WWLP, the Chicopee-based NBC-affiliate affectionately known as "22 Snews," has abandoned all pretensions of being a credible news outlet. For the past few years, 22 News has filled most of their newscasts with filler in the form of "man-on-the-street" reactions to news items posed by their amateurish reporters. That layer of pretension was stripped away recently when they shelved their reporters in favor of full-time "man-on-the-street" reports, ostensibly to shore up their ratings against YouTube competition. 22 News is working for you, or rather you're working for free for it.
Saturday, June 27, 2009
Friday, June 19, 2009
Three Hots and a Roof Over His Head
Finally, somebody using their noggin. 59-year-old Bill Fabrocini of the Florence section of Northampton was facing some heavy obstacles in his life. Loss of job, mental illness and newly homeless, he came upon a scheme so sweet and clever--incarceration. Why didn't I think of it? Perhaps because it's so brilliant, but limiting. Last week he tossed a brick through the window of Bruegger's and waited to be arrested. The Gazette reports "Fabrocini could bail himself out for $50. Instead, he's opted to stay behind bars at least until his next court date July 6. A self-described "loner," Fabrocini said he doesn't have anywhere else to go." Explaining what motivated him, Bill says "I'm not going to stand on the sidewalk and bum quarters and sleep in alleyways." According to the Gazette, "After smashing the window and a neon sign behind it, Fabrocini faces charges of malicious and wanton destruction of property over $250. He's due back in court July 6. If the court imposes a fine, Fabrocini said, he'll ask to work it off by serving more time behind bars."
Eric Suher's Magic Memory Eraser
So in typical Eric Suher fashion, a soft news release went out from his IHEG headquarters this week announcing the first act to play Mountain Park would be the Decemberists. Bravo. I would've thought NRBQ, but I guess I'm relying upon my false memory that Eric was their merch guy. "No comment," is the comment du jour when Suher is asked about his development plans. "No comment," is the answer to everything when baiting the media to do his bidding. And we love it. Isn't that Eric Suher something? Man, he's got chutzpa! Why, he has no permits and hasn't satisfied any of the environmental and zoning issues, but the show will go on! In an article in the Gazette this week, Suher was quoted quipping to Holyoke's Mayor Michael J. Sullivan, "Don't worry about it--I'll get those permits." Wink, wink. In other words, "what permits?" Forget about it.
Friday, June 12, 2009
Abandoned Blog
No postings since December could mean I've died, been incarcerated or worse. Neither of these events have occurred, but I've died emotionally and spiritually. I'm back and promise not to go away. Forgive me?
Friday, December 19, 2008
Tropicana's 2008 Music List
2008 was a pretty good year for fans of indie rock, folk, weirdo shit and “world” music alike. Diversity seemed to be everywhere, and a wind of change was certainly in the air (and on the airwaves) as we elected the first African-American President. But it was better year for veteran artists like Nick Cave, Elvis Costello and the Cure, as they released some of their best material in nearly two decades. My list of what I would consider the best music of 2008 doesn’t conform to the rock critics’ genre of a “Top Ten.” In fact, I’m hard pressed to even whittle it down to something manageable or rank them in some kind of order.
Jesus Pagan y su Orquesta “Salsa de la Mata”
Before I heard Pagan’s “from the roots” salsa music, I caught him playing live at the launch of his latest cd in Holyoke, Mass. It was possibly the best live show I’ve witnessed in years. This cd is my constant companion.
The Felice Brothers
“Bang, bang, bang, goes Frankie’s gun.” These upstate New York “brothers” are storytellers of tales I like: murder-for-hire, con-men, spies, whores and fucked up relations.
Dan Le Sac vs. Scroobius Pip “Angles”
“Thou Shalt Always Kill” is hands down the best single of the year.
Unkle “End Titles…Music for Films”
Having launched their career as the thinking man’s Chemical Brothers, Unkle have moved away from groove-oriented music, to well-sculpted imaginary movie scores blending, rock and old-school trip-hop seamlessly.
Grupo Fantasma “Sonidos Gold”
One the best live shows I’ve seen all year, it’s Latino soul music redux.
