Songs of the Times

In this essay I shall be discussing the bands Echosmith and High Valley.  Joining the two together as a single topic will probably seem rather peculiar to anyone familiar with both groups.  The former band hails from the city of Chino, thirty miles east of Los Angeles in the state of California’s San Bernardino County in the American republic.   It specializes in the kind of music that is called “indie pop” or “alt pop.”   The latter band is from the province of Alberta here in the Dominion of Canada.   Their home community is Blumenort, which like the Blumenorts in Manitoba and Saskatchewan is a small, unincorporated, farming community founded by Mennonites.   It is located in Mackenzie County in the north of the province, near the hamlet of La Crete which is also a Mennonite community.   To provide a more familiar landmark, this is about thirty miles north of Edmonton.   High Valley performs country and western music of various styles and varieties.  One might be tempted to say that in the universe of music, these bands come from completely different worlds.

 

The reason I have decided to write about the two bands together is that they have both released new songs this year.   In the case of Echosmith they released an entire album, their second studio album “Lonely Generation.”   High Valley has not released a full studio album this year yet, but they have released an EP with six tracks, including the single that shares its title “Grew Up On That” which has received a lot of playtime on country radio.    It is this single and the title song from the Echosmith album which I will be focusing on specifically.  Both songs strike me as saying something which, due to the times in which we live, is very important and relevant.   I do not mean that they are saying the same thing.  Indeed, the contrast between what the two songs are saying is possibly greater than the one drawn in the previous paragraph between the two bands. 

 

Before examining them at greater length, however, it might be interesting to note a few curious similarities between the two groups.

 

Both groups consist of siblings.   High Valley, the older of the two groups, is composed of the Rempel brothers, Brad and Curtis.   Echosmith is composed of the Sierota siblings, the brothers Noah and Graham as well as a sister Sydney who is the lead vocalist of the group.   Another similarity is that both groups saw the departure of a brother and founding member in the last few years.     In the case of High Valley it was Bryan Rempel about six years ago and in the case of Echosmith it was Jamie Sierota about two years ago.   

 

The most successful songs so far of both bands were released in 2013-2014.    Echosmith’s debut studio album came out in 2013.   The band had been formed about four years previously and they had originally performed covers of songs by other artists but this album, “Talking Dreams”, featured original songs written by the band members with their father Jeffrey David who is also their producer.   The best known song from the album was “Cool Kids”, which reached the thirteenth spot on Billboard’s Hot 100.   High Valley, which as mentioned is the older of the two groups having been formed in the late 1990s, released their fourth studio album the following year, entitled “Country Line”.   It contained ten tracks, six of which charted in the top ten for Canadian country as radio singles.   One of these, “Make You Mine”, in which they were joined by Ricky Skaggs, made the top five.  Both songs grew in popularity in the years after they were originally released, and both were certified Platinum – triple Platinum in the case of “Cool Kids”.

 

Now let us come back to the present year and take a look at the songs the bands have just released.   We will start with Echosmith.

 

As mentioned Echosmith’s “Lonely Generation” album was released earlier this year.   The title song was the first track on the album.   Like the songs on their first album, and the rest of the songs on this one for that matter, it was written by the siblings with their father and producer Jeffrey David.  

 

Here is the song’s chorus:

We’re the lonely generation
A pixelated version of ourselves
Empty conversations
I’ve disconnected, now I’m by myself

 

What jumps out about these words is how they well they describe what so many people have been experiencing since March of this year – the loneliness and isolation forced upon us all by the bat flu lockdowns.   Upon hearing those words for the first time, one could easily come to the conclusion that Mr. David and his children wrote the song during lockdown to express how they feeling about the whole thing.

 

The conclusion would be wrong, however.   Unlike “The Quarantine Song”, written by C. W. “Buddy” Kalb Jr. and performed by legendary country and western funny man Ray Stevens, containing the excellent lines “two more weeks of quarantine/will be the death of me” this song was not written about the lockdown or even in the lockdown.   The album was released in early January.  

