Remembering the USS Indianapolis, Robert Shaw and The Scene

On July 30, 1945, the USS Indianapolis, which had just delivered key components of the Hiroshima atomic bomb to the Pacific island of Tinian, was torpedoed by a Japanese submarine. Only 316 out of 1,196 men survived the sinking and shark-infested waters.

Sincere kudos to those brave soldiers who did (and did not) make it out of the water.

I’ve already celebrated the great Robert Shaw’s effort to immortalize this moment in American history, which became one of the scenes in American cinema. It seems worth revisiting, below.

jaws

I don’t have much to add to that picture, above. Except that I saw it, at a bar at Martha’s Vineyard (quite appropriate, since as most folks know, Amity Island, where Jaws terrorized beach-goers in 1975, was of course filmed at and around the Vineyard), and I snapped a shot. It kind of makes you want to tip back a Narragansett. Almost. Naturally, you’d have to down it in one prodigious swig, as Quint did in the immortal moment captured, above. The bartender appreciated my appreciation and remarked that the vintage ad was so popular, the bar actually carried the beer for a while. Ultimately, it was considered so iredeemably awful that they stopped tormenting the customers. And by torment, they meant: when people (like me) saw that ad, and saw that they actually had Narragansett in the house, they had to try it. I know I would have.

More could (and should) be said about the great Robert Shaw, who is best known for being Quint, but had other high profile roles, like Doyle Lonnegan in The Sting, Mr. Blue in The Taking of Pelham One Two Three (quite appropriate with the remake just about to hit unsuspecting summer filmgoers radar) and the overlooked and woefully unappreciated Sheriff of Nottingham in Robin and Marian (along with Sean Connery; you think you can handle the truth?). It can suffice to say that he had a ton of great work in him when he collapsed at 51, the victim of a heart attack.

There are any number of scenes that one could single out to celebrate Shaw’s genius but we all know which one rises above the rest. The scene. It not only is the best scene in Jaws, it also manages to be the most horrifying one, and the infamous shark never appears. One of the best scenes ever? It’s on the short list. And it’s all Robert Shaw (who actually rewrote the original dialogue and came up with what we now celebrate).

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July 28, 1979: The Long Way Home (Revisited)

serf

If I ever need to check myself and consider what a privileged life I’ve led, I simply need to recall that moving across town in the summer of ’79 was a traumatic event. True, it was about four miles door to door from old house to new house. Also true, since nine year olds can’t drive, four miles may as well be four hundred. More truth: I was fortunate enough to grow up in a neighborhood that even Norman Rockwell could not have painted. (Which is just as well, because I’ve always found Norman Rockwell kind of creepy. Put another way, cats like Jackson Pollock make more sense to me as I grow older, and Stormin’ Norman, besides being predictable, bland and boring, also seems, in retrospect, to reinforce the cliches he often embraced in his crackerjack portraits of cracker America.) A more straightforward way of putting it would be to simply state that there were a ton of kids in my neighborhood. It was early ’70s planned community paradise: no matter what was actually going on inside the individual houses, the collective population of kids ensured healthy representation in any game of kickball, baseball, soccer or the obligatory summer ritual of ding dong ditch. (For anyone too young to actually know what that last one means, rest assured the game had everything to do with dinging and ditching, and nothing to do with our dongs.)

All of this is to say that I grew up, like many kids in Reston, surrounded by boys and girls of or around my age. It wasn’t because it was perfect (it wasn’t) or that there was no turmoil (there was), it was because of the make-it-up-as-you-go sensibility that prevailed in this town (in this country?) during the early to late ’70s presented a fairly ideal petri dish for a distinctly suburban kind of acculturation.

plaza

(Put still another way: no matter what decade or what neighborhood one grows up in, if you aren’t fortunate enough to have a good foundation you have a significant, and unfair strike against you from the start.)