Ryan Adams and the Cardinals “Cardinology”
Despite his factoryesque approach to churning out music, Adams never writes clunkers.
My Morning Jacket “Evil Urges”
Fans were disappointed that MMJ continued to be wildly unpredictable—I rejoiced. Not a dull moment.
The Cure “4:13 Dream”
I had stopped giving a shit about Robert Smith, and along came this return to their glory days. Completely uncontrived and accidental, Smith scores big here.
Nick Cave and the Bad Seeds “Dig, Lazarus, Dig!”
Like the Cure, Cave had become irrelevant and a bore, but after the release of his side project, Grinderman, Cave had enough juice left over to produce this masterpiece. Lyrically wicked, with melodies that are straightforward and oddly textured, this cd is a must.
Elvis Costello and the Impostors “Momofuko”
Ditto.
Why? “Alopecia”
Smart, clever, whimisical; adjectives do no justice to describe these Californians.
T.V. On the Radio “Dear Science”
Better than their last release, “Return to Cookie Mountain,” this band’s lyrics are literate and sometimes oblique.
James Hunter “The Hard Way”
Old-fashioned soul that never goes out of style.
Eli “Paperboy” Reed “Roll With You”
The new kid on the block doing old-school soul gets it right.
Tim Gearan “No Remedy”
Anchored in Somerville, Mass, Tim can only be caught in the Cambridge area plying his rootsy Americana sound.
Winterpills “Central Chambers”
Northampton, Mass based band explores new levels of atmosphere and texture to create a perfect storm.
Fleet Foxes
Sure, everybody has them on their list. Tight harmonies and hybrid Appalachian music are an irresistible combo.
Sonya Kitchell “This Storm”
This little girl from Ashfield, Mass is all grown up and a serious contender for Feist's throne.
Ron Sexsmith “Exit Strategy of the Soul”
Nobody does humility like Ron. Always consistent and engaging, Sexsmith should be a god.
Conor Oberst
Enough said. Oberst is a genius.
She and Him “Volume One”
Oh Zooey D.! How I love thee. M. Ward and the actress team up to make some of the best music of their careers.
Underworld “Oblivion the Bells”
Still the pioneers in electronica...still relevant. Inscrutable lyrics + minimal grooves=oxygen bar.
Jesus Pagan y su Orquesta “Salsa de la Mata”
Before I heard Pagan’s “from the roots” salsa music, I caught him playing live at the launch of his latest cd in Holyoke, Mass. It was possibly the best live show I’ve witnessed in years. This cd is my constant companion.
The Felice Brothers
“Bang, bang, bang, goes Frankie’s gun.” These upstate New York “brothers” are storytellers of tales I like: murder-for-hire, con-men, spies, whores and fucked up relations.
Dan Le Sac vs. Scroobius Pip “Angles”
“Thou Shalt Always Kill” is hands down the best single of the year.
Unkle “End Titles…Music for Films”
Having launched their career as the thinking man’s Chemical Brothers, Unkle have moved away from groove-oriented music, to well-sculpted imaginary movie scores blending, rock and old-school trip-hop seamlessly.
Grupo Fantasma “Sonidos Gold”
One the best live shows I’ve seen all year, it’s Latino soul music redux.
Ryan Adams and the Cardinals “Cardinology”
Despite his factoryesque approach to churning out music, Adams never writes clunkers.
My Morning Jacket “Evil Urges”
Fans were disappointed that MMJ continued to be wildly unpredictable—I rejoiced. Not a dull moment.
The Cure “4:13 Dream”
I had stopped giving a shit about Robert Smith, and along came this return to their glory days. Completely uncontrived and accidental, Smith scores big here.
Nick Cave and the Bad Seeds “Dig, Lazarus, Dig!”
Like the Cure, Cave had become irrelevant and a bore, but after the release of his side project, Grinderman, Cave had enough juice left over to produce this masterpiece. Lyrically wicked, with melodies that are straightforward and oddly textured, this cd is a must.
Elvis Costello and the Impostors “Momofuko”
Ditto.
Why? “Alopecia”
Smart, clever, whimisical; adjectives do no justice to describe these Californians.
