The morning is a chilly 18 degrees and there’s a mob waiting outside Target in Grand Forks, N.D., clutching their Black Friday sales ads and making game plans in hushed tones. At 5 a.m. sharp, they stampede through the doors like they are racing for one of the last lifeboats on the Titanic.
Shopping carts suddenly turn from wheeled baskets used for transporting goods to weapons used to run over the backs of peoples’ ankles or as an edge to push someone out of the way. One woman grabs a roll of wrapping paper from a nearby box and people start ducking as she proceeds to swing it around her head like a lasso in an overzealous effort to clear her running path.
The electronics department quickly becomes a battlefield as crazed shoppers paw at each other to get the last DVD or digital camera. The toy department is no longer a fantasyland for children, as aggressive mothers dive and grab for Barbie dolls and Hotwheels.
It may sound crazy to stand outside (or in extreme cases, sleep outside) a store in the wee hours of the morning after Thanksgiving to fight through hordes of people going hog-wild in an attempt to be a thrifty shopper. However, Grand Forks is far from alone—nearly 135 million Americans in cities across the country participate in this yearly “ritual.”
The “holiday” after Thanksgiving originally got its name because it was the day retailers would entice Christmas shoppers with sales, hoping the consumers would help them end their year ‘in the black.’ However, the inhumane actions experienced on this day in recent years makes the ‘Black’ in Black Friday take on a startling new meaning.
No one can forget the Great Black Friday Massacre of 2008, which left at least three dead in its wake with one trampled Long Island Wal-Mart employee and a fatal shootout between husbands defending their wives’ honors in a California Toys ‘R Us.
This is when it’s time to ask—is the chaotic, sometimes life-threatening, experience of Black Friday shopping really worth your ‘bang for a buck’? (Pun intended.)
You don’t need to wake up before the crack of dawn to wait in line for three hours so you only have to spend $2 on a three year-old copy of The Holiday for your best friend. And parents, spend the extra 50 cents and get some rest instead of rushing out to get the “discounted” Play-Doh.
Retail companies have to laugh at how they have American consumers wrapped around their little finger when they print their post-Thanksgiving ads, which often don’t even flaunt that many significant discounts, if shoppers would do their research.
Christmas is the season of giving, so do it the right way. Show courtesy and kindness during this time, not scowls and fangs. Don’t put the emphasis of the holiday on getting the “perfect present.” Kids won’t need psychiatric attention if they don’t get every gift on their wish list. And, chances are your loved ones will be happy enough to spend this great holiday with you, so don’t risk your sanity, or your life, along the way.
Friday, December 11, 2009
Sunday, December 6, 2009
Battle Studies
Though his string of girlfriends and his Twitter-streaming jokes make him a tabloid staple, John Mayer’s musical ability is nothing to be defaced by grocery aisle gossip.
In 2001, Mayer released his first LP Room for Squares and it found immediate success among radio stations’ Top 40 playlists. He went on to win a Grammy for Best Male Pop Vocal Performance for the album’s single, “Your Body is a Wonderland.” During his acceptance speech he was quoted as saying, “This is happening very, very fast, and I promise to catch up.” He’d didn’t just catch up; he passed us.
By the time 2006 rolled around, Mayer was releasing his third LP. Continuum went on to be nominated for a Grammy Album of the Year and took the Grammy home for Best Pop Vocal Album. Though he was initially labeled as a pretty-boy pop artist with a raspy voice, the music world finally recognized Mayer’s true talent in his writing and instrumental abilities. Rolling Stone named him a “guitar god” in its February 2007 issue and compared him to the lauded guitarist, Eric Clapton.
In short, Johnny had a lot to live up to with his latest album, Battle Studies.
The album opens with the sounds of instruments tuning up and “Heartbreak Warfare” unfolds. With “clouds of sulfur in the air, bombs falling everywhere,” Mayer starts off true to his battle theme. A solid drum train and strong bass line keep the song moving at a steady pace. Known as a crooner of heartbreak, “Warfare” follows suit with Mayer singing about how tumultuous a relationship can be, complete with “red wine and Ambien.”