More about Reston another time, but a few brief words about our awkward Utopia are in order. Lest anyone, understandably, think this was some type of Stepford Wives experiment or that my depiction is merely the Byzantine nostalgia of a Proust freak, let me establish some street cred with two words: Burger Chef. Our town was not yet cool enough to have a McDonalds (in hindsight, I realize our town was too cool to have a McDonalds); we made due with the chain who invented the Happy Meal, originally known as the Fun Meal. You better recognize.

It was also, of course, a town in transition: it grew as we grew up (it’s still growing today, as are we). For those of us who did not stray far, it seems fair to suggest that some of the affection we feel is inextricably connected to watching things change (the town, ourselves). All towns transform, age and renew, but Reston seemed to exist as the touchstone of modernity even as it was designed to be self-consciously retro (three words: Lake Anne Plaza). In this regard, the evolution from quaint (one street light in the early ’70s) to cutting edge (the Metropolis also known as Reston Towncenter) was personal: it all went down on our watch. For me, it is significant on a variety of levels that I can head west on the W&OD trail and, in less than half an hour, be engulfed in a soundproof canopy of green and feel like it’s early part of a new century (circa 1909). I also like living in the shadow of the old Virgina Gentleman distillery, and I felt like I could hear history whisper every time I walked my dog past that place.

The last remnant of the Virginia Gentleman distillery

The last remnant of the Virginia Gentleman distillery

 

What else? Trying to recapture childhood and the indelible and often inexpressible ways it affects you is like remembering what it felt like to hold a firefly: as an adult, you understand the science that makes it glow but as a kid it really is magic (I’m still enthralled not necessarily because I retain my formative capacity for wonder, but because I actually don’t understand the science that makes it glow…). I attempted, several years ago, to recollect that time and mentality, after revisiting it with a five year old (my niece) and wondering what that broken in neighborhood looked like to younger eyes (hers and mine). That poem, called Old School (a title I defend since I wrote it before the excellent film of the same name was released) is below.

But getting back to summer ’79. As devastated as I was to leave my boys behind (especially my oldest friend Mark Seferian, with whom I appear at the top and bottom of this page–pictures taken on the day we revisited our old stomping grounds), I was also pretty excited about the new Kiss album (an album I still endorse, mostly for moments like this and this and this). I was giving up 7-Eleven but gaining a High’s which was effectively trading the all-star Cola Slurpee for a player to be named later: in this case the revelatory Slush Puppie (the highlight of August ’79 was discovering that the woman behind the counter would allow you to mix and match flavors, leading to early chemistry experiments like the grape/lime or the inimitably perfect raspberry/cherry). The other high point of that formative summer was the glory of NASL which many of us did not realize was already in the early stages of its semi-tragic (if self-inflicted) death spiral. Let me recap the calculus of birthday party apotheosis, circa mid-to-late ’70s: Farrell’s, seeing movies like this and going to RFK to see a Dips game.

Summer of 79 redux:

album-Kiss-DynastydipsSlush_Puppie

It was a pretty great time, musically, as well. Of course there was plenty of crap, like there always is, but there were some magical moments as well. And don’t think I’m going to sleep on this one or especially this one. And this one had particular resonance, especially for a nine year old who was a tad too sensitive for his own good. And to put some things in perspective (too much fuckin’ perspective, to quote Spinal Tap), can we talk about how long ago 30 years actually was, in regards to fashion, music, and culture? If a picture can say a thousand words, a song can say a million; and a video of the song (especially a video performed on a TV special) is capable of limitless expression. In other words, this was the number one hit thirty years ago today:

From Forest Edge to Terraset; from Tall Oaks to Newbridge; from the Green Arrows to the Whitecaps; from Carter Lake to Lake Audobon. Anyone but a kid about to enter fourth grade would have been thrilled with these upgrades. At the time, it felt like my parents were plucking me out of recess and placing me in detention. Moving into a new development on a new side of town, with no prospects of neighbors for several months (actual friends my age? Forget about it) was almost unendurable. The five weeks before school started were the closest I ever came to purgatory. And I laugh at how amusing that sounds, today: five weeks? I feel like I could take a nap that lasts that long, but back then, you didn’t live by weeks or days or even hours: you lived by moments. And nothing made time pass faster than playing with people your own age. Having fun. Being active and involved: no time for thinking.

