The Writings of John Wenz

I'm an occasional writer for The Awl, Mental Floss, Hear Nebraska, The Reader and Star City Blog, currently based in Philadelphia.

Want to reach me? E-mail me at john.d.wenz@gmail.com.

Hear Nebraska: An Incomplete Guide to Nebraska Musical References: Part Four | The Nebraska Index

And who gets my snippy wrath here? 

Speaking of bands that found their niche and never left it: The Decemberists seem to have set in on a very specific demographic for a large part of their career and sailed on a sea of half-stolen riffs. The music is often same-soundy, repetitive and sort of dull. And they’ve been at it for a decade never making significant leaps and bounds artistically, but a loyal fanbase of crashing bores keeps The Decemberists in business and me lamenting the NPRization of independent music. (It probably all started when Travis Morrison took a job at HuffPo.)

Hear Nebraska: An Incomplete Guide to Nebraska Musical References: Part Three | The Nebraska Index

My first instinct is to like this song, because, come on — tremendously sad music? Eight ball, corner pocket. And it’s really good mid-’90s emo underground music, and an obvious influence on latter day Urbana folks like American Football. As a song of its genre, it’s perfectly fitting. Good even.

But do you ever get the funny feeling some of the emo scene was the ultimate influencer on later day “nice guy” behavior? See also, the Sady Doyle take down of Weezer. Think of the nice guy as the synchophant who positions his way in relationships as to be the “nice guy,” the sensitive one who is most hurt at the end of the relationship. Sometimes it’s because of “That Bitch.” And in songs about the woman striking the blows in the relationship — and given the nature of the music, we’re listening to a potential “nice guy” perspective — it’s at least the music fueling “nice guys.”

As a song, this isn’t the worst offender, of course. But early forbearers of emo — for instance, bands like Ian MacKaye’s Embrace — often turned the sadness and introspection inward. While the Music of Self Loathing isn’t exactly an attractive enterprise, lyrics like “I can’t get what I want, I’m a failure” are quite different than, say “We painted a perfect picture together, We sang a song 87 miles long, Do you have some kindness for me?”

Giving Braid the benefit of the doubt, we want those lyrics to be about the bitter walls of ill-communication being thrown up at the end of a relationship. Because often, someone is no longer into it. The affection once felt has been sapped, and the lack of kindness may be emotional exhaustion on what is her end.

Buuuuuuuuuut. And there’s always a but. The last lines, “And everyone who noticed knows, What was so wrong with me, That you left , As I slept, Silently” sounds like Nice Guy 101. Here he just slept — obviously ignoring his own complicity in the end of the relationship and warning signs of unhappiness, instead letting his friends “watch” as he interprets her leaving all in his perspective. Which is … problematic?

Listen, dudes from Braid, live your lives how you want but this just seems a little off.

Now with not one, but TWO long form rants!

Hear Nebraska: An Incomplete Guide to Nebraska Musical References: Part One | The Nebraska Index

Just let the snark flow:

He just came down from the Wild Cat Hills, over Crystal Lake before the sun came up and then washed his face in the Red Willow. He then complains about the political hustle-and-bustle in the cities so far away, which I’m guessing means the ever looming threat of Lincoln. Those are things that are certainly in Nebraska! Except the Wild Cat Hills are near the Panhandle, Crystal Lake is near Hastings (there’s another lake by the same name just outside South Sioux City which is even farther away) and Red Willow is sort of by McCook which is mostly south of North Platte.

In fact, for this progression of events to play out in any way, he would have to travel approximately 250 miles from the Wild Cat Hills to get to Red Willow to wash his face, because, in fact, it wouldn’t make sense to go to Crystal Lake in between, as Crystal Lake is another 120 miles eat of Red Willow. Here’s a map that demonstrates just how illogical this turn of events is:

Hear Nebraska: An Incomplete Guide to Omaha Musical References: Part Two | The Nebraska Index
I want you to remember these words until your dying days: 

So anyway, pop music is in itself a commercial product. More so than anything it’s a line of transactions, and one thing leads to another. The weird thing is what the internet does to us — it distorts our sense of talent and fame and consumerism, and we can boil things down to the idea of products. Justin Bieber is cleverly manipulating this. He’s shoring up a fan base in the midwest, continuing on our consumer culture by endorsing an unnamed Omaha mall (which one? Better shop at them all!) and doing it in a metanarrative that reflects on our own need to spend. Are we looking for sick shoes, or are we looking for fulfillment that comes through our own disaffection? Once shoes are acquired, Bieber goes all poonhound on us and says he’s on the hunt for girls. Or is that what he’s saying? Could he be talking about our detatchment from ourselves leads us to see love and affection as another transaction, another consequence of capitalist culture? Perhaps Justin Bieber is the world’s most secret anarcho-primitivist, subverting normal media channels to force us to realize what we’ve become as a culture as we head to crisis after crisis.

Obey. 

