Ian Anderson brings fresh & fave Tull to MGM

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For a good half-century, the list of notable rock/pop flute players largely began and ended with Ian Anderson of Jethro Tull. In recent years, he says, he’s finally noticed a new one on the scene.

“There is somebody called Lizzo that I hear about,” he said during a recent Zoom interview. “And she’s probably a much better flute player than I am, having been classically trained.”

They’ve gone in and out of style too many times to count, but Tull remains as individual as ever. Their latest album “RokFlote” is the best – and probably only – concept album about Norse mythology you’ll hear this year. But then, not many people were making albums about organized religion in 1971, when Tull released the now-classic ”Aqualung.” Both albums will likely be represented when the band hits the MGM Grand on Saturday.

“Norse mythology originally struck me as a very bad jumping off point for a Jethro Tull record,” he says. “The challenge was to find a way to do it. I had to adopt a light touch in the writing and not give the connotations of a master race, since the poor old Vikings died out several hundred years ago. I tried to give each song a couple stanzas of descriptive writing, followed by a couple that find parallels with human characters that I might know from my associations over the years. What’s interesting about the characters of Norse gods is that they’re not depicted as spiritual magical beings, but as superior humans.”

The most popular Tull albums are usually his own favorites, he says. “I’d say that ‘Stand Up” was one of the best, the ‘Aqualung’ album had some important songs on it, then up to the ‘80s with ‘Crest of a Knave’. A lot of people don’t go beyond the ‘80s, since they stopped listening to Jethro Tull when it became less fashionable. When you do a new album you don’t want to do something that just sounds the same as a previous one, but you don’t want to have it sound radically different either. People are at this point in their aging lives, looking for some familiarity. They know what they like to have for Sunday lunch, and they know what they like to listen to.”

The Tull lineup has changed since they last toured pre-Covid, and he says he’s gotten some energy from the fresh blood. “When I write for a new project I think of the personalities of the musicians involved. And since we couldn’t play in a room together during the Covid years, it was exhilarating to do that. We’ve still got a musical style that keeps us from sounding like a bunch of other people. And keeps them from sounding like us, since it’s quite difficult to play.”

The past decade has brought deluxe reissues of every Jethro Tull album in order; 1982’s synth-heavy “The Broadsword & the Beast” was the latest to appear last summer. This has required Anderson to go back and listen to every song the band ever recorded, including the ones that got rejected at the time. “I expected a lot of disappointing surprises when I started work on it. But I was relatively relaxed after listening to the music two or three times. Even the songs that didn’t meet the standard, when you put them in the context of the era and my age at the time, nothing was too dreadful.  Maybe a half dozen were just a little dreadful.”

 

Chieppo & Gass: Civics poll shows state has much work to do

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With wars raging in the Middle East and Ukraine — not to mention the recent conflict in the Republican caucus of the U.S. House of Representatives — it has rarely been more important that American voters have the knowledge they need to make wise choices in upcoming federal elections. Unfortunately, after decades of civics being marginalized in public schools, the data show that such knowledge is sorely lacking.

Massachusetts is one of the best-educated states in the country, the only one in which more than half the workforce holds a bachelor’s degree or better. Yet when Pioneer Institute commissioned and Emerson College Polling conducted a survey that asked state residents some of the questions immigrants must answer correctly to gain U.S. citizenship, the responses earned those voters a cumulative grade of 63, or a “D.”

State residents got a failing grade on two basic questions about the U.S. Senate. Only 52% knew the Senate has 100 members, while just 55% knew that a senator’s term is six years.

The questions most often answered correctly were one in which respondents were given a list of places and asked which is a U.S. territory, and one about the month in which federal elections are held. Eighty-five percent identified Puerto Rico as a territory and 76% knew federal elections are held in November. This means the best grades Massachusetts residents could muster are a “B” and a “C.”

There wasn’t a lot of difference in how well respondents did based on party affiliation, but registered voters scored higher than those who aren’t registered. Unaffiliated voters scored best, getting 69% correct. They were followed by Democrats and Republicans, each at 62%. Those who aren’t registered to vote earned a failing grade, getting the correct answer just 46% of the time.

It’s not surprising that those with more education did better, but perhaps the most troubling parts of the poll are the breakdowns based on respondents’ age and how many civics classes they have taken. Those over 65 did best in the poll, getting 75% of the questions right. They were followed by those ages 55-64 (68%) and ages 45-54 (65%). The three youngest age ranges did the poorest — ages 18-24 (58%), ages 35-44 (55%), and ages 25-34 (52%).

Performance was correlated with the number of civics classes taken. Respondents who took multiple civics classes in middle or high school got an average 69% of the questions right, while those who took one class averaged 65%, and those who didn’t take any averaged 58%.

The poor performance of younger people on the exam and the correlation between performance and the number of civics courses taken highlight the near-disappearance of civics from Massachusetts public school curricula in recent decades. As public education has increasingly come to be thought of as little more than workforce development, teaching civics has become less and less of a priority.

America’s Founding Fathers weren’t perfect, but they possessed wisdom that was far ahead of their times. They saw the primary role of public education at the state and local levels as preparing young people to be active participants in our democracy. At a time when our nation faces staggering challenges and much of the public lacks even the most rudimentary civic knowledge needed to choose between different approaches to confronting those challenges, we may be about to learn — the hard way — just how right the founders were.

Charles Chieppo is a senior fellow and Jamie Gass is the director the Center for School Reform at Pioneer Institute, a Boston-based think tank.

