“Is it in fact unfair to criticize a formerly great artist for his latterday sins, is it better to burn out or fade away?”

Although the artist in question was Stevie Wonder, to my mind it applied just as much to Elton John.

Incidentally, this exchange takes place between Dick, Barry and Rob in High Fidelity’s High_Fidelity_FiveChampionship Vinyl – a breeding ground for deep observations such as Wonder’s “crimes in the 80’s and 90’s”.

While Elton John undeniably created some of the best pop music EVER in the early 70’s, he has grossly under-performed for stretches since – my observation for Dick and friends if given the chance.

Of course a fan could argue that drugs and drink got in the way and that he’s now back at the top of his game.  Still, I’d have a hard time getting past the Disney catalog and the new hair.  Sorry.

Not a fan of Elton John post-Goodbye Yellow Brick Road, nor musicals as films post-West Side Story for that matter, I was blown away by the recent biopic Rocketman.

Where Across the Universe used the Beatles’s music, but not their story, it’s another example of compelling storytelling through an artists’ work.  Only this time the story is John’s tragic life pre-sobriety – heavy on the 70’s.

Although I’m a HUGE fan of the Beatles and I highly doubt anyone will touch their sixties output, Elton John and his songwriting partner Bernie Taupin gave them a run for their money from ’69 – ’74.

Although the lyrics came from Taupin, you’d be forgiven for thinking young Reg Dwight aka Elton John had written the songs himself –  “I’m a juvenile product of the working class…whose best friend floats in the bottom of a glass.” – “Saturday Night’s Alright for Fighting” ’73


I know there’s an argument to be made that Stevie Wonder’s early 70’s output is just as impressive.  And, he wrote the music and the words.

However, I didn’t grow up with his music.  In fact, my first memory of Wonder is of him accompanied by pre-Sir Paul McCartney on the number one hit, “Ebony and Ivory”.  After Sunday church I could just catch the last ½ hour of Casey Kasem’s “American Top 40”.  Sadly, the crimes weren’t far off.

One of the albums in my family’s collective record collection was Elton John’s Greatest Hits from 1974 – a collection of 10 songs from his first 5 albums.

That record collection included a box of my mom’s old 45’s.  Yes, from a time back “when me and Suzy had so much fun”.

Like Wonder, John’s early – mid 70’s work is brilliant.  I reckon he could have easily filled another 2 or 3 albums with great songs.

So brilliant in fact that it would overshadow anything that came afterwards.

Sadly, even if John, Wonder or even McCartney continue to crank out great music, there’s no overcoming the “nothing could possibly be better than this” curse.

One of my favorite points in Rocketman comes when John makes his American debut at the Troubador in West Hollywood circa 1970.

As a native of Los Angeles and a big fan of John’s early 70’s output, I’ve always loved this story – long before I saw the movie.

Beyond the film, this little club plays a huge part in the history of American pop-rock-folk music.

In fact, in the summer of 2009 I saw James Taylor and Carole King play the Hollywood Bowl on the “Troubador Reunion Tour” – both singer songwriters a part of its rich tapestry (sorry, Carol!).

Incidentally, Taylor and King played their first Troubador show together in November, 1970, three months after John’s big debut.

Before coming out West, Carol King had been an integral part of Manhattan’s Brill Building hit factory churning out songwriters from King to Neil Diamond in the 60’s.

Legend has it that Neil Diamond was in the audience at John’s American debut – among other future legends.

One of Taylor’s paramours and creative muse for a short time, Joni Mitchell was one of the talented females on the scene.

“Like Paris was to the Impressionists and the post-Impressionists, L.A. was the hotbed of all musical activity. The greatest musicians in the world either live here or pass through here regularly,” according to the “Lady of the Canyon”.

From The Mama’s and the Papa’s and Buffalo Springfield in the 60’s to Jackson Browne and the Eagles in the 70’s, it was an absolute “hotbed of musical activity”, the beginnings of which are brilliantly documented in Echo in the Canyon.

In addition to Mr. Diamond, legend has it that David Crosby and a few Beach Boys were at the Troubador that night.

Yeah, I know. Frank Sinatra, J. Edgar Hoover and Howard Hughes were all present when Marilyn Monroe sang “Happy Birthday, Mr. President” at JFK’s 45th birthday party.

I like to think that a young Glen Frey and Don Henley were there too.  After all, Glen Frey and Jackson Browne shared an apartment in nearby Echo Park.

