Alaska Bought Today: Anchored in Anchorage

alaska compared to u.s.
“But you know you’re in the largest state in the Union / When you’re anchored down in Anchorage”

On October 18 in 1867, just a little more than two years after the nation ended a Civil War, the United States took control of Alaska. The U.S. had bought the land for 2 cents an acre for a total of $7.2 million.

Seward’s Folly

Secretary of State William Henry Seward pushed for the controversial purchase, so critics dubbed the purchase “Seward’s Folly.” Seward and President Andrew Johnson, who would be impeached a year later, were eventually vindicated in the Alaska deal.

Gold was discovered in Alaska in 1896.  And today, after the territory became a state in 1959, the state is a treasure of oil and other natural resources. One other benefit is my favorite song about the state, Michelle Shocked’s “Anchorage,” off her debut album Short Sharp Shocked (1988).

Michelle Shocked’s “Anchorage”

In the song “Anchorage,” a singer who lives in New York City describes how she wrote a letter to her friend in Dallas, but the reply came back from Anchorage, Alaska. The rest of the song recites the letter from Alaska.

In the letter, the friend does not complain about her life in Alaska.  Butut in her description, you sense some longing for the life of her big city singer friend.

Leroy got a better job so we moved;
Kevin lost a tooth, he’s started school;
I’ve got a brand new eight month old baby girl;
I sound like a housewife;
Hey ‘Shelle, I think I’m a housewife.

“Anchorage” is a beautiful song about friends and how we end up in places with our lives where we may not have planned. One senses the singer also may think the grass looks greener on the other side of the fence.

Yet, the words and the way the song is sung reflect affection, not envy. If Michelle Shocked, who grew up in East Texas, wrote another song in the form of a letter from New York City back to her old friend in Anchorage, I wonder what she would say.

Michelle Shocked

Shocked’s song gives a voice to someone you might not think about. In the history-book version about adding all that beautiful land to the United States, we often hear about the later gold rush and the building of a new state.  But one should not forget the role of all of the regular people, especially including the overlooked women and natives, just getting by day-to-day.

As we have been reminded with events around the world, society is not just the Andrew Johnsons and other politicians.  It is also made up of the rockers and the anchored-down folks.

Map illustration via Eric Gaba.

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  • Conan O’Brien Can’t Stop . . . Being a Jerk?

    Conan O'Brien We generally think of Conan O’Brien as the nerdy guy who was a writer for The Simpsons before getting his break as the awkward replacement for David Letterman’s late night show on NBC. We enjoyed rooting for him as his talents developed, leading him to take over the coveted Tonight Show. Then, during NBC’s decision to effectively push O’Brien out of the Tonight Show time slot after its failed experiment with Jay Leno in prime time, we were on the side of the underdog with Team Coco. The documentary, Conan O’Brien Can’t Stop (2011), which follows O’Brien on his post-NBC tour of the U.S. and Canada, shows another side of O’Brien, as a star who is kind of a jerk.

    The documentary, now available on DVD and Blue-ray, gives an insider’s look at O’Brien during the tour he put together to keep himself busy during the time where he was prohibited by his NBC settlement from appearing on TV. The movie shows the somewhat slapdash nature of the tour, where the idea was followed by selling tickets before actually putting together a show. Of course, O’Brien and his crew knew he had the talent to put it all together, and the film shows a successful tour that allowed O’Brien to connect with fans from around the country.

    The film also shows O’Brien behind the scenes, where in candid discussions, often while he is exhausted, he reveals that underneath the way he ended The Tonight Show in a positive way, he was understandably bitter about the way NBC treated him. O’Brien is also conflicted about his feelings, recognizing that he has been given opportunities and money way above what most people can even dream about, but his feelings are nevertheless honest.

    Conan O’Brien Can’t Stop also reveals O’Brien as something besides the happy-go-lucky man portrayed on late night television. He often dishes out barbs and good-natured punches to the people who work with him, knowing that they have to take it all as part of their job without complaint. We also see another side of him as he whines about his exhausting schedule throughout.

    To say he is a “jerk” might be too harsh, as the movie really just shows he is human, perhaps with an understandably larger ego than a non-celebrity but probably a lesser ego than most celebrities. There are shining moments, not the least of which is the fact that O’Brien must have approved everything in the film, and he does not hide his warts, which is refreshing. He could have made a glossy movie that only made him look good, but he went for something more honest instead.

    O’Brien seems self-aware about the circus that surrounds him, as well as his good fortune. In one scene, apparently in his kitchen at home, he honestly talks about how he uses humor sometimes as a way of criticizing others. We also see that he has genuine relationships with several people besides his family. He never seems condescending to his on-screen pal Andy Richter, and the two genuinely seem to respect each other. Also, his main assistant who is featured in much of the film is a woman who enjoys the exchanges with O’Brien and seems to be one of the few who can stand up to O’Brien.

    Conclusion? Conan O’Brien Can’t Stop is an entertaining documentary about a celebrity, revealing a another side of O’Brien’s life and a human side of the man. I’m still on Team Coco.


    What did you think of Conan O’Brien in Conan O’Brien Can’t Stop? Leave a comment.

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    The Head and the Heart: Sounds Like Hallelujah

    head and the heart At the recent Emmy Awards, someone came up with the idea to sing Leonard Cohen’s song “Hallelujah” while they showed images of the stars who died during the past year. It was an odd choice, showing that the producers had only listened to the single word of the title without listening to the words of the lyrics. People often comment that Cohen’s song is overplayed. While I have yet to grow tired of it, if you are looking for another outstanding song with “Hallelujah” in the title — or if you are just looking for a great catchy pop song — check out “Sounds Like Hallelujah” by The Head and the Heart.

