Teenage Pregnancy and Kids Music

I have not spoken enough (OK, at all) of Barry Louis Polisar, who's been writing and performing songs for kids (and, really, just for kids) for 30 years now. Despite the occasional foray into songs about commercial zoning (republished here from a Washington Post article last year), his songs have been pinpointed at the interests of youth (typical title -- Polisar's classic "Underwear").

So now, as if the boundaries of kids' music haven't expanded enough comes news that the opening credits from the new movie Juno, about a teenager who becomes pregnant, will be run under a song from Polisar's 30-year-old album My Brother Thinks He's a Banana. That's right, "All I Want Is You" is Polisar's own work. (If you want to hear a sample, go here and listen to the sample from track #10 on Old Dogs, New Tricks at the top.)

A sweet song, really, unlike most of Polisar's work. (Which isn't to say the rest of his work is bad. But "sweet" is not an adjective often applied there...)

More Joy

In case you haven't checked out Offsprung's forums, cheekily called The Playground, it might be worth a little time. For example, this thread (noted by loyal reader Katy) unearthed a video on YouTube for "My Children, Be Joyful," by the Canadian band Rock Plaza Central. (Well, if "unearthed" is the verb for a video featured on YouTube's front page and with nearly 300,000 views.)

The video takes entirely unrelated footage from the Canadian television show Nanalan, which, I gotta say, looks suspiciously like a little show called Jack's Big Music Show. Or vice versa. Anyway, the song builds up to a frenzy (la la la's, violins, and, like, a dozen horns) and the frenetic puppets somehow fit perfectly. And, yeah, it's joyful.

Not bad for a song from an album (Are We Not Horses, released in the States this year) that is "all about robotic horses. Robotic horses who think they are real horses. For real. Caught in a battle between good and evil. Between angels and humans. And after eradicating the world of the angels, wondering if they fought for the right side." Yeah, that might not be so much for the kids. Or maybe. I don't know. I kinda want to find out, though.

By the way, if you want to get the track for free, head on over to the band's Myspace page to download it and three others.

What songs are bringing you and your family more joy?

How Do We Make Money? Volume.

There was an old Saturday Night Live fake ad about some bank whose sole function was to make change. The spoof had the mixture of trustworthiness and responsiveness that is the hallmark of most ads for financial institutions, right down to the founder who, when asked how he could make money solely making change, responded in an eager tone, "Volume."

The ad came to mind as I pondered Radiohead's decision to release its new album, In Rainbows, as a digital (DRM-free) download on Tuesday, October 10th, just 10 days after announcing it. (There's a deluxe boxset to be released in December, with a physical version of the regular CD scheduled for sometime in 2008.)

There are probably countless bands who are giving away music for free, but none with 1% of the popularity of Radiohead. If you go to the site and ask to buy the download, you can indeed enter "0" as your desired price of the digital download of the album. But Radiohead is probably banking on the goodwill of its fans and the interest of other music fans to generate a fair amount of change.

Other music fans like me. I'm not alone in saying OK Computer is one of the best albums of the past 10 years, but most of the rest of Radiohead's post-OK work has left me cold. So it's safe to say that if In Rainbows was appearing at my local record store in a physical format next week, I would not be picking it up. Nor would I be scouring a bunch of torrent sites looking to download it for free -- it's just not what I do.

But this morning I went to the site and put down 2 British pounds (about $4 US) plus about a $1 service charge to download it next week. Why? Well, in part it's the musical equivalent of playing the Powerball lottery -- I always viewed $1 I paid when the pot got large and the office collected as entertainment, not as investment. This is much the same, no? It's also part of the giddy glee in helping to make major label executives nervous about whether they can continue business as usual.