Although the Eagles came along a few years after the Canyon’s heyday, they, along with Browne, Taylor and Crosby, Stills and Nash carried the melodic pop and ethereal harmonies for a few more years.


It’s a funny thing – the “family record collection”.  I suppose growing up in any house with siblings there’s bound to be a mix of your parents’ old records, a handful of pre-kids’ ones when they were still hip and then a random mix of novelty and other kid-friendly ones documenting the growing brood.

Right before Simon and Garfunkel’s Bridge Over Troubled Waters stood Debby Boone’s You Light Up My Life.  Right behind it, Neil Diamond’s The Jazz Singer.  A mixed bag, indeed.

Bottom line – if they were once collectors, it all ended with the first child.  Or at the latest, the second.

At the ripe age of eight, I recall my Top 5 records looking something like this:

I don’t know if Dick, Barry and Rob would approve of my eight-year old taste but I’m proud to say that my two favorite songs circa 1980 were prominently featured in Rocketman – “Saturday Night’s Alright for Fighting” and “Crocodile Rock”.

What did your Top 5 look like at eight years old?




The Imitation Game

Sufjan Stevens Tangled Up in BlueTANGLED UP IN BLUE

Imitation is the sincerest form of flattery.

– Charles Caleb Colton

Say what you will about Mr. Colton’s oft-used quote, but he was definitely on to something.

When Bob Dylan was starting out on the Greenwich Village coffee house circuit in the early 60’s, some critics dismissed him as a pale imitation of Woody Guthrie. As Woody was one of his heroes, I’m sure he wasn’t too bothered.

I wasn’t around for those remarks but I clearly remember ones hurled at Quentin Tarantino’s in the early 90’s – “Martin Scorsese clone”, etc.reservoir dogs

Anyone who’s heard Dylan’s pre-electric music or watched an early Tarantino film recognizes some truth in these observations.

They also recognize that both Dylan and Tarantino went on to craft their own distinct styles while building on the work of their heros.

After all, isn’t imitation a form of flattery?

Yes. And more.

I see it as a natural step to finding one’s own voice.

I’d argue that Dylan borrowed from the great Guthrie on his way to becoming even greater (I’ll let the cinephiles out there debate QT vs. Marty).

To become great in any field, i.e. an original thinker with ideas that make a real impact, you too will have to copy what you…[to continue reading, see The Path to Peak Performance]


Imitation and/or homage very much alive in the new music I heard last year, here are the 3 standouts:

1. Matthew E. White – Fresh Blood

You know how I feel about the big white Yeti from Virginia (if not, see “White Is the New Black”).

2. Father John Misty – I Love You, Honeybear

To sample the work of the Padre, check out these dance moves pre-Honeybear:

3. Sufjan Stevens – Carrie & Lowell

Although I’ve casually followed this eccentric Brooklynite for a good 10 years, nothing prepared me for this.


Returning to ‘Greatness via Imitation’, Sufjan Stevens finds his own voice while somehow channeling the spirits of Jeff Buckley and Elliot Smith on his 7th studio album.

Inspired by the death of his schizophrenic mother, Carrie is both eerie and ethereal. His sparse guitar picking is pure Smith (no stranger to sadness) while his nuanced voice evokes Buckley at his most vulnerable and intimate.

Inspired by the death of his schizophrenic mother, ‘Carrie’ is both eerie and ethereal. His sparse guitar picking is pure Smith (no stranger to sadness) while his nuanced voice evokes Buckley at his most vulnerable and intimate.

If you’re a fan of either of these 20th century originals, give this a listen:


I’d love to hear your thoughts on these 21st century anti-rock stars. And what was the best thing you heard last year?


Gotta Keep It New to Keep It True

The Ghost of Rock & Roll Past (Part Deux)

Dear friends,

Here are your cumulative answers to the Matthew E. White Tribute Challenge along with my 3 top (strongest influence) choices with corresponding links:

Song #1:  Steady Pace

Your artists-songs:

  • Mungo Jerry – In the Summertime
  • Stealer’s Wheel – Stuck in the Middle with You
  • Earth, Wind & Fire
  • J.J. Cale mixed with Jamiroquai
  • The Band – The Weight
  • Michael Jackson/Jackson 5 – I Want You Back
  • Van Morrison (match)

Your average score:  8

My artist-song:  Van Morrison – Crazy Love (live w Ray Charles)

My score:  7.5

Song #2:  Rock & Roll is Cold

Your artists – songs:

  • Derek & The Dominos (E. Clapton)
  • Eric Clapton – Lay Down Sally/Promises & Jack Johnson
  • The Faces/Small Faces
  • Terence Trent D’arby – Wishing Well + Jack Johnson, ZZ Top & Sonia Dada
  • Van Morrison, Jack Johnson & Warren Zevon (match)

Your average score:  8

My artist/song:  Warren Zevon – Werewolves of London

My score:  10

Song #3:  Feeling Good is Good Enough

Your artists – songs:

  • The Beatles – Hey Jude
  • Eric Clapton – Slowhand
  • Ben Harper
  • Hall & Oates (early)
  • Marvin Gaye meets The Band arranged by Becker and Fagan (Steely Dan) + The Beatles – Hey Jude
  • Hall and Oates – Sarah Smile + Elton John (match)
  • The Rolling Stones

Your average score:  6.8

My artist – song:  Elton John-Tiny Dancer (from Almost Famous)

My score:  8

Thanks for playing and have a great summer!

The Ghost of Rock & Roll Past

“I saw rock and roll future and its name is Bruce Springsteen.”

In 1974 music critic Jon Landau made this bold claim.

Well, I’m no Jon Landau nor have I been visited by any Dickensian Ghosts but I do believe I’ve just seen rock and roll past…and it resembles the Yeti…in white.

Matthew E. White

The missing link between Stevie Wonder ’72 & James Murphy ’05

Here’s the song that blew me away when I heard it a few months ago:

Big Love

Part soul man, part funk meister, this anti-hipster from Richmond, Virginia knows how to pay tribute to the greats without ripping them off.

And if White resembles any part of the future of rock and roll circa 2015, I’m in.


For about 10 years between 1997 and 2007 there was no activity I spent more time on than reading about music. But before we go there, a brief history…

I came into pop music consciousness in late 1980, early 1981. I clearly remember listening to John Lennon’s (Just Like) Starting Over climb up Casey Kasem’s American Top 40 shortly after his death.

Kasey Casem

One too many “long distance dedications”

If the warmhearted DJ was also a big part of your youthful weekends, you might enjoy Casey’s little studio meltdown (warning – contains explicit language):  Meltdown

Eventually my love for the iconic countdown waned, but not for music.

I spent countless hours practicing my fall-away jumper to the sounds of the Thompson Twins and The Doors blaring out my bedroom window.

In defense of my 14 year-old self, I recently heard the Twins’ If You Were Here and was amazed by how good it was…but that could very well be a case of nostalgia clouding judgement. Any thoughts?

Music was front and center of everything I did through high school, college and beyond.


What changed around 1997 was the reading part.

Sure I’d picked up the occasional Rolling Stone in high school but it wasn’t until living in Far East Asia in the mid-90’s that I learned to appreciate the written word…

Finding an English book or magazine in Inchon, South Korea in 1995 was like finding high-speed internet in Siberia during a snowstorm.

However it was in a tiny shop close to the DMZ where I picked up an indie sampler CD featuring two artists that would change my life forever.

Jeff Buckley’s Grace would go on to become one of my favorite songs of all-time and Wonderwall, well, more on Oasis later.

A few years after my stint on the Korean border, I landed in the more pop-friendly city of Matsuyama, Japan.

Matsuyama even offered a full-fledged Tower Records where I made regular purchases of CD’s and magazines. The year was 1997 and the Union Jack was everywhere.

Brit Pop

Faster than a cannonball…

It was at this time I picked up a copy of The Beatles newly released Anthology 3 “warts and all” collection.

It should be noted that in addition to the comprehensive BBC Anthology series, the Gallaghers had played a big role in the renewed interest in the lads.

So while buried in Brit Pop at its drug-addled peak I was discovering late-period Beatles, beards and all.

The Beatles

Lennon’s suit look familiar?

It also happened to be the first time in my life I was living alone. I cooked, read, even exercised in the confines of my tiny flat, making for an intense listening experience – every word, every note, every joke intimate.

Here’s one from Paul Ramon, Winston Legthigh and mates circa ’68:  Los Paranoias

The listening had suddenly shifted from dorm room passive to Cracker Jacks box active – a familiar setting from my childhood.

A few years later I’d be living in a new country, no longer alone but with the reading part at full throttle. There was even a point at the dawn of the new millennium when I found myself subscribing to three music magazines at once.