With a soft acoustic guitar solo, “All We Ever Do Is Say Goodbye” opens to Mayer singing about moving on from a relationship that just isn’t working. Though a melancholy tune, it is still light-hearted—perhaps because it seems he has accepted his decision for a final farewell. The featured counter-melody at the song’s end is a highlight—and a perfect mask for Mayer’s all-too-often fallback of repeating a song’s title several times instead of writing another verse.
A strong guitar melody leads into “Half of My Heart” and carries listeners through a catchy song that features a thankfully small appearance by Taylor Swift. Sure to become an album single, the song gives the image of a man saying ‘I love you’ with his fingers crossed while the lyrics tell of a bachelor who isn’t quite ready to love someone else.
“Who Says,” Battle Studies’ first single released a couple months before the album, can at first appear to be a less than stimulating ballad about getting stoned. Although paraphernalia references are made, they are not abused. The lyrics, “Who says I can’t be free, from all of the things that I used to be,” are reflective of a night at home alone, contemplating the bigger picture of life. If you feel like this song sounds familiar, it’s probably because it has the same opening chord as Continuum's “Stop This Train.”
With a catchy hook, “Perfectly Lonely” is a song that almost begs to be sung along to. Taking a turn from his tear-jerking breakup tunes, this song is a battle cry for those who are content with being single.
In a strong contrast from “Perfectly Lonely,” “Assassin” is a song perhaps more curious in its lyrics than its music. However, the quiet intro and the drum backing creates the dark, mysterious mood necessary for the tale of an ‘assassin’ stealing a woman’s heart, only to find that the tables were turned on him before he had a chance to finish the job. Though it may seem creepy upon first listen, it becomes more so amusing when the cleverness of the lyrics is understood.
Performing Robert Johnson's song, “Crossroads” is Mayer’s only cover on Battle Studies. Although the guitar solo is predictably impressive, the song is out of place on the album. It's a good display of craftsmanship, it doesn’t come close to being a favorite like Mayer’s other cover performances such as “Bold As Love” and “Free Fallin’.”
There is a stark irony in the next song in the fact that “War of My Life” is actually quite mellow. The sweet melody is not about relationships, or about love. It’s a story of someone going through an inner war, preparing for battle.
The following two songs, “Edge of Desire” and “Do You Know Me,” are average examples of Mayer’s ballads. They neither hurt the album, nor enhance it. “Edge of Desire’s” whimsical lyrics, “Maybe this mattress will spin on its axis and find me on yours,” bring back memories of Mayer’s “wit” found in “Your Body Is a Wonderland.” The light guitar line in “Do You Know Me” makes an otherwise boring, repetitive song easy to listen to.
The album’s finale is just that—a strong finish. “Friends, Lovers, or Nothing” opens with a solid guitar melody that leads into a similar vocal melody. The use of dynamics is a perfect complement to the song’s story. Contradicting Us Weekly’s “womanizer” label, Mayer sings, “There can only be one—friends, lovers, or nothing.”
Since Mayer’s Continuum was so loved by fans and critics, it is hard to forget about it while listening to Battle Studies. However, they are different works. Continuum was an album full of singles; Battle Studies is a theme album. This can be artistic, but at times Mayer pushes the limit of 'battle' references, creating monotony instead. It's a musically strong album, but I don't see it having as many hits or gaining as much general popularity as Continuum—or as his tabloid appearances.
In 2001, Mayer released his first LP Room for Squares and it found immediate success among radio stations’ Top 40 playlists. He went on to win a Grammy for Best Male Pop Vocal Performance for the album’s single, “Your Body is a Wonderland.” During his acceptance speech he was quoted as saying, “This is happening very, very fast, and I promise to catch up.” He’d didn’t just catch up; he passed us.
By the time 2006 rolled around, Mayer was releasing his third LP. Continuum went on to be nominated for a Grammy Album of the Year and took the Grammy home for Best Pop Vocal Album. Though he was initially labeled as a pretty-boy pop artist with a raspy voice, the music world finally recognized Mayer’s true talent in his writing and instrumental abilities. Rolling Stone named him a “guitar god” in its February 2007 issue and compared him to the lauded guitarist, Eric Clapton.
