COVID-19

Let Me Take You On a Trip

Victor, you just tested negative for COVID. What are you going to do now?

I’m going to see Depeche Mode at the United Center!

Overall, it was a good show. It wasn’t as sad as I thought it would be, considering Fletch’s absence. Perhaps it helped that the song designated as a memorial to him, “World in My Eyes,” is an upbeat crowd pleaser. It’s not easy feeling sad when that song is playing.

As with other DM shows I’ve been to, the new songs were decidedly hit-or-miss and the older numbers were definitely the highlight (including an incredibly fun rendition of “Everything Counts”). I don’t think I needed to hear three songs from Playing the Angel, and I’m not quite sure what “Sister of Night” or “Wrong” were doing on the setlist. But it was cool hearing “Condemnation,” one of my favorites and a song they’ve only played a handful of times since 2001.

Mostly, it was just nice seeing them live again. Depeche Mode was the last concert my wife and I went to before the pandemic and the first one we’ve gone to since. After Fletch died, we assumed we’d never see them perform again since they would surely break up.

As Dave would say: “Wrong!”

The Big 2-5-0

America’s semiquincentennial is coming up. Or is it a sestercentennial? Or bicentennial-and-a-quarter?

Whatever you want to call it, it’s America’s 250th birthday. Planning commissions are already meeting to figure how to properly commemorate the 250th anniversary of the signing of the Declaration of Independence. If history is any guide, commemorative coins will be part of those plans.

Will it be like 1876, when the U.S. Mint produced an official centennial medal? Or will it be like 1926, when it produced a sesquicentennial commemorative half dollar? Or 1976, when it produced new bicentennial reverse designs for circulating quarters, half-dollars and dollar coins?

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Not-So-Wonderful Tonight: A Review of Eric Clapton’s COVID Singles

It’s not easy being an Eric Clapton fan these days. Yeah, we’ve overlooked a lot over the years. The racist comments about immigrants. The many personal failings. Most of his 80s output. His techno album (yeah, that really happened).

But his reinvention as a COVID-19 anti-vaxxer and anti-mitigation protestor has been too much for a lot of his fans (myself included). In fact, it seems to have completely consumed him to the point where it’s become difficult to separate the political advocate from the artist.

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Career Killers: “Results May Vary” by Limp Bizkit

What was the talk of this year’s Lollapalooza festival? Was it the fact that it was the first big rock concert in Chicago since COVID-19 restrictions were lifted? Was it whether the proof of vaccination/negative test requirement for entry would be effective in preventing the show from turning into a super spreader event? (So far, it looks like it has been successful in that regard.)

No. It was Limp Bizkit seemingly replacing frontman Fred Durst with either his dad or an extra from the Beastie Boys’ “Sabotage” video.

Gone was the trademark red Yankees cap. In its place was a thick hat of gray hair that made people wonder whether or not it was a wig. Throw in the long grey handlebar mustache and sunglasses and he looked like he was wearing a disguise — as if he were in witness protection or something.

The consensus: He kind of pulled it off. The other consensus: Limp Bizkit were reasonably well received by attendees and live stream viewers, most of whom probably hadn’t heard of them since “Nookie.” As such, in the days following the show, the band’s back catalog saw a nice spike in sales and steaming numbers. Keep rollin’ rollin’ rollin’, indeed.

Of course, there was a reason why he seemed so unrecognizable. Once reliable hitmakers and a ubiquitous presence on MTV, Limp Bizkit has been long forgotten about and reduced to a punchline — a much maligned footnote from a bygone era when nu metal was so popular, even established superstars like Metallica tried it.

This is the album that started Limp Bizkit’s decline.

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Career Killers: “Kilroy Was Here” by Styx

There have always been extremely successful artists that were so unlikeable, unappealing or unoriginal that it became fashionable to hate them. Nickelback, Creed, Dave Matthews Band, Coldplay, Michael Bolton, Phil Collins, Limp Bizkit, Train, and more recently, Justin Bieber, Imagine Dragons and the Chainsmokers have generated significant amounts of vitriol from critics and the general public — all while stockpiling hits and performing sell-out shows before thousands of adoring fans. If anything, the widespread hatedom only makes their fans love them even more.

Before them, Styx was the one that it was cool to hate.

Critics, in particular, despised them and commonly referred to the band as “Stynx” (one memorable review compared their music to a parking lot full of whale vomit – something that may very have inspired the famous “Shit Sandwich” scene in This is Spinal Tap).

Despite that, Styx sold tons of records and performed countless sold out shows. From 1972 to 1982, the band amassed 11 Top 40 hits, including their sole #1 hit, the polarizing “Babe,” as well as four RIAA-certified gold and five platinum albums. Starting off as a progressive rock group, the band found success when it moved to a more arena-friendly (some would argue, “corporate”) sound, merging hard rock with synth pop while displaying a flair for the dramatic (or melodramatic, as their detractors might argue). Even as it found mainstream success, Styx retained some of its prog leanings, writing thematic, narrative style songs, while releasing a series of concept albums throughout the late 70s and early 80s.

