Welcome to Big Hollywood’s monthly review of all things notable in the world of music.

This is Vintage Now, released a few weeks ago, is a retro music compilation that isn’t designed to cash in on nostalgia– rather, it’s a harbinger of a growing movement to revive not only the style but the values of classic culture. Featuring 10 songs from artists of all ages and nations, This is Vintage Now embodies the sound of classic jazz, rock, and pop music but doesn’t come off as pure nostalgia. Producer David Gasten, who appears on the record with his band The City Kids, explains the reason the disc doesn’t sound like a cynical ploy preying on older generations’ memories:

The Vintage Movement is a new social movement of people who are essentially trying to escape back to the 1940’s, 1950’s, and early-to mid-1960’s. Many times attempts at bringing a period back have been short-lived (e.g. the Nineties Swing Revival) because they were not rooted in a inside-out, values-based way of doing things. People come to these older styles because they want to escape. They want to visit an alternate world where class and quality are the rule, not the exception. They want to be excited about life and culture instead of slimed by the same old garbage over and over again. And they want to get along with others, have good conversations, flirt, dance, enjoy great music and movies, etc. The ladies want to be treated like ladies, and the gentlemen want to be able to be gentlemen.

Spanning a wide range of styles, from Beverley Kenney’s whimsical ’40s-era piano ballad to Big Jay McNeely’s raucous boogie-woogie to The Necro Tonz’s edgy jazz to Caro Emerald’s catchy neo-swing tune “Just One Dance” (see the YouTube Video below), This is Vintage Now is a well-paced, engaging listen, and its intent is exactly the type of culture-changing  media we need to combat the values-destroying narcissism and nihilism of the world’s currently dominant “artists.” TIVN is available from iTunes, Amazon, eMusic, and other online retailers, or you can order it directly from the compilation’s home website to get extra tracks from a special Release Party edition.

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Though Thomas Jefferson never said, “Dissent is the highest form of patriotism,” the well-applied use of satire is certainly one of the highest forms of dissent.  Jonathan Swift, after all, is more remembered for his grim irony in castigating the British and Irish for their collective humanitarian failures than for any contributions to the culinary arts.

Mad Magazine reigns supreme in creating a satirical crucible through which all subjects, social, cultural, political, artistic and philosophical typically pass.  The difference between valid satire and mere mockery being, of course, the elements of truth contained therein, it is sometimes difficult to rule out former as as being buried so deeply in the latter as to be inconsequential, particularly during political campaigns.  The editors of Mad would likely say that if such a line is drawn, they erase it, but nonetheless credibility rests on facts in satirical endeavors, humor being in the manner of delivery.  (more…)

Director Rob Zombie’s biggest mistake in 2007’s remake of “Halloween“ was in his desire to “explain” Michael Myers. Most of the narrative was spent building an unimaginative trailer trash mythology, which in turn drained off what made Myers so uniquely terrifying: the fact that he was just some suburban kid who snapped one night. The sequel takes this bad idea a step further, digging into the psyche of our Michael to explain why he’s so determined to kill his sister Laurie. Hint: He wants to bring the family together.

The original “Halloween II” (1981) picked up right where John Carpenter’s 1978 masterpiece left off. Laurie (Jamie Lee Curtis) is in the hospital after the previous night’s attack and Michael returns for another 90 minutes of mayhem. In a nod to the predecessor, Zombie wants us thinking things will go that way until he twists the plot forward a year, but the result is that he just kind of remakes the first one … again. (more…)

I’m doing standup in Denver. Shelley is driving me from radio to radio to TV as I do the monkey dance at each station promoting the show, selling tickets. I don’t like this part of the job. I must answer the same 10 questions about Saturday Night Live and try to explain where I’ve been for the last fifteen years. All the DJ’s want are some juicy stories about celebrities. I don’t really have that many. I’m booked at two political talk stations, a rock station, a country station, and two local TV shows.  I guess that’s my demographic! Everyone! I ask Shelley why I’m booked on the political stations. She shrugs, “Well, we didn’t really know…isn’t that what you are doing now?” The first stop I’m told is a “just right of center” show, so I feel free to share my newest shocking information that the White House is asking us to “snitch’” on our friends and family. To report anything “fishy.” This news is so abhorrent to me that I could barely sleep the night before. I immediately emailed Andrew Breitbart to see if it was true. He said yes. I searched the hotel computer web to see if the big shots, the smart people have gotten on this. They were just starting to fight back. The news was so new. Well, at least this administration is entertaining…in a bad way. I’m watching a horror movie every day.

As I share the shocking information that our Freedom of Speech is being attacked, the radio host across from me, his face, it looks like he just ate a lemon. It’s all scrunched up like…he hates me. He abruptly cuts me off and ends my interview. I’m stupefied at the reaction of people who “just can’t handle the truth.” My driver Shelley is a liberal. She doesn’t say anything. As we get in the car I try to apologize, “Well, he asked me why I was a new political activist.  I guess I should just tell jokes.” I mean I have been hired basically to sell tickets to a bar where people will spend lots of money on alcohol. And, I do need to make some money. My husband is a cop. (more…)

Since yesterday evening, when news of lawsuit filed against me by aging liberal rockers Don Henley and Mike Campbell first broke, online comments to me have been running hot and heavy.  Fairly emblematic of the “fan” mail: “i hope you get in a car wreck and die.” 

Understanding that the DailyKos crowd can never be quieted (save for my untimely demise in a speeding vehicle), I do think it important to set forth what we did with the two parody songs I wrote to be sung in style of Don Henley’s works. 

 
I penned “After the Hope of November is Gone” based on Mr. Henley’s “The Boys of Summer” with parodic eye.  One can clearly see my intended skewering of Henley and his ilk’s well known liberalism in the lines:  (more…)