Tracing steps: How's Las Vegas?

The city is famous for "The King Of Rock’n’Roll", Britney Spears was briefly married, Robbie Williams has sung about the view - Las Vegas plays the main role in so many films and songs. In days gone by as well as today...

Robbie Williams is right: This view is unlike anything you've ever seen. There's New York with the Empire State and Chrysler Building on the left side. Take a short look on the right and there you'll see the Eiffel Tower and its petite peak reaching to the sky into the gray clouds.

The Mandalay Bay Hotel & Casino at the southern end of the Las Vegas Boulevard (better known as "The Strip"), it is one of the penultimate dreams of Las Vegas. It was opened five years ago. The Venetian, Paris and the Palms followed. But Robbie Williams has never been there. But he spent some nights in Mandalay Bay, even though the hotel staff does not remember him. Robbie Williams, in any case, has written two songs about the famous hotel and casino: "Road to Mandalay" and "Me and My Monkey". "Me and My Monkey" is a kind of allegorical road pop song in which the first-person narrator visits Las Vegas and its neon signs - together with a pistol and a stoned monkey. The first place they visit is their hotel room on the 33rd Floor of the Mandalay Bay.

Robbie Williams - Me and My Monkey

To visit Las Vegas it's best to start at the northern end of the "Strip". For the sake of the shock. In the north there's the run-down Las Vegas.
At Circus Circus it actually looks pretty similar as it is described by Hunter S. Thompson in his journalistic novel "Fear and Loathing in Las Vegas" in 1971: "The Circus-Circus is what the whole hep world would be doing Saturday night if the Nazis had won the war. This is the sixth Reich. The ground floor is full of gambling tables, like all the other casinos . . . but the place is about four stories high, in the style of a circus tent, and all manner of strange County-Fair/Polish Carnival madness is going on up in this space." Okay, maybe a bit exaggerated: The Circus Circus, opened in 1968, is merely the run-down family hell of Las Vegas. I got dizzy looking at the psychedelic carpet pattern - and look at the guests: Their clothes come from "A-Team" (men) and "Dallas" (women), their stomachs from McDonald's.
But the Circus Circus is one of the most profitable houses in Las Vegas. A cathedral of the White Trash. With an indoor roller coaster.

Diagonally opposite, the Sahara is even worse: In "Ocean's Eleven", the original film from 1960, the Sahara is (besides the Riviera, Flamingo, Desert Inn and Sands) one of five casinos that had been mugged by the "master thieves" Frank Sinatra, Dean Martin and Sammy Davis Jr. in only one night.

The Hilton International is right behind the Sahara. Elvis destroyed his own myth for years by singing every night at the Hilton and showing his irresistible ruin to a huge public who was addicted to the endless and, in this case, tragic entertainment of Las Vegas.
Now the Hilton has its own Elvis impersonator. His name is Trent Carlini - and his performance sounds just like his name. Ridiculous.
The only leftover of "the King", which remembers the visitors of his former presence, is a kitschy statue in the entrance area of the casino. Las Vegas has no time for nostalgia. And no money. What is profitable will still exist or be expanded in the future. If the business is broke down - the blaster will be called.
Rien ne vas plus.

German music in the '60s and '70s

I thought it's about time to tell you something about the 60s and 70s music culture in Germany.

Here is another history lesson. Attention, please.

In the first years after the Second World War, the German public had little time for music entertainment. That's why they listened to the radio, the music of which mainly came from the U.S. or England (sometimes also from France). But when the American phenomenon of rock music spilled over to Germany, the German citizens got into the enthusiastic excitement.
New styles such as rockabilly, R'n'B, Doo-wop, soul and folk rock were integrated into the German culture. A lot of cover versions of famous American hits have been sung in the German language. Also popular during that time: new international dance styles like bossa nova, tango, etc. Other European countries such as Greece and Hungary also sent out successful singers and styles. But, mainly, the original American and British singers topped the charts in Germany; German musicians were hardly higher ranked than in the Top 5.

By the early British Invasion (Beatles, the Rolling Stones, etc.) almost all the German bands disappeared from the German charts. Strangely, there was hardly a German musician after 1965 who still made real "rock". Instead, the German singer-songwriters sang ballads, novelties and so-called "Schlager" (German folk music) - not only successful among young people, but also among the older generations.
"Schlager" is not politically influenced - it's a kind of "easy listening" music. The bands and artists sing about love and how beautiful the world is. No deep thoughts, no messages - "Schlager" wanted to entertain the audience, especially after the war.