Needless to say, there wasn’t a whole lot of work getting done at the breakfast table. But after years of intense listening I was starting to connect some big dots…

“So before the Stones, Ronnie Wood was with The Faces…and before he was a Face, he and Rod Stewart played with The Jeff Beck Group…and what about that first band that turned into the Faces, those little guys? They were damn good”…and so it went.

Incidentally, the music I love most today was crystallized through all that digging.

As long as I’m alive I’m convinced that pop music will never be better than The Beatles between ’65 – ’69, The Rolling Stones from ’68 to ’72 and a handful of other greats during those same years – many of whom you just might hear in White’s humble musical output.


But rather than take my word for it, let’s play a little game.

It’s called “The Matthew E. White Tribute Challenge”.

Here’s how to play:

  1. Watch video, listen to full song (eyes closed if helpful).
  2. Which artist and song does White’s track remind you of (more than 1 answer possible)?
  3. On a scale from 1 – 10, how do you rate his song/tribute?

Please share your answers with me in the comments below and I’ll let you know if they match mine. Happy listening!

Good Night

Bruce on Paul's Piano

This is a tribute to the man who set the bar high for musical guests on talk shows.

To see David Letterman’s commitment to high quality music & edgy artists over the last 33 years, watch a burn-the-house-down classic from The Boss, Reagan-era Dylan sounding more The Knack than Bob Dylan, Sir Paul “Get(ting) Back” on top of a NYC roof 40 years after he & the lads burned down the rooftop of 3 Savile Row…and 7 more memorable moments:

David Letterman’s Top 10 Musical Moments

So a big “thank you” to Dave and a fond farewell to one of the greatest comedy & musical institutions in TV history.

Closing out The White Album and signalling perhaps the beginning of the Beatles’ end, I offer these parting words…

Now it’s time to say good night
Good night, sleep tight
Now the sun turns out his light
Good night, sleep tight

Would love to hear which of these moments you enjoyed most. Thanks for sharing!

Note to Self: Don’t Die

ryan adams

Whose music has moved you more than anyone over the past 10 years?

I asked myself this question about 10 years ago, half way through the first decade of the new century.

If it’s one thing that has defined the 21st century so far it has been the breakneck speed of change – one day you’re listening to your relatively new CD collection and the next day you’ve got the entire collection in the palm of your hand.

And yet, if I ask myself this same question 10 years on from the first time I asked it, the answer is still the same.  Only now it’s 20 years.

From his kick-ass punk-country debut Faithless Street with Whiskeytown in 1995 to his solo double punch of Heartbreaker & Gold in 2000-2001, a couple classics with the Cardinals a few years later and right through to his new album, Ryan Adams has consistently cranked out high quality tunes for 20 years.  And at a higher quality than any other artist or band.

Incidentally, he just lost out to Beck for 2014’s “Best Rock Album of the Year” – another musical giant whose prolific output since the mid 90’s is impeccable.


My only complaint over the years with Adams had always been his perceived lack of humor when it came to his name, closely resembling that other Adams in sight and sound.

However, it seems that Adams the Younger has finally come to grips with his name and much more.  Read on.

If you question my bold claim, I challenge you to find me a song post 1994 that is…

…prettier than:  When the Stars Go Blue

…more feel-good than:  Firecracker

…a better Oasis cover than:  Wonderwall

…a catchier song about the Big Apple than:  New York, New York

…or a better non-parody 80’s tribute song than:  Gimme Something Good 

And as clearly seen on this final “live” video proof for my case, Adams has embraced his inner 80’s child as well as his Canadian cousin:  Run to You

Like many of his ideas around the time of his forgettable Rock n Roll, “Note to Self: Don’t Die” sounded like a bad idea.  Even without hearing it.  However, I am now very glad he wrote that note to himself and didn’t go the way of Kurt Cobain or Jeff Buckley – two other musicians who had a lot more to give us.

jeff buckley2

I understand if you take umbrage at my claim.  Therefore, I invite you to challenge me right back.

Tell me whose music has moved you most over the past 20 years.

P.S. My 3 Best Alternatives:


Thom Yorke/Radiohead

Jeff Tweedy/Uncle Tupelo/Wilco


A Day in the Life

So this is Christmas

And what have you done

Another year over

And a new one just begun

As a protest against the Vietnam War, John Lennon sang these words in 1971.  9 years later he’d be dead.

Although it felt far removed from me at the time, I distinctly remember the fateful news of his death on December 8th, 1980.  However, growing up I’d always been partial to Paul’s soothing vocals and soft features.

