Saturday, April 19, 2008

From RollingStone.com:
E Street Band Keyboardist

Danny Federici Passes Away


Danny Federici, a founding member of The E Street Band who played alongside Bruce Springsteen for nearly forty years, passed away yesterday afternoon in New York City after a long struggle with melanoma. Federici was fifty-eight years old. The man who lent organ, glockenspiel and accordion sounds to some of Springsteen’s greatest work had taken a leave of absence from the group’s current tour back in November and made a surprise appearance on stage in Indianapolis on March 20th where he performed a few songs with the band, including the accordion-heavy and rarely played “4th of July, Asbury Park (Sandy)” (footage of this, along with information on remembrance donations for Federici, is up at Springsteen’s official site). “Danny and I worked together for 40 years — he was the most wonderfully fluid keyboard player and a pure natural musician,” Springsteen said in a brief statement on his website. “I loved him very much…we grew up together.” Both tonight’s concert in Ft. Lauderdale and tomorrow night’s show in Orlando have been postponed.


Federici and original E Street Band drummer Vini Lopez saw Bruce Springsteen perform at Asbury Park’s fabled Upstage Club in 1969 and convinced him to leave his current band Earth and join their band Child, which eventually evolved into the E Street Band. “I’ve told a few people that and they didn’t put it in print,” Federici told Backstreets magazine in 2005. “They didn’t believe me!” Federici earned his nickname “The Phantom” when he escaped from a near-riot at an Atlantic Highlands New Jersey Springsteen concert 1970 without the police noticing.


Federici’s distinct organ and accordion playing shaped many of Springsteen’s most enduring songs, such as “Hungry Heart,” “Kitty’s Back” and “4th of July, Asbury Park (Sandy).” He played on every E Street Band album, including 2007s Magic. “He’s all over that record,” Magic producer Brendan O’Brien told Rolling Stone in 2007. “We played a bunch of songs at him and he played great organ on all of them and we figured out what we needed. You can’t intellectualize music to him. If you let him do his thing he’s just amazing.”


When Springsteen dissolved the E Street Band in 1989 Federici moved to Los Angeles and attempted to get work writing movie scores. “Los Angeles is a funny town when it comes to newcomers,” Federici said in 2005. “Especially a newcomer who is no longer in the E Street Band.” He eventually put together the House of Blues band that played every Monday night in the mid 1990s. Springsteen reformed the E Street Band in 1999 and Federici played at every show until he had to step aside to receive treatment for melanoma late last year. His final full performance with Springsteen and the E Street Band was November 19th in Boston. “It’s like [Bruce and the E Street Band] are relatives,” Federici said in 2005. “Someone’s always there for you. Bruce has been supportive throughout my entire life. I’ve had my ups and I’ve had my downs, and I’ve certainly given him a run for his money, and he’s always been there for me, and we’ve talked about how lucky we are. I mean, there’s only a handful of bands in the world that can do what we’re doing. My father used to say, ‘You know, you’d better find something that you can do, ’cause this rock ‘n’ roll stuff ain’t going to last.’”

[Photo: Atlas/Retna]

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From www.thedannyfedericimelanomafund.com:

A remembrance from Danny's son.

March 20th, 2008

Danny returns to the stage to rave reviews.
Indianapolis, Indiana
by Jason Federici

While my Dad was going through treatment on March 19th in NY, he was visited by Bruce and later Max, who, through a lot of talking, bribing, and begging (and finally the kicker -- Becky Weinburg, who came from NJ by boat that night) to persuade him to play, he agreed to
do the show in Indy.

The next thing we knew, we where picked up by a limo from Sloan-Kettering, joined by my dad's wife, Maya, Dr. Chapman and Virginia Murphy and we proceeded down FDR highway to an awaiting helicopter that whisked us away to Newark airport in about 8 minutes
(a good time by all, except maybe Dr. Chapman who was gripping the arm rests like a baseball bat).

Before we knew it, we were in the jet with the boys. Danny was greeted with a lot of hugs and smiles, to say the least. An hour and a half later, we pulled into Conseco arena. When my
father stepped on stage the crowd started chanting "Danny! Danny! Danny!". You could physically feel the "Magic" in the air (excuse the pun). My father proceeded to do what he does best - rock out!

He played with such a natural ease. The feeling of the evening was electric. The visible bond between the fellas was so special to watch. Nils spent most of the night next to him, Clarence kept turning around to give him props during the night, and Bruce was so visibly happy to
have him there. I couldn't stop smiling all night. After the exciting encore, he left the stage, went straight to the car, then to the plane, and was fast asleep in NY by 2am.

It really was like a dream. In the morning, over coffee, we looked at each other and realized the
magnitude of the night. It was a great day! My father has always been such an inspiration to me, I can only imagine what an inspiration he is to others.
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From middle8.blogspot.com:
Danny Federici.
Posted by rcb

I walked out the front door with my dog this morning, with the busiest workday of the month ahead. Sunny and not too chilly -- pleasant enough. But then the first two songs out of the day's dogwalk shuffle were "Heart-Shaped Box" and "Exit Music (For A Film)", and I thought, Hmm, that's an interesting start. Then the iPod proceeded to another Radiohead song, "Lucky", where ironically, the unit froze, paused, and then shut down, impervious to reset. At that point, iPod possibly dead, I felt like I had a grip on the nature of the morning.

I was wrong -- although I later resuscitated the unit, I wish I could've ponied up for a new iPod and called it a day. After replying to a couple of e-mails, I swung by Pitchfork, where I found out that Danny Federici had died. Danny had left the current Bruce Springsteen & The E Street Band tour with a few shows go to on last year's U.S. leg, so he could receive treatment for melanoma. He sat in on accordion for "Sandy" in Indianapolis last month, but what many took as an encouraging sign in retrospect was likely an effort to give him a last moment to bask in the adulation of his fans and the love of his bandmates at the end of a full but sadly truncated career.

What a career it was, though. As Springsteen notes on his site, the two Jersey kids met and started playing together when they were 18, going through a few different bands before the E Street lineup came together. The two grew up together, going from swimming pool and tiny club gigs to piling in a van and playing the circuit. And by the time they hit 30, they were playing arenas in Europe, and then stadiums in America. A true rags to riches story, spanning almost exactly 40 years.

The band has swapped out and accumulated members over the years; even the "new guys" (Nils Lofgren and Mrs. Springsteen) joined the band over 23 years ago. Still, it's worth remembering that Federici was one of only three current members (with Tallent and Clemons) who had been with Bruce in the original lineup.

In the early days, the band was funkier, and jazz/rock pro David Sancious handled duties on piano. During the making of Born To Run, Sancious' departure led to the arrival of Roy Bittan, who had been working in a Broadway pit. Federici and Sancious had sounded good together, but the Federici/Bittan axis created a much more distinct contrast in styles, in turn forming a core component of what would become the familiar E Street sound.

As what you could call an intermediate-level pianist, I admire individual playing in two ways. The first way is because I more or less understand what the player is doing; his basic sensibility is similar to mine, and he is really, really good at what he does. That's Roy Bittan -- technically awesome, not without feeling by any means, but with a more structured, classically influenced approach.

I admire other playing precisely because I have no idea how the guy is doing it. I hear it, and I can't get my head around what's going through his brain, which is perplexing, mystifying, and a little enchanting. That's what Danny's playing could be like. He had a vocabulary full of grace notes and melodic fills, and a bag of tricks pertaining to playing the organ as opposed to the piano, that made for great performance, not even counting his solos.

While it's amazing how many of his real signature parts he had recorded before he was 25, it's more impressive to realize how much musical knowledge he had absorbed before he ever met Springsteen. Yeah, he knew classical, too, but he had a variety of ethnic and regional riffery down cold, stemming in part from his accordion education. Add a genuine desire to rock, stir in the willingness to make music your life, don't forget the luck of having a world-class rock star in waiting growing up in your neighborhood, and you have something special.

Federici by all accounts was a humble guy, and that carried over to his role in the band. Bittan and his parts were often higher profile; on top of that, Roy was further downstage, better lit, literally more visible. I listened to nothing but the E Street Band today, and there was even one passage where I thought gosh, Danny isn't even playing right now. Then I realized he was playing -- there was so much going on elsewhere that he was somehow creating less notes than texture, finding his space and contributing to what the listener enjoyed almost subliminally.

More noticeable was his glockenspiel work. Listen to a stripped-down old version of "Thunder Road", and the instrumental star is the piano. But what provides the unmistakable E Street stamp is the glockenspiel in the supporting role. Its sound, part Swiss watch and part bell, is what joins the vocal and brings the song to life. That is the sound of the wind chimes on the porch as Mary walks past them to get in the car. And that is the sound of the lightning-struck feeling in the air (and in their stomachs) as the two kids drive off.

Any decent Danny Federici clip reel, even above high-profile parts like "Rosalita" or the Detroit Medley, contains three songs. "Sandy" is as evocative as it is because Federici can put into notes the Jersey Shore atmosphere that Springsteen put into words. It's hard to name another rock song where a single instrument creates such a sense of place. "Kitty's Back" is also prime Federici, featuring one and sometimes two extended jazzy excursions for the organist to take the spotlight for a couple of minutes. Springsteen dusted off this gem lately, and the rare encore duo of "Growin' Up" and "Kitty's Back" that we saw last Veteran's Day in DC will remain an all-time concert moment for me.