 

The song was actually written as a commentary on social media, computers, smartphones, etc. and the culture, if it can be called that, surrounding them.   This is the band’s own explanation of the song.  Sidney Sierota said “It came out of a really interesting conversation about social media and how addicted we are to our phones” and “Conceptually, it felt really important. We always have a message in our music. For how connected we are, we end up feeling lonelier. Our generation needs to acknowledge it’s a problem and be more intentional in daily life”.

 

What I find very interesting about the lyrics and the explanation of them is the contrast with which the same phenomenon was been portrayed since the beginning of the bat flu lockdown.  The freedom-hating Communist swine who have placed us all under house arrest and lied to us about how it is all for our own good to keep us “safe” have presented social media to us as a lifeline, a savior to keep us from the loneliness and isolation that they have forced upon us with these unjust and wicked measures.   “Stay connected” we have been told, not meaning any kind of normal human connection since all of those have been banned, but plugging ourselves into what is essentially the Matrix and becoming, in the band’s words “pixelated versions of ourselves.”   Echosmith’s depiction of social media and its effects is by far the more honest and truthful of the two.  

 

Lockdowns produce loneliness, disconnect, and isolation.   Social media produces loneliness, disconnect, and isolation.   Does this not tell us that suggesting that we alleviate the isolation caused by lockdowns with social media is the equivalent of suggesting that we try to douse a fire with gasoline?   Of course, the reality is that it is the lockdown that is adding fuel to the fire of loneliness, disconnect, and isolation which, as the song, coming out when it did, demonstrates, was already present prior to the lockdown.

 

What we find in the Echosmith song, therefore, is commentary on one of the important social problems of the day which has been made doubly relevant by events that transpired shortly after the song was released.

 

High Valley’s “Grew Up On That” provides us with something extremely different.   It does not discuss the social problems of the present day but rather the good life of yesteryear.   Anyone who was raised on a farm in a small rural community in the prairie provinces of Canada, or, for that matter, the states of the American Midwest, will likely find something in this song’s nostalgic lyrics that he can relate to, especially if he had any sort of Christian upbringing.  

 

The lengthy chorus depicts the rural way of life in many of its aspects, from the sacred to the mundane and from the hard work to the equally hard play.    It goes:

 

Them Main Streets, them tractor seats
We put some country miles on
Them Friday nights, wide-open skies
Back Forty, gettin' wild on
Sweet by-and-by, I saw the light
In a little white church way in the back
Grew up, grew up, grew up on that

Ricky Skaggs on the vinyl
King James on the Bible
Feet on the dash with ourselves in the back
We grew up on that

 

 

(I call all of the above the chorus because that is how it is so designated in every copy of the lyrics that I have been able to find.   Just from listening to the song I would have taken the lines prior to the mention of Ricky Skaggs to be a bridge and everything that follows to be the actual chorus.)

 

 

There are also two short four-line verses.   The first which opens the song is a recital of parental injunctions that the Rempels undoubtedly heard repeatedly while growing up, about such things as showing reverence at meal time, treating their dates with respect, fiscal responsibility and social respectability.  The second verse references various staples of rural living such as “barbed wire” and “bonfires” and “one red light blinking.”

 

 

Obviously this song is not intended to be social commentary in the same way as the Echosmith song.   It is a very personal collection of reminiscences, autobiographical in nature and sentimental in tone.   The second verse, however, ends with a line that in expressing the nostalgic spirit of the song, does convey a message of sorts.  That line is:

 

 

Had it so good, didn’t know how good we had it, oh.

