Search This Blog

Saturday, March 5, 2016

Trump - Maureen Dowd

Photo
Donald Trump reacted after a mention of Marco Rubio during a rally last week during the Super Tuesday primaries. CreditMark Makela for The New York Times
WASHINGTON — HERE’S why the Trump campaign is wicked fun:
I watched Donald Trump in New York for decades, as a bachelor swanning, a party fixture mingling, a master of bling and bluster.
I went with him on his art-filled plane in 1999 as he dipped his toe in the presidential pool and saw him shyly approach his first political rope line, even as he bragged that other candidates didn’t draw as many cameras or have a supermodel by their side.
So I can assure you of two things. No one is more shocked at how far, how fast, Trump has come than Trump.
Watching him morph into a pol in real time and wriggle away from the junior-varsity G.O.P. chuckleheads trying to tackle him is hypnotic. He’s like the blond alien in the 1995 movie “Species,” who mutates from ova to adult in months, regenerating and reconfiguring at warp speed to escape the establishment, kill everyone in sight and eliminate the human race.
The other thing I know is that Trump really wants to be president. It isn’t a joke any more. People who are told that they should be president get infected. The less qualified and prepared they are, like Dan Quayle and W., the less they worry. And the more qualified and prepared they are, like Colin Powell and Mario Cuomo, the more they can tie themselves in Jesuitical knots.
The most enjoyable thing about the Trump phenomenon has been watching him make monkeys out of a lot of people who had it coming.
Marco Rubio, a frothy focus-grouped concoction whose main qualifications to be president consist of a nice smile and an easy wit, has been mocking Trump as a con man.
Real estate developers are con men by nature, trying to get what they want at the lowest price and sell it at the highest price, overpromising how great it’s going to be.
As Maria Konnikova, the author of “The Confidence Game,” notes, con men are created by the yearning of their marks “to believe in something that gives life meaning. … Their genius lies in figuring out what, precisely, it is we want, and how they can present themselves as the perfect vehicle for delivering on that desire.”
It’s delicious watching the neocon men who tricked the country and gulled the naïve W. into the Iraq invasion go ballistic trying to stop the Gotham con man.
Bill Kristol of The Weekly Standard wrote an outraged column about why there wasn’t more outrage at Trump, who correctly pointed out that Americans were deceived into a catastrophic war.
Kristol, the midwife to three debacles — Dan Quayle, Iraq and Sarah Palin — solicited suggestions for the name of the new party that Republicans will have to start if Trump secures the nomination. How about “Losers”?
Eliot Cohen, a former W. State Department official who pushed to “liberate” Iraq, said Trump would be “an unmitigated disaster for American foreign policy.” And Robert Kagan, who backed the Iraq war, said “the only choice will be to vote for Hillary Clinton.” Max Boot concurred.
It’s amazing, having been tainted by the worst foreign policy disaster in American history, that the Republican national security intelligentsia would unite against a Trump presidency in an open letter, charging that he would “make America less safe” and “diminish our standing in the world.” Sort of like the Iraq invasion?
Even though he made some good points, especially about the Trump Steaks shame spiral, it’s pretty rich to have Mitt Romney, the man who called on 11 million people to “self-deport,” talking about Trump’s bigotry.