But at the top of the top, there is nearly any live version of "Racing In The Street" (see the Live 1975-85 box set). The story is stark. The "ending" is not happy. The lyric and vocal are beautiful only for the way they tell the story and cling to realism over a fairytale ending. If the song ended where the vocal ends, it would be a very good song.

However, what follows is a few minutes of rock ensemble perfection. In the lyric, racing in the street goes from being an act of teenage bravado to an adult act of escaping from an unanticipated life. The song's instrumental passage combines the romance of the character's youth with the knowledge that those days and possibilities are gone, this familiar habit the sole refuge that bridges those very different times.

When the purpose behind the habit has fully evolved, the lyric has nothing to do but end, leaving music to express things that only music can express. It's no place for solos -- everyone contributes with taste to create a cinematic tableau equaled in majesty (but not emotion) only by "Jungleland" and perhaps "Incident On 57th Street" in the Springsteen catalog.

In that passage, to build on a parallel already noticed by another Springsteen fan, the Federici/Bittan partnership reaches its arguable peak. While Federici's playing was often the earthier of the two, here the piano is closer to the ground. It is stately but carrying things along, generating the comfort the character must have felt in the seat of that car, appreciating a fine-tuned engine in action as only a car guy can.

The organ, on the other hand, sounds like the sky above, a melancholy figure sitting above the piano's machinations and the character's sadness. Calm, nothing moving too swiftly, it is the sound of open space, gilded by a few details. It's the part where past and present coalesce in a solitary late summer evening, with the sweet night air rushing past like the years.

That's the one part of an E Street Band show that will never feel the same. Not because Charlie Giordano isn't quite capable or because the playing involved any great dexterity from Federici, but because those three minutes felt like those particular musicians from a common background, for an instant playing almost completely for themselves in front of thousands of people.

It felt like those guys sharing a collective moment that necessarily has to change when the group changes. The picture they paint will change, too, if just a little. In real life, the sky is the least essential element of driving from Point A to Point B at dusk, but we keep looking up at it, don't we? It's the distinctive piece of my favorite part of the day, and that particular part was Danny's.
Losing a blood brother
Federici's death severs link to E Streeters' glory days


Saturday, April 19, 2008

BY JAY LUSTIG
Star-Ledger Staff

Danny Federici, the E Street Band keyboardist who died on Thursday, can never be replaced.

One musician can never duplicate another's playing exactly, of course, but that's just part of it. Federici, who died of cancer, at the age of 58, added something intangible to the band by his mere presence.

Core members of the E Street Band came together in small Jersey Shore clubs, struggled to attain stardom together, played arenas and stadiums throughout the world and now, in middle age, are still doing it. And Federici, the first E Streeter to die, played with Bruce Springsteen the longest.

"I loved him very much ... we grew up together," said Springsteen Thursday, in a message posted on his Web site.

In 1969, the Flemington-born Federici and drummer Vini Lopez recruited the long-haired hotshot guitarist from Freehold to play with them in a band called Child. Child morphed into Steel Mill, then Dr. Zoom and the Sonic Boom, then the Bruce Springsteen Band, and, finally, the E Street Band. Federici played in them all, and stayed in the E Street Band until his disease forced him to take a leave of absence in November (though he did join the band one more time, for a surprise eight-song appearance at an Indianapolis concert in March).

Federici and Springsteen's shared history included legendary all-night jam sessions at the Asbury Park club, the Upstage, and the kind of communal living arrangements that young musicians of limited means often resort to. At one point, Federici lived with Springsteen and Springsteen's family in Freehold. At another, Federici, Springsteen and others shared a house in Bradley Beach.

"We all shared the rent," Federici told Backstreets magazine in 1990. "It was one for all and all for one. It was a collection of togetherness. It was a good time."

Part of the band's appeal has always been rooted in its members' personal camaraderie, and the kind of deep musical communication that only comes when musicians have logged countless shows together. That shared history made Springsteen's decision to reunite the band, in 1999, a big deal. And it makes fans fear that every tour will be the band's last.

The E Street Band will continue without Federici. Charles Giordano, who has been substituting for Federici since November, has proved to be quite capable. But it's not exactly the same.

"I haven't felt this bad since I saw Mickey Mantle's funeral, and I knew part of my youth was being buried with him, forever gone," said Joel Ram, a singer-songwriter from Cedar Grove, and a longtime E Street fan. "It just hits you hard."

The E Street Band has always seemed like a bunch of regular guys, not rock-star prima donnas. And no one seemed more human than Federici. His place on the stage was usually far away from the center spotlight. His keyboard riffs added textures behind the charging guitars and pounding drums, but rarely dominated an arrangement.

He released two solo albums of jazz-pop instrumentals, but never really established himself as a solo artist. And he had a drinking problem, spending two stints in rehab before quitting in 1983. "During my drinking binges over the years I must have quit the band three or four times," he told Backstreets. "I was always talked back into it, which I'm grateful for."

Several key members of the Asbury Park rock scene have died over the last few years. Bill Chinnock, who Federici and Lopez played with before they met Springsteen, died last year, as did Springsteen's longtime assistant and confidante, Terry Magovern. The theme of mortality winds through some of Springsteen's best post-reunion songs, like "You're Missing," and "Matamoros Banks," and "Devil's Arcade." Springsteen's tribute to Magovern, "Terry's Song," closes his most recent album, "Magic."

Springsteen and the E Street Band postponed two shows after Federici's death, but will resume their tour Monday night in Tampa. Springsteen will surely add some kind of tribute to the show.

Maybe he'll sing "Blood Brothers," his 1995 meditation on the eternal ties that bind the members of the E Street Band together.

"The stars are burnin' bright like some mystery uncovered/I'll keep movin' through the dark with you in my heart/My blood brother," he pledges in the song.

He might not have been thinking about death when he wrote it. But it will be hard to think about anything else, now.

Federici's family is requesting that, in lieu of flowers, donations be made to the Danny Federici Melanoma fund (thedannyfedericimelanomafund.com).

Jay Lustig may be reached at jlustig@starledger.com or (973) 392-5850.
From The Stamford Advocate:
Moment of silence for gifted musician

It probably is true that millions of people who have heard Danny Federici's music, on the radio, in movie soundtracks, riding in a friend's car, some even on their own stereos, do not know his name. Many have seen him in concert, heard his solos, and forgot his name as soon as he was introduced.

But for more than 30 years Danny Federici and his organ delivered some of the seminal sounds of the rock era.

His particular chapter in rock 'n' roll history began in 1969, when he and a drummer named Vini Lopez walked into a bar called the Upstage Club in Asbury Park, N.J. Some of you who don't know already may now see where this is going.

Performing on-stage that night was a local hot shot named Bruce Springsteen. And recognizing the unique talent they were seeing, the organist and drummer wasted no time in recruiting the guitarist for their own band.

Asbury at the time was a down-and-out haven for a rag tag collection of young musicians who grew up on '60s R&B and British Invasion bands. They formed and reformed groups of their own, playing a circuit of Asbury clubs that included the fabled Stone Pony. It didn't take long, however, for Springsteen to emerge as the standout, and by the early '70s he had settled on a band of his own, which would take its name from the address of one of the members in whose house they would rehearse.

Danny Federici was the organist in the E Street Band from the start. And he would remain so through a wild rock 'n' roll ride that he could not possibly have imagined during those early days on the Jersey Shore. It led literally around the world and to the top of the records charts as Springsteen became one of the biggest rock stars on the planet. But it ended in November, after Mr. Federici left Springsteen's current world tour due to a battle with melanoma.

He made a brief return to the stage, joining Bruce and the band at a March 20 concert in Indianapolis. But fans' hopes for a permanent reunion were put to rest Thursday when Mr. Federici succumbed to the disease at Memorial Sloan-Kettering Cancer Center in New York City. He was 58.

"Danny and I worked together for 40 years - he was the most wonderfully fluid keyboard player and a pure natural musician. I loved him very much ... we grew up together," Springsteen said in a message to fans on his Web site. He and the band have postponed upcoming shows.

If there are millions who know Mr. Federici's music but not his name, that is certainly not true of Springsteen fans. Bruce "tramps," as many are fond of calling themselves after a line in Springsteen's most famous song, are unique in the rock world.

They see themselves in the members of the band, and their own relationships mirrored in the band members' ties to Springsteen and each other. Fans, who call Mr. Federici "The Phantom," feel they know each member intimately.

Though Springsteen has performed on his own, and at times with other musicians, it's not the same as when he is on the stage with the E Street Band. And nothing else in rock music - except, perhaps, for the glory days of The Who - can match the energy, musicianship, endurance and connection between audience and performers of a Bruce Springsteen and the E Street Band concert.

For more than three decades, Mr. Federici played a significant part in making that so. Bruce and the band will continue on without him. But The Phantom's spirit will remain.
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From Asbury Park Press:
Remembering Danny Federici

By KELLY-JANE COTTER
MUSIC WRITER


If the music of Bruce Springsteen and the E Street Band is the quintessential sound of the Jersey Shore, then it is due in large part to Danny Federici.

