Milwaukee Journal Sentinel is wrong, there was a riot goin’ on in Kenosha

Car dealership last Sunday in Kenosha

By John Ruberry

The headline is a reference to the Sly and the Family Stone album from 1971, There’s a Riot Goin’ On. He’s largely forgotten now–although some his songs remain recognizable to the masses–but Sly Stone was the Prince of his day, a crossover artist, that is, he was very popular among blacks and whites. His band, unusual for the time, was multi-racial. Just like Prince and the Revolution.

The album title was a sarcastic reference to the riot that broke out when the band couldn’t, or Sly Stone wouldn’t, show up for a performance at Grant Park in downtown Chicago the prior year. Stone had a reputation for blowing off gigs, which added to the excitement, as well as the tension, of a Sly concert. Will the superstar show up?

Well on July 27, 1970 tension prevailed when Sly and the band were a no-show. Store windows were smashed, police cars were set on fire, rocks and bottles were thrown at cops, and three people were shot in what the contemporary media called a riot. Because it was one. The Chicago Sun-Times front page headline from the next day read “Rock fans in riot, 90 injured, 148 held.” Looking back to my own youth in the Chicago area I can now understand why my parents were horrified when I expressed my interest in going to rock concerts later that decade. The subhead of that Sun-Times article read, “Battle starts in Grant Park, spills over into Loop.” A look at the media images available on Google of the riot confirms the diverse spectrum of Sly Stone’s fan base.

Fifty years and a month later there was a riot goin’ on sixty miles north of Grant Park in a small Wisconsin city that has been devoured by Chicago and Milwaukee suburban sprawl, Kenosha.

Except Wisconsin’s largest newspaper, the Milwaukee Journal Sentinel, didn’t call it a riot, instead is chose such tame words as “unrest” and “disturbance.” Readers of the Journal Sentinel complained which led the paper to publish an article that explained the apologist tone (my words) of last month’s coverage of the Kenosha riots that broke out after Jacob Blake, a black man with an open warrant for his arrest, was shot seven times by a police officer in what is clearly a tragedy.

From that paper:

As we’ve seen in cities around the country this summer, protest participants and the activities surrounding them often change throughout the day and night. Peaceful protests can happen all day long and then fires can be set or violence occurs late at night by people not associated with the protesters. Would it be fair or accurate to label all that happened that day a “riot” — especially in a headline summing things up? We don’t think so.

And there are historical racial overtones in the use of that word in America.

As Dorothy Tucker, president of the National Association of Black Journalists, said on the PBS NewsHour in June, “There is concern that it is automatically labeled as a riot if it is African-Americans who are protesting, but it’s not labeled as a riot when you see the same kind of destruction after a concert or after a sporting event. So there are words that have that association.”

Of course the Journal Sentinel sent reporters down Interstate 41-94 to see Kenosha for themselves. There was vandalism, arson, and looting. In short, a riot. I visited Kenosha–after the riots were over–twice last week. My blog reports are here and here. Downtown every business was boarded up. So were the churches. Most horribly, an automobile dealership with about 100 cars in its inventory saw nearly every one of its cars set ablaze. Near that dealership Kyle Rittenhouse, an Illinois teen, allegedly shot two people and wounded a third during the, ahem, disturbance.

What occurred in Kenosha met the commonly accepted, unless you are woke, definition of a riot.

Yes there are peaceful protests and peaceful activists protesting the death of George Floyd and other outrages. But Antifa and the like, as I’ve remarked before, are using these protests as a Trojan horse to raise hell. See Portland. Even Chicago’s liberal mayor, Lori Lightfoot, admitted so, albeit in slightly more moderate language last month as I noted in this space before. “What we’ve seen is people who have embedded themselves in these seemingly peaceful protests,” she told Face the Nation, “and have come for a fight.”

With such reporting on “facts” it’s easy to comprehend why readership of daily newspapers such as the Journal Sentinel continues to plummet as these publications are more concerned about appearing woke and satisfying the left-wing echo chamber they choose to inhabit.