 

 

These words, removed from their context, can be understood in two rather different ways.   They can be taken in the eulogistic sense of “we didn’t realize what we had until it is gone” or they can be taken in the thankful sense of “in the wisdom that comes with age we have grown to appreciate all that was given us.”    Taken in context, of course, they can only have the latter sense.   The song is one of fond reminiscence not eulogy and gratitude is clearly the song writers’ intent here.    Now, with the Echosmith song, we saw how the events that followed almost immediately after the song’s release added to the meaning the writers had originally intended.    I think that is the case here too, but as with the words themselves there are two different ways to understand the additional meaning.

 

 

One way is to see the events of this year as having switched the sense from gratitude to eulogy.

 

 

This is the year in which C. S. Lewis’ insightful remark about how “a tyranny sincerely exercised for the good of its victims may be the most oppressive” has been confirmed.   With a few small, local, exceptions, tyranny of this very sort has been imposed all around the world.   The public health dictators have taken everything away from us – our basic freedoms and constitutional civil rights, the entire fabric of communities and institutions intermediate to the individual and the state that we call society, for many people their jobs and businesses, and basically our entire way of life.   While far too many people seem to be okay with sacrificing all of this, not only for themselves but for all other people as well, in the name of keeping people safe from the bat flu, it is difficult to imagine that there are many left who could not empathize with the sentiment “didn’t’ know how good we had it” even looking back only so far as January and February.

 

 

While all of this is true for people whether they are rural or urban, the particular way of life portrayed in the Rempels’ song is under especially severe attack by the public health dictatorship.   It is not exactly a secret that this way of life has been disappearing for decades.   That process has been accelerated by the public health dictatorship.   Think about it.   While the costly sanitation requirements, limited capacity restrictions, and lockdowns have made things difficult for all businesses, benefiting only internet based corporations like Amazon, they have been particularly hard on small local businesses, especially restaurants.   These are the businesses that have been driven into insolvency, or very close to it, by these measures.   In small towns, small local businesses are usually the only kind to be found.     In small, rural communities the churches have remained a much larger part of the life of the community than they have in large cities.   This year they have been ordered to close for most of the year, a move that has had no precedent in what was formerly Christendom except in the parts of it that succumbed to regimes with totalitarian ideologies like Communism.   While churches in small towns are probably more likely to be able to get away with disregarding public health orders to close than urban churches, they are also far less likely to be able to survive being shut down for a lengthy period.   Their loss due to the lockdown, whether temporary or permanent, will be a much bigger blow to the rural communities.   

 

Having said all of that, I don’t think that a switch from gratitude to eulogy is the best way of understanding what the song is saying to us in the context of the unfolding events of the year.     I think that the sense of thankful appreciation for having grown up in the kind of community where Edmund Burke’s “unbought grace of life” could still be found  should be understood as having been amplified by the sharp contrast with the opposite of all that which now surrounds us. 

 

Understood that way, its message in the context of the bat flu complements that of Echosmith’s “Lonely Generation.”    The latter by shining a light on the isolation caused by the “plugged in” culture of communications technology exposes the lie of the public health dictatorship that has been holding that very culture out to us as a lifeline to keep us from drowning in the loneliness that their mad experiment in universal quarantine has produced.   High Valley’s “Grew Up On That”, however, offers the real lifeline of a connection to the sanity which preceded the madness of these dark times in the grateful, appreciative, memory of good times and good places and the faith in God which made those times and places good.

The Bogeyman

A few years ago, when the progressive commentariat was going on and on about the evils of “homophobia”, before that became old hat and they turned to the new bugbear of “transphobia”, there was a man who happened to catch the end of one of their sermonettes warning about homophobes.   Now this fellow was a little hard of hearing and he mistook the word for “homophones”.   Consequently, he began avoiding the dance hall like the plague.   He didn’t want to run in to the Boogie Man.

 

Now that you are all groaning over that exceedingly dreadful double-pun, allow me to say a few words about the Bogeyman.  