With 1983’s Kilroy Was Here, Styx took on its most ambitious and risky project yet. A concept album about a dystopian future where religious and political fascists have outlawed rock music and use technology to enslave mankind, Styx planned an elaborate live show that would be part rock-opera, part concert, part multimedia spectacle. If the boys from Chicago could pull it off, they would set themselves up to be the spiritual successors to Pink Floyd or The Who.

They did not pull it off.

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The Long Goodbye

“The photograph reflects. Every streetlight a reminder.” — “Nightswimming,” R.E.M.

“These wheels keep turning but they’re running out of steam. Keep me in your heart for a while.” — “Keep Me In Your Heart,” Warren Zevon

These are some of the last photographs I took of Bernie. Looking back, I can’t help but wonder if he was saying a long goodbye by doing certain things one last time.

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Good as Gold

When it comes to numismatics, one of my biggest regrets is not buying more gold coins in the early 2000s.

Counterpoint: For most of that time I was either a poor post-undergrad, a poor law student, or a poor post-JD. Buying gold probably wouldn’t have been a good use of my money — at least not compared to rent, utilities and food.

The price of gold tends to move inversely to the overall health of the economy — going up when the economy is poor as investors like to use it as a hedge against falling stock prices, weakened dollars, inflation, and all sorts of other economic markers, and going down when those markers are strong. Thanks to the 1990s economic boom, gold prices were low throughout most of that decade leading into the early 2000s. In fact, things were so great that the price of gold had cratered to around $253 per ounce in mid-July 1999 — the lowest it had been since 1979 (a year later, I nearly bought a beautiful Saint-Gaudens double eagle for $300, but decided I couldn’t spare it). But like any sustained period of economic euphoria, you never see the crash coming until it’s too late.

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Silver (Dollar) Anniversary

UPDATE (12/17/2020): The House bill was passed via unanimous consent in the Senate. Assuming the President signs it, looks like we’ll be getting those new Morgan and Peace Dollars after all.

UPDATE (01/05/2020): The President signed the bill into law.

I attended two coin conventions in 2019, and one thing they both had in common was that there was no shortage of Morgan and Peace Silver Dollars available from the many vendors on the bourse. There was such an abundance that Scrooge McDuck could have bought every single silver dollar with whatever pocket change he happened to have (assuming he wears pants – Donald doesn’t, so why should he?), loaded them into a wading pool and gone for a dip.

By this time next year, there could be even more Morgan and Peace dollars hitting the market — provided that Congress can get its act together.

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Career Killers: “Mötley Crüe”

For most of the 1980s and early 90s, Mötley Crüe were riding high — both literally and figuratively. The band recorded and toured relentlessly, earning them a devoted fan base and a string of multi-platinum albums, hit singles and popular videos.

Off stage, they engaged in enough debauchery that their VH1 Behind the Music episode almost singlehandedly turned that series into a hit while setting the stage for their best-selling tell-all autobiography, The Dirt (adapted into a Netflix movie in 2019). Nothing could stop them. Not lead singer Vince Neil getting into an accident while drunk and killing his passenger, Hanoi Rocks drummer Nicholas “Razzle” Dingley. Not bassist and primary songwriter Nikki Sixx OD-ing on heroin, being pronounced dead, revived with adrenaline, and then OD-ing again. Not Sixx and drummer Tommy Lee alleging raping a woman at a party (Sixx later claimed he may have embellished or made up the story during a low point in his life). Not guitarist Mick Mars suffering from a debilitating form of arthritis for most of his adult life. Everything they touched seemed to turn to gold (or more accurately, platinum) and if it didn’t, it was probably because they wanted to snort, drink or screw it. In a word, they were bulletproof.

In 1992, that all came crashing down. The band was coming off the dual successes of 1989’s Dr. Feelgood and 1991’s greatest hits compilation Decade of Decadence and were hard at work on their next album when Neil quit/was fired. The band promptly hired John Corabi, lead singer and rhythm guitarist of L.A. band The Scream and set about working on what would become 1994’s self titled album. With the music industry changing around them, the newly inspired Crüe updated their sound and recorded a bunch of songs that were heavier, both lyrically and musically, than anything they had ever done before. They were confident that Mötley Crüe was their best album ever and would open up a new chapter in the band’s already successful history.

And then they learned a valuable lesson about what happens when you mess with the formula.

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Browsing Category

Browsing Category

Let Me Take You On a Trip

The Big 2-5-0

Not-So-Wonderful Tonight: A Review of Eric Clapton’s COVID Singles

Career Killers: “Results May Vary” by Limp Bizkit

Career Killers: “Kilroy Was Here” by Styx

The Long Goodbye

Good as Gold

Silver (Dollar) Anniversary

Career Killers: “Mötley Crüe”