T.V. On the Radio “Dear Science”
Better than their last release, “Return to Cookie Mountain,” this band’s lyrics are literate and sometimes oblique.
James Hunter “The Hard Way”
Old-fashioned soul that never goes out of style.
Eli “Paperboy” Reed “Roll With You”
The new kid on the block doing old-school soul gets it right.
Tim Gearan “No Remedy”
Anchored in Somerville, Mass, Tim can only be caught in the Cambridge area plying his rootsy Americana sound.
Winterpills “Central Chambers”
Northampton, Mass based band explores new levels of atmosphere and texture to create a perfect storm.
Fleet Foxes
Sure, everybody has them on their list. Tight harmonies and hybrid Appalachian music are an irresistible combo.
Sonya Kitchell “This Storm”
This little girl from Ashfield, Mass is all grown up and a serious contender for Feist's throne.
Ron Sexsmith “Exit Strategy of the Soul”
Nobody does humility like Ron. Always consistent and engaging, Sexsmith should be a god.
Conor Oberst
Enough said. Oberst is a genius.
She and Him “Volume One”
Oh Zooey D.! How I love thee. M. Ward and the actress team up to make some of the best music of their careers.
Underworld “Oblivion the Bells”
Still the pioneers in electronica...still relevant. Inscrutable lyrics + minimal grooves=oxygen bar.
Sunday, August 10, 2008
Ladies and Gentlemen, Lloyd Cole.
Readers of this blog are familiar with Lloyd Cole. The English singer-songwriter had hits on the modern rock charts in the ‘80s, and inspired a whole new generation of musicians such as Belle and Sebastian, Camera Obscura, and Stars. He appears on the indie super-group Gramercy Arms' recently released debut recording. Quietly living in Western Massachusetts, Cole continues to perform and record superb music. Cole was gracious enough to take time out to answer some questions I had for him about the usual stuff—good places to eat and what he’s reading these days.
Renaissance Man
CT: Your lyrics have always been literate and character driven. Who do you read these days for pleasure? Out of necessity, or for comfort?
LC: I read all sorts of things. I have a monthly gig for ABC Radio in Australia called Lloyd's Library where I talk about what I've read that month. It’s great as I get paid (very little), and more importantly, it keeps me reading.
Recently I’ve read Dickens’ Hard Times (how great is that book?), and A Tale of Two Cities–ditto. I had never read Dickens before and I'm now a convert.
Various essays by Clive James: Equally enlightening, erudite and annoyingly self important,
Charles Portis’ The Dog of the South: I cannot recommend it highly enough. Great dialogue on par with Chandler but quirkier, he wrote True Grit as well and I'll read that soon.
Harold Robbins! His biography which was a hoot and the first 200 pages of The Carpetbaggers : a sex scene every 17 pages! Actually it is quite well done for what it is, and his bio suggests that it was all down hill from then! Still, 200 pages are enough for you to get the picture (there's internet porn these days if that's what you're after….)
I read quite a bit of golf writing, mainly focusing on architecture. Bernard Darwin (the grandson) is a big favorite to read.
CT: What's the genesis of your writing for publications?
LC: I'd like to be a part-time musician when I'm 55. I can't afford to just quit.
CT: You're an avid golfer with a fairly decent ranking, is it true that you're tied with Alice Cooper?
LC: I was. A knee injury hasn't helped my game since that list came out.
CT: J. Mascis from Dinosaur Jr. is a golf nut. Has anyone suggested pairing you two up? I think he plays at Cherry Hill in Amherst.
LC: We finally met at a mutual friend's birthday party—it isn't going to happen.
CT: You’re a bit of a gourmand, any particular ethnic or regional flavors appeal to you most? Do you have any favorite spots in Western MA that you would recommend?
LC: In Northampton, the best food is at Amanouz, the Moroccan place. Great Wall in Florence does good dim sum on Saturdays. Pintu's in West Springfield is the closest we have to a good Indian.
(Note to Amanouz—pay up!)
Life in Western MA
CT: You lived for a period of time in the Valley prior to residing in Easthampton, right?
LC: A few years in Northampton.
