To-Do List
"My father has had dental plates since he was a toddler as a result of a jail guard beat his teeth out with a truncheon for being a jigaboo lover"
"This website looks awful / spammy/ unelaborated , and I want you would stop posting links"
Tyler Alfred Thayer Mahan Coe Hates Me!
Correct if i am wrong, however , no new understanding of Boche Lee Lewis or his career is gained by your dress-up, tricked-out, decked-up, prink habiliment; your togged-out, gussied-up, get-on-my-feet, figged figged-up, overdressd links to current diary .
You just engraft a YouTube video and send traffic to your site to observe it?
That's not cool. If it is a sensible video, please simply post the video here like everyone else will .
I have clicked a number of of the links you denote and not seen further worth you are providing on your journal that warrants not linking to the particular main content wherever it already exists.
Furthermore, albeit you were providing some additional price, it might be nearly not possible to inform, owing to the manner, the positioning is formatted, to appear like some secret Russian botnet signup page, or associate degree of AI's best attempt at simulating human communication.
I really should insist that you simply stop linking to the present web log .
- Tyler historiographer Coe
Dear Tyler,
I have to marvel at your warning. It would give the impression of a replacement fan of your podcast.
My Blogger blogspot address is nearly [*fr1] as previous as you are .
It has at no time featured any spam, or i am happy to mention , advertising, not as a result that i do not fancy revenue, however, merely for the very fact that I execrate those aesthetics.
I have been blogging for my very own amusements and those of 500 ,000 x a pair of strangers a year.
My Dailymotion and 3 YouTube videos have on top of 15 million views. None of these videos contain any variety of advertising.
I do everything I do for my enjoyment and mine only; if others additionally find it irresistible often , then all the higher .
I typically revert back to a different life and play with CSS and cryptography on my blogs, which I have been told within the past make a number of entries troublesome , if not not possible to look at on bound devices; however, since I solely see the web from giant screens, I will only take your word on this ostensibly benign reason for a caveat.
S everal of my posts contain only a video, which is however this journal began 15 years past (it was a singular and fashionable concept), and whereas that is seldom the case any longer , I fully agree and have acted consequently when it involves my submissions to your cluster , it serves everyone far better to easily post a video, if "no new understanding...is gained by you posting links to the present diary ."
I actually should disagree, however, once you assume the current general sense that "...no new understanding of Kraut Lee Lewis or his career is gained by you posting links to the current diary ."
I actually have best-known Hun Lee Lewis since i used to be 18-years-old; a decent friend to his older sister, Frankie Jean, World Health Organization, only in the near past , she gave up the ghost at the Hun Lee Lewis Depository , which she curated from scratch at their childhood range, in Ferriday, LA.
And single-handed formed and produced his youngest sister, Linda Gail Lewis's, comeback solo album (her first in 15 years), International Affair , discharged on New Rose Disque, ca. 1991, to essential and vital success, as she continues to support her brother around the world.
Here's what Henry Martyn Robert Christgau had concerning that:
"The long-ago costar of the lowbrow gem Together registers a lot of twang per linguistic unit than prime Duane Eddy, fabric and screeching, sort of a flat-out hillbilly--Jeannie C. Riley, say. "
" ... however tho' I might like to hear her "Harper Depression P.T.A." (or "Fist Town ," or "9 to 5"), she's Jerry Lee's sister, wild-ass before she's the rest . "
" She does not ignore country on this band-centered studio job, but aside from Billy Swan's "I Can Help" ("If your Kid Wants a Mama We Are Able To Discuss That Too"), the standouts are from Wolf-Justman, Dave Edmunds, Bob Dylan, all of whom ought to be damn proud.
Covering "They Called It Rock," she gets up to "Someone within the newspaper aforementioned it had been shit," and rather than dashing discreetly on to successive lines, she attracts that last word with the relish of a gal who's waited to sing it all her life."
A-
I was in a Country band which released its initial EP in 1981 on Nashville's Praxis Records (001 - their 1st release), followed later by labelmates Jason and also the Scorchers, Georgia Satellites, etc.
Our Favorite Band was signed to Success Records , a division of RCA in 1985, after we discharged our sole phonograph record ,
Sabbatum Nights and Sunday Mornings ,
to vital acclaim.
I, over the globe, associate in a Vernacular.
I met heroesand friends.
Janus-faced, meretricious motives are of sour intent, and music give unlimited path to world experience.
"Correct me if i am wrong,"
civility, courtesy informs your cluster, no more.