Remember: this was an era way before Internet and iTunes; before video games and cable TV. For this I am forever grateful. Coincidence or not, this was right around the time I became a voracious reader, and my imagination began to come alive. I had always drawn (do kids over the age of five even draw anymore, or do they reach right for the joystick and the iToy?): first monsters and then soccer players and eventually the members of Kiss. Around this time I started to put little stories alongside those pictures. And I kept reading. Within a year I was keeping my first journal, and that was that. I was on my way (still not sure where I was headed, or where I’m going, but I’m sure I’ll let myself know when I get there). Some of this, undoubtedly, had to do with my age and not my environment. But there is little question that during an exceptionally formative period in my development I learned how to tolerate, and eventually enjoy, my own company. The best way, I found, to accomplish this was to surround oneself with kindred souls. Hence, the books, the music and the cultivation of a creative ambition. Habits I had to learn, then, saved me from the not-so-quiet desperation of a happy and healthy nine year old suddenly shifted to neutral. Looking back, I understand and appreciate the ways they shaped my sensibility over the years, delivering me from an altogether different sort of despair.

********

Old School

This is old school, I say
To my niece who, at five years old, is now
The same age her uncle was when his parents
Transported him to this place—new then, old now.
Old school, she repeats, repeating things
I say because I am older, because I am
Still interesting, because I am…old school.
Even I can see that.

You Can’t Go Home Again, someone once wrote
And he was wrong.
Of course you can—all you have to do is never leave—
Leaving it behind does not mean it leaves you.
(And certainly I can’t be the only grown child
who returns often—in dreams, in memories and yes,
in my mind, I must confess: earnestly, ardently, often—
to the old streets that I came to outgrow
the way we outgrow games and bikes and friends
and exchange them for jobs and cars and co-workers).

You can always go home, and you need to go home,
It is only when you want to go home that you should
Start asking yourself some serious questions.

“Did you play kick the can?” my niece does not ask.
Nor does she ask if I ever played
Red Rover Come Over or Smear the Queer.
Those games got outgrown, or else we learned
To play them in ways not measured in bravado & bruises.
And I wonder if we are better off:
Growth granting us the eventual awareness that everyone is
Queer and no enjoys being…

I put away childish things each time I think
About them, storing them safely inside my heart
Where grown-up games can’t make them say Uncle.

“Uncle, did you play?” she does not say.
(She does not know everything but she knows
enough to understand that her uncle was never young
the way she is and the way she’ll always be and
far be it from me to tell her any differently).
Question: Can you play?
Remember when that’s all we used to say—
Summers summarized in a phrase we learned
Eventually to outgrow.

This uneven field (Field of Dreams, I’ll never say)
Was our Fenway and with tennis ball and wooden bat
We righted the wrongs of an evil world, where
Yaz never struck out, Bucky Dent was a blip
And the Curse of the Bambino played off-Broadway
Those days, that ceaseless, sweltering summer in 1978.
(Summer, seventies, Schlitz—not malt liquor, my friend,
this was strictly old school—no bull. I remember
block parties, warm beer, burnt marshmallows, mosquitoes
and putrid bug repellent that didn’t kill anything
but made us stronger (Don’t let the bed bugs bite, I’ll never say).
I had no idea how much I did not know but
I knew this much: if there was a beer besides Schlitz or
Bud I was unaware of it—that’s all
The adults drank back in the bad old days.

Play ball! no one needed to say because we played ball
Anyway—ball was our business and business was good,
Get it: the ball would invariably make a break for it
Ending up in the gutter (we called it sewer but, of course,
We were old school). Without a second thought
We pried off the manhole cover and dashed down into semi-darkness.
We never thought twice about it—we were young.
The game must go on! no one needed to say, we knew.
(I look now, and think: I would not go
into that hole for all the allowance money I never earned—
I know there are rats and who knows what else
Down there: the things our parents never realized
They should warn us about).
We never worried about the things that were not
Waiting for us, down there in the darkness.