In fact, it wasn’t until listening to “Mother” from his first post-Beatles solo album John Lennon/Plastic Ono Band 30+ years after it had been written that I made a real connection to him and his music.

I was completely flattened by the sheer rawness and power of his words as he screamed them out.  The unfiltered pain and honesty.  I still am.

To my mind there has never been a better example of a figure in pop culture with the courage to do and say what he believed was right – protesting a war or professing his love for the woman people blamed for the break-up of the beloved Beatles.

Written 5 years after he’d laid down his guitar and decided to live deliberately after most of his life in the spotlight, nothing illustrates this better than his lyrics to “Watching the Wheels” released shortly before his death:

I’m just sitting here watching the wheels go round and round

I really love to watch them roll

No longer riding on the merry-go-round

I just had to let it go

To honor John Lennon on the anniversary of his death, I’d like to share “Happy Xmas (War Is Over)” with you.  Take a few minutes to listen and see if you can feel the power and emotion in his words and music.

john lennon

A very Merry Christmas and Happy 2015 to you and your loved ones!



Dearest Family and Friends,

I have something I’d like to share with you.  I plan to tell the rest of the world shortly but I wanted to confide in my closest relationships first.  I’m Twee.  Yes, after 43 wonderful but often confusing years, I now clearly see who I am and how I want to be.

Funny thing is, I didn’t realize it until coming across the funny little book, Twee: The Gentle Revolution in Music, Books, Television, Fashion, and Film.


With the exception of fashion, a book title has never had a better target audience than yours truly.

In fact, this very blog is dedicated to intelligent new music, books and film, which includes the golden age of television we’re living in – Fargo and True Detective head and shoulders above any cinema film I’ve seen in a long time.  At least since The Grand Budapest Hotel (more on Twee icon Wes Anderson later).

So when a friend sent me a baby blue copy with a petite bird cage on the cover, I cautiously entered in to “the first strong, diverse, and wildly influential youth movement since Punk in the ’70s and Hip Hop in the ’80s—showing how awkward glamour and fierce independence has become part of the zeitgeist.” – Amazon’s words.

Like Morrissey, Wes Anderson films or anything emanating from Brooklyn (Twee epicentre), you’ll probably either really like or really dislike this book.

One of the things I liked so much about it is how it links particular Twee things with particular Twee locations (bubble-gum indie pop & Glasgow, beards & Brooklyn).  It took me back to a time when statements like: “I was living in London in ’66” or “I spent a lot of time at CBGB’s back in ‘76?” could trigger an instant association of Beatle Boots and Bee Hives or black jackets and white sneakers up against a dirty brick wall.


Coming of age in a sleepy town in the Pacific Northwest in the 1980’s, I missed out on the explosive Minneapolis scene led by true grunge grandfathers Hüsker Dü and The Replacements.  I was too young to experience the drunken high jinks of Paul Westerberg and the 3-chord anger of sexually confused Bob Mould, but I did grow up a few short hours south of Seattle (Grunge epicentre).

Other than one cool record store downtown, Salem, Oregon didn’t offer much in terms of an authentic music scene.  Any music scene, in fact.   What it did have a surplus of however was the ubiquitous “head banger” in black t-shirt under jeans jacket full of kick-ass rock patches – required dress for any true Iron Maiden, Ozzy Osbourne or Def Leppard fan.

iron maiden

Other than Grand Records down by the river, it was slim pickings if you wanted to get a hold of anything more obscure than Winger, Warrant or aforementioned metal trail blazers.

And then one day in the summer of 1983, my friend Matt Halferty and I came across a copy of Depeche Mode’s Speak and Spell, the Twee gods smiling down upon us.  I now know that the electronic pops and buzzes that blew us away upon first listen weren’t all that cutting edge when they appeared on the European scene in 1981.  Gary Numan, OMD and a handful of Teutonic man-machines had been tinkering with computerized synths for half a decade.  I can’t speak for Matt, but this just may have been my Twee Damascene event.  Keep in mind, we’d just witnessed the heavy metal coming-out party courtesy of Van Halen, Quiet Riot and the glam metal hybrid of Ratt –  massive radio staples in the 7th grade.

Matt ended up going to a different high school but I went on to buy the next few Depeche Mode albums in addition to The Smiths debut and a handful of other second wave British invaders that I now realize are very Twee.