Federici, who died Thursday after a three-year battle with melanoma, was a Flemington native. But his musical style was evocative of the beach-and-boardwalk scene that inspired much of Springsteen's work.

With a few taps on the keyboard or accordion, Federici could conjure a summer day in Asbury Park — the rides on the boardwalk, the call of sea gulls and, most importantly, the swirl of emotions such a day can bring. In songs such as "4th of July, Asbury Park (Sandy)" there is the melancholy hum of Federici's notes. In "Hungry Heart" there is irony, as Federici's bright lines contrast with the narrator's tale. In "Kitty's Back" there is excitement, anticipation and the swagger of youth.

"Kitty's Back" used to be one of those Holy Grail songs — a track everyone wanted to hear live but that the band seldom performed. But in recent years, the song has become a more familiar presence on set lists. And it sounds great in Convention Hall in Asbury Park, maybe because there are so many longtime fans in the audience and their energy gets linked to the song. Federici always received his due from those crowds during those kinds of songs.

"I knew him to be a tremendously talented musician and a natural, organic player," said Tony Pallagrosi, a former member of Southside Johnny's Asbury Jukes and a longtime participant in the local music scene. "I still listen to "Flemington,' one of Danny's solo albums. When I first heard it, I thought it was the contemporary version of Booker T. It was so grooving. Here's this cat who's part of a group and he had the chance to step out and do something different, and it reeked of the great R&B influences that made the E Street Band what it is."

As the editor of the New York-based Crawdaddy magazine, Peter Knobler first encountered the E Street Band on Dec. 7, 1972, at a concert at Sing Sing Prison.

Crawdaddy chronicled rock 'n' roll as it became a force in the '60s and '70s, and Knobler said he recognized immediately that the E Street Band was the real deal. The band's camaraderie, he said, was compelling.

"They were a band of brothers — they were good friends," Knobler said. "Danny Federici, he was just a classic Jersey guy, a regular guy. He totally filled out the sound. He had no airs about him, none of them did. He did not take his musicianship too seriously, yet you should've seen him play."

Chris Phillips, editor of the North Carolina-based Backstreets, a Springsteen fanzine, said Federici added to the mystique of the band.

"I've been listening to the live version of "You're Missing,' " Phillips said, "and it's a fine example of Max (Weinberg) hits the snare and Bruce points it over to Danny. And it's not that anything jawbreakingly technical is going on, but those notes Danny plays say as much or more than the lyrics. Sometimes he would bring that Jersey Shore sunshine part of the song, or maybe even some circus tones, but his music also was haunting at times, bringing in a whole different color to a song.

"I don't see Bruce as a poet, I see him as a songwriter," Phillips added, "and that's why the E Street Band is so important, because they provide that half of the experience. And Danny has always been part of that foundation."

Backstreets plans to devote its June issue to a tribute to Federici.

"Danny was there from the beginning — he and Bruce knew each other from the '60s," Pallagrosi said. "They were all in their formative stages at that point, and whatever they did individually influenced each other. They forged a musical identity together.

"That's the magic of music, and one of the defining characteristics of rock 'n 'roll: The whole is greater than the parts," Pallagrosi said. "That certainly has been the case with the E Street Band, just like the Rolling Stones, The Beatles and all the bands that have created something important. When members leave, it changes the equation."

Springsteen's concerts for last night in Fort Lauderdale and tonight have been postponed. Springsteen and the E Street Band are due back in the area in July for shows at Giants Stadium. Springsteen also is scheduled to perform May 7 at Count Basie Theatre in Red Bank.

On his Web site, www.brucespringsteen.net, Springsteen posted this remembrance: "Danny and I worked together for 40 years — he was the most wonderfully fluid keyboard player and a pure natural musician. I loved him very much. . . . We grew up together."

Federici's family and bandmates have set up the Danny Federici Melanoma Fund to raise money to fight this most deadly form of skin cancer. Details will be announced on www.brucespringsteen.net.

For more thoughts on Danny Federici, read Press Staff Writer http://www.app.com/blogs/mikle">Jean Mikle's blog.
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From Asbury Park Press:
Federici's spirit will endure

Despite our best judgment and sure knowledge, we believe certain things will last forever — true love and warm summer nights on the boardwalk come to mind. For many, the E Street Band falls into that category.

The death of keyboardist Danny Federici Thursday, though, tells a different story — that even death cannot break, as the band so famously sang, "the ties that bind."

His passing brought tears to the eyes of those who never even knew him, apart from his music — the melancholy accordion of "4th of July, Asbury Park (Sandy)," say, or the swirling organ of "Kitty's Back," signature songs of a singularly talented musician.

Before melanoma took him at the relatively young age of 58, Federici was adding his magic not only to yesterday's music but to new songs such as the deceptively bright-sounding "Livin' In The Future."

For those who knew him as a person and from afar as a musician, the loss is keen.

"Danny and I worked together for 40 years," said bandmate and friend Bruce Springsteen. "He was the most wonderfully fluid keyboard player and a pure, natural musician. I loved him very much. We grew up together."

Federici's spirit remains. Preserved as it is on vinyl and disc, his music reminds us that it is forever the Fourth of July in Asbury Park.

From The Buffalo News:
A moment of silence for an E Street brother

By Jeff Miers

Updated: 04/19/08 6:54 AM

When Bruce Springsteen and the E Street Band played in Buffalo last month, Springsteen told the crowd that keyboardist and founding member of the band, Danny Federici, was doing well despite his battle with cancer, and hoped to return to the tour soon.

“Danny sends his love,” Springsteen said of his friend and collaborator of 40 years, who along with the keyboards also played accordion, among other instruments. The HSBC audience responded with enthused applause. A few weeks later, Federici took the stage with the band for portions of its show in Indianapolis.

Despite Springsteen’s optimism during shows on his current “Magic” tour, the musician was apparently doing worse than many fans believed.

Federici died Thursday in New York City after battling melanoma for three years. He was 58. His death comes as a painful surprise to all but the inner Springsteen circle.

“Danny and I worked together for 40 years,” Springsteen said in a note posted on BruceSpringsteen.net. “He was the most wonderfully fluid keyboard player and a pure natural musician. I loved him very much ... we grew up together.”

Federici’s contributions to the grandeur and emotional resonance of Springsteen’s songs can’t be overestimated. Though he was a virtuosic organist, showboating was not his thing. Federici’s genius sprung from his unerring ability to weave his chordal figures and melodic lines into the full fabric of the E Street Band’s massive sound. As a result, a casual listener might not have noticed “Phantom Dan’s” contributions. But one certainly noticed just how much he’d given once he’d left the band.

Except for a stretch of several years in the early ‘90s, when Springsteen explored various other ensembles and performed a healthy amount of solo shows, Federici manned the platform stage right, his organ sound recalling the Jersey boardwalk and the bar scene from which the E Street Band initially emerged. His playing also provided rich counterpoint to pianist Roy Bittan’s lines and arpeggios. This interplay formed the core of what we all know as the “Springsteen sound” — part Bob Dylan, circa “Blonde On Blonde,” part Memphis R&B, part Motown, part seaside carnival, all soulfulness.

Of course, in the world of E Street, a band member is much more than a musician. The E Street ensemble has always been a group of soul mates, a band of brothers, one in which every member’s contributions added to a greater whole. For Springsteen, this band-as-tribe concept has been integral to his relationship with his audience. There’s a closeness with the musicians on stage, and the closeness was mirrored between the E Streeters. It always felt real, genuine, organic.

This is an incredibly rare occurrence in popular music, which so often posits the notion that the individual players are expendable, interchangeable, faceless. The sense that the shared performance of this music was always at least as intensely emotional for the band-members as it was for the audience — this has been the essence of the E Street Band’s magic.

Federici left an indelible mark on some of the finest songs in rock history, among them of course the anthemic “Born To Run.”

“Kitty’s Back,” from Springsteen’s sophomore effort, “The Wild, the Innocent and the E Street Shuffle,” soared on the power of Federici’s searing solo and stabbing fills. The song became the vehicle for a Federici spotlight in concert, as evidenced by the torrid “Hammersmith Odeon London ’75” concert disc and DVD.

“4th of July, Asbury Park (Sandy)” offered a platform for Federici’s romantic, elegaic accordion playing, and is one of the last songs he played with the E Street Band, during its Indianapolis show. (Footage of this performance was posted on BruceSpringsteen.net on Friday morning.)

It’s fitting that “Hungry Heart,” Springsteen’s first Top 10 radio hit, featured an eloquent Federici solo. In fact, “The River,” from which “Hungry Heart” was culled, featured substantial contributions from Federici, who colored the mournful “Stolen Car,” underscored the drama in “Point Blank,” and scattered forlorn echoes through the haunted house the characters in “Independence Day” populated.

Earlier, Federici lent additional urgency to the statement of intent that was “Darkness On the Edge of Town’s” “Badlands,” as well as providing key melodies and themes to that album’s “Factory” and “Streets of Fire.”

In fact, nearly every significant, iconic Springsteen moment that comes to mind features a contribution from Federici. Unfailingly, he gave something of himself to the musical and lyrical narrative of Springsteen’s writing.