Even today, this attitude is not changed. The music scene is as unpolitical as it can be. More important than to reveal a political view or issue is having a good time together, singing along with the songs and listening to the melodies. Also important to mention about the German "Schlager" music scene: The style of the music hasn't been changed, either. The melodies are very much the same today as they were in the 70s.

This "Schlager" retained its exclusive place in the German music scene through the 70s: almost all German hits from this time are not rock songs, but are "Schlager". The exceptions are only those individuals who made avantgard or unusual music, just like the new electronic bands (e.g. Kraftwerk) and the (very few) German country singers. And it must also be mentioned that a handful of German songwriters like Udo Jürgens and Marius Mueller-Westernhagen from the'70s are still very successful.

This is the German theme song of the world-famous Tom and Jerry cartoons - by the German musician Udo Jürgens:

Sarah Palin scares rapper P. Diddy

Here's a funny video, which is discussed on the internet a lot. The rapper P. Diddy has a video blog on YouTube, where he comments on actual issues. Often his videos are annoying and not funny at all, but his video concerning the vice-presidential candidate Sarah Palin is interesting and really fun.

P. Diddy is so scared that he hides under his sheets - this scene reminds me of one in the "Blair Witch Project", a nice hint on his opinion about Mrs. Palin. He integrates parts of Palin's interview in his video.

Just have a look and see how politics are discussed in the music scene besides the use of campaign songs (as I discussed in my blog of yesterday).
Almost 2,500 comments below P. Diddy's video on YouTube that show that the public, in this case obviously younger people, participate, too.

Political Campaign Songs

If you want to become the President of the United States, you need your own song. A song that goes into the ear. A song that is connected with you. A song that supports you on your rallies and travels. One’s own campaign song is a requirement.

You have several choices: You can use a well-known pop song, you can use familiar melodies and steal them, you can change the lyrics of a well-known song and put your name in it, or simply: Write your own song.

If you are lucky - because you're such a popular Presidential candidate - at least one song will be dedicated to you.

It's all been done before.

You can see several examples by clicking through my blog entries. There you will find campaign songs for Barack Obama and John McCain, but also for Ralph Nader, Cynthia McKinney and other Presidential candidates. These blog entries deal with all of the kinds of campaign songs, as I mentioned above: Dedicated Songs, stolen melodies and changed lyrics.


But what about the history? What campaign songs were used in the past? Did a Bruce Springsteen of the day write a song for Thomas Jefferson? Let’s have a look on the most interesting campaign songs of history:

Many musicians of the time of George Washington dedicated their own songs to him. An example is "God Save Great Washington" - based on the British national anthem "God Save the King". The song was written in 1786, three years before Washington became the president.

William Henry Harrison led his campaign, with songs, to a whole new level. During the 1840 election (between Harrison and Martin Van Buren) parades, floats, banners and concerts were organized for the first time in history.
"Tippecanoe and Tyler too" was a very popular and influential campaign song during the election in 1840 - it referred to Harrison's battle between his Indiana militia and Native Americans in 1811. Its lyrics sung the praises of Whig Party candidates Harrison (the "hero of Tippecanoe") and John Tyler, his vice president.

Franklin D. Roosevelt selected "Happy Days Are Here Again" - debuted at the Democratic Convention in 1932. It was a song from the 1930 musical "Chasing Rainbows". Roosevelt became the first President using a pre-existing song for his campaign.

Frank Sinatra changed the lyrics of his 1959 hit single "High Hopes" to cheer on the 1960 Democratic candidate John F. "Jack" Kennedy: "Everyone is voting for Jack/Cause he's got what all the rest lack/Everyone wants to be back/Jack/Jack is on the right track/Cause he's got high hopes."
Sinatra wanted to express the importance of John F. Kennedy as a president. That's why he dedicated this song to JFK.

Clinton led his campaign under the slogan "Putting people first" and chose the song "Don't stop" by the group Fleetwood Mac - this was his campaign anthem. The lyrics of the song underlined his visions to build bridges between people that will last into the next millennium.