Trump was right about Romney. When you lose a race that you should have won by being an inept phony, you can’t call this year’s front-runner an inept phony.
It’s delightful to see the encrusted political king-making class utter a primal scream as Trump smashes their golden apple cart. He’s a real threat to the cozy, greedy, oleaginous cartel, their own Creature from the Black Lagoon.
For all the Republican establishment’s self-righteous bleating, Trump is nothing more than an unvarnished, cruder version. For years, it has fanned, stoked and exploited the worst angels among the nativists, racists, Pharisees and angry white men, concurring in anti-immigrant measures, restricting minority voting, whipping up anti-Planned Parenthood hysteria and enabling gun nuts.
How lame was it that after saying he was a crazy choice, Rubio, Ted Cruz, Paul Ryan and John McCain turned around and said they will support Trump if he’s the nominee?
After watching Hillary Clinton, for whom campaigning is a nuisance, and Barack Obama, who disdains politics, it’s fun to see someone having fun. Like Bill Clinton, Trump talks and talks to crowds. They feed his narcissism, and in turn, he creates an intimacy even in an arena that leaves both sides awash in pleasure. It’s easy to believe him when he says that, unlike President Obama, he would enjoy endlessly negotiating with obstructionists and those on the other side of the aisle.
That’s the wicked fun part. But then there’s the simply wicked part.
Trump wants to be seen as Ronald Reagan but often he’s more like Pat Buchanan, playing to the crowd’s prejudices just to hear the bloodthirsty roar, evoking memories of Molly Ivins’s observation about Buchanan’s 1992 culture wars speech, that it was translated from the original German.
Trump, who was slow to disavow David Duke and the Klan, stokes the gladiatorial fever, leading to minorities being roughed up and the press being bullied. His mocking of a Times reporter with a disability was grotesque.
He has a tenuous relationship with the truth and an inch-deep understanding of policy. Although it is compelling when he says he would surround himself with an A team in the White House, his campaign is not chock-a-block with A-team players. On Friday, his team put out a press release saying Trump would campaign this weekend in a town called “Witchita” in the state of “Kanasas.” And he has not brought on heavyweights who could bring him up to speed on substance.
He has a nasty gift for dragging everyone down to his own vulgar level. Presidential campaigns should not be about belittling people’s appearances or bragging about your own appendages. Whatever his flaws, President Obama has reinforced our desire for class in presidents.
After doubling down on his outrageous statements and saying he would force the military to follow his orders to break international laws involving torture and murdering terrorists’ families, Trump said on Friday that he would not do that. Good to know.
In a rare show of regret, he said he does “understand that the United States is bound by laws and treaties and I will not order our military or other officials to violate those laws and will seek their advice on such matters.”
Trump sees his egregious positions on immigration, torture and terrorism revenge as opening bids. After Super Tuesday, he told reporters that while they might be surprised, he would be a “unifier, once we get all of this finished.”
But he should take a lesson from Condi Rice. She went along with the Iraq invasion, thinking she could reposition W. on the side of diplomacy afterward. But some positions are so extreme, there’s no coming back. Your deal with the devil is sealed.

