totally unnecessary.

One of the big hits of the summer is Maroon 5’s “Payphone.”  Maroon 5 was every mother’s favourite band for their teenage daughters:  catchy and inoffensive with an easy-on-the-eyes lead singer.  They faded away somewhat after their initial explosion onto the scene but are experiencing a resurgent popularity with Adam Levine’s judging NBC’s The Voice and their infectious smash “Moves Like Jagger.”  But “Payphone” is an embarrassment.  It’s whiny emo nonsense that rings completely false – the complaints of a fifteen-year-old upset that his crush doesn’t love him anymore, with no more depth than a chewing gum wrapper.  Most irritating about the song, though, are the final two lines of the chorus:  “All those fairytales are full of shit, one more fucking love song I’ll be sick.”  What’s that, you say?  I must be making this up, you haven’t heard that?  Of course not – the radio version, the one you’ve heard, goes “All those fairytales are full of it, one more stupid love song I’ll be sick.”  And it isn’t Godzilla-esque bad dubbing either – Maroon 5 deliberately recorded two different versions of this line.  The reason?  They knew the line as originally written wouldn’t be played on adult contemporary radio, and that’s a huge audience to forfeit for the sake of some naughty words.  But that’s the thing – why did those words need to be in there in the first place?  The song isn’t great, but at least the message gets across without the potty mouth.  And don’t tell me it’s to express the depth of the singer’s anger; Gotye’s “Somebody That I Used to Know” is a much more honest scream of contempt at the woman who’s left him and contains absolutely no profanity (depending on your opinion of the weight of the word “screwed.”)  “Payphone” is juvenile, a kid giggling at the dirty picture he drew on his school desk, and Adam Levine et al. should know better.  And I say this as someone who admired Levine for telling off Fox News on Twitter after they used a Maroon 5 song in one of their promos.  However, swearing in their songs is just making the case for the likes of L. Brent Bozell and whatever suspiciously well-funded “Parents” group wants to fundraise for the evangelical right on the backs of those evil Hollywood liberals corrupting your children again, and the willingness to record and release a sanitized version for mainstream radio play is evidence of the emptiness of their commitment to branding themselves as rebels, badasses or whatever the point of dropping the F-bomb in the original version was.

“Payphone” contains another example of what pop songs do to try and broaden their customer base:  include a guest rapper in the middle eight.  A few of the singles from Katy Perry’s Teenage Dream contain rap:  “California Gurls” features Snoop Dogg and “E.T.” features Kanye West.  Not that you’d know it if you’ve only heard these on the radio – they play the version where, like with profanity, the rap section has been neatly sutured out for popular consumption, in the studio long before your local DJ gets his hands on it.  I have nothing against rap or the blending of genres (Aerosmith and Run-DMC’s “Walk This Way” collaboration continues to be awesome twenty-five years on), but these aren’t it.  These are stitch jobs.  In all likelihood the rapper and the main performer aren’t even in the studio at the same time – the result is a Frankenstein’s monster of a track where disjointed parts are cobbled together for commercial appeal rather than coherent performance.  The fact that usually the rap can be lifted out without any significant effect (or even notice – it was months after I first heard “E.T.” that I discovered Kanye was on the original version) speaks to the argument that forcing it in to bubblegum pop is misguided, cynical marketing at its most insidious – a way to ensure that even though we’ve got the white kids, let’s make sure there’s something for the black kids too.  More to the point – if the artists know they’re going to have to cut the rap for full radio exposure, why include it in the first place?  The other reason you know this whole phenomenon is marketing B.S. is that it’s never done the other way; sorry for those of you eager for that Jay-Z featuring One Direction number.  Here’s a radical thought – why not just write a better song that can appeal across color lines without pandering to them?

Since there is so much cross-pollination and cross-promotion of entertainment products these days, why not take pop music philosophy and apply it to novels?  (Oh wait, they’re already doing that – witness Pride and Prejudice and Zombies.)  But how ridiculous would it be if, for example, George R.R. Martin’s A Game of Thrones came in both regular and sanitized versions, the latter where anything potentially offensive to Aunt Ethel was eliminated, so that Cersei and Jaime Lannister are just good friends, Bran fell out the window on his own and Eddard Stark died offstage due to a nasty throat infection?  Or if somewhere about two thirds of the way in we had a guest chapter authored by Stephenie Meyer where Sansa mopes over the sparkly Tyrion, because we have to make sure to get the youth vampire audience in as well.  Better yet, let’s do this in movies.  Let’s have the second act of The Dark Knight Rises directed by Brett Ratner featuring Chris Tucker as a wise-cracking Gotham City police officer and Jackie Chan as his kung fu master partner taking on Bane (“When you touch my goddamn radio, y’all have my permission to die!”)  Does that sound like anything we’d want to read or see?  Then why do we let musicians get away with it?  Chopped up, bastardized and sewn together alternate versions of songs ultimately please no one and only embarrass the artist.