In another Chicago reference, a Black Lives Matter organizer, Ariel Atkins, said of looting, “That is reparations.” A New York BLM leader supported her claims.

Last week the Wall Street Journal’s Best of the Web James Freeman said of such contorted reporting and the questions of why the Journal Sentinel purses such a strategy, “No doubt citizens nationwide have the same question for many politicians and members of the press corps who have lately been extremely creative in conjuring euphemisms for destruction and lawlessness.”

Thankfully one such mainstream media euphemism for riots, which dates back to the Occupy movement, “mostly peaceful,” has been for the most part placed into forced retirement, but only because of repeated ridicule on Twitter and other social media platforms. As Mark Levin quipped on his show a few months ago, “Mostly peaceful means mostly violent!” But as you’ll see “mostly peaceful” has not been completely eradicated.

As for Kenosha, as I mentioned before, every downtown business was hit by looters. Even on the edge of the city malls were struck by vandals and thieves. Those businesses of course employ people. Families are supported by them.

There was a riot in Kenosha last month. A three-day long one.

Even if Milwaukee Journal Sentinel refuses to say so.

It could be worse. A chyron graphic on CNN with the backdrop of the cars on fire in the dealership pictured on top read “Fiery but mostly peaceful protest after police shooting.” That image was so wrong even Brian Stelter of the network criticized it.

John Ruberry regularly blogs at Marathon Pundit.

Review of Who, the new album by the Who

By John Ruberry

Forty years ago Sunday I saw my first rock concert–and a great way to start out–it was my 18th birthday and it was the Who at the International Amphitheater in Chicago.

Sunday morning I was headed to another midwestern city on another birthday of course, this time headed for Milwaukee to run in the Santa Hustle 5K. And from my iPod I pressed “Play” to listen to the latest, and probably last, album by the Who, entitled, simply, Who.

The Who always had an attitude–and they still do. Lead singer Roger Daltrey, 75, now a baritone, barks out Pete Townshend’s lyrics on the opening track, “All This Music Must Fade.”

I don’t care. I know you’re gonna hate this song. And that’s it. We never really got along. It’s not new, not diverse. It won’t light up your parade. It’s just simple verse.

Townshend, 74, who wrote all but one of the songs for Who, the exception is “Break The News” by his brother Simon, looks back at the past, as is expected by any old man. Townshend once wrote on his iconic 1965 classic, “My Generation” this boast, “I hope I die before I get old.”

Chronologically only drummer Keith Moon,died young at 32, but years of drug and alcohol abuse aged him quickly–he was a physical wreck when he died in his sleep of a drug overdose. Drugs killed bassist John Entwistle at 58, also in his sleep, on the eve of a Who tour.

The Who have taken us from “The Music Must Change” on Who Are You, the last album with Moon, to “All This Music Must Fade.” Moon, who died a month after that album’s release, was unable to play drums on “The Music Must Change” because it was in the 6/8 time measure. He was once considered the worlds greatest rock drummer

The surviving Who members, aided on some tracks by unofficial bandmates Zak Starkey on drums and Pino Palladino on bass, don’t embarrass themselves. But they don’t exceed expectations. So if you’re looking for a septuagenarian anthem to match with “I Can See For Miles,” or “Won’t Get Fooled Again,” you will be disappointed. With few exceptions, the aforementioned “Break The News” is one, Who is formulaic, it’s got just enough synthesizers to recall Who Are You and the other Townshend/Daltrey Who album, Endless Wire, and the Townshend backup vocals seem scientifically placed. And that’s a problem as Townshend and Daltrey never appeared in the studio together for Who.

Other elements of the past on Who include the album artwork, designed by Peter Blake, who also created the Face Dances album cover, and the song “Detours.” Who scholars know that the earliest incarnation of the band was named the Detours.

“Ball and Chain” was the first song released from Who. It’s about the Guantanamo Bay detention center. Townshend opposes it, and that’s all you can extract from the pedestrian lyrics, that is, to reference “All This Music Must Fade,” only “just simple verse.”