With puberty firmly setting by the mid-80’s, I then moved on to the testosterone-fuelled music of the Doors, Led Zeppelin and the Who – a language I understood much better.  “The queen is dead.  What was Morrissey on about?  I just saw her on TV.”

By the fall of 1990, my sophomore year of college and another musical sea change or two, my top 5 bands went something like this:

The Violent Femmes, The Cult , Social Distortion, REM, The Smithereens

In keeping with the full disclosure of the post, I probably would have left off that last one had I not read the review of Nirvana’s 20th anniversary re-issue of Bleach.  Urban legend has it that while driving from their hick town of Aberdeen to Seattle to record their debut album for $600 in 1989, the Smithereens were one of 2 bands Nirvana listened to on the 100-mile drive over.

Listening recently to “Losing my Edge” from post-punk (Twee’s edgy cousin) revival band LCD Soundsystem in which an aging DJ who “was there in 1968 at the first Can show in Cologne” and again he “was there in 1974 at the first Suicide practices in a loft in New York City”, I got to thinking – Have I ever experienced a scene?  And when “was I there”?

I’d discovered The Beatles through The Chipmunks sing the Beatles hits.  However, I still think it’s one of the best collections of Beatles covers ever. Listen to those harmonies! And I’d been much more interested in Luke Skywalker’s true family history than the real story behind The Great Rock ‘n’ Roll Swindle.

But I had been at an outdoor concert once while at the University of Oregon in 1992 where a very mediocre band claimed to have played right alongside Nirvana in Seattle before they exploded.  It was more of a fraternity event than a concert, actually.  I even made two trips to Seattle the year grunge broke big – once to see our lowly Ducks get destroyed by the mighty Washington Huskies and again at Christmas break with a Seattleite I was dating.  I never did make it to any of those cool, grungy music venues I saw later in Cameron Crowe’s Ode to Grunge, Singles.  I did visit the original Starbucks café on one of my trips, however.  I later found out it wasn’t in fact the original, original (automatic Twee disqualification).

And that’s probably how it is with “scenes”.  They’re over before you know they’ve started.  By the time I caught up with Sid Vicious, I quickly recognized Billy Idol’s bankable bad-boy snarl – one of the original hangers-on from London’s punk scene circa ’77, but not the snarl’s rightful owner.

And I suppose the true origin of every “scene” can be traced back to its original place and people.  Weren’t the Sex Pistols just a lucrative creation of image-savvy Malcom McLaren?

A few years prior to year zero, Mr. McLaren had in fact tried to give the proto-punk New York Dolls a style make-over.  The matching red leather Dolls with massive Soviet hammer and sickle backdrop didn’t go over too well on their tour of the Bible Belt, evidentially.

NY Dolls

I suppose if you’re going to be one of those guys who “was there”, you’re inevitably going to end up sounding like James Murphy in “Losing My Edge”:

I was there.

I’ve never been wrong.

 I used to work in the record store.

I had everything before anyone.

When I come across like-minded music lovers they tend to get big eyes when they find out I went to college in the Pacific Northwest in the early 90’s.  I usually just smile and tell them I visited the original Starbucks.  I might also happen to mention I was a huge Smithereens fan.

But coming back to the intelligent new media at hand, the fact that I loved the Smiths and REM – the two reigning Twee bands of the 80’s, am geographically connected to Twee icon Kurt Cobain and am a card-carrying fan of the wonderfully Twee world of Wes Anderson, I have come to the indisputable and inconvenient conclusion that I am Twee and have probably always been Twee.

For those of you who find this news hard to swallow, I would strongly recommend reading this entertaining little book – if not to gain a better understanding of me and my world, then perhaps for the pure enjoyment of learning what drove Walt Disney to create the Mouse and his Magical World – light years away from that brutal world he’d experienced driving an ambulance as a high school drop-out on streets of blood and rubble at the end of WWI.

In addition to many more entertaining stories like this one and the creative weaving together of seemingly unconnected people, places and movements (e.g. Mickey Mouse & Nirvana), you might not agree with me and Morrissey that “Meat is Murder”, but you might just discover that you’re not so different from us after all.

Thanks for letting me share with you.  I’d love to hear “where you were” and what movements you’re connected to – wittingly or un.  Thanks for sharing your story with me!

My Generation


This gallery contains 5 photos.

‘I’ve heard Generation X called a lot of things but “forgotten” isn’t one of them’ – my first thought when I came across Letter from the Forgotten Generation  on LinkedIn a few weeks ago.  My second thought:  ‘Didn’t I propose something … Continue reading