    “Sounds Like Hallelujah” has been on my iPod repeat playlist for more than a year, but I recently noticed that a local station, WFUV, has been playing it fairly often lately. It is a great song, and I cannot get it out of my head. So if your local radio station has not yet played it, give the song a listen.

    Like the Leonard Cohen song, “Sounds Like Hallelujah” is not open to simple straightforward interpretation. While the sound is joyous, the lyrics reveal something more complex. One commentator has argued that the song is best understood in the context of the themes of the entire CD, providing an epiphany toward the end of the album.

    Momma don’t put no gun in my hand
    I don’t wanna end up like these men

    I’m not walking away
    I’m just hearing what you’re saying
    For the first time
    Sounds like hallelujah for the first time

    “Sounds Like Hallelujah” is off of the band’s self-titled self-released first CD. The band re-recorded the song for a remastered release of the CD this year, which partly explains the increase in airplay. Josiah Johnson and Jonathan Russell formed The Head and the Heart in 2009. The band, which is based in Seattle, includes Charity Rose Thielen, Chris Zasche, Kenny Hensley, and Tyler Williams.

    What do you think of The Head and the Heart and “Sounds Like Hallelujah”? What do you think it means? Leave a comment.

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  • October Pop Culture Roundup

    In case you might have missed some of the recent stories in popular culture, check out the following links from around the Internet:

    In TV-related news . . .

    – Conan O’Brien returned to NBC to pick up Triumph the Insult Comic Dog on Jimmy Fallon’s show.

    Homer Simpson Halloween Mask

    – “Woo Hoo! I outlasted Andy Rooney!” — Homer Simpson, in Fox statement announcing The Simpsons has been renewed.

    – Sorry Homer, the #1 choice for Halloween costume is. . . Charlie Sheen.

    In Music news. . .

    – Bids may go “high.” Willie Nelson’s tour bus is for sale.

    – Coldplay will stream a live concert on YouTube on Oct. 26 (4 p.m. ET).

    In Movie news. . .

    – “I hear it’s happening. I think it’s got a ways to go.” — Laura Dern on Jurassic Park 4 sequel.

    – A new book recounts the story of Rin Tin Tin in the context of Hollywood and U.S. culture.

    – Arnold Schwarzenegger attended the opening of an Austrian museum dedicated to . . . Arnold Schwarzenegger.

    – Are the “Toy Story” writers working on a Farmville movie?

    – The popularity of this Audrey Hepburn classic film, which turned 50 years old this month, prompted a run on ginger tomcats when the film was released.

    – After eighteen years in prison, The West Memphis 3 reunited this week for a screening of the films that helped secure their release.

    . . . To keep up with events, check back here on Chimesfreedom and follow us on Twitter @Pophistory and on Facebook.

    Any thoughts on the pop culture events of this month? Leave a comment.

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    Taxi Driver Music: Late for the Sky

    This week was Jackson Browne’s birthday on October 9, so this post celebrates his birthday and wraps up our series on Taxi Driver music. Previous posts have touched on music from Van Morrison and Kris Kristofferson that influenced Martin Scorsese in the making of Taxi Driver. In this final post on our “Taxi Driver Music” series, we consider a song that the director actually used in the film, Jackson Browne’s “Late for the Sky.”

    In a scene in Taxi Driver after Travis Bickle has shot a man who was robbing a store, he sits at home, alone with his gun, watching American Bandstand. The scene reflects his loneliness and isolation, emphasized by the contrast between Bickle and the scenes on the television screen where young men and women embrace each other as they dance. It is the dance of life, and Bickle has isolated himself in a way that excludes him from the simple joys of life. And that isolation is leading him into a spiral of madness.

    Interestingly, in watching the dancing on the television, it does not appear to me that the dancers actually are dancing to “Late for the Sky.” Their movements do not seem to match the song, so maybe Scorsese wanted to use the song “Late for the Sky,” so he found an American Bandstand clip that most closely matched the song. Or I may be wrong and the dance is to “Late for the Sky.” Watch the clip for yourself and decide.

    “Late for the Sky” is the opening and the title track from Jackson Browne’s album, Late For The Sky (1974). Even without the visual of the lonely insane man with a gun watching lovers dance, it is a sad song. Browne sings about the end of a relationship: “Awake again, I can’t pretend / That I know I’m alone, / And close to the end / Of the feeling we’ve known.”

    Jackson Browne Late for the Sky Relationships may end in different ways, but often instead of a sudden explosion, they end after a time of drifting apart. Then, one wakes up one morning and wonders what happened “in the bed where we both lie,” which is a great line that may be read with at least three different meanings because of the different definitions of “lie” (including the old expression about sleeping in the bed one makes).

    Finally, in the song, Browne asks, “How long have I been sleeping? / How long have I been drifting along through the night? / How long have I been running for that morning flight / Through the whispered promises, and the changing light / Of the bed where we both lie,/ Late for the sky.” It is a beautiful song of loss, and its overall tone perfectly fits the loss Scorsese wanted to convey in Taxi Driver.

    So ends our third and final post about the relationship between music and what Martin Scorsese called “a movie about a man who hates music.” If you missed the previous posts, check out the post on how Van Morrison’s album Astral Weeks influenced Taxi Driver and the post on the role played by Kris Kristofferson’s “The Pilgrim, Chapter 33.”

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