Fleetwood Mac - Don't Stop

George W. Bush used Tom Petty's 1989 single, "I Won't Back Down", during his 2000 campaign. Tom Petty asked Bush to stop playing his song during his rallies - just like John Mellencamp and Sting, whose songs were played without permission, too. Bush played their music without permission.


The history of political campaign songs will continue - it's always important to have music which belongs to a candidate and which can express the political programs on a poetic way.

Green music video for Cynthia McKinney

I just saw this video from "Some of All Parts", an underground hip-hop group from the Bay Area.

Some of All Part's debut song, "Run" was inspired by Cynthia McKinney and Rosa Clemente, two women of color currently running for President for the Green Party.

This group wants to deliver a message: "Vote the Green Party 2008. Cynthia McKinney for President! Run Cynthia Run."
This song is performed by Danny Velarde (producer, sound engineer), Carlos Bryant (piano, vocals, co-producer) and 5 Fifths/Joe Truss (rapper/emcee).
It also features voice samples from Rosa Clemente and Cynthia McKinney. This song reminds me a little bit of "Yes We Can" (see my blog of 09/17/08). It's nearly the same approach like the song from "Will.I.Am" (from "The Black Eyed Peas").

I really like this song, although I'm not much interested in hip-hop music. This song circulates as an insider tip on the internet.


"They tried to kick her out
She came right back,
America blacked out,
But she brought the light back.

You're the one - run cynthia run,
Shining like the sun - run cynthia run,
Your the one - run cynthia run,
The movement has begun - so run, run, run, run!"

"Run (historical moment)"

Listen to more songs of "Some of All Parts" at www.myspace.com/thesomeofallparts

Ani DiFranco - singer and political activist

"How can one talk on the role of politics in art
When art is activism and anyway
Both are just a lifelong light
Shining through a swinging prism"
-Ani DiFranco

Ani DiFranco is one of the hard-working, outspoken, true musicians out there.
She was born in Buffalo (New York) in 1970. At the age of 18 she founded her own record label - Righteous Babe Records. DiFranco published her self-titled debut album Ani DiFranco in 1990.
She became a progressive singer, guitarist, and songwriter and a figurehead of the American new-folk movement.
Her music can be settled between Folk, Punk and Independent. During her career she integrated various other styles into her music, for example a lot of funky elements
in the late 90s.

Ani DiFranco’s lyrics are very ambitious: She works with alliteration, puns and metaphors and with a more or less clear irony.
Much of DiFranco’s material is autobiographical. Her songs are implicitly or explicitly politically and deal with social issues such as racism, sexism, sexual abuse, homophobia, abortion rights, poverty and war.

Besides the music for performance, DiFranco makes musical statements in support of to political issuescandidates. During the U.S. presidential campaign in 2000, DiFranco supported Ralph Nader outside the so-called Swing States, e.g. at Madison Square Garden on October, the 13th, 2000 (see the video below.

During the election campaign in 2004, she supported the Democratic candidate Dennis Kucinich. For the upcoming election, DiFranco is threowing her support behind 2008 Presidential Candidate and Ohio Congressman Dennis Kucinich until he dropped from the raceaga Tin. See the video below , where she shows her support for the himcandidate in Boston on Nov 12, 2007.

In an interview with Spinner.com, DiFranco comments on her support for Kucinich:

"Yeah, he's still as cool as he ever was. I can't tell you how many times I hear, over and over, "Well, he was the coolest. I watched the debate and he made the most sense but he's unelectable." Again, that disillusionment. People just don't even believe anymore that you can vote for a guy and he can be president. It's all about the money and the power. You have to believe something before you can make it so. I hate to see us progressives in this country shooting ourselves in the foot, just accepting the media celebrity game that they play with the supposedly electable people."

Read the full interview at http://www.spinner.com/2007/10/19/ani-difranco-loads-her-canon-with-politics-and-love/

Ani DiFranco at Nader Rally 10-13-2000



Dennis Kucinich and Ani DiFranco in Boston

My own band: 'I Met Violet'

After about one month of writing this blog, I thought it would be about time, to present you my own band. It's name is 'I Met Violet'. Wondering about the name? I will come back to this in detail at a later point.