In short, Johnny had a lot to live up to with his latest album, Battle Studies.
The album opens with the sounds of instruments tuning up and “Heartbreak Warfare” unfolds. With “clouds of sulfur in the air, bombs falling everywhere,” Mayer starts off true to his battle theme. A solid drum train and strong bass line keep the song moving at a steady pace. Known as a crooner of heartbreak, “Warfare” follows suit with Mayer singing about how tumultuous a relationship can be, complete with “red wine and Ambien.”
With a soft acoustic guitar solo, “All We Ever Do Is Say Goodbye” opens to Mayer singing about moving on from a relationship that just isn’t working. Though a melancholy tune, it is still light-hearted—perhaps because it seems he has accepted his decision for a final farewell. The featured counter-melody at the song’s end is a highlight—and a perfect mask for Mayer’s all-too-often fallback of repeating a song’s title several times instead of writing another verse.
A strong guitar melody leads into “Half of My Heart” and carries listeners through a catchy song that features a thankfully small appearance by Taylor Swift. Sure to become an album single, the song gives the image of a man saying ‘I love you’ with his fingers crossed while the lyrics tell of a bachelor who isn’t quite ready to love someone else.
“Who Says,” Battle Studies’ first single released a couple months before the album, can at first appear to be a less than stimulating ballad about getting stoned. Although paraphernalia references are made, they are not abused. The lyrics, “Who says I can’t be free, from all of the things that I used to be,” are reflective of a night at home alone, contemplating the bigger picture of life. If you feel like this song sounds familiar, it’s probably because it has the same opening chord as Continuum's “Stop This Train.”
With a catchy hook, “Perfectly Lonely” is a song that almost begs to be sung along to. Taking a turn from his tear-jerking breakup tunes, this song is a battle cry for those who are content with being single.
In a strong contrast from “Perfectly Lonely,” “Assassin” is a song perhaps more curious in its lyrics than its music. However, the quiet intro and the drum backing creates the dark, mysterious mood necessary for the tale of an ‘assassin’ stealing a woman’s heart, only to find that the tables were turned on him before he had a chance to finish the job. Though it may seem creepy upon first listen, it becomes more so amusing when the cleverness of the lyrics is understood.
Performing Robert Johnson's song, “Crossroads” is Mayer’s only cover on Battle Studies. Although the guitar solo is predictably impressive, the song is out of place on the album. It's a good display of craftsmanship, it doesn’t come close to being a favorite like Mayer’s other cover performances such as “Bold As Love” and “Free Fallin’.”
There is a stark irony in the next song in the fact that “War of My Life” is actually quite mellow. The sweet melody is not about relationships, or about love. It’s a story of someone going through an inner war, preparing for battle.
The following two songs, “Edge of Desire” and “Do You Know Me,” are average examples of Mayer’s ballads. They neither hurt the album, nor enhance it. “Edge of Desire’s” whimsical lyrics, “Maybe this mattress will spin on its axis and find me on yours,” bring back memories of Mayer’s “wit” found in “Your Body Is a Wonderland.” The light guitar line in “Do You Know Me” makes an otherwise boring, repetitive song easy to listen to.
The album’s finale is just that—a strong finish. “Friends, Lovers, or Nothing” opens with a solid guitar melody that leads into a similar vocal melody. The use of dynamics is a perfect complement to the song’s story. Contradicting Us Weekly’s “womanizer” label, Mayer sings, “There can only be one—friends, lovers, or nothing.”
Since Mayer’s Continuum was so loved by fans and critics, it is hard to forget about it while listening to Battle Studies. However, they are different works. Continuum was an album full of singles; Battle Studies is a theme album. This can be artistic, but at times Mayer pushes the limit of 'battle' references, creating monotony instead. It's a musically strong album, but I don't see it having as many hits or gaining as much general popularity as Continuum—or as his tabloid appearances.
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