“What are they doing?” I do not ask aloud,
Noticing—just in time, before I can call attention to it—
Two cats in coitus, doing what they do when they are young & free.
That’s something I’ve never seen and as I worry about
My niece asking me about it I understand: I’m old now.
Old school, I cannot say (to myself I say this).
That’s how it happens.
This would never have happened, then—
(I did not know much, but I knew this:
cats did not fornicate and kids fought only with fists).
But this is what happens when you go away.
Back then, in our close and cloistered community
Even the cats had discretion (they were old school)
Or maybe they were mortified, because
Bent over with booze or barbiturates they were
Silently screeching behind closed doors—
All of us, unknowingly, out in the light
Winning the World Series, while wicked women
Garrisoned themselves in dark alleys, behind
The anodyne of automatic garage doors.
It is quiet, now. Our mothers were so quiet, then.
Please allow them to have been happy,
In our memories if not in their actual lives.

I don’t remember but I have a feeling
That if I think hard enough I will recall
The things that were never said and therefore never forgotten.

I drink in the past and am reminded of youth,
Which tastes unlike anything other than what it is: freedom.

Cold, sour Schlitz (of course I took a taste)
With those incredibly awkward silver ring-tabs
We pulled off for the privilege of first sip.
That is old school, I do not tell my niece.
It’s only when you’re older that beer tastes
Like freedom, but it’s a borrowed brilliance,
A manufactured feeling, just like in class
How it’s cheating if the answer is already in your lap.
It’s the things they can’t package or make you pay for:
Those things that they never tell you about until you are old enough
To know better: that is what freedom is.

Curiosity killed the cat, someone once said and
Maybe they were right.
But something is going to get all of us
Eventually, whether we ask for it or understand it.

The cats are gone, maybe they have gone home
(they can always go home), back to their families—
The heavy silences and signified banality of routine
(do they still have strict rules about no TV
and everyone present around the table when
dinner is served at six-thirty sharp?
I certainly hope so, for their sakes).
Or maybe they are getting down to business—
Dirty deeds and dirty work go hand in hand—
Down in the darkness, doing their thankless task,
Keeping the sewers safe from rats and reality.
Curious or content, we know enough to take
Whatever it is that life decrees.

We went into the sewers the way we went into the world:
Unafraid, unwavering, unencumbered and
Above all: unconcerned about all those things
Older people were kind enough to never…

“Old school!” my niece repeats, curious
because she does not comprehend at all.
Old school, I do not say, reticent
Because I do remember it (all).
If curiosity doesn’t kill us, contentment gets there quicker.

How did we go down there, then?
How do we go out there, now?

3-20-02

serf

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Summertime is Reggae Time (Revisited)– Part Four: ‘The Same Song’ by Israel Vibration

The cardinal rule for any serious appraisal of art involves a necessity to separate all discussion of the artist from the artifact. Mostly this is essential because so many unsavory characters have managed to create amazing art despite—or because of—their self absorption and nastiness. Monomania is sometimes obligatory, as we have seen from masters ranging from Tolstoy to Miles Davis. In short, it seldom sheds meaningful insight on a famous (or infamous) work to stand either on a pedestal or in the trenches, attempting to offer up easy (or difficult) analysis.

The list of artists known as assholes—or worse—to their friends or enemies is not short, but it’s a mistaken assumption that only difficult people create works that last. On the other hand, the list of genuinely decent human beings who have managed to make meaningful art is short but sweet: John Coltrane, Curtis Mayfield and Eric Dolphy come immediately to mind. However, hagiography rarely augments an individual’s oeuvre; in fact, it usually besmirches it. The only thing excessive praise and inappropriate criticism share is that they almost always say more about the commentator than the art being commented upon. The proponents of either extreme usually betray religious leanings that render their insights instantly dated and ultimately irrelevant (postmodern literary criticism and political correctness have been the more popular—and culpable—cults of the critical arena in recent decades).