 

 

 

McCaughey: Why Dems push for noncitizen voting rights

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If you think offering migrants luxury hotel rooms, free meals, laundry service, transportation, health care and immigration lawyers is excessive, just wait until they can vote. Democrats are pushing to allow noncitizens to vote in local elections in New York City, Boston and other municipalities.

The number of migrants pouring across the southern border hit a record high, according to data released last week. Illegal immigrant crossings soared 21% over the previous month. On a yearly basis, the figure hit 2.48 million.

Democrats may feign shock and distress. Don’t be fooled. Dems see these newcomers as their guarantee of a permanent voting majority in local elections. Not years from now, after the newcomers become citizens. Right now.

New York Mayor Eric Adams’ rhetoric is typical. He warns that the overwhelming number of migrants arriving — currently 16,000 to 17,000 a month — “will destroy New York City,” but he’s also leading the legal effort to turn migrants into voters.

Adams and other New York Democrats pushed President Joe Biden to expedite work authorizations for them. They said it’s about making migrants self-sufficient. Maybe, but Dems have another powerful motive.

If you read the fine print of New York City’s “Our City, Our Vote” law, enacted in December 2021, it says that anyone with a work authorization who has been in the city for a mere 30 days can vote, even if they entered the country illegally.

The law is tied up in court.

A group of Republicans led by Staten Island Borough President Vito Fossella sued, arguing the state constitution grants the right to vote to “every citizen.” A Staten Island judge bought that argument and struck down the law, but Adams’ law department is appealing that ruling in a higher court, arguing that the state constitution does not specifically prohibit noncitizens from voting.

Adams has a shot at winning. Vermont’s top court ruled in favor of allowing noncitizens to vote in municipal elections, even though the Vermont constitution restricts voting in state elections to U.S. citizens.

California and Maryland also already permit municipalities to enfranchise noncitizens.

The Boston City Council is debating allowing newcomers to vote, including migrants who recently came across the border illegally and have temporary protected status.

In Washington, D.C., Democrats rammed through a local law in November 2022 allowing noncitizens, even foreign embassy employees, to vote, as long as they’ve resided in the city for 30 days.

In Connecticut, Democrats want to amend the state’s constitution to allow noncitizens to vote in state and local elections.

Voting is a privilege reserved for citizens. Once immigrants follow the law, become naturalized and swear loyalty to this nation and its Constitution, they should be entitled to vote. Not before.

Betsy McCaughey is a former lieutenant governor of New York and chairman of the Committee to Reduce Infection Deaths.

Great fight can’t make ‘The Killer’ into thriller

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Based on a long running French graphic novel by writer Alexis Nolent aka Matz (“Bullet to the Head”) and artist Luc Jacamon, “The Killer” is a violent film neo-noir from the great David Fincher (“Zodiac”), starring Michael Fassbender as the assassin without a name. Unfortunately, he is also without a heart, a soul or a personality.

The action begins in Paris. The killer is a like a monk in his cell, not praying, but waiting in extremely stoic circumstances (a breezy construction site) for his target to appear. We hear the assassin narrate the action in a monotone. He tells us that boredom is his enemy. An electric heater glows by his side. He wears black rubber gloves and quotes Popeye. He practices some form of yoga. He eats from McDonald’s, wears shades and a hat with a drawn-down band in public. In a park, a boy shoots a woman in the head with a toy gun. Is it his mother? His nanny?

Ah, the banality of gun violence. Remember when Fassbender was in everything? He’s taken a bit of a break and hasn’t had a film credit since 2019 after the dreary thing that was “Dark Phoenix.” “The Killer” is hardly a great return to form. Didn’t Fassbender already make this when it was called “Assassin’s Creed?” It wasn’t very good then either. The Paris hit does not go well. The killer, who may remind some of the much more soulful one played by Alain Delon in Jean-Pierre Melville’s classic “Le Samurai” (1967), escapes, erasing any memory of him as he goes, helmet in the Seine.

In his use of one of many false names, he uses a credit card with the moniker Felix Unger, one-half of the 1970s TV show “Neil Simon’s The Odd Couple.” Our man is the odd single. The killer has a fatal attraction to the uniquely mewling music of the Morrissey-fronted, post-punk 1990s band The Smiths.

The killer is a man of few words. “Empathy is weakness,” is his mantra. He retreats to Punta Cana in the Dominican Republic. A local woman he cares about was savagely attacked. The attackers were looking for him, of course. Now, he seeks revenge (Isn’t this a form of empathy?). Next  he is in New Orleans, and he’s got a nail gun. As a lawyer trying to talk his way out of getting nailed, Charles Parnell is a breath of fresh air. The killer knows how long it takes three nine-gauge nails to the chest to kill and how much sleep-aids to mix with meat to knock out a pit bull. These are dark arts.

The film’s highlight is a fight scene (from the director of “Fight Club,” no less) between the killer and an actor credited as The Brute (Sala Baker, TV’s “The Mandalorian”). It must be five minutes long and really is something to see. But great action alone does not a great movie make.

Fassbender is not a compelling figure in the tradition of Clint Eastwood or Denzel Washington. He is an intelligent Everyman. The last victim, the killer was told, “resembles a Q-Tip.” Of course, that turns out to be second-billed Tilda Swinton, who is in the film for about 15 minutes and sports a white ‘do. Swinton and supporting cast member Arliss Howard command the screen. But the killer remains a nobody, and I never liked The Smiths. “Heaven Knows I’m Miserable,” indeed.

(“The Killer” contains extreme, graphic violence, profanity and brief sexuality)

“The Killer”

Rated R. At the Kendall Square and Coolidge Corner. Grade: B-