Three years ago, there was just Simon and me. First we met at a forest near our home town, Bielefeld - also present: a blanket, a six pack of beer and, of course, our two acoustic guitars. We met nearly every day - it was almost like a nine-to-five job. We played our two guitars as if there was no tomorrow. We met at noon and left at sunset. But most of the melodies we played were not interrupted by the night-time. They were still in our heads. We worked on them. We had a lot of good melodies, which we tried to put together. After hours and hours sitting in the sun, after a huge waste of paper, with thousands of melodies on it, there was it: our first song. "But wait -- something is missing! What is it? Oh yeah...the lyrics."

It was not a hard decision to nominate the singer. Simon has a very British accent when he sings. That's what I really like (and I think he likes it, too) and it fits to our songs perfectly. We decided to write the songs in English, because it was much more interesting for us not to write the songs in our mother-tongue - we hear the German language every day. Our favourite bands sing in English - and so we do. We tried to get more familiar with the English language - "The language of Rock'n'Roll".

After our first completely finished songs, we already had our first guest singer. Her name is Jenny and she has an amazing voice. So now there were two guys and one girl sitting on logs in the forest and playing music together. We played a lot of our own songs but also some cover versions like "It Ain't Me, Babe" by Johnny Cash and June Carter - songs to perform as a duet.

Now it was about time to find a name for our "new musical project". We are two men. Men are masculine. Men are assertive and strong. Red is a strong color. Red is strong. Red is men. Simon and me represent the color red. Jenny is a woman. She is sensitive and thoughtful - just like the color blue. Jenny represents the color blue. Put those colors together and you get the color violet. We put the "I Met" before the "Violet" to create some kind of rhyme - no deep thoughts behind this. We never met someone called Violet - but we'd love to. We could tell her a good story - and she would feel honored.

We took the next step: we looked for a rehearsal room. And we found it - just a five minute walk from our first "wooden rehearsal room" in the forest. The Community Center just around the corner became our new field of activity. The amplifiers and guitars were already there and we could use this room for around $50 a month. But after a short time, we gambled it away with the owner of the Community Center by putting candles on the amplifiers and messing up the room. We were much faster kicked out of the rehearsal room, than we could say "I Met Vio...".

But there was this old room in my grandma's house that needed to be renovated. We renovated it. As a thank-you we were allowed to practice there. We were not playing loud music, so it was fine with her. But we wanted to get a little louder. We needed a bass player and a drummer. We forced my best friend Johannes to play the bass guitar - he had to learn it and he does a great job.
We met the man with the sticks at a school concert. We already knew Gregor but what we didn't know: he's a really great drummer. No great persuasion. He was in. Our "musical project" became a band.

Unfortunately, Jenny had to leave the band and now there were just four guys. But, on this basis, we never planned to start a "real boy band" where everyone is singing in different pitches.
We recorded our first Demo-EP in the new renovated rehearsal room - four songs in a poor quality. But good enough to be booked for some shows in our home town. Today we try to hide these old songs from the public.

In 2007 we drove to an old friend in Cologne. He has his own recording studio together with his best friend. We recorded three great mixed songs there (e.g. "Asleep", which you can watch as a video in this blog entry).

A few months later, we met Henning. I found him and his music on MySpace and his solo stuff is impressive. I asked him to join us. No great persuasion. He was in.

Photo: From left to right: Georg, Simon, Gregor, Henning, Johannes

With Henning, we finally found our "own" music style. It's not the two-guys-with-guitars project anymore. We have extra-ordinary influences with Henning's accordion and trumpet. Our music can be defined as loveable, relaxed Pop plus rock parts (my electric guitar). Most of the times we are quite relaxed - but "I Met Violet" can be loud, too! Just listen to our songs - they are about life, love and Simon's philosophical thoughts. There is simply the joy and fun we have making music together. It's all about friendship and having a wonderful band. Hopefully, this can be heard in our songs.

We played more than two dozen shows since 2006. By the way: we played our first show with the band "Ghost Mice" from Bloomington (Indiana) in a town near Bielefeld in 2006. And after that show we had two other performances with them.

In April 2008 we drove back to Cologne to record three new songs, that we found worthwhile. They are not mixed, yet. Stay tuned - hopefully in a few weeks I will be able to post them on this blog.

Enjoy our music at www.myspace.com/imetviolet
Be prepared - maybe we will play in your town tomorrow!

I Met Violet - Asleep