As one ages death often becomes a common thought, and Townshend explores mortality in several songs here. If you are looking for intriguing albums about death, I recommend instead Magic and Loss by Lou Reed and the later albums of the American series by Johnny Cash. If you are prefer something less morbid from an older person looking back, the two Americana albums by Ray Davies, the Kinks mastermind, will provide a much better experience than Who for you.

Let me obscure. The most moving song about getting old and having regrets is “Ghosts” by Randy Newman, from his largely forgotten Born Again collection.

Back to the Who.

But does any of this discussion even matter to Daltrey and Townshend? I downloaded the deluxe version from Apple Music, which contains “Got Nothing To Prove.” An unexpected throwback to the mid-1960s, when the Who was a great singles band, it would have been one of the best tracks on the album, had it not been ruined by James Bond-theme styled orchestration.

Yes, the Who has nothing to prove anymore.

John Ruberry regularly blogs at Marathon Pundit.

Fifty years ago: The Kinks release Arthur (or The Decline and Fall of the British Empire)

By John Ruberry

Fifty Octobers ago a brilliant musical work was released that Rolling Stone called, “By all odds the best British album of 1969,” adding, “It shows that Pete Townshend still has worlds to conquer, and that the Beatles have a lot of catching up to do.”

The Who issued Tommy that spring and the Beatles’ last recorded album, Abbey Road, was released in September.

What was that “best British album?” Arthur (or the Decline and Fall of the British Empire) by the Kinks, written and produced by Ray Davies.

To celebrate, the Kinks, who broke up in 1996, but the surviving original members appear to have re-formed, last week released a twelve disc vinyl collector’s edition filled with remixes, demos, mono versions, new songs, and a never-released Dave Davies solo album.

There’s shorter version also available too. On Friday I downloaded the 1 hour 22 minute edition on Apple Music, with mono versions (why?), some alternative cuts, and one new song, “The Future,” credited to Arthur and the Emigrants (with Ray Davies).

Arthur is a great as I remembered. But the album was released at a troubled time for the Kinks. Fed up with the band’s lack of success, bassist Peter Quaife left. In 1965 the Kinks were banned by performing in the United States by the American Federation of Musicians. The ban, which to this date was never explained, was lifted in 1969, but much had changed by the end of the 1960s. The Who, the Rolling Stones, and the Beatles had expanded their fan base–it was always large for the Beatles–and they also expanded the breadth of their music.

Meanwhile, the Kinks were in a way marooned in England. Like children forbidden by their parents from playing outside after a blizzard and the usual resultant bitter cold temperatures, Ray Davies and the Kinks were locked inside and forced to rely on what they could find at home musically to entertain themselves. Much of their mid-1960s output owed much to British Musical Hall, the tunes of their parents. Music Hall in Britain is what Vaudeville was to America, only it spawned a distinct musical style that centered on spirited singing and catchy melodies that begged for sing-alongs. Famous, or used-to-be famous Music Hall songs include “Ta-ra-ra Boom-de-ay,” “Pack Up Your Troubles in Your Old Kit-Bag,” and “I’m Henery the Eighth, I Am.” That last one was a 1960s hit for Herman’s Hermits. That band scored another hit with “Dandy,” a Kinks song.

The Kinks first American hit was “You Really Got Me” in 1964, that tune and similar early Kinks aural assaults inspired two genres, punk rock and heavy metal. In 1967, the Music Hall-inspired “Mr. Pleasant” was the last Kinks single to break the Billboard Hot 100 until “Victoria,” the opening track of Arthur.

The Kinks clearly were back as hard rockers with “Victoria,” but there are still are Music Hall influences on Arthur. This is a concept album meant to be the soundtrack to a television play that never aired. Even in success they failed. When introducing a song on their last album, the (mostly) live To The Bone, Ray laments, “It kind of summarizes everything we’re about, the Kinks. Because everyone is expecting us to do wonderful things and we mess it all up, usually.”