When the E Street Band reformed in 1995, following a 10- year hiatus, Springsteen wrote a touching testament to the importance of band-based community in his life, naming it “Blood Brothers.” The song documents the singer’s ambivalence toward the need he felt to break with the E Streeters for a period of time, but it ends with a couplet that serves as a fitting tribute to Federici, who will be so deeply missed.

“Now I don’t know how I feel/I don’t know how I feel tonight/ If I’ve fallen ’neath the wheel/If I’ve lost or I’ve gained sight/I don’t even know why/I don’t know why I made this call/Or if any of this matters anymore, after all/

“But the stars are burning bright/Like some mystery uncovered/ And I’ll keep moving through the dark, with you in my heart/My blood brother.”

Springsteen & the E Street Band’s concerts scheduled for this evening in Fort Lauderdale, Fla., and Saturday night in Orlando, Fla., have been postponed indefinitely.

jmiers@buffnews.com

Friday, April 18, 2008

Danny Federici
From Asbury Park Press:
Danny Federici, E Street keyboardist, dead at 58

By JEAN MIKLE and MARK VOGER
STAFF WRITERS

Danny Federici, the E Street Band's organist and keyboard player since its inception whose stylish work helped define the band's sound, died Thursday after a three-year battle with melanoma.

Federici, 58, a Flemington native, died at Memorial Sloan-Kettering Cancer Center in New York City. News of his death was posted late Thursday night on Bruce Springsteen's official Web site, www.brucespringsteen.net.

He had performed with Springsteen longer than any other E Streeter, playing with him in bands such as "Child," and "Steel Mill," before the E Street Band was formed.

Federici was also a regular at The Upstage, the legendary Asbury Park club where Shore artists honed their skills in all-night jam sessions. Among his most notable E Street performances were his organ playing on the hit "Hungry Heart" and the accordion solo on "4th of July, Asbury Park (Sandy)."

"Danny and I worked together for 40 years -- he was the most wonderfully fluid keyboard player and a pure natural musician. I loved him very much ... we grew up together,'' Springsteen said in a statement posted on his Web site.

In November, Federici took a leave of absence from the E Street Band to battle melanoma following an emotional send-off at the Nov. 19 Boston show.

During that show, Springsteen frequently allowed Federici to take the spotlight during songs like "Kitty's Back" with its extended organ solo, "This Hard Land," "E Street Shuffle" and "Sandy."

Following the last song that night, Federici had tears in his eyes as the crowd chanted his name. Federici made only one more appearance with the E Streeters, on March 20 in Indianapolis, in which he again played "Sandy" and several other songs.

When he announced Federici's plan to take a leave of absence from the band, Springsteen described him as "one of the pillars of our sound." A clip of part of Federici's last E Street performance in Indianapolis can be seen on Springsteen's Web site, www.brucespringsteen.net.

In a 1998 interview with the Asbury Park Press, Federici spoke about the first time he saw Springsteen perform.

Said the musician: "When (drummer) Vini Lopez and I first saw Bruce play at The Upstage Club — because we were pretty much playing at the same time — we basically said, "We've gotta have this guy in our band.' So we decided to start a band.

"So he (Springsteen) quit Earth to put a band together with me and Vini. And we found a bass player, Vinnie Roslin. And that band was called Child. And that's how the whole switcheroo thing — getting him out of Freehold — began."

Federici also reminisced about jobs he worked around the Shore area before joining Springsteen's E Street Band.

"I was an electrician for a while," Federici told the Press. "I worked construction. Actually, Allan Berger — he was the bassist with Southside (Johnny Lyon) for a while — his dad was the super on a construction job I worked. A couple of times, I worked at a paper place up in Wanamassa (in Ocean Township). And of course, I worked in a surfboard factory with "Tinker' (Carl West), Bruce's first manager — Steel Mill and Child's first manager. He'd throw us a few bucks."

Said Federici of his early Asbury Park days: "I lived on Bangs Avenue for a while, almost right across from the police station. I had to move closer to the buses and the trains — I lost my license as a kid."

Federici was often introduced in concert by Springsteen as "Phantom Dan," a nickname the keyboarder got following the night in 1970 Springsteen and his band Steel Mill went head to head with Middletown Police Chief Joe McCarthy.

When a concert at a swim club did not shut down promptly at 10 p.m., police stormed onstage and ended the performance. Twenty-one people, nine of them juveniles, were arrested on a variety of drug and assault charges.

"I could see the cops were getting ready to do something, so I went backstage and pulled the plug on the band," Richard Kleva, who arranged for the concert, said afterward.

The crowd immediately began to shout to turn the music back on. A roadie for Steel Mill plugged the amplifiers back in. Then the police took the stage, and bedlam broke loose.

McCarthy was injured when an amplifier toppled over onto him. Witnesses said one police officer on stage jabbed Springsteen in the ribs with a nightstick, while others chased Federici.

After the concert, warrants were issued for Federici's arrest, because the police believed he had purposely knocked the amplifier onto McCarthy.

"I was a fugitive," Federici recalled in an interview in a book on Springsteen published by the Springsteen fan magazine Backstreets. At several Steel Mill shows after the Middletown concert, police were waiting to arrest Federici, he said in the book. So Springsteen devised a plan.

Steel Mill usually closed its concerts with a song called "Resurrection," during which Springsteen would pull people out of the audience to dance onstage. When the stage was crowded with dancers, Federici would slip away, and the police would lose him in the crowd.

Federici eventually turned himself in, but nothing came of the charges.

In a band with larger-than-life characters like saxophonist Clarence Clemons and bandana-wrapped guitarist Little Steven Van Zandt, Federici was content to play in his familiar position to the side of the stage. But his playing was as vital to Springsteen's live show as any instrument in the band.

Federici released a pair of solo albums that veered from the E Street sound and into soft jazz. Bandmates Nils Lofgren on guitar and Garry Tallent on bass joined Federici on his 1997 debut, "Flemington." In 2005, Federici released its follow-up, "Out of a Dream."

Besides his work with Springsteen, Federici played on albums by an impressive roster of other artists: Van Zandt, Joan Armatrading, Graham Parker, Gary U.S. Bonds and Garland Jeffreys.

Springsteen concerts scheduled for today in Fort Lauderdale, Fla., and Saturday in Orlando were postponed following the news of Federici's death.

Tuesday, April 15, 2008

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In Darkest Pennsylvania
by Patrick J. Buchanan

It was said behind closed doors to the chablis-and-brie set of San Francisco, in response to a question as to why he was not doing better in that benighted and barbarous land they call Pennsylvania.

Like Dr. Schweitzer, home from Africa to address the Royal Society on the customs of the upper Zambezi, Barack described Pennsylvanians in their native habitats of Atloona, Alquippa, Johnstown and McKeesport.

"You go into these small towns in Pennsylvania and ... the jobs have been gone now for 25 years and nothing's replaced them.

"And it's not surprising then they get bitter, they cling to guns or religion or antipathy to people who aren't like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations."

This is the pitch-perfect Hollywood-Harvard stereotype of the white working class, the caricature of the urban ethnic -- as seen from the San Francisco point of view.

As Linus clung to his security blanket, Barack is saying, out-state Pennsylvanians, bitter at the world that has passed them by, cling to their Bibles and guns and naturally revert to ancestral bigotries against "people who aren't like them" -- blacks, gays and immigrants.

Though he sees himself as a progressive who has risen above prejudice, Barack was reflecting and pandering to the prejudice of the class to which he himself belongs, and which he was then addressing.

A few months back, Michelle Obama revealed her mindset about America with the remark that, "for the first time in my adult lifetime, I'm really proud of my country." Barack has now revealed how he, too, sees the country. The Great Unifier divides the nation into us and them.

The "us" are the privileged cosmopolitan elite of San Francisco and his Ivy League upbringing. The "them" are the folks in the small towns and rural areas of that other America. Toward these folks, Obama's attitude is not one of hostility, but of paternalism. Because time has passed them by, Barack believes, they cannot, in their frustration and bitterness, be held fully accountable for their atavistic beliefs and behavior.

Though neither mocking nor malicious, Barack's remarks are, nonetheless, steeped in condescension. Inherent in his words is that these folks in Middle Pennsylvania are in need of empathy, education, assistance and perhaps therapy.

His remarks are of a piece with his address on civil rights that liberals have compared favorably to Lincoln's Second Inaugural.

Note, from that Philadelphia address, the highlighted words.

"Most working- and middle-class white Americans don't feel that they have been particularly privileged by their race ... as far as they're concerned, no one's handed them anything. ... They ... feel their dreams slipping away ... opportunity comes to be seen as a zero sum game, in which your dreams come at my expense.

"Anger over welfare and affirmative action helped forge the Reagan Coalition. Politicians routinely exploited fears of crime for their own electoral ends. Talk show hosts and conservative commentators built entire careers unmasking bogus claims of racism while dismissing legitimate discussions of racial injustice and inequality as mere political correctness or reverse racism."

In Barack's mind, black anger and resentment at "racial injustice and inequality" are "legitimate." But the anger and resentment of white folks, about affirmative action, crime and forced busing are born of misperceptions -- and of "bogus claims of racism" manipulated and exploited by conservative columnists and commentators to keep the racial pot boiling and retain power, so the right can continue to do the bidding of the corporations that are the real enemy.