Hear Nebraska: An Incomplete Guide to Omaha Musical References: Part Two | The Nebraska Index

I want you to remember these words until your dying days: 

So anyway, pop music is in itself a commercial product. More so than anything it’s a line of transactions, and one thing leads to another. The weird thing is what the internet does to us — it distorts our sense of talent and fame and consumerism, and we can boil things down to the idea of products. Justin Bieber is cleverly manipulating this. He’s shoring up a fan base in the midwest, continuing on our consumer culture by endorsing an unnamed Omaha mall (which one? Better shop at them all!) and doing it in a metanarrative that reflects on our own need to spend. Are we looking for sick shoes, or are we looking for fulfillment that comes through our own disaffection? Once shoes are acquired, Bieber goes all poonhound on us and says he’s on the hunt for girls. Or is that what he’s saying? Could he be talking about our detatchment from ourselves leads us to see love and affection as another transaction, another consequence of capitalist culture? Perhaps Justin Bieber is the world’s most secret anarcho-primitivist, subverting normal media channels to force us to realize what we’ve become as a culture as we head to crisis after crisis.

Obey. 

Hear Nebraska: An Incomplete Guide to Musical References to Omaha: Part One | The Nebraska Index

Omaha is not spoken of in a way one would describe as disparaging. These boys just want to party! But many groupies at the time were below the age of consent, whcih conveys negative sexual stereotypes both to the band themselves — who sang this song without a hint of irony — and the groupies, to whom the band conveys sexual liberation as still being under the subservience to men. Therefore, while, from the band’s perspective, Omaha is a great time, the behavior exhibited has a negative affect on the culture at large by perpetuating stereotypes of rock star behavior.

Just a little bit of the writing on Omaha’s influence on pop culture, this regarding the over-thinking of the song “We’re an American Band” by Grand Funk Railroad. Click through for more. 

Hear Nebraska: An Incomplete Guide to Musical References to Omaha: Part One | The Nebraska Index

Omaha is not spoken of in a way one would describe as disparaging. These boys just want to party! But many groupies at the time were below the age of consent, whcih conveys negative sexual stereotypes both to the band themselves — who sang this song without a hint of irony — and the groupies, to whom the band conveys sexual liberation as still being under the subservience to men. Therefore, while, from the band’s perspective, Omaha is a great time, the behavior exhibited has a negative affect on the culture at large by perpetuating stereotypes of rock star behavior.

Just a little bit of the writing on Omaha’s influence on pop culture, this regarding the over-thinking of the song “We’re an American Band” by Grand Funk Railroad. Click through for more. 

LAST RESPECTS

This, for once, is not a link to my own writing, but rather a part of family history very much tied to Veteran’s Day.

My grandmother’s brother died on the European front of World War II.

On the rolling fields outside the tiny East German village of Lauenhain, a German sniper fired two shots across the Zschopau River, killing an American private.

It happened on April 16, 1945, four days after FDR died, a couple of weeks before Hitler would kill himself, the very day the Soviet Red Army jumped across the Oder River to start its push across the last 50 miles to Berlin.

It was at the point of the American Army’s easternmost penetration, where Patton’s 3rd Army was ordered to halt and wait for the Russians to link up and cut Germany in half.

For weeks, the German army, short on ammunition, equipment and soldiers, had been collapsing in an uncontrolled retreat. Only three weeks later, the exhausted remnants of that army would formally surrender.

It was the 304th Infantry regiment’s last day on the front line; the American private was Company B’s last casualty.

Year’s later, my mother’s cousin wrote this article for the Dallas Morning News. He pieced together the last days of my great-uncle, one none of my mother or her siblings ever knew except in passing stories from my grandmother.

But there was a part many in the family didn’t know. This being 1940s America, out-of-wedlock pregnancy was something spoken in hushed whispers. And before he had left for the war, Cleo had a son. 

It was, I thought, the naturally awkward meeting one might expect when, after 44 years, someone wants to talk about your father and his death.

I met his wife and three children. We talked about his mother - she had five more children after the war. We talked about my mother and father, now dead, and his other aunts and uncles.

He told me he had tried unsuccessfully to learn about his father’s death from the Army. He also asked the Army if his father had earned any medals, and one day several months later, without explanation, a box arrived with a Purple Heart, a Bronze Star, Good Conduct medal, several campaign medals and the Combat Infantryman’s badge.

I told him what I had learned and gave him a pencil etching of his father’s grave marker. He showed me an album his mother kept, including the photos Cleo had been carrying when he was killed. On one, a tinted picture of an infant, his mother had written, “To daddy dear, from your son Steve,” For the first time, I knew that Cleo had learned of his son’s birth before he was killed.

In turn, I showed Steve photos I had pulled from family albums and others taken during my trip across Germany, including one of his father’s grave.

“It’s odd looking at this,” he said. “I know this individual was my father, but I didn’t know him. I wish I had been able to meet Dad. I’d like to know what he liked. But you can only know that by sitting and talking with them.”

Stephen would reconnect with our family, bringing with him a treasure trove of our genealogy. Here was a cousin, a blood relation, unknown for years. And here, in his fifties, he’s meeting countless cousins and aunts and uncles for the first time. Names put with faces, descendants added to his family tree, knowing for the first time his cousins and their children. 

It’s a strange end to the tail - to finally know the family you never did, to chance upon someone entirely new, but readily familiar. Here is a strange end to a story that didn’t end with the German sniper - instead, it was the beginning to something else entirely.