And yet. All of that being said, sometimes it is impossible to ignore the life and the way(s) it influenced an artist’s development. With one group in particular, it is not only impossible, but negligent to make no mention of their exceptional trajectory from obscure and impoverished kids to adored legends of reggae music. Make no mistake, Israel Vibration’s debut, The Same Song is an indispensable classic, and would be loved—and discussed—if no biographical information on the artists was available. Nevertheless, the blissful sense of wonderment these songs provide accrue additional layers of meaning, and import, when the lives and circumstances of the young men who created them are considered. Long story shortened: Jamaica endured a polio epidemic in the latter years of the 1950s. Three of the boys disabled by the disease, Lascelle Bulgin, Albert Craig and Cecil Spence, met at a rehabilitation facility in Kingston. They bonded over the love of music and a dedication to Rastafarianism (legend has it that once they grew out their dreadlocks they were summarily evicted from the Mona Heights Centre).

Eventually they formed a vocal trio and, calling themselves Israel Vibration, began singing for change on various street corners throughout the city of Kingston. They were rescued from performing (and living) on the streets by the Twelve Tribes of Israel, who helped fund the recording of their first album. After more than five years of struggling, sharing and singing, their vision, and sound, was fully formed when they entered the studio. The results, quite simply, are staggering. The title track is, like the Mighty Diamonds’ “Right Time”, an opening salvo that also serves as a powerful—and empowering—statement of purpose: young men who had faced little other than hardship and discrimination, wise beyond their years, crafting an open letter of acceptance, unity and inevitability.

They tackle similar issues as the other landmark albums already discussed (this being roots reggae, the themes and sounds are not dissimilar), but where the Mighty Diamonds and Culture confront injustice and preach peace with, respectively, heavy doses of soul-influence and celebratory abandon, Israel Vibration balance the two styles with their own unique groove. On the more upbeat songs, like “Why Worry” and especially the ebullient “Walk the Streets of Glory”, the voices are appropriately buoyant; on the more topical, defiant songs, like “Weep & Mourn” and “Ball of Fire”, the pace—and the voices—are languid, even solemn. This manages to be powerfully elegant (or elegantly powerful) music, and it’s in part due to the unforced, easily-invoked vulnerability in these voices, but mostly it involves the very notion of underdogs speaking out for the underdog—without pity and with the gentle perseverance of faith. These last two songs describe the plights of the have-nots and the pitiful apathy of the powerful on par with the best efforts of Bob Marley and Burning Spear. And yet, even when the subject matter is deadly serious, there is a ceaseless air of celebration and joy that makes all the sense in the world: the people making this music are, when all was said and done, happily aware of how lucky they were simply to be alive.

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Remembering (and Celebrating) The Kids In The Hall

This weekend PopMatters is revisiting an outstanding feature from a couple of years ago: The Best of TV on DVD. Definitely worth checking out. My entry, below, was on the gone but far-from-forgotten Kids In The Hall series.

The Kids in the Hall existed in a sort of parallel universe to the much more popular, much less brilliant Saturday Night Live. Though comparisons between the two are inevitable, perhaps because of the Lorne Michaels connection, Kids in the Hall should be appraised—and appreciated—as part of the crooked line connecting Monty Python, which preceded it, and Mr. Show, which followed. While attracting an intense cult fan base, the Kids faced at least three major obstacles that made crossover success pretty much an impossibility. They were Canadian and had a pronounced—and, for fans, most welcome—quirkiness. They were disarmingly intelligent, yet always willing and eager to embrace the oddness of life. Their one-two punch of ingenuity and eccentricity could be like Gary Larson’s Far Side cartoons—you either got them, immediately, or you did not. Lastly, they dressed in drag. Often, and convincingly. Too convincingly, perhaps, for the