A little bird just alerted the Stiftung that some idiot at NRO named John J. Miller created a crapfest list of the 50 best conservative songs about 18 months ago. The Stiftung missed it at the time; more astute bloggers like Roxanne and Berube were probably all over it.
The problem living in a bunker is, to quote Dr. Evil, “we need the info.”
So if you don’t mind a little lighthearted flashback and change from recent tone here, we’ll just sit and mock NRO for their abysmal understanding of pop culture. The songs on their list are taken mostly out of context and the composer’s concept. And to top off insult to injury, NRO thinks “Won’t Get Fooled Again” is the No. 1 conservative rock song of all time.
We don’t have time here to delve into the Lifehouse project Townshend intended as follow-up after Tommy and the communal, semi-socialist basis for the plot. Or the band’s experiment living with fans in the Young Vic Theater to create ‘there once was a note, pure and easy’. These Lifehouse Project failures are the origins of the ‘Who’s Next’ album.
In fact, Townshend has said the proper performance of WGFA is elegiac and sorrowful, as made clear on the Townshend ‘Secret Policeman’s Ball ’79 acoustic performance — not the riotous celebration as The Who’s live stage show closer.
BUT, here are three clips of The Who in their hey day. You tell us if this is Derbyshire/KLO et al. material. We can just see all of them at NRO cowering under the Pepsi-stained arena seats, beaten down by volume from HiWatt stacks and ecstatic energy. How would they react literally surrounded by the Enemy — as they also would have been on any Bruce tour (especially the 79-85 ones) or even U2 today on a good night.
Of course, many at NRO such as Jonah Goldberg may not have been a zygote at the time (we didn’t bother looking the d.o.b. up but you get out point).
Granted, this is a jarring departure from recent blog enteries. One just got riled up thinking of Rich Lowry hitting on some naive intern at a holiday party with his best Dennis Haysbert “Go behind the lines” innuendo.
It’s hard to see this song and the Lifehouse story as the anthem of tax cuts, Nativism, plutocratic disdain for the middle class and the Baby Jesus, all in the name of nomenklatura surveillance . . .