I announced
Malcolm Gladwell Last Podcast Episode:
Tyler Alfred Thayer Mahan Coe of splendidly wordy, Hard Drug & Rhinestones podcast, David Allan Coe relation , administrator, 20th Century C and W , turned me , uninformed and helpless on to a malcolm Gladwell con of global suckers born to believe anything concerning anything they don't understand, told by one who, in the same boat, fastidiously becomes the best plugholer on that boat, and then upon landing is picked up by his staff, where from the bavk of his cortege he scribbles impressions of the appreciative rubes whose lives he saved and the one's whos lives he will touch ... country and western.
"the site is formatted to look like some secret Russian botnet signup page or an AI's best attempt at simulating human communication"
Taylor Mahan Coe - 8.12.2018
"It’s OK, mrjyn is still in business, ripping off ppl’s content to further line his pockets with spamcash; he just frigged up his link with an @ instead of a dot.
I reckon he’s some unattractive lost soul who speaks little or no English, and is trying to save enough money from his splog to pay for a penis enlargement operation, so he can become a porn star.
He calls his blog ‘the perfect american’, and there is something very Gatsby about it all, don’t you think?"
gullybogan May 17, 2008
"Mr. Dante Fontana's Visual Guidance Ltd. video-only blog has risen from the ashes to become...[::] which kind of rollllls off the tongue, don't you think?...the mastermind is the delightfully batshit crazy owner of THE完 PERFECT完 AMERICANな."
BAIKINANGE [SCHADENFREUDIAN THERAPY] October 30, 2008
"So, I'm over looking at The Perfect American, in awe of the whole scene, the style the volume, the insanity, which to the uninitiated, is a roiling vortex of lust for the illness called Rock n' Roll. It's a journey."
LEX10 [GLYPHJOCKEY] December 01, 2007
However, when they're not giving me great reviews, their showing they love me in other ways, by stealing videos discovered from the hard work that only comes from the practice of a perfected eye and awesome SEO skills, because 'imitation is the sincerest form of flatter.'
nothing really changed today.
Tyler defends DAC against racism and everything else
Some of you are never going to change your mind about this and I want to start by making sure you understand that it means you're a very stupid person.
David Allan Coe is not a white supremacist.
If he is, the movie Blazing Saddles is also white supremacist. Do white supremacists love some David Allan Coe songs? You fucking bet. Want to put money on how many white supremacists love watching Blazing Saddles?
David Allan Coe worked in satire. He made two X-rated albums that were meant to be heard in the form he put them in, albums that no sane person could listen to in their entirety and think were a work of earnestness. The problem is that cassette tapes existed and people took some of the songs and put them on mixtapes with other songs that were not satire, like Johnny Rebel. Again, if you took certain scenes of Blazing Saddles out of context, they would look white supremacist as fuck, especially if you cut them into other footage of, say, black men being lynched.
But how could DAC watch people misunderstand his work and not say anything? I don't know, does going on Howard Stern to tell everyone he's not a racist and those albums are satire count? Did Merle Haggard ever do that with "Okie from Muskogee"? Do you have an Internet connection and the ability to look into it for yourself or would you rather just have someone it's okay to demonize and hate? You ever met a white supremacist? They're usually pretty up front about it. They usually don't consistently say that they're not a racist, as DAC has always, ALWAYS, done.
Of course, that hack "journalist" Neil Strauss didn't help things by printing Johnny Rebel lyrics in the New York Times and telling the entire civilized world that David Allan Coe wrote them. And it doesn't help that the first website that comes up when you run a search for DAC's name is a website that DAC is not in any way affiliated with and a website that last time I checked sells those Johnny Rebel albums. Those things don't help and I understand how they seem to complete the picture everyone thinks they have of this man. But what I'm doing right now is ripping that picture in half and showing you a new one so it's your responsibility from here on out what you believe.
My father has had false teeth since he was a child because a prison guard beat his teeth out with a nightstick. If you've ever been locked up, you know that prison is segregated by race. That's just the way it is. Only, my father didn't stick to his own kind. He wanted to be a singer. The black guys sang. He hung out with the black guys and learned how to sing with them.
The song "NF" is about how stupid the narrator of the song is for being a dumb racist piece of shit. His lady leaves and says he'll someday understand what love is all about and the guy immediately fixates on penis size. He's a complete idiot and the song is one of contempt for him. Same thing with the line in "Lay Me Down Some Rails."