Monday, February 8, 2016

Kauai



January 28 - February 7

Westjet direct -  YVR to Lihue 7 hours there, 5 hours back

Kiahuna Plantation Resort

















Napali coast

]

Princeville



One hour flight around Kauai scary & exciting


Grandpa was the quarterback










Poipu Beach









Saturday, October 24, 2015

Maggie May

Rod Stewart on the Making of ‘Maggie May’

Rod Stewart releases his 30th solo studio album, ‘Another Country,’ on Oct. 23. The 70-year-old singer and songwriter recalls recording ‘Maggie May,’ the 1971 hit that made him a star.

Rod Stewart at the Reading Festival in the U.K. in 1973ENLARGE
Rod Stewart at the Reading Festival in the U.K. in 1973 PHOTO: IAN DICKSON/REDFERNS/GETTY IMAGES
Rod Stewart’s new album, “Another Country,” due Friday, marks his 30th solo studio album and second in the past two years to feature mostly original material. Though Mr. Stewart began his singing career in London in 1963 and was lead singer in the Jeff Beck Group in 1967 and then the Faces starting in 1969, he didn’t become a household name until “Maggie May” in 1971.
Initially, there were low expectations for the song. Written by Mr. Stewart and guitarist Martin Quittenton, “Maggie May” was added to Mr. Stewart’s third solo album at the last minute and then placed on the B-side of a single. After radio DJs discovered the flip side in the summer of ’71, ”Maggie May” climbed to No. 1 on Billboard’s pop chart that October, where it remained for five weeks.
After “Maggie May’s” release, Mr. Stewart had three additional #1 hit singles while his five-album songbook series in the 2000s helped make him one of the most successful contemporary interpreters of the genre. Mr. Stewart, 70, recently talked about writing and recording “Maggie May.” Edited from an interview:
Rod Stewart:
In July 1961, a few of my mates and I went off to the south of England to camp out at the Beaulieu Jazz Festival. The concert was held on the lawns of an estate owned by Lord Montagu, who was a big jazz fan. I was 16 and just coming out of my beatnik phase, wondering whether I should become a Mod. It was a transitional period for me with days of much confusion.
At the time, I was into mainstream jazz—not Dixieland or modern but guys like [saxophonists] Tubby Hayes and Johnny Dankworth. A year earlier, there had been a riot at the jazz festival, so going there in ’61 came with a bit of intrigue.
Watch Rod Stewart perform ‘Maggie May’ in 1971.
That afternoon, we snuck into the festival through a large runoff pipe and eventually made our way to a beer tent. There, I met an older woman who was something of a sexual predator. One thing led to the next, and we ended up nearby on a secluded patch of lawn. I was a virgin, and all I could think is, ‘This is it, Rod Stewart, you’d better put on a good performance here or else your reputation will be ruined all over North London.” But it was all over in a few seconds. Her name wasn’t Maggie May, but the experience I had with her would influence the writing of the song 10 years later.
In 1971, I was both the lead singer in the Faces and I was signed to Mercury as a solo artist. I was planning to record my third solo album, “Every Picture Tells a Story,” when I met Martin Quittenton, a guitarist and songwriter who had been in a blues-rock band called Steamhammer.
Martin seemed like a very sophisticated, educated guy, and I was looking for good acoustic musicians for my upcoming album. I invited Martin over to my house in Muswell Hill, which had a beautiful view of North London. As we sat and talked in my sitting room, Martin took out his guitar and started running through an old Bob Dylan song. It may have been Dylan’s “It’s All Over Now, Baby Blue,” but I can’t recall.
Rod Stewart singing with The Faces at Southern Illinois University in 1971, the year ‘Maggie May’ was released. ENLARGE
Rod Stewart singing with The Faces at Southern Illinois University in 1971, the year ‘Maggie May’ was released. PHOTO: DEBI DOSS/HULTON ARCHIVE/GETTY IMAGES
Then Martin began playing chords to a song he had written. I rather liked them. I told him, “You strum and I’ll sing.” I still write like this today. I’ll work with a guitarist, and when I hear a lovely set of chords, I’ll start humming and adding words to see what comes of it.
As Martin played, I started singing “Maggie Mae,” an old Liverpudlian folk song about a prostitute. The Beatles had included it on “Let It Be” a year earlier. As I sang, the idea of a hooker popped into my head, then the jazz festival when I was 16 and then losing my virginity. It all flooded back as Martin and I got into it and I started coming up with words.
But I didn’t write anything down. I merely created a vocal sketch in my mind of the song by humming along and improvising lines here and there to match Martin’s melody. Lyrics weren’t important at that point, only the feel. As with any song I eventually record, I first wanted to develop an emotional connection.