CT: What drew you to Western MA in the first place?
LC: Indecision. Fear of being too far from NYC, fear of being too close. We also had some friends near here. Wife wanted a climate with seasons—be careful what you ask for, I say.
CT: What do you like the most and least about small town living?
LC: I like the people around here, mostly. I like my local bar, local golf clubs. I miss the really good food you get in the big cities, but I no longer miss the cities.
CT: What are your impressions of Easthampton?
LC: It's on the up and up. I hope that is a good thing. It doesn't rate itself like Northampton does and that is a good thing. The schools are really improving quickly and are not resting on their laurels. Downtown seems just a few years away from being really vibrant, but if our neighbor is anything to go by, I hope we don't change too much.
CT: While Western MA is not exactly Mecca for musicians or performers, it has its fair share (Martin Sexton, Mark Mulcahy, Chris Collingwood, Thurston Moore and Kim Gordon, J. Mascis, Cyril Neville, and Robin Lane to name a few). Do you feel a sense of a musical community? Or is that a presumption of a wishful music fan? Or does it even matter to you?
LC: No, no. But I have met some musicians I like very much as people—and that makes a change. I am a big Lonesome Brothers fan.
CT: Has your move to Western MA been helpful or a hindrance creatively and financially to your career?
LC: I have less overhead than I had in the city—that can't hurt.
Life After the Music Biz
CT: How do you see yourself in relation to where you once where, say twenty years ago to now?
LC: I was never doing as well I as felt I was, or was told that I was. I never managed to create any financial stability. But I drew bigger crowds and people played my music and wrote about me more often, that's for sure. Musically—I don't think I started to have a real clue as to what it is that I do until Love Story and by then, commercially, it was too late. I'm very pleased with most of the records I've made, the first one and the last two especially.
CT: If tomorrow you decided you were through with being a singer-songwriter, is there anything you could segue into?
LC: Webmaster?
Ranking your Output
CT: What are the elements for a perfect pop tune?
LC: Rhythm, melody and the words not getting in the way of those two. If the words can add something, then great.
CT: Which of your recordings are most important to you, and why?
LC: The first of each period. Rattlesnakes. Lloyd Cole. Music In A Foreign Language. Because I was at points when I wasn't sure if I could do something, for the first time, or anymore. But I had an idea of something I thought would be cool and it came out pretty well all three times . . . I think.
CT: Are there any of your recordings that you just can't listen to, and why?
LC: Minor Character. Bad words, or more to the point—words which get in the way of the song, awful singing, with pretty poor production to boot.
All the long play outs on Mainstream—I'm not a soul singer and someone should have told me.
Fall Together—self righteous, moi? I never thought I'd fall into that trap, but I sound awfully superior on much of Bad Vibes.
This is a shame because “wrote the sequel to the bible/ bought the rights to the original sin” ought to be in a good song.
Fellow Musicians
CT: After the Commotions disbanded you moved to NYC and you played with some major talent. You swiped two-thirds of Lou Reed's touring band and a member of the Golden Palominos before his solo career broke. Later on, you played with Jill Sobule and Dave Derby from the criminally under-rated Dambuilders. How did that trifecta of Robert Quine, Fred Maher and Matthew Sweet come about?
LC: I met Fred and they were his pals.
CT: If you could put together a dream band today, who would be the players?
LC: The Beatles would be fine.
CT: When I was teenager I dreamt up a super-group involving you, Lawrence from the Scottish band Felt, Pat Fish of the Jazz Butcher, and Paddy McAloon from Prefab Sprout—how wrong was I?
LC: There would have been fights—Paddy and I in the one corner, and the lightweights in the other. I must say, though, I heard a track by Denim about the ‘80s which I thought was great.
Misc.
CT: You seem to tour Portugal and Spain quite a bit, and yet keep a low profile in the States. Is your fan base there (or Europe in general) more receptive to Lloyd Cole the solo singer-songwriter?
LC: The Commotions were huge in Portugal for a minute. I'm still treated nicely and as the euro trounces the dollar, it's hard to turn down offers over there. Are they more receptive, though? The people who come to my shows—no.