Barack has stumbled into the eternal failing of the left-wing populist. He cannot concede that the anger of white America -- that its right to equal justice has been sacrificed to salve the consciences of guilt-besotted liberals -- is a legitimate anger. The truth that Barack dare not speak is that reverse discrimination is pandemic and that the folks in Middle Pennsylvania have a valid grievance that ought to be addressed.

So, Barack sought in Philadelphia to redirect their anger.

"(T)hese white resentments distracted attention from the real culprits of the middle class squeeze -- a corporate culture rife with inside dealing, questionable accounting practices and short-term greed; a Washington dominated by lobbyists and special interests; economic policies that favor the few over the many."

Barack is not wrong here. Corporations, out of naked greed, have deserted America. And the Clinton and Bush administrations have been unresponsive to the social impact of deindustrialization. But Barack cannot concede that white Americans are today's victims of state-sanctioned racism.

A gifted candidate, Barack, after stumbling for 48 hours, has regained his footing with his witty ripostes about Hillary being "Annie Oakley" with her "six-shooter," spending her Sunday mornings "out on the duck blind."

Obama's remarks about small-town America told us little about small-town America, but a lot about Barack. He is yet another cookie-cutter liberal who has absorbed and internalized the prejudices of that blinkered breed. He is an African-American John Lindsay, the great liberal hope of the Nixon-Agnew era, of whom Frank Manckiewicz once said: He was the only populist he knew who played squash every day at the Yale Club.
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From Real Clear Politics:
A Living Lie
By Thomas Sowell

An e-mail from a reader said that, while Hillary Clinton tells lies, Barack Obama is himself a lie. That is becoming painfully apparent with each new revelation of how drastically his carefully crafted image this election year contrasts with what he has actually been saying and doing for many years.

Senator Obama's election year image is that of a man who can bring the country together, overcoming differences of party or race, as well as solving our international problems by talking with Iran and other countries with which we are at odds, and performing other miscellaneous miracles as needed.

There is, of course, not a speck of evidence that Obama has ever transcended party differences in the United States Senate. Voting records analyzed by the National Journal show him to be the farthest left of anyone in the Senate. Nor has he sponsored any significant bipartisan legislation -- nor any other significant legislation, for that matter.

Senator Obama is all talk -- glib talk, exciting talk, confident talk, but still just talk.

Some of his recent talk in San Francisco has stirred up controversy because it revealed yet another blatant contradiction between Barack Obama's public image and his reality.

Speaking privately to supporters in heavily left-liberal San Francisco, Obama let down his hair and described working class people in Pennsylvania as so "bitter" that they "cling to guns or religion or antipathy to people who aren't like them."

Like so much that Obama has said and done over the years, this is standard stuff on the far left, where guns and religion are regarded as signs of psychological dysfunction -- and where opinions different from those of the left are ascribed to emotions ("bitter" in this case), rather than to arguments that need to be answered.

Like so many others on the left, Obama rejects "stereotypes" when they are stereotypes he doesn't like but blithely throws around his own stereotypes about "a typical white person" or "bitter" gun-toting, religious and racist working class people.

In politics, the clearer a statement is, the more certain it is to be followed by a "clarification," when people react adversely to what was plainly said.

Obama and his supporters were still busy "clarifying" Jeremiah Wright's very plain statements when it suddenly became necessary to "clarify" Senator Obama's own statements in San Francisco.

People who have been cheering whistle-blowers for years have suddenly denounced the person who blew the whistle on what Obama said in private that is so contradictory to what he has been saying in public.

However inconsistent Obama's words, his behavior has been remarkably consistent over the years. He has sought out and joined with the radical, anti-Western left, whether Jeremiah Wright, William Ayers of the terrorist Weatherman underground or pro-Palestinian and anti-Israeli Rashid Khalidi.

Obama is also part of a long tradition on the left of being for the working class in the abstract, or as people potentially useful for the purposes of the left, but having disdain or contempt for them as human beings.

Karl Marx said, "The working class is revolutionary or it is nothing." In other words, they mattered only in so far as they were willing to carry out the Marxist agenda.

Fabian socialist George Bernard Shaw included the working class among the "detestable" people who "have no right to live." He added: "I should despair if I did not know that they will all die presently, and that there is no need on earth why they should be replaced by people like themselves."

Similar statements on the left go back as far as Rousseau in the 18th century and come forward into our own times.

It is understandable that young people are so strongly attracted to Obama. Youth is another name for inexperience -- and experience is what is most needed when dealing with skillful and charismatic demagogues.

Those of us old enough to have seen the type again and again over the years can no longer find them exciting. Instead, they are as tedious as they are dangerous.

Copyright 2008, Creators Syndicate Inc.
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From The Washington Post:
Candidate on a High Horse
By George Will

WASHINGTON -- Barack Obama may be exactly what his supporters suppose him to be. Not, however, for reasons most Americans will celebrate.

Obama may be the fulfillment of modern liberalism. Explaining why many working class voters are "bitter," he said they "cling" to guns, religion and "antipathy to people who aren't like them" because of "frustrations." His implication was that their primitivism, superstition and bigotry are balm for resentments they feel because of America's grinding injustice.

By so speaking, Obama does fulfill liberalism's transformation since Franklin Roosevelt. What had been under FDR a celebration of America and the values of its working people has become a doctrine of condescension toward those people and the supposedly coarse and vulgar country that pleases them.

When a supporter told Adlai Stevenson, the losing Democratic presidential nominee in 1952 and 1956, that thinking people supported him, Stevenson said, "Yes, but I need to win a majority." When another supporter told Stevenson, "You educated the people through your campaign," Stevenson replied, "But a lot of people flunked the course." Michael Barone, in "Our Country: The Shaping of America From Roosevelt to Reagan," wrote: "It is unthinkable that Roosevelt would ever have said those things or that such thoughts ever would have crossed his mind." Barone added: "Stevenson was the first leading Democratic politician to become a critic rather than a celebrator of middle-class American culture -- the prototype of the liberal Democrat who would judge ordinary Americans by an abstract standard and find them wanting."

Stevenson, like Obama, energized young, educated professionals for whom, Barone wrote, "what was attractive was not his platform but his attitude." They sought from Stevenson "not so much changes in public policy as validation of their own cultural stance." They especially rejected "American exceptionalism, the notion that the United States was specially good and decent," rather than -- in Michelle Obama's words -- "just downright mean."

The emblematic book of the new liberalism was "The Affluent Society" by Harvard economist John Kenneth Galbraith. He argued that the power of advertising to manipulate the bovine public is so powerful that the law of supply and demand has been vitiated. Manufacturers can manufacture in the American herd whatever demand the manufacturers want to supply. Because the manipulable masses are easily given a "false consciousness" (another category, like religion as the "opiate" of the suffering masses, that liberalism appropriated from Marxism), four things follow:

First, the consent of the governed, when their behavior is governed by their false consciousnesses, is unimportant. Second, the public requires the supervision of a progressive elite which, somehow emancipated from false consciousness, can engineer true consciousness. Third, because consciousness is a reflection of social conditions, true consciousness is engineered by progressive social reforms. Fourth, because people in the grip of false consciousness cannot be expected to demand or even consent to such reforms, those reforms usually must be imposed, for example, by judicial fiats.

The iconic public intellectual of liberal condescension was Columbia University historian Richard Hofstadter, who died in 1970 but whose spirit still permeated that school when Obama matriculated there in 1981. Hofstadter pioneered the rhetorical tactic that Obama has revived with his diagnosis of working-class Democrats as victims -- the indispensable category in liberal theory. The tactic is to dismiss rather than refute those with whom you disagree.

Obama's dismissal is: Americans, especially working-class conservatives, are unable, because of their false consciousness, to deconstruct their social context and embrace the liberal program. Today that program is to elect Obama, thereby making his wife at long last proud of America.

Hofstadter dismissed conservatives as victims of character flaws and psychological disorders -- a "paranoid style" of politics rooted in "status anxiety," etc. Conservatism rose on a tide of votes cast by people irritated by the liberalism of condescension.

Obama voiced such liberalism with his "bitterness" remarks to an audience of affluent San Franciscans. Perfect.

When Democrats convened in San Francisco in 1984, en route to losing 49 states, Jeane Kirkpatrick -- a former FDR Democrat then serving in the Cabinet of another such, Ronald Reagan -- said "San Francisco Democrats" are people who "blame America first." Today, they blame Americans for America being "downright mean."

Obama's apology for his embittering sociology of "bitterness" -- "I didn't say it as well as I could have" -- occurred in Muncie, Ind. Perfect.

In 1929 and 1937 Robert and Helen Lynd published two seminal books of American sociology. They were sympathetic studies of a medium-sized manufacturing city they called "Middletown," coping -- reasonably successfully, optimistically and harmoniously -- with life's vicissitudes. "Middletown" was in fact Muncie, Ind.

Monday, April 14, 2008

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From National Review Online:
Off-the-Record Obama

The Politics of Meaning on steroids.