 

The Bogeyman is a figure who has appeared, under one name or another, in pretty much all of the world’s folklore, in all places and all times.   He can be regarded, in a sense, as the standard to which all other legendary spooky monsters are to be compared.  The details about his nature and appearance vary considerably, except in that they are usually quite vague, much more so than is the case with most other legendary beings.   It is the purpose he serves that is consistent.   He serves as a warning to children against bad behaviour.   Behave yourselves or the Bogeyman will get you.   In the cultural traditions in which Saint Nicholas or whoever else has been assigned the role of bringing gifts to the good children around Christmas time is accompanied by someone whose job it is to deal with the other kids, that someone – Black Pete, the Krampus, Knecht Ruprecht, whoever – is essentially a Bogeyman, certainly in function, often in description as well.

 

While frightening children into good behaviour is the primary and universal purpose of the Bogeyman, a notable secondary purpose for his legend can be found in the song “The Booger Man” which is the second track on the 1989 studio album, I Never Made a Record I Didn’t Like, by the “Clown Prince of Country Music”, Ray Stevens.   The song, co-written by Stevens and his longtime friend and song-writing collaborator, C. W. “Buddy” Kalb, the alternate spelling in the title of which reflects a Southern regional variation rather than the reference to mucus that would probably be the first thing it brings to mind for most others, involves a narrator boasting about how he is not afraid of a long list of monsters, movie and otherwise, all of whom he dismisses as nothing in comparison to the Booger Man, who “don’t need no other makeup/no fancy Hollywood name/his mangled bloody victims/are his only claim to fame.”   Towards the end of the song, it is revealed that the narrator is a young man, parked with his date in Lovers’ Lane.   “Listen, did I hear some scratchin’, outside your side of the car?”

 

There are those these days who object on moral grounds to telling children scary stories to frighten them out of misbehaving.   I am not going to pass judgment on this one way or another, and bring it up merely to note the irony that these are often the same people who buy completely into stories that are clearly designed to frighten the entire populace, adult and child alike, into obeying some set of, usually ridiculous, new rules.

 

That there is nothing sadder than an adult terrified of the Bogeyman was well illustrated by The Simpsons in an early episode.   The tenth episode of the fifth season was entitled “$pringfield (Or How I Learned to Stop Worrying and Love Legalized Gambling), in which Mr. Burns builds a casino and Marge becomes addicted to the slot machines.   Since Marge is now spending all of her time in the casino, Homer is the only one home one night, when Lisa, woken by a nightmare, wakes him up and tells him “I know its absurd, but I dreamed the Bogeyman was after me” at which she is interrupted by a screaming Homer “Aaarggh.   Bogeyman!   You nail the windows shut, I’ll get the gun.”   Homer then wakes Bart, saying “Bart, I don’t want to alarm you, but there may be a Bogeyman or Bogeymen in the house.”   When Marge finally returns home, a gun shot blows a hole in the door of the house, which, when she opens, she finds it barricaded with Homer, hiding behind a mattress with the kids, aiming his shotgun at her.  “What happened here?” she asks, to be told “Oh nothing Marge, just a little incident involving the Bogeyman.  Of course, none of this would have happened if you had been here to keep me from acting stupid.”

 

A truly pathetic number of adults have been behaving just like Homer this year.   Just last week, Donald the Orange, was asked by both his opponent in the televised popularity contest by which our American friends and neighbours foolishly choose their head of state rather than rely on the time-tested, God-honoured, tradition of royal lineage, and by debate moderator Chris Wallace, to denounce the Bogeyman.   Granted, they called the Bogeyman “white supremacism”, but actual white supremacists have not posed a real threat to law, order, civilization, rights, and freedoms, anywhere in the Western world for decades now.   White supremacism is now merely another name for the Bogeyman.  Donald the Orange did not, contrary to the lying left-wing newsmedia, refuse to make the worthless ritual denunciation.  He has, in fact, gone through with this stupid ritual many times in the past, and agreed to do so this time as well.  He asked for specific names, and all he was given was the Proud Boys, a multi-racial organization this is not, and never has been, white supremacist.   By contrast with the lies told by CNN, the New York Times, The Washington Post, and even liberal newspapers and the Crown broadcaster up here, it was Joe Biden who refused to make a denunciation.   Except that in his case he was asked to denounce a real, present day, menace, Antifa, the well-organized groups of mask-wearing, far-left, thugs who have been going around beating people up, shutting down events and speeches they disapprove of, and terrorizing university administrators and hotel managers into giving in to their demands for years now, and this year, have been aiding and abetting Black Lives Matter, in their spree of looting, vandalism, violence, and destruction.   Indeed, rather than denounce these bastards, Biden denied their existence, saying that “Antifa is an idea not an organization.”   No, Mr. Biden, despite what you and that wretched, vile and contemptible nincompoop Christopher Wray have to say, the burning cities and toppled statues, all across the United States and the larger Western world, demonstrate Antifa to be an extremely real threat, unlike the Bogeyman of white supremacism you keep going on about.