CT: What is your interest in fado music? I think I read somewhere that you were a fan of the genre.
LC: I'm not a connoisseur by any stretch of the imagination and I don't speak Portuguese beyond “hello” and “beer,” but it is a lovely genre and very strict in its arrangements, which I like. I prefer women singing it—Amália Rodrigues (the most famous one) being mine and everyone else's favorite.
Renaissance Man
CT: Your lyrics have always been literate and character driven. Who do you read these days for pleasure? Out of necessity, or for comfort?
LC: I read all sorts of things. I have a monthly gig for ABC Radio in Australia called Lloyd's Library where I talk about what I've read that month. It’s great as I get paid (very little), and more importantly, it keeps me reading.
Recently I’ve read Dickens’ Hard Times (how great is that book?), and A Tale of Two Cities–ditto. I had never read Dickens before and I'm now a convert.
Various essays by Clive James: Equally enlightening, erudite and annoyingly self important,
Charles Portis’ The Dog of the South: I cannot recommend it highly enough. Great dialogue on par with Chandler but quirkier, he wrote True Grit as well and I'll read that soon.
Harold Robbins! His biography which was a hoot and the first 200 pages of The Carpetbaggers : a sex scene every 17 pages! Actually it is quite well done for what it is, and his bio suggests that it was all down hill from then! Still, 200 pages are enough for you to get the picture (there's internet porn these days if that's what you're after….)
I read quite a bit of golf writing, mainly focusing on architecture. Bernard Darwin (the grandson) is a big favorite to read.
CT: What's the genesis of your writing for publications?
LC: I'd like to be a part-time musician when I'm 55. I can't afford to just quit.
CT: You're an avid golfer with a fairly decent ranking, is it true that you're tied with Alice Cooper?
LC: I was. A knee injury hasn't helped my game since that list came out.
CT: J. Mascis from Dinosaur Jr. is a golf nut. Has anyone suggested pairing you two up? I think he plays at Cherry Hill in Amherst.
LC: We finally met at a mutual friend's birthday party—it isn't going to happen.
CT: You’re a bit of a gourmand, any particular ethnic or regional flavors appeal to you most? Do you have any favorite spots in Western MA that you would recommend?
LC: In Northampton, the best food is at Amanouz, the Moroccan place. Great Wall in Florence does good dim sum on Saturdays. Pintu's in West Springfield is the closest we have to a good Indian.
(Note to Amanouz—pay up!)
Life in Western MA
CT: You lived for a period of time in the Valley prior to residing in Easthampton, right?
LC: A few years in Northampton.
CT: What drew you to Western MA in the first place?
LC: Indecision. Fear of being too far from NYC, fear of being too close. We also had some friends near here. Wife wanted a climate with seasons—be careful what you ask for, I say.
CT: What do you like the most and least about small town living?
LC: I like the people around here, mostly. I like my local bar, local golf clubs. I miss the really good food you get in the big cities, but I no longer miss the cities.
CT: What are your impressions of Easthampton?
LC: It's on the up and up. I hope that is a good thing. It doesn't rate itself like Northampton does and that is a good thing. The schools are really improving quickly and are not resting on their laurels. Downtown seems just a few years away from being really vibrant, but if our neighbor is anything to go by, I hope we don't change too much.
CT: While Western MA is not exactly Mecca for musicians or performers, it has its fair share (Martin Sexton, Mark Mulcahy, Chris Collingwood, Thurston Moore and Kim Gordon, J. Mascis, Cyril Neville, and Robin Lane to name a few). Do you feel a sense of a musical community? Or is that a presumption of a wishful music fan? Or does it even matter to you?
LC: No, no. But I have met some musicians I like very much as people—and that makes a change. I am a big Lonesome Brothers fan.
CT: Has your move to Western MA been helpful or a hindrance creatively and financially to your career?
LC: I have less overhead than I had in the city—that can't hurt.
Life After the Music Biz
CT: How do you see yourself in relation to where you once where, say twenty years ago to now?