So here are my questions to you:
1) Was I too cheap? A kids' musician e-mailed me last night saying he'd put down $10 -- a dollar a song. But I think he's a bigger fan than I am. It might be cheap, but $4 is $4 more than Radiohead would have received from me in the absence of this experiment. But if Spoon did something similar with their next album, I guarantee I'd've put down $10. Maybe more.
2) Is this a model that can at all work in the kids' genre? I've always pooh-poohed the idea of digital downloads because I think kids like the physicality of things, and mp3s don't have a lot of physicality, know what I mean? But if somebody like, say, Dan Zanes did something similar, I think he'd probably make a fair amount of change. (Though I'd certainly miss the album packaging, which has always been top-notch with his work.) Of course, he's already reaping all the profit from his CDs, something that Radiohead, while they were on a label, did not, so perhaps his incentives to do so is less...

Readers, musicians, thoughts?

Here They Come To Save the Day

My wife, daughter, and I went to see Ratatouille this weekend and one of the previews was for a live-action version of the fondly-remembered cartoon Underdog. Based on the preview, the new movie looks -- what's the critical phrase here? -- really crappy. The one and only upside is that a movie about a dog did not use the song "Who Let the Dogs Out?" in the preview. (Really, how did that not happen? The Baha Men must be looking for a new agent right about now.)

Still, the movie's producers are missing a great opportunity here -- the lead single off Austin City Limits Festival band Spoon's awesome awesome awesome album Ga Ga Ga Ga Ga is entitled "The Underdog." And it rocks. The political subtext will go over the heads of the kids, but it's completely OK for 'em.

In case you haven't heard it, you can hear Spoon play with a horn section of about six dozen on Letterman's show here.

Or watch the original video (with apparently a Daniel Handler -- Lemony Snicket -- cameo at about 2:31) below:

Concert Review: The Hold Steady (Phoenix, June 2007)

The Hold Steady are not kids' musicians.

This will come as a shock to absolutely nobody, but I felt like stating that before explaining exactly why I thought a brief review of The Hold Steady's Saturday night show at the Brickhouse in Phoenix was appropriate for this site.

Goodness knows that the lyrical content of the band's songs are NSFK. If Craig Finn had lent his hand to popular kids' songs, Mary would have developed a nasty heroin habit after Little Boy Blue sold her lamb to pay off a gambling debt incurred somewhere in St. Anthony Falls. (It would've sounded awesome, though.) As Finn quipped when noting that they'd be playing Vegas the next night, a city they'd never played before, "I enjoy a lot of vices, but gambling's not one of them. But here's a song about it." And then they launched into "Chips Ahoy!"

I'm rapidly approaching that point in my life where rock concertgoing involves serious cost-benefit analysis, and of course I treat it in such a way that my younger self would've mocked. Avoid the alcohol because it'll mess up my sleep? Check. Wear comfortable shoes? Check. Use earplugs? Check. My younger self? Heck, the band would've mocked me. (Except for the earplugs part.)

But the show was worth it, in large part due to Finn's energetic showmanship, muttering to himself, leading the crowd in singalongs, encouraging them to clap along, dragged the crowd by force of will alone. It was oddly reminiscent of... wait for it... Dan Zanes.

Really.

Remember that concert down in Tucson? Yeah, well, for the first twenty minutes Zanes, like Finn, pleaded, cajoled, and begged the crowd to get into the show, and by the end of the show, they were completely part of the experience. (Finn isn't hurt by having four very talented musicians helping him to put his words into energetic songs.)

I doubt the Hold Steady and Dan Zanes, even though they both call Brooklyn home, would get together to just play music. Heck, keyboardist Franz Nicolay founded the "Anti-Social Music" collective, while Zanes almost called his Catch That Train! album "Social Music."

But they do share an infectious joy in performing, something that Finn noted from the stage. I'm sure it's something he says at the end of many shows, but seeing Finn grin for most of the concert made it easy to believe him when he said that "There's a lot of joy in performing up here." It's a sentiment that Zanes would agree with completely.

And one of these days when Finn settles down a bit and decides to write about people becoming (probably bad) parents, perhaps he can sing about getting home from the club at 1 AM and being woken up at 5:30 AM by the kids.

Harrowing, I tell you.