Martin and I kept at it until we were both satisfied with what we had. When we finished, I said, “Right, we have enough of a line here to bring it into the studio. Let me book drums and bass and we’ll produce it all there.”
We recorded a rough instrumental track at Morgan Sound Studios in Willesden, London. I sang abstract lines on top of the music to remind me later of the feel I wanted. [Mr. Stewart hums “Maggie May’s” melody, singing words here and there, such as “since you’ve been away it’s been so long” and “just because of you, all my nights are blue.”] When we were done, I took the tape home to write the lyrics.
Even today, I always want the melody line first. Then I put the words and music together later like a jigsaw puzzle. With “Maggie May,” I listened back a few times to the demo tape we had made and paused, saying to myself, “Right, what have I got here?” It’s sort of like sizing up the music to help determine the story I want to tell. I began thinking back on that day at the jazz festival and I came up with a song about a young guy who has been with an older woman and the aftermath going through his head.
I still have the black notebook with red binding down the back that I used to write all the lyrics. My scribbling for “Maggie May” filled about 20 pages. What was unusual about the words is that they turned out to be more of a story than a traditional song that circles back to a sing-along chorus. That was my fault, really. Telling stories is what I’m best at. I also didn’t use “Maggie May” in the lyrics—just the name “Maggie.” “May” just popped onto the end of “Maggie” in the title at some point.
Among the members of the band the Faces were guitarist Ronnie Wood and keyboard player Ian McLagan, seen in April 1975.ENLARGE
Among the members of the band the Faces were guitarist Ronnie Wood and keyboard player Ian McLagan, seen in April 1975. PHOTO: WATFORD/MIRRORPIX/CORBIS
When it was time to record, we didn’t rehearse. That’s the beauty of what we did back then. I just got together with the five musicians on the session [guitarist/bassist Ronnie Wood, guitarist Martin Quittenton, organist Ian McLagan, mandolinist Ray Jackson and drummer Micky Waller] and told them what I wanted to do with the music and where in the song I wanted things to happen. Both Ronnie and Mac [Ian McLagan] were in the Faces with me. I didn’t have a clue about the technical aspects of music, but I could feel it. If you can feel it, you can speak it. That’s the innocent beauty of what we did. But we had a problem.
Micky, a studio drummer then, had showed up without a full drum kit. He had forgotten his cymbals, so all he had were his drums. I was relatively unknown then and couldn’t really afford to cancel the session, pay the musicians and pay them again for another session just so Micky could grab all his gear.
Fortunately, Micky was superb. Like [Rolling Stones drummer] Charlie Watts, Micky had come up in Britain’s jazz world. That’s why on the record, the drums sound pronounced. We overdubbed the cymbals later, so you hear them more faintly. Micky forgetting to bring his cymbals actually gave “Maggie May” a sharper beat.
I knew I wanted Ronnie to play eight bars on the electric guitar for the intro and then play guitar and bass behind Martin’s acoustic guitar. I also wanted Ronnie to overdub bluesy guitar solos in the middle and toward the end, to break up the song, which meant we had to leave room on the song for those.
I had Ian hold his organ chords for full measures, so the song would have a density behind the guitar work. Ray was in the folk-rock band Lindisfarne at the time, and I asked him if he could give me sort of a joyous mandolin solo at the end, which I knew would add the traditional folk feel I was looking for.
ENLARGE
Once all of the music was recorded, my vocal was last to go on. The falsetto “whoo hoo-hoo” I added at the end had first popped out when we were making the demo, so I added it again on the recording.
At first, “Maggie May” wasn’t going to be on the album. It was too unusual. The song ran longer than five minutes and it didn’t have a catchy chorus. But as we finished up the album, we found we were a song short. So we added “Maggie May,” since it was already produced.
For the album version, we added a short, 32-second intro to “Maggie May” called “Henry” that Martin wrote and handled on mandolin. Since there would be a gap between his intro and “Maggie May,” Martin would get paid separately for “Henry.” I wanted to give him an extra bonus. No matter how long a stand-alone song is, you still get credit and royalties for it. But I have no idea why Martin called it “Henry.”
When the single was released Mercury for some reason put “Maggie May” on the B-side, with “Reason to Believe” on the A-side. It wasn’t until a radio disc jockey in the States flipped over the 45 and played “Maggie May” that the song began to catch on.
At first, I didn’t think much of “Maggie May.” I guess that’s because the record company didn’t believe in the song. I didn’t have much confidence then. I figured it was best to listen to the guys who knew better. What I learned is that sometimes they do and sometimes they don’t.