The Arthur narrative centers on an elderly English suburbanite who symbolizes the disappointment that in 1969, Britain was not a classless society, as was hoped for after World War II ended.

From the album’s liner notes (courtesy of the Kinda Kinks site):

Arthur? Oh, of course–England and knights and round tables, Excalibur, Camelot, “So all day long the noise of battle roll’d among the mountains by the winter sea.” Sorry, no. This is Arthur Morgan, who lives in a London suburb in a house called Shangri-La, with a garden and a car and a wife called Rose and a son called Derek who’s married to Liz, and they have these two very nice kids, Terry and Marilyn. Derek and Liz and Terry and Marilyn are emigrating to Australia. Arthur did have another son, called Eddie. He was named for Arthur’s brother, who was killed in the battle of the Somme. Arthur’s Eddie was killed, too–in Korea. His son, Ronnie, is a student and he thinks the world’s got to change one hell of a lot before it’s going to be good enough for him. Derek thinks it’s changed a bloody sight too much–he can’t stand England any more, all these bloody bureaucrats everywhere, bloody hell, he’s getting out. Ronnie and Derek don’t exactly get on.

Families split along political lines? You mean like now? Brexit versus EU? Donald Trump versus Elizabeth Warren?

Derek and family’s move to Australia mirrors the Davies’ sister Rosie and her husband, Arthur, relocation to Down Under a few years earlier, which inspired the 1966 Kinks’ song, “Rosie Won’t You Please Come Home.” That tune, as with many Kinks songs, is also a story. While watching Ken Burns’ Country Music series on PBS, one of the commentators mentioned that many of the greatest country songs involve stories, sometimes dramas. Which deep down is why I love the work of the Kinks. Their music is compelling. The tales they tell even more so.

One story from Arthur, a Music Hall romp, is “She Bought a Hat Like Princess Marina.”

She’s bought a hat like Princess Marina’s
To wear at all her social affairs
She wears it when she’s cleaning the windows
She wears it when she’s scrubbing the stairs
But you will never see her at Ascot
She can’t afford the time or the fare
But she’s bought a hat like Princess Marina’s
So she don’t care.

He’s bought a hat like Anthony Eden’s
Because it makes him feel like a Lord
But he can’t afford a Rolls or a Bentley
He has to buy a secondhand Ford
He tries to feed his wife and his family
And buy them clothes and shoes they can wear
But he’s bought a hat like Anthony Eden’s
So he don’t care.

The saddest song I know of, from anyone, is another story from Arthur, “Some Mother’s Son.”

Two soldiers fighting in a trench
One soldier glances up to see the sun
And dreams of games he played when he was young
And then his friend calls out his name
It stops his dream and as he turns his head
A second later he is dead.

Some mother’s son lies in a field
Back home they put his picture in a frame
But all dead soldiers look the same
While all the parents stand and wait
To meet their children coming home from school
Some mother’s son is lying dead.

The music on Arthur rises to the occasion too. Unlike many late 1960s efforts, the horns compliment, not dominate, the songs. And the Kinks, led by lead guitarist Dave Davies, are at the top of their instrumental game here.

Arthur was not a hit but it enjoyed modest sales, unlike its pastoral predecessor The Kinks Are The Village Green Preservation Society, which wasn’t able to crack Billboard’s Hot 200 Albums chart. The stage was set for the Kinks’ return to well-deserved prominence one year later with Lola Versus Powerman and the Moneygoround, Part One. That album of course contained “Lola,” their biggest American hit since 1965’s “Tired of Waiting for You.”

The Kinks were back.

But then it was time to “mess it all up” again. There wasn’t a Part Two of the Lola album. The next year the Kinks released a country rock collection, Muswell Hillbillies which began another decline in popularity. Only this time their time in the wilderness would last much longer.

Oh, one more item. After 50 years, the play Arthur (or the Decline and Fall of the British Empire will finally be performed. That will happen later this year on BBC Radio.

God Save The Kinks!

John Ruberry blogs at Marathon Pundit.