Books

Scared to Death: by Christopher Booker, Richard North

H.V. Cramond

Research before you freak out, people. And for global warming's sake, wear a condom.


Scared to Death

Publisher: Continuum
Subtitle: From BSE to Global Warming - Why Scares are Costing Us the Earth
Author: Richard North
Price: $29.95
Display Artist: Christopher Booker, Richard North
Length: 512
Formats: Hardcover
ISBN: 0826486142
US publication date: 2008-03
Amazon

It takes a bold team of authors to take on Al Gore these days. Once the Democratic Party's dorky little brother, he is now the man who “used to be the next president of the United States”. With approval ratings for you-know-who still hanging out somewhere in the sub-basement, Gore seems a lot less dorky and more like the man to know. Yet authors Richard Booker and Christopher North are up for the challenge. They depict global warming as perhaps the most damaging in a long line of scares that have plagued the United States and European Union (their focus is on their home, the UK) since the early '80s.

I have to admit, I was intrigued before opening the cover. About six months ago, I told a teenage boy who hates milk that he could try eating more greens for calcium. His grandmother stepped in, finger wagging: You can't eat spinach; it will kill you. It's the e. coli, she said. The worst part is, we don't even know where it comes from. Not wanting to get into a conversation with a 70-year-old woman about cow poop, I watched her light up a cigarette and let her go into her litany of warnings about things like a plant-based diet (It's unnatural!), running (It's dangerous! You should do water aerobics!), and The City (It's uncivilized! All those people...). I wanted this book to tell me that I was right -- about everything.

But wait, global warming? That's not a scare for old people. They don't even believe in it, and in general, are considered heretics in progressive circles. But that's just the problem, say Booker and North. We are in a new age of superstition, where suppositions that claim to be based on science are not questioned. While I don’t agree with all of their conclusions, Booker and North make a valuable contribution to journalism by suggesting that we think things through before screaming, 'but-what-about-the-children!'

As laid out in the introduction, scares start out with legitimate concerns that spiral out of control once in the hands of their evangelists, or “pushers”, who can be media, government officials or even scientists. The pushers usually defy basic rules of argument and go straight for the emotion, the scare. Usually, key terms are sloppily defined. They do not bother to tell the media consumer the difference between white and brown asbestos, or that several strains of virus can be called bird flu.

They also use statistics in a way that would earn an "F" on a freshman research paper, stating that “up to 500,000” people could die, without any idea of where that number came from. The most damaging phase of a scare, according to the authors, is when the government steps in and responds, usually disproportionately. Government responses range from cruel and wasteful, such as the destruction of millions of healthy animals in British BSE ('mad-cow disease') and salmonella scares, to the laughable, most notably a British AIDS response that included sending pamphlets on the dangers of unprotected anal sex to 80-year-old married farmers.

The global warming chapter is arguably the weakest. Booker and North seem most comfortable with the food and disease scares that make up the bulk of the book, probably because North was a food and safety officer before teaming up with Booker. However, their attack on global warming brings us, at last, to the book's boldest claim: if you don't believe in something, you'll believe in anything.

They call environmentalism alternately the new Marxism and the new Puritanism, where the common people take back control from the greedy, corrupt power mongers. Scares, they argue, are a part of so-called compensation culture and health and safety culture. Anyone want to sue McDonald's for the coffee you spilled, or the owner of the house you were robbing because you hurt yourself?

An obsession with the body, safety, and political correctness fills a vacuum left by declining belief in organized religion, they say. Global warming fits in perfectly, because it is the only thing scarier than poisoned food or disease. It is the apocalypse, with Nature filling the God position, ready to destroy her defiant children unless we repent.

Government power plays seem to be another major concern for the authors and should be for the rest of us. For example, the ban on British beef during the '90s was put into place by EU officials, on their own admission, not because they believed the beef to be unsafe, but so that other countries could continue to export without the taint of association with the UK. Booker and North suggest that international bodies do not necessarily have the best interests of individual countries in mind. The authors also suggest that the EU government welcomes a crisis as an opportunity to step in and save the day, while quietly moving another area of legislation from the control of the national government in question, to themselves.

So, do we despair? While reading this book may make the reader want to punch his or her local elected official and the news correspondent he rode in on, the responsibility for controlling these scares ultimately rests with each of us. We’re paying these people, aren’t we? We have to expect better from our journalists, scientists, and politicians, and support those who aren’t total idiots. Research before you freak out, people. And for global warming's sake, wear a condom.

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In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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Features

The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton



9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton



8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge



7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge



6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Scholar Judith May Fathallah's work blurs lines between author and ethnographer, fan experiences and genre TV storytelling.

In Fanfiction and the Author: How Fanfic Changes Popular Culture Texts, author Judith May Fathallah investigates the progressive intersections between popular culture and fan studies, expanding scholarly discourse concerning how contemporary blurred lines between texts and audiences result in evolving mediated practices.

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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