 

Of course the biggest Bogeyman of this year has not been white supremacism but SARS-CoV-2.   This coronavirus produces mild to no symptoms in over 80% of those who come in contact with it.   It can produce the very painful and potentially fatal form of pneumonia dubbed SARS when the first coronavirus to produce it made its appearance twenty years ago, but for people who are under 65 and have no complicating chronic health problems, the survival rate is well over 99 percent.   Even for those who are at a higher risk, their chances of surviving are still pretty good, even more so now than in March and April when the virus was first making the rounds of the world, after escaping the confines of Wuhan.  Back in March, when the World Health Organization pressed the panic button, and governments around the planet took the unprecedented and insane step of shutting down their economies and ordering their entire populations, healthy or sick, into quarantine, we were seeing a rise both in the number of people testing positive for the presence of this virus, and in the number of people experiencing symptoms ranging from cough and shortness of breath to full-blown, death-dealing, SARS.   We have again this fall, seen a rise in the number of people testing positive, which, plotted on a graph, looks very similar to the one we saw in late winter-early spring.   We have not been seeing a similar rise in the number of people hospitalized and dying.   Indeed, plotted on the same kind of graph, the hospitalization/death numbers appear as a flat-to-declining line from the beginning of summer onward.

 

Sane, grown-up, people will recognize that if there is no drastic rise in people getting sick, being hospitalized, and dying, then the rise in the number of people testing positive is no cause for alarm.   Viruses have been present with us since the beginning of time and will be with us until the end of time.  To lock ourselves away in our houses, refuse all contact with other people, and worse, to demand that other people be forced to do the same, is to behave out of irrational fear, to be frightened, as it were, by the Bogeyman.  

 

The media is intentionally trying to frighten us in this way.   Note how they are constantly reporting about the “alarming” rise in the numbers of those who test positive.   As Karen Selick pointed out in The Western Standard about a week ago, this number is meaningless when it is not presented as a percentage of tests given.   The number of tests given has been going up steadily and is much higher now than it was back in March and April.    To emphasize only the number of new “cases” – or, more precisely, new “positive results”, for the tests give false positives all the time – without also emphasizing that they are out of a much larger number of tests being given, and that the number of people getting sick, requiring hospitalization, and dying of SARS has not been commensurately rising, but, indeed, has been remaining steady and even declining, is to engage in dishonest scare-mongering.

The “Wizard’s First Rule” in Terry Goodkind’s novel of that title, the first in his Sword of Truth series and the last in the same series worth reading, is “people are stupid” and we have certainly been living down to that this year.   Despite everything pointed out in the previous paragraph, we have been putting up with our governments’ responding to the rise in numbers by slapping more restrictions down on us, and even calling upon them to do so.   Here in the Province of Manitoba, we are now in the second week of a four-week period of heightened restrictions in Winnipeg and the surrounding region, that Dr. Brent Roussin, the public health officer who has given every evidence of having gone mad from the dictatorial-level powers given him during this scam of a health emergency, slapped down on us a couple of Fridays ago, to start from last Monday.   Earlier in the week in which he announced this, Roussin was publicly pressured to do this by Brian Bowman, the clown of a mayor that this city elected, and re-elected, although about the only thing that can be said in his favour is that he is a look-alike of television actor Jon Cryer, and even then I would have preferred Charlie Sheen any day.   Among the new restrictions a return to the limiting of gatherings to ten or under, and a new mandatory mask policy for all public indoor places.

