After yesterday I'm expecting to read the evidence that was so conspicuously not presented by my number two non-admirer yesterday. Or I've got to deal with a major disaster in the garden, apparently my wheat seed wasn't free of stinking smut (so like the internet, in that way), so a second experiment this year turns bad. There are still the oats, the sorghum, the amaranth and the sunflowers. Oh, and the peanuts. Six plants survived, imagine that.
I hope to post a piece later today.
Update: "Lee Atwater ran a Stax-style r&b horn band before becoming a professional racist scumbag. Nuff said." Steve Simels
So that's it? That's the great evidence from The Great Simels, calling on his many decades as a professional pop music critic, to support his case? Lee Atwater liked to noodle around on blues riffs, therefore Motown's major fan base consisted of white racists and Marvin Gaye, Jo Hunter and Martha Reeves were sending out covert messages to riot. What no smiley face?
Is it any wonder that Simels is one of the members in good standing with the self-appointed "Brain Trust" at Eschaton? I mean, with reasoning like that. Takes you're breath away, the brisk swiftness and definitive closure of it.
Only, I'm kind of embarrassed to have to point out to the great expert in pop music that Stax Records was based in Memphis, Tennessee, not Detroit, Michigan. Or is that his problem, that anything outside of New York City (perhaps, also, Hollywood) isn't worthy of making those kinds of little distinctions? Or is it some other distinction that isn't worth making?
Second Shoe: His band backed up touring soul greats and he was a stone racist. Apparently, you think this was some kind of anomaly. Moron.
Steve Simels
Yeah, as logically coherent as ever. So many points could be made. Let me point out that a far less far-fetched line of reasoning would be, "the racism of the lyrics performed by Mick and his old stones mean that rock and roll is, actually, a huge manifestation of racism". I doubt that The Great Rock and Roll Critic, even in the desperately dishonest mode he's conducting this brawl in, would deny that Mick et dull are a lot bigger in Rock than Lee Atwater ever was in soul music. I.e. Simels specializes in the music of white supremacy.
So, what's the connection between Martha Reeves, Marvin Gaye, Jo Hunter and Lee Atwater? Point it out, Simels, and I don't mean through six-degrees of separation.
Third Shoe: And in shocking news, the Eschatots show no interest in seeing if they know what they're talking about. I know, next thing you'll know water will turn out to be wet. And speaking of wet:
" It's like arguing with soup." Simels (with the Brain Trust).
Uh, no, what you're arguing might rhyme with "soup" but you're safe because that's what they pitch at Baby Blue.
Fourth Shoe (from yesterday's post) : Re my comment about having been exposed to I'm In With The In Crowd by the Mamas etc. " Baloney. There was no album radio at that point anywhere in the country. (1964-65). That wouldn't happen for another two or three years, and no local Top 40 station was going to play an obscure album cut unless it was getting significant airplay somewhere else..."
Oh, dear, Simmie, you should do that little thing called "research" because, looking it up right now, I see that the album that was released on was released in 1966 and, I know it might tax your imagination but ONCE IT WAS RELEASED SOMEONE MIGHT HAVE PLAYED IT ANY YEAR AFTER THAT ON ANY FORMAT RADIO THERE WAS. I would imagine I might have heard it on WRKO in Boston which was an FM station THAT DIDN'T HAVE A TOP 40 FORMAT DURING THE PERIOD I LISTENED TO IT, THROUGH THE FIRST COUPLE OF YEARS IN THE 70s AS I RECALL. After that, I grew up and stopped just having the radio on pop stations and listened to jazz on non-commercial stations. I had to have heard it on the radio because I never owned one of their records and I didn't live with anyone who liked them any better than I didn't. AND I INVOLUNTARILY KNOW EVERY DAMNED WORD TO THE SONG. Though, perhaps, I just don't take as long to memorize stuff as you do. I was always a quick study. And I tend to retain, as you obviously drain.
Which is entirely irrelevant to the point I made about it being a fitting anthem for exactly the kind of pseudo-left that people like you substituted for the real thing which was not about belonging to any in-crowd.
Fifth Shoe: The album came out in December. The song was never released as a single. Rock radio didn't play album cuts until mid 1967. You are, as usual, completely full of shit.
And, obviously, all albums that came out before then immediately disappeared and it became impossible to hear them on the radio and I'm imagining hearing the song on the radio. Ooh, maybe it was a case of them really saying it so the radio won't play it. Perhaps I head it between the lines.
This is fun, seeing how silly you are willing to be.
Sixth: I'm beginning to wonder if Sims outdoes Imelda Marcos
Yes, you imagined hearing it on the radio. And that's the most flattering scenario.
So far Steve Simels, The World's Greatest Expert on Pop Music ® has claimed that everyone knew that Dancing In the Street was all about race riots, apparently unknown to the great Martha Reeves who reported that, just as the album it was released on and the song's lyrics indicate, it was a party song. That Motown's main fan base were white racists, something proved because, as everyone knows, Lee Atwater liked to pretend to be able to play a different style of pop music, based in a different city. That everyone knows that the dreadful Mamas and the Papas' recording of I'm In With The In Crowd never, ever was played on the radio, no, not at all during the period under discussion.
I might go look to see what his fan gals and guys at the, uh, "Brain Trust" are saying about this. I've really taken the failure of my wheat hard and could use a real down in the diaphragm laugh.
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