By Peter Wehner

Senator Barack Obama finds himself in the midst of a controversy in the aftermath of comments that he made at a private fundraiser in San Francisco on April 6, during which he explained his difficulty appealing to working-class voters in Pennsylvania. He said, “It’s not surprising that they get bitter, they cling to guns or religion or antipathy to people who aren’t like them or anti-immigrant sentiment or anti-trade sentiment. . . .”

Senator Obama’s words are significant because they were said off-the-record, meaning they provided a more authentic glimpse into the attitudes of Obama than a carefully scripted event. Nonetheless, his words were not merely careless; his comments were based on a carefully constructed, if deeply condescending, explanation.

Beneath the enormous charm and cool persona of Obama beats the heart of an arrogant man. With increasing frequency, the 46-year-old one-term senator from Illinois orates as though he resides at Olympian Heights. By his presumptuous demeanor, he suggests that he sees what no one else sees, and can do what no other person can do; he is America’s healing balm.

Even his efforts at damage control radiate arrogance. Speaking in Muncie, Indiana, after the story broke, Obama said “Lately, there has been a little, typical sort of political flare-up because I said something that everybody knows is true, which is that there are a whole bunch of folks in small towns in Pennsylvania, in towns right here in Indiana, in my home town in Illinois who are bitter.”

The flare-up, you see, happened because Obama is the Great Truth-Teller amidst the masses, many of whom can’t handle the truth. Once it dawned on Obama’s aides that expediency demanded an apology, the Senator offered a qualified mea culpa: “Obviously, if I worded things in a way that made people offended, I deeply regret that.”

So if Senator Obama worded things in a way that made people feel offended (rather than worded things in a way that is offensive), well, he regrets that.

And at last night’s “Compassion Forum,” hosted by CNN, Obama accused his critics of “misconstruing . . . [his] words” effectively turning the tables on those who take issue with his comments. In Obama’s construal, he is the offended party, and any criticism directed at him is a mere “distraction” from the real issues of the campaign. This method of damage control, as that displayed in the Reverend Wright controversy, implies that simply by questioning the candidate, one is out of line, unfashionable, and uncouth.

I suspect these comments will be quite damaging to Obama because they reinforce (in spite of his efforts to equivocate during this campaign) his conventional liberalism. In this case, though, it’s not simply a matter of him being liberal on economic or domestic issues; it demonstrates that he is a cultural liberal, which has been a particularly lethal charge in presidential elections. It is another brush stroke on the canvas of a man who burst onto the national scene less than four years ago and about whom we know very little. But with every passing week, it seems, we are learning more about the Man of Hope.



On a deeper level, what we saw in Obama’s comments is a glimpse into a particular worldview, one that animates his political philosophy (contemporary liberalism). Senator Obama seems to view ordinary Americans as bitter, often broken, small-minded objects of pity rather than anger, ostensibly in need of instruction from — you guessed it — Barack Obama. The words of Michelle Obama are worth recalling in this context. She has spoken about her husband pushing us out of our “comfort zones,” saying “Barack knows at some level there is a hole in our souls” and “Barack is the only person in this race who understands that before we can work on the problems as a nation, we have to fix our souls. Our souls are broken in this nation.”

This is the Politics of Meaning on steroids. If one views Americans as fundamentally needy children rather than competent citizens, one embraces the precepts of the nanny state — the state that (in Margaret Thatcher’s memorable phrase) takes too much from you in order to do too much for you. This provides an enormous opening for Senator McCain, who can frame this election as pitting a candidate who believes in self-government, against a candidate who believes in the nanny state.

Increasingly, Barack Obama appears to be the Candidate of Illusion. He presents himself as post-racial — which is harder to accept than it once was, given his intimate, longtime relationship with a pastor and church that harbor deep and obvious racial anger toward whites. Obama presents himself as post-partisan — even though in his time in the Senate he has done nothing to bridge the partisan divide, which explains why he has been endorsed by the rabidly partisan MoveOn.org. Obama presents himself as post-ideological — even though he was named the Senate’s most liberal member in 2007 by the respected National Journal. Obama is a public critic of free trade — yet his chief economic adviser is quoted by a Canadian official as saying that Obama’s position on NAFTA is politically motivated and insincere. Obama speaks about the importance of religious faith in his life and the life of the nation — yet when speaking to a group of rich liberals, he implicitly denigrates people of faith, pairing them with people who have “antipathy to people who aren’t like them” and who harbor “anti-immigrant sentiment[s].” He paints religious believers as folks clinging to crutches to better deal with their desperate lives — only to insist last night that his words were actually a tribute to people of religious faith. So sayeth Barack Obama, “healer of broken souls.”

Early on in this campaign I was impressed with Barack Obama as a thoughtful, inspiring, and admirable (if far too liberal) political figure. As the months have worn on, it’s become increasingly apparent that the candidate is projecting mere shadows on the wall. Our Republic deserves better.

— Peter Wehner, former deputy assistant to the president, is a senior fellow at the Ethics and Public Policy Center.

Sunday, April 13, 2008

Recess
Who knows what sick cross-dressing games these kids are up to?
Wait a minute, that would be protected behavior.
From National Review:
Randy Principles
First Grade outrage.
By Mark Steyn

Is American public education a form of child abuse? A week ago, the Washington Post’s Brigid Schulte reported on a student named Randy Castro who attends school in Woodbridge, Va. Last November at recess he slapped a classmate on her bottom. The teacher took him to the principal. School officials wrote up an incident report and then called the police.

Randy Castro is in the First Grade. But, at the ripe old age of six, he’s been declared a sex offender by Potomac View Elementary School. He’s guilty of sexual harassment, and the incident report will remain on his record for the rest of his schooldays — and maybe beyond. Maybe it’ll be one of those things that just keeps turning up on background checks forever and ever: Perhaps 34-year-old Randy Castro will apply for a job and at his prospective employer’s computer up will pop his sexual-harasser status yet again. Or maybe he’ll be able to keep it hushed up until he’s 57 and runs for governor of Virginia and suddenly his political career self-detonates when the sordid details of his Spitzeresque sexual pathologies are revealed. But that’s what he is now: Randy Castro, sex offender. The title of the incident report spells out his crime: “Sexual Touching Against Student, Offensive.” The curiously placed comma might also be offensive were it not that school officials are having to spend so much of their energies grappling with the First Grade sexual-harassment epidemic they can no longer afford to waste time acquiring peripheral skills such as punctuation.

Randy Castro was not apprehended until he was six, so who knows how long his reign of sexual terror lasted? Sixteen months ago, a school official in Texas accused a four-year-old of sexual harassment after the boy was observed pressing his face into the breasts of a teacher’s aide when he hugged her before boarding the school bus. Fortunately, the school took decisive action and suspended the sick freak. By the way, is that the first recorded use in the history of the English language of the phrase “accused a four-year-old of sexual harassment”? Well, it won’t be the last: In the state of Maryland last year, 16 kindergartners were suspended for sexual harassment, as were three pre-schoolers.

School officials declined to comment to the Washington Post on Master Castro’s case on the grounds of student confidentiality. However, they did say that the decision to call the cops was “the result of a misunderstanding.” And it’s not like he was Tasered or anything.

When school officials call 911 because of a “misunderstanding” with a six-year-old, the fault is theirs: He’s a kid; and they’re school officials who are supposedly trained and handsomely remunerated to know how to deal with children. Incidentally, the phrase “school officials” isn’t quite as rare as “37-year-old teacher’s aide accuses four-year old of sexual harassment” but it would still ring foreign to your average old-school schoolmarm in a one-room schoolhouse. Back then schools had schoolchildren and schoolteachers and that was pretty much it. But now grade schools are full of “officials,” just like the Department of Homeland Security.

So who does get a little breast and butt action in American schools these days? Obviously not your four-year-old gropers and six-year-old predators: The system’s doing an admirable job of cracking down on those perverts. No, if you want to get up close and personal with body parts you’ve got to be a “school official.” The U.S. Court of Appeals for the 9th Circuit recently heard oral arguments in the case of Savana Redding. Back in 2003, Savana was an Eighth Grader at Safford Middle School in Safford, Arizona, when the vice principal, Kerry Wilson, “acting on a tip,” discovered a fellow student to have a handful of ibuprofen tablets in her pocket. The other girl said she got them from Savana, who denied it. She had no tablets in her own pockets or in her backpack. Vice Principal Wilson, whose mind works in interesting ways, then decided that Savana might be hiding the ibuprofen in her cleavage or her crotch. So, without contacting the girl’s parents, he ordered a school official to strip-search Savana. She was obliged to expose her breasts and “her pelvic area.” If Vice Principal Wilson were a four-year old pre-schooler who’d been involved in a stunt like that, he’d now be a registered sex offender for life. But fortunately he’s a “school official” so if he decides to apply search techniques associated with international narcotics traffic he pretty much has a free hand to do so. After all, ibuprofen is serious stuff. As Reason’s Jacob Sullum put it, “It’s a good thing the school took swift action, before anyone got unauthorized relief from menstrual cramps.”