 

The mask policy is especially indicative of the infantile, afraid of the Bogeyman, mentality that has infected the thinking of our adult populace.   The pores of cloth masks are 200+ times larger than the virions of SARS-CoV-2.   Anybody with an ounce of logic and who is willing to actually use it, ought to be able to deduce from this that the virus will have no difficulty passing through these masks.   Youtube videos, showing that cloth masks can lessen the spread of visible particles, hardly constitute proof to the contrary, at least to anyone aware that viruses are too small to be visible to the naked eye apart from very powerful magnifiers.   Nor do scientific research studies purporting to show that masks are effective at reducing COVID-19 transmission constitute such proof.   There is no dearth of such studies demonstrating the exact opposite, and these are more consistent with logic.   While I reject the modern consensus that logic and science trump tradition and divine revelation, I will say that between the two former, logic trumps science, and that thinking otherwise is the ultimate formula for allowing oneself to be duped.

 

The mandate to wear masks everywhere is essentially a mandate to wear a talisman, a magic symbol to ward off the Bogeyman.   It is very ironic, therefore, that in the popular culture of recent years, the Bogeyman has been the mask wearer.

 

Think back to the film that launched the plethora of serialized slasher-film franchises that glutted the cinema in the 1980s.  In 1978, John Carpenter co-wrote, directed, and composed the music for the film Halloween.   At the beginning of this film, the six-year old Michael Myers – the character’s name, not to be confused with the actor who portrayed Wayne, Shrek, and Austin Powers – wearing a Halloween costume, complete with mask, stabs his older sister to death.   The film then jumps ahead fifteen years to when Michael, who has spent the whole time in a mental hospital under the care of Dr. Samuel Loomis (Donald Pleasence) (1), escapes and makes his way to his hometown of Haddonfield, Illinois, stealing a bleached Captain Kirk mask on the way.   From behind that mask, he stalks teenage girl Laurie Strode (Jamie Lee Curtis in her debut role).   He kills a number of her friends, one of whom calls Laurie at the home where she is babysitting on Halloween night just before Michael gets her.   She, rather foolishly, heads over there and comes face-to-mask with Michael.   In the confrontation, she manages to pull his mask off, but would undoubtedly have been killed then and there, had Dr. Loomis not entered at that moment and emptied his revolver into Michael, knocking him from the hall to the bedroom, out the picture window, and over the balcony to the ground below.   Laurie turns to the psychiatrist and asks “was that the Bogeyman?”   “As a matter of fact, it was” he answers, finding confirmation when he steps out onto the balcony, looks down, and finds that Michael has disappeared.

 

To John Carpenter, the Bogeyman was the one in the mask.   Does this tell us anything about the multitude of dolts today, cowering away in fear behind their masks, hoping that they will save them from the Bogeyman?

(1)   In case this sort of thing interests anyone, Donald Pleasence is the one-person connection between Michael Myers the character and Mike Myers the actor.   Long before taking on the role of Dr. Samuel Loomis, which he would continue to portray in the Halloween franchise through several sequels, he was one of the actors to portray James Bond’s archnemesis Ernst Stavro Blofeld (who, prior to this Christopher Walz’s performance in SPECTRE and the upcoming No Time To Die, had never been portrayed by the same actor twice), and the first to portray him as anything other than a shadow, seen only from behind, stroking a cat.   Pleasence’s version of the character, from 1967’s You Only Live Twice, is the direct basis of the look of Mike Myer’s character Dr. Evil in the Austin Powers trilogy.