In the end, quality is quality, and it begins from the ground and proceeds organically – piling stuff on top after the fact, or half-assing out a different version, is a sign of a last-minute lack of confidence fueled by focus groups and marketing gurus who need to look up from their spreadsheets.  Like books and movies, there should be one song, and one song only.  Putting out multiple versions for different demographic markets only reinforces the concept of music as product – the last thing I suspect anyone who fancies themselves an artist wants to admit.

We need to go darker

Katy Perry in the video for “Wide Awake,” conjuring some musical magic.

Katy Perry’s “Wide Awake” has been on my playlist all week long, an incongruity even sandwiched inside an eclectic playlist that includes Hendrix, Dylan, the Byrds, Tom Petty, Richard Ashcroft, Thomas Newman, Jerry Goldsmith, Mychael Danna and Hans Zimmer.  I cannot stop listening to it.  It accomplishes the remarkable feat of being both catchy and soulful, bruised yet full of hope.  Apart from innocently fancying Ms. Perry herself (which my Alexander Skarsgard-adoring better half assures me she’s totally okay with) I’ve been indifferent toward her music until now.  Her breakout hit “I Kissed a Girl” is the giggle of a nine-year-old too chicken to truly explore questions of confused sexuality lest her parents think badly of her.  “Firework” is a well-meaning song undermined by Perry’s inability to hit and sustain high notes.  The lack of proper rhymes in “California Gurls” and the Brady Bunch-esque misdeeds of “Last Friday Night” are a saran wrap-deep package unwilling to chafe against the very successful mould in which she’s been forged.

Then her marriage to Russell Brand broke apart, and she wrote, recorded and released “Wide Awake” as a meditation on what she’d been through and where she is now.  And it’s a great song.  This isn’t a pig-tailed goofy girl jumping up and down on a beach – it’s the honest testament of an emotionally bruised woman picking herself up off the concrete.  Katy Perry has established such a niche for herself that she didn’t have to record this song – she could have released yet another ode to partying in the sunshine and achieved plenty of accolades and album sales.  But she chose to try to say something profound about who she is and how she’s feeling about the world.

I’m not going to go faux-Lester Bangs and suggest that “Wide Awake” is a watershed moment in music.  But it illuminates a larger question that I think most artists grapple with.  Is introspection by its nature a journey of sadness?  Does something have to be dark to be good?  Is the stuff of genius found only in the minor chords?  There’s an old axiom that says all real comedy is born from pain.  So too does it seem that the best music is that which reflects lessons learned at great cost.  This is not to say that everyone gets it right – it seems that every Kelly Clarkson song is about breaking up with someone and being better off because of it, but unlike Katy Perry in “Wide Awake,” you get the sense that Kelly’s just reading the lines someone else wrote for her instead of feeling them through the notes, and that’s why, at least to my ears, “Wide Awake” will have greater staying power than the grating and empty “Stronger (What Doesn’t Kill You)”.

Bob Dylan told John Lennon when they first met that he needed to get personal in his lyrics.  You begin to witness the transformation through the Beatles middle period as songs like “I’m a Loser” on Beatles for Sale and “Help!” lead to angry kiss-offs like “Norwegian Wood,” the existential exploration of “Nowhere Man” and the psychedelic dream state of “Tomorrow Never Knows,” and the Sgt. Pepper era becomes the truly dark, soul-baring Primal Scream anguish that closed out the Fab Four and realized itself fully in John’s solo career.  Had Lennon and the others chose to rest on their laurels and sing nothing but upbeat generic pop for their entire careers, they might have done very well.  They might still be touring casinos and retirement homes today.  But they wouldn’t be legends.  It was their choice to share their vulnerability, their humanity, that made them so – the gods who dared to admit they were the very same as the mortals who worshipped them.  In the documentary Imagine, there’s a scene where Lennon confronts an obsessed fan who is trespassing on his property, who wants to know how Lennon could have known so much about this fan’s life as to write songs that seemed to be about him.  Lennon responds, frankly, that “I’m singing about meself.”

The stories that have the deepest impact on us are tales of catharsis; of people like us who are tested to the limits of their endurance, who go all the way to the point of breaking and come back changed, improved, and renewed.  To find the brightest light, one must brave the darkness, because it is only in the dark that light can shine.  Every artist who starts out warbling giddily about rainbows and lollipops will face a crossroads at some point, where they will be forced to decide whether to continue skipping along the yellow brick road or stumble off into the gloomy forest – with no guarantee that something better waits on the other side, only faith that it does.  It’s a journey that is always worth taking.  The Dixie Chicks’ music improved immeasurably after their fracas with the American right over their Bush-inspired version of John Lennon’s “bigger than Jesus moment”, when they got away from karaoke-ready dreck like “Goodbye Earl” and opened up with powerful anthems like “Not Ready to Make Nice.”  Brian Wilson struggled his entire career against the goofy surfin’ tunes that characterized the Beach Boys and that his record label insisted he continue to produce, and as a result we were blessed with lasting gems like “God Only Knows.”  I have no doubt whatsoever that someday Justin Bieber will grow a goatee and release an acoustic album, and you know what – done with the right intentions, and not just as a sales gimmick, it’ll be terrific.

Until then, play “Wide Awake” again and think to yourself, damn, Katy Perry makes for one fine-looking goth.