The policies of these “school officials” are dignified by the name of “zero tolerance.” “Zero sanity” would be a more accurate description. One day we’ll look back at this period of government-instituted madness and wonder why those entrusted with the care of minors (or, to be more accurate, those who enjoy a de facto state monopoly over the care of minors) were unable to do what teachers in civilized societies have been able to do throughout human history — exercise individual human judgment. This week Michelle Obama called for Americans to pony up even more dough for their public school system. The United States already spends more per student than any other developed nation except Switzerland, and at least the Swiss have something to show for it. By any reasonable measure, at least a third of the cash dumped into American schools is entirely wasted. And, if we simply shipped every youngster to boarding school in the Alps instead, the kindergartners might have a sporting chance of making it to Second Grade before being designated as sexual abusers.

But I don’t expect Michelle Obama to see it like that. Last week, an Obama delegate was revealed to have told her next door neighbor’s kids to come down from the tree and quit playing “like monkeys.” Unfortunately for her, they were African American, so she was “ticketed” for racist speech by the Carpentersville police, and, after issuing the usual solemn statements deploring such decisive remarks, Senator Obama removed the delegate from his campaign, had her encased in a cement overcoat and lowered into the Chicago River. He, too, operates a “zero tolerance” policy. Amid the debris of human lives caught up in these idiocies, you can also find the ruins of an indispensable element of civilized society: a sense of proportion.

© 2008 Mark Steyn

Cover of 'Willful Blindness: A Memoir of the Jihad'
From Human Events:
Willful Blindness: A Review

Why is it that very few dare question it when we kill a terrorist, but we are pilloried by every liberal pol and media outlet when we imprison one? More than six years after the 9/11 attacks, the op-ed pages of the mainstream media are still filled with indignant demands to shut down Guantanamo Bay, abolish military tribunals, and try terrorism suspects through the criminal justice system.

In "Willful Blindness," Andrew McCarthy offers a welcome counterpoint to the emotional caterwauling over the treatment of captured Islamic jihadists who’ve dedicated their lives to destroying the United States.

McCarthy is a former prosecutor who secured the convictions of numerous jihadists responsible for the 1993 World Trade Center bombing, including the infamous “Blind Sheikh,” Omar Abdel Rahman. Based largely on this experience, McCarthy’s new book explains why the procedures of the criminal justice system are inadequate in trying terrorism suspects.

McCarthy notes that criminal prosecution was the primary response to terrorism during the eight years between the original bombing of the World Trade Center and its ultimate destruction on September 11. During that time, when jihadists attacked the U.S.S. Cole, the African embassies, and other U.S. targets abroad while they simultaneously expanded their networks within America’s borders, criminal prosecutions secured the convictions of less than three dozen terrorists. Even this miniscule achievement came at a significant price, as terrorism trials force the government to disclose vital intelligence that is often extremely useful to terrorists still on the loose. For example, the list of around 200 unindicted co-conspirators disclosed to the defense during the Rahman trial found its way to Osama bin Laden, whose name appeared on the list. The document would have been a valuable tool for helping bin Laden to figure out government surveillance methods.

Having prosecuted one of the highest-profile terrorism cases in U.S. history, McCarthy writes with authority and makes a convincing case for keeping terrorists out of the criminal justice system. However, his overall argument, solid though it is, will likely exert less of a visceral reaction from readers than the many specific instances he recounts of official bungling of the Rahman case.

The missteps began with the prosecution of Sayyid Nosair, an Islamic fanatic who assassinated Jewish militant Meir Kahane in New York City in 1990. Despite plenty of evidence indicating that Nosair was part of a wider jihadist cell, authorities rushed to pronounce him a lone gunman and prosecuted him as such. They failed to connect him with the Blind Sheikh, largely because they never got around to analyzing dozens of boxes of evidence seized from Nosair’s home, including records of conversations between him and Rahman. After Nosair was convicted, under the authorities’ very noses, he continued running his jihadist group from jail. Nosair’s acolytes would regularly drive to Attica prison and consult with him about future attacks, including the bombing of the World Trade Center.

Furthermore, many of the key players in the bombing should never have been allowed into America. Rahman was already a well-known international jihadist when his applications for U.S. visas, which were vetted by the CIA, were approved. Similarly, Ramzi Yousef, who would become a key figure in the bombing plot, was allowed to enter America after disembarking at JFK airport with an Iraqi passport and no visa. The fact that his traveling companion was denied entry after presenting a forged passport and having bomb-making manuals discovered in his luggage apparently did not raise the authorities’ suspicions about Yousef. Another jihadist, Ali Mohamed, was known to the CIA as a terrorist sympathizer, and yet was allowed to come to America, gain citizenship, and even serve in the US Army.

But perhaps the most critical mistake was the FBI’s decision to cut loose an informer, Emad Salem, who had penetrated the Blind Sheikh’s terrorist cell. Despite the informant’s urgent reports on the group’s intentions to carry out bombings and other violent acts, after a minor spat the FBI peevishly terminated his service -- a few months before the cell he had infiltrated bombed the World Trade Center.

As McCarthy remarks about the government’s approval of Rahman’s entry to America, such incidents are not sinister. “It is, instead, a story of inefficiency, political correctness, and incompetence. Why that should make anyone feel better, I don’t know.”

The inescapable impression one gets reading McCarthy’s account is that the 1993 World Trade Center attack was, indeed, preventable, if the FBI, CIA, immigration authorities, or anyone else in government had done their jobs properly. It’s an infuriating lesson in the CYA culture found in most big bureaucracies -- and the security services, apparently, are no exception.


Jack Langer, Ph.D. is an editor for Regnery Publishing (a HUMAN EVENTS' sister company) and a freelance journalist. He can be reached at jlanger@eaglepub.com.
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From Pajamas Media:
In Praise of Elitism: Obama studies 101
Roger Kimball

Everyone keeps telling us what a brilliant orator B. H. Obama is. I don’t see it. Maybe you have to be there and witness the performance in propria persona to feel the magic. Maybe (though we cannot say it) there’s just a whiff of Dr. Johnson’s dog about the enthusiasm. But on the page, anyway, Obama is pretty flat. Sloppy, too. Consider the now-infamous bitter-small-town guns and God routine from April 11:

“You go into these small towns in Pennsylvania and, like a lot of small towns in the Midwest, the jobs have been gone now for 25 years and nothing’s replaced them. And they fell through the Clinton administration, and the Bush administration, and each successive administration has said that somehow these communities are going to regenerate and they have not.

“And it’s not surprising then they get bitter, they cling to guns or religion or antipathy to people who aren’t like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations.”

Charity prevents me from scrutinizing this syntactic train wreck too closely. But I would like to object to the response it elicited—both the response from the punditocracy, whose countenance contracted in a single brow of woe to castigate Obama’s “elitism,” and Obama’s response to the response, which has been a set of variations on the Prufrockian theme “That’s not what I meant at all./ That’s not it, at all.”

Let me first say a word about “elitism.” When was it that “elitist” broke free and became an all-purposive negative epithet—a little semantic stink-bomb that, emptied of any definite meaning, is almost as potent as “racist” in bringing discussion to a grinding halt and clearing a room? William Henry, in his unfairly neglected book In Defense of Elitism (1994), speculates that the great change came “somewhere along Bill Clinton’s path to the White House.” By the mid 1990s, Henry observed, “The very word, used as a label, seems to be considered enough for today’s rhetoricians to dismiss their opponents as defeated beyond redemption.”

I should point out that, unlike me, William Henry was not a knuckle-dragging, right-wing fascist hyena. Indeed, he was not a hyena of any kind, but, on the contrary, was a life-long Democrat whose heroes included Hubert Humphrey, Martin Luther King Jr., etc., etc. Nevertheless, Henry understood that by enrolling “elitism” in the politically correct index prohibitorum verborum, one effectively condemns oneself to the cognitive dissonance of perpetual mendacity. The political philosopher Harvey Mansfield once spoke of “the self-evident half-truth that all men are created equal.” It is a politically expedient fiction as well as a judicial ideal. (It is curious, though, that anti-elitist partisans of equality draw the line at legal equality: when it comes to justice, what they want is not dispassionate evenhandedness but a certain predetermined outcome.) In the realm of talent and achievement, however, the ideology of equality is a fantasy, and a dangerous one at that. Henry dilated tartly on

the simple fact that some people are better than others—smarter, harder working, more learned, more productive, harder to replace. Some ideas are better than others, some values more enduring, some works of art more universal. Some cultures, thought we dare not say it, are more accomplished than others and therefore more worthy of study. Every corner of the human race may have something to contribute. That does not mean that all contributions are equal… . It is scarcely the same thing to put a man on the moon as to put a bone in your nose.

True, too true, but hardly the sort of the your common or garden-variety Dean of Diversity would look kindly upon.

The point is that reality is elitist. Failure to acknowledge that might make you feel kinder, gentler, etc., but at the significant cost of living a lie.

The ineluctability of elitism is why I rankled at the description of Obama’s bitter-small-town-guns-and-God comment as elitist. It was smug; it was self-righteous; it was blinkered, bigoted, emotionally impoverished, and otherwise odious; it but it was not in any normal sense of the word “elitist.” I do not live in Pennsylvania. But I do live in a small(ish) town; I think the Second Amendment is a vital prophylactic against the untoward prerogatives of state power; and I’d sooner “cling” to religion than the hectoring, welfare-state, just-let-us-tell-you-how-to-live-your-life directives dispensed by Michelle and Barrack Obama. But what bothers me about such directives is not their elitism but their arrogance.