The entirety of "If That Ain't Country" is a joke about how dumb motherfuckers like Neil Strauss and Malcolm Gladwell think authenticity is what matters so much in country music.
It's a joke song about what city people think country people are like. Not a word in the song is true.
When he uses the "Great Speckled Bird/Blue Eyes" melody at the end?
A black artist named Otis Williams used the same melody to make the same joke about authenticity in country music six years before this in a great song called "I Wanna Go Country."
His album came out on Pete Drake's record label, Stop .
Pete Drake is a name you may recognize from the credits of my father's albums. There's no fucking way he didn't hear that song.
The other thing you're wrong about is that David Allan Coe is not a homophobic person .
He had sex with men in prison.
"Fuck Anita Bryant" is a vulgar gay rights anthem and Nadine Hubbs does a great job of explaining this in the book Rednecks, Queers and Country Music .
But I said I was going to show you another picture. Here it is, the picture I have of the band my father fronted in prison. It wasn't a mixed gender prison. Look closer.
In fact, that's generally pretty good advice for having any conversation like this. Look closer.
Is David Allan Coe a perfect person?
Absolutely not.
He and I don't talk.
He'll probably die without giving me the apology he owes me and I'm not interested in knowing him without that apology.
But that doesn't make it okay for there to be so many people who are so wrong about this.
On one episode of “Cocaine & Rhinestones,” we learn why Loretta Lynn’s song “The Pill” was banned after its release, in 1975.
Photograph by Sylvia Pitcher / Redferns / Getty In 1975, Loretta Lynn, by then an established country singer-songwriter for more than a decade, released her single “The Pill.” At that point, Lynn had won hearts and raised eyebrows with songs like “Don’t Come Home A-Drinkin’ (with Lovin’ on Your Mind),” whose themes are self-evident, and “Fist City,” warning a woman to stay away from her husband. (“You’d better move your feet / if you don’t want to eat / a meal that’s called Fist City.”) “I was the first one to write it like the women lived it,” she has said . “The Pill,” which she didn’t write but performed with gusto, is a wife’s celebration of freedom: “I’m tearin’ down your brooder house, ’cause now I’ve got the pill.” The song—like several of Lynn’s singles—was banned. In “ Cocaine & Rhinestones ,” an opinionated, feverish, wildly entertaining podcast about twentieth-century American country music, written and hosted by Tyler Mahan Coe, we learn why, from a progressive guy with an arsenal of doggedly presented research.
Coe, thirty-three, grew up in country music; his father is the outlaw-country artist David Allan Coe . In childhood, Tyler traveled with his dad’s band; in young adulthood, he played rhythm guitar in it. He now lives in Nashville. When I asked him how he turned out so centered after a peripatetic upbringing among outlaw-country musicians, he paused and said, “Well, I’ve done a lot of acid.” Also, books: as a kid on the road, he’d disappear into stuff like James Clavell’s “ Shōgun ”; he’s still an obsessive reader, often of the kinds of books that have never been digitized and may never be. “Cocaine & Rhinestones” references a thorough bibliography. For “The Pill,” this includes Lynn’s memoir, “ Coal Miner’s Daughter ,” and the collection “ Feminists Who Changed America, 1963-1975 .” (Coe, who is currently working on the second season of the show, was recently invited to use the archives in the Country Music Hall of Fame, where, he wrote in an e-mail, there “are at least 500 unwritten books in that data and probably closer to 1,000. . . . Half or more of those books will not be written.”)
The podcast has a distinctive, essayistic sound, narrated entirely by Coe and delivered in a tone somewhere between that of a news anchor, Jonathan Goldstein on “ Heavyweight ,” and a prosecutor delivering a closing argument. I often laugh while listening, admiring his zeal. In the “Pill” episode, Coe begins by talking about the “Streisand effect,” in which an attempt to stop the public from being exposed to something makes it go viral, and goes on to discuss the Comstock laws, on obscenity; the history of contraception in the U.S.; a bit of Lynn’s biography, and the lyrics and authorship of the song—all to set up why “The Pill” was banned. “I’m about to prove it wasn’t a knee-jerk reaction to a country song about birth control,” he says. He proceeds forensically, playing clips of songs by men about birth control and abortion. “Pretty gross,” he says of a callous Harry Chapin lyric. “But it was not banned.” None of the men’s songs were. There’s a double standard in country music, he explains: “Men have to go way over the line. All women have to do is get near it.” He plays samples of banned songs by women, including Jeannie C. Riley’s hit “Harper Valley P.T.A.,” about a mother telling off a bunch of small-town hypocrites. (Mind-blowingly, Coe gives that song a three-episode deep dive later in the season.) By the end of the episode, he’s proved his point, case closed: “Female artists have their songs banned simply for standing up to society, or for fighting back.”
