Questions for mixed emotions

Over the past few days, I've seen a couple of concerts by two bands I both admire and adore. Both had their moments of transcendence that everyone looks for in a live show. And yet, both had some significant flaws, ranging from technical problems with sound to the ticket price. But nonetheless, I won't say they were bad shows. Part of this of course has to do with the fact that I screamed my head off in joy a number of times at both events, and that was in response to the performances. But I also think part of this has to do with what is expected from concert goers in this day and age.

Whenever anyone goes to see a band play live -- a specific band, not just a random night of let's-see-who's-playing-tonight -- there is an investment made in time and money. The last thing anyone wants to say about their investment is that it was worthless. If the band you love is having crippling technical troubles in the middle of a song, you want to see them fix it fast and regain momentum. You want to see them power through the technical problems of their equipment and rock without abandon. Or, if two tickets for one night of two bands costs more than a three-day pass at a outdoor summer festival thanks to all the lovely hidden fees Ticketmaster/Livenation gets away with, you want that band to be phenomenal and mind-blowing, the best concert money can buy.

But does this genuine desire cloud the mind from seeing things as they truly are?

At what point after so many experiences does someone learn what separates the truly magical from the mundane?

When I say something is amazing, do I mean it or am I just going though the motions of what I'm expected to say?

Should I just except the good and the bad as unique ingredients of an experience that will never happen again, and just enjoy it on those grounds alone... even if they did cost hundreds of dollars?

Adventures in Overthinking: "Mr. November"

Today, I felt a bit closer to the many anti-P.C. natured people in America. You know, the ones who laugh at Larry the Cable Guy and Carlos Mencia and think things like "developmentally challenged," is just "retarded" with too many syllables. Just when you think the things you love to watch, listen to and read are nothing more than entertainment, someone else comes along and makes you think again.

No one told me my favorite song, "Mr. November," by my favorite band, The National, had something not-P.C. in it. I can only claim ignorance to what being "the great white hope," actually meant. Sure, I had heard the phrase before, but it was one of those phrases that at my age was simply in the public knowledge without any idea as to where it came from.

Enter Ken Burns, and his documentary, Unforgivable Blackness: The Rise and Fall of Jack Johnson. For those who immediately thought of the terrible surfer/singer-songwriter, Jack Johnson was the first black man to win a heavyweight title in boxing. But in doing so, he brought on him an almost national racially charged hatred. This was the early 20th century, and black people weren't supposed to be flamboyantly wealthy and dominant like white people were.  So in an effort to take back the title, there was a search for "the great white hope," the caucasian who would beat the black Jack Johnson. 

Flash-forward to 2005, and the Brooklyn indie-rock band, the National close out their breakthrough album, Alligator, with a song called "Mr. November," a powerful rock song with a pre-chorus that reads, "I'm the new blue blood / I'm the great white hope." I'd always heard those lines as mantras of self-encouragement - something a batter could get himself pumped up with before he goes to the plate. But now, it feels like every time I say it, I'm saying, "I'm going to be the guy from the superior race who shows the rest of the world what for."

The National are as white as they come, but my super-fandom makes me want to believe that they weren't trying to convey any racial superiority. Part of what makes the song great is how the lyrics are all about past glories and pick-me-ups while singer Matt Berninger delivers it in his sad-sack baritone. You get the impression that no matter how many times he screams "I'm Mr. November," he's still going to find a way to mess things up. Maybe, by using a dated term, he's widening the disconnect from merely picking himself up to actual redemption. Or maybe he just likes boxing.