LC: I was never doing as well I as felt I was, or was told that I was. I never managed to create any financial stability. But I drew bigger crowds and people played my music and wrote about me more often, that's for sure. Musically—I don't think I started to have a real clue as to what it is that I do until Love Story and by then, commercially, it was too late. I'm very pleased with most of the records I've made, the first one and the last two especially.
CT: If tomorrow you decided you were through with being a singer-songwriter, is there anything you could segue into?
LC: Webmaster?
Ranking your Output
CT: What are the elements for a perfect pop tune?
LC: Rhythm, melody and the words not getting in the way of those two. If the words can add something, then great.
CT: Which of your recordings are most important to you, and why?
LC: The first of each period. Rattlesnakes. Lloyd Cole. Music In A Foreign Language. Because I was at points when I wasn't sure if I could do something, for the first time, or anymore. But I had an idea of something I thought would be cool and it came out pretty well all three times . . . I think.
CT: Are there any of your recordings that you just can't listen to, and why?
LC: Minor Character. Bad words, or more to the point—words which get in the way of the song, awful singing, with pretty poor production to boot.
All the long play outs on Mainstream—I'm not a soul singer and someone should have told me.
Fall Together—self righteous, moi? I never thought I'd fall into that trap, but I sound awfully superior on much of Bad Vibes.
This is a shame because “wrote the sequel to the bible/ bought the rights to the original sin” ought to be in a good song.
Fellow Musicians
CT: After the Commotions disbanded you moved to NYC and you played with some major talent. You swiped two-thirds of Lou Reed's touring band and a member of the Golden Palominos before his solo career broke. Later on, you played with Jill Sobule and Dave Derby from the criminally under-rated Dambuilders. How did that trifecta of Robert Quine, Fred Maher and Matthew Sweet come about?
LC: I met Fred and they were his pals.
CT: If you could put together a dream band today, who would be the players?
LC: The Beatles would be fine.
CT: When I was teenager I dreamt up a super-group involving you, Lawrence from the Scottish band Felt, Pat Fish of the Jazz Butcher, and Paddy McAloon from Prefab Sprout—how wrong was I?
LC: There would have been fights—Paddy and I in the one corner, and the lightweights in the other. I must say, though, I heard a track by Denim about the ‘80s which I thought was great.
Misc.
CT: You seem to tour Portugal and Spain quite a bit, and yet keep a low profile in the States. Is your fan base there (or Europe in general) more receptive to Lloyd Cole the solo singer-songwriter?
LC: The Commotions were huge in Portugal for a minute. I'm still treated nicely and as the euro trounces the dollar, it's hard to turn down offers over there. Are they more receptive, though? The people who come to my shows—no.
CT: What is your interest in fado music? I think I read somewhere that you were a fan of the genre.
LC: I'm not a connoisseur by any stretch of the imagination and I don't speak Portuguese beyond “hello” and “beer,” but it is a lovely genre and very strict in its arrangements, which I like. I prefer women singing it—Amália Rodrigues (the most famous one) being mine and everyone else's favorite.
Sunday, August 3, 2008
My People Aren't Pretty
Admittedly, “Tropicana” doesn’t strike anyone as a Polish-sounding last name. Well, that is correct. It’s not even a real name. So when the opportunity presents itself to mingle with the people of my origin, Poles, I do so with some regret. We are not pretty people—as compared to Scandinavians, Brazilians or some of our Slavic counterparts.
This was apparent at a recent Polish festival in Easthampton. Try as I may to find some really pretty women or handsome men in this crowd of overweight, slightly off and confusingly smelly folk, I came up empty.
I don’t fancy myself as blessed with aesthetically fly looks, but I’m not without certain charms.
While my hapless brethren “danced” to polka music, chowed down on Polish delicacies watered down by years of shaky memories and spent hundreds of dollars at games of chance, I shot photos.
This was apparent at a recent Polish festival in Easthampton. Try as I may to find some really pretty women or handsome men in this crowd of overweight, slightly off and confusingly smelly folk, I came up empty.
I don’t fancy myself as blessed with aesthetically fly looks, but I’m not without certain charms.
While my hapless brethren “danced” to polka music, chowed down on Polish delicacies watered down by years of shaky memories and spent hundreds of dollars at games of chance, I shot photos.
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