A primary thrill of listening to “Cocaine & Rhinestones,” for me, a classic-country fan of modest insight—I love Hank Williams, Sr., Johnny Cash, Loretta Lynn, and Patsy Cline; I’ve watched a few bio-pics; as a kid, I was fascinated by “Hee-Haw”—is the education it provides about other, less familiar artists, whose music is immediately, viscerally appealing. (Plenty of music lovers know all about the Louvin Brothers and Doug and Rusty Kershaw ; I did not.) Another is that it provides cultural context; each story reflects larger themes about the artistry and business of country music. And Coe’s writing—like a good country song—is provocatively zesty. “Those bastards” deregulated radio in the Telecommunications Act of 1996; Buck Owens’s vocal delivery is “stabbed-in-the-back-sincere”; a racist song about the horrors of school desegregation “ends with a chorus of, I assume, ghost children, singing ‘My Country ’Tis of Thee.’ ”
In one of my favorite episodes, about Bobbie Gentry’s eternally mysterious “ Ode to Billie Joe ,” from 1967, Coe says, “You can tell it isn’t going to be a normal song right away, from those wheezing violins on the intro.” The arranger “was working with an unusual crew of four violins and two cellos.” One of the cellists plucked his notes, “while the rest of the strings weave in and out in response to the unfolding drama.” The end is “cinematic”: the strings go up, “with the narrator going up on Choctaw Ridge to pick flowers,” and down, “when the narrator throws the flowers down off the bridge.” We hear them, falling and eerie, and they give us chills. In the past, I’d tried to resolve my intense feelings about “Ode to Billie Joe,” a staple on my childhood oldies station, by trying to figure out what the narrator and Billie Joe were throwing off the Tallahatchie Bridge; by reading about Gentry; and even by watching the horrible 1976 movie made to capitalize on the song’s success. None of that was remotely satisfying, but listening to the “Cocaine & Rhinestones” episode is: Coe both celebrates the song’s mystery and provides insight into its strange power.
I asked Coe about his style; he doesn’t sound like many other podcast hosts. “I would describe it as ‘performative,’ ” he said. He was influenced by “the Radio”—dramatic radio shows from his childhood—“specifically Paul Harvey, ‘ The Rest of the Story ’ ”—which, when I heard it in the eighties, felt like it had been beamed there from the forties—“and Art Bell, the guy who does ‘ Coast to Coast AM ,’ which has gotten super political and weird now, but when I was a kid it was on AM radio overnight, which meant clear airwaves; you could pick it up in most of the country.” Bell had a “weird voice,” Coe said, and listeners would call in to talk to him things like about ghosts, alien abductions, and telepathy. “We had a driver who loved listening to it,” he said. “You’d be driving through the night to the next town, through the middle of nowhere, just the headlights on the road ahead of you in the complete darkness, and all these adults are on the radio having these conversations about this stuff, and they sound dead serious.” That mood made an impact. On “Cocaine & Rhinestones,” he wants to evoke a sense of it. He records his vocals overnight, in a basement, when it’s quiet outside. “Just me alone in the dark, talking into a microphone,” he said.
1. Introduction
2. How the investigation was carried out
3. General points about the accounts
4. Experiences during childhood
5. Experiences during teenage years
6. When music takes over
7. Merging with the music
8. Feeling light, floating, leaving one's body
9. Inner music
10. Inner images
11. Inner images
12. Music and existence
13. Music and transcendence
14. Music and religious experiences
15. New insights, new possibilities
16. Confirmation through music
17. Music as therapy
18. When performing music oneself
19. Singing in a choir
20. Music in love - happy and unhappy
21. Music in connection with illness and death
22. Music at funerals
23. Music in Nature
24. Music from and in other cultures
25. Music at concerts: Classical music
26. Music at concerts: Jazz
27. Music at concerts: Pop and rock
28. Metaphors and similes
29. Survey of all reactions
30. Music in SEM
31. What in the music elicited the reactions?
32. Causes, consequences and importance
33. Overview, comparisons, questions, outlooks
Postscript to the Swedish edition
Appendix A: A descriptive system for Strong Experiences with Music
Appendix B: An example of analysis of an account