Indeed, for connoisseurs of political savvy, perhaps the most disturbing thing about Obama’s mini-diatribe was the contrast it revealed between the oleaginous, feel-your-pain evangelism of hope he has on an infinite playback loop and the disabused arrogance that crackles just beneath the burnished, campaign-trail mask.

The moral? Well, there is at this this one positive thing to come out of Obama’s statement: we now possess, much more precisely than before, some measure of the contempt in which Obama holds most Americans. Obama knows this, and he doesn’t like it. Which is why his replies to the widespread criticism of his remarks are instructive. “I didn’t say it as well as I should have,” he objected a day or two ago. But that was completely disingenuous. He said it plenty well. When Mr. Blotton, in Dickens’s Pickwick Papers, asserts that Mr. Pickwick is a “humbug,” there would have been tears before bedtime had not a quick-thinking member of the Pickwick Club asked whether Mr. Blotton had used “humbug” in “its common sense.”


‘Mr. Blotton had no hesitation in saying that he had not—he had used the word in its Pickwickian sense. (Hear, hear.) He was bound to acknowledge that, personally, he entertained the highest regard and esteem for the honourable gentleman; he had merely considered him a humbug in a Pickwickian point of view. (Hear, hear.)

‘Mr. PICKWICK felt much gratified by the fair, candid, and full explanation of his honourable friend. He begged it to be at once understood, that his own observations had been merely intended to bear a Pickwickian construction. (Cheers.)’

And so it was with Obama’s bitter, small-town, gun-toting, God-fearing, xenophobic, unemployed isolationists. Really, he says now, he meant all that in a Pickwickian sense. What do you think? I think we all know exactly what he meant. He meant that he regarded most Americans as bitter, small-town, gun-toting, God-fearing, xenophobic, unemployed isolationists who needed help. That is bad enough. Even worse, however, is the disgusting pretense that he actually meant something more emollient. Most of us have gotten used to being treated with contempt by politicians. But Obama has upped the ante. It isn’t pleasant. But it is, at any rate, useful to know just how stupid he thinks we are. I for one will not forget it.

REMEMBERING
Programs for the memorials
for Norman Mailer and William F. Buckley Jr.

From The New York Times:
One Final Round
Requiem for Two Heavyweights
By SAM TANENHAUS

Every now and again, the jostling frenzy of intellectual life in New York City, with its relentless fixation on the newest, the hottest, the coolest, the ins and the outs, pauses for a moment and the speed slows to a stately, reflective pace.

A striking example of this occurred when, in the space of a week, two of the city’s cultural giants received tribute, each in one of Manhattan’s most hallowed venues. On April 4, a memorial mass was held at St. Patrick’s Cathedral for William F. Buckley Jr., who died in February at age 82. Five days later, last Wednesday at Carnegie Hall, homage was paid to Norman Mailer, who died in November at age 84.

One could easily imagine the two men, friendly combatants for nearly five decades, robustly arguing about who received the better send-off. Was it Mr. Buckley, whose A-list mourners included Henry Kissinger, George McGovern and Tom Wolfe? Or Mr. Mailer, who reeled in John Didion, Don DeLillo and Gay Talese? Best to call it a tie — not least since Charlie Rose and Tina Brown were on view at both events.

Not that these were exclusive affairs. Both were open to the public, and the public came. All 2,200 seats at St. Patrick’s were filled, and an estimated 2,000 filed into Carnegie Hall. It is these numbers, one suspects, that would have mattered most to Mr. Buckley and Mr. Mailer; both had a long history of playing to and against the crowd, sometimes in direct competition with each other, for instance in 1962, when the pair took the stage at the Medinah Temple in Chicago before a paying audience of 3,600 in what The New York Times reported was “a debate between a conservative and a hipster.” Their topic was a burning political issue of the time: “What Is the Real Nature of the Right Wing in America?” Each man, of course, claimed victory, though the article in The Times concluded it was a draw, an exercise in contrasting styles between “Mr. Buckley (a clever jabber with a tiptoe stance) and the novelist, Mr. Mailer (who hooked with his fists as he spoke).”

The boxing vocabulary was apt. For one thing the debate took place two days before the heavyweight championship bout in Chicago between Sonny Liston and Floyd Patterson and attracted some of the same audience. For another, Mr. Buckley and Mr. Mailer were both intellectual heavyweights of a kind increasingly rare today.

The disappearance of the public intellectual has become a familiar, not to say wearisome, refrain in our declinist moment. But in fact, there is no shortage of contemporary writers all too willing to advance controversial opinions on big subjects, whether it is Nicholson Baker offering a pacifist reinterpretation of World War II in his new book “Human Smoke” or Martin Amis speculating about the libidinal hang-ups of radical Islamists in his current essay collection, “The Second Plane.”

But Mr. Buckley and Mr. Mailer represented something different. More than public intellectuals, they were citizen intellectuals, active participants in the great dramas of their time, and eager at times to pursue their ideas in democracy’s more bruising arenas.

In the 1960s, for example, the “crisis of the city,” as it was called — a catchall term for crime, rising drug use, rioting, “white flight” and skyrocketing budgets — was a subject taken up by many writers and thinkers. But Mr. Buckley and Mr. Mailer, out of a combination of egotism and civic concern, went further: Each declared himself a candidate for mayor of New York City, Mr. Buckley in 1965 and Mr. Mailer in 1969.

Of course neither stood a chance of winning, and neither did very well, though Mr. Buckley came out ahead, capturing about 340,000 votes (roughly 13 percent) on the ticket of the Conservative Party, which he helped create. Mr. Mailer received a paltry 41,000 votes (5 percent in the Democratic primary), fourth in a five-man field.

The two campaigns were initially dismissed as larks or stunts. In an early news conference, Mr. Buckley was asked what his first action would be if he were elected. “Demand a recount,” he replied. Eventually, however, he ventured from his spacious home in Stamford, Conn., to explain his conservative views on race to hostile audiences like One Hundred Men, an African-American business organization, some of whose members suspected him of racism.

Mr. Mailer, for his part, descended from the aerie in his Brooklyn Heights brownstone, with its dazzling view of the East River, to log 14-hour days courting voters in Harlem and the Bronx and delivered a serious talk on inner-city crime at the John Jay School of Criminal Justice, before an audience well acquainted with Mr. Mailer’s reputation as a self-acknowledged “cop hater.”

More remarkable still, both candidates offered ideas that were prescient — and curiously parallel. Mr. Buckley, a committed free-marketeer, favored tax incentives for black and Puerto Rican business owners who stayed in depressed areas, and urged Walt Disney to erect a “Disneyland East” on the site of the World’s Fair. Mr. Mailer, who called himself a “left-conservative,” advocated “a central-city farmers’ market offering ethnic foods of all varieties” and “the rebuilding of our dilapidated neighborhood waterfronts as waterfront housing.”

Both men poured these ideas into print — and might have left it at that. But by running for office — with all the attendant rigors — they elevated the tone of campaign rhetoric even as they immersed themselves in the gritty truths of electoral politics.

The point is not that Mr. Buckley and Mr. Mailer deigned to mingle with the common folk, but rather that they defied the conventional distinction between words and deeds and with it the boundaries that insulate so many intellectuals from the broader world.

This isn’t surprising, given the trajectories of their long careers. Both men began as outliers of a sort who stood at a proud remove from the intellectual establishment of their time. Mr. Mailer’s first novel, “The Naked and the Dead,” made him famous at the age of 25, but for many years his work, with its intensely sexual and scatological themes, was not to be found in the pages of prestigious publications like The New Yorker.

Something similar was true of Mr. Buckley, who founded National Review in 1955, partly because he could not place his work in the respectable journals of the day, so many of them edited by liberals repelled by this provocateur. His first book, “God and Man at Yale,” published when he was 25, accused the Yale faculty of being a hatchery of atheists and socialists, and his second, “McCarthy and His Enemies,” ardently defended the most notorious of Red-hunters.

Eventually, of course, both men became intellectual eminences wreathed in laurels of every description: Pulitzers and National Book Awards for Mr. Mailer, a Presidential Medal of Freedom for Mr. Buckley.

And a new generation would honor (like the eulogists at St. Patrick’s) the civility and wit that Mr. Buckley brought to ideological debate and (like the eulogists at Carnegie Hall) the unflagging belief Mr. Mailer had in the enduring power of the novelistic imagination.

But even as grizzled octogenarians, Mr. Buckley and Mr. Mailer remained in many respects enfants terribles who never forgot that their validation had come from outside the polite precincts of the intellectual establishment. Their connection to the public never died, which is why thousands filled the large venues where both men were remembered.

In the warm appreciation of Mr. Mailer that Mr. Buckley wrote in November, he recalled their spirited debate in Chicago 45 years before. It had been a great success — the two split a purse of $8,000 and sold their remarks to Playboy for another $5,000 — so Mr. Mailer proposed a series of debates throughout the country, starting in Carnegie Hall. It didn’t happen then, but there would be many friendly tussles in the years to come, capped by their final rematch, when each commanded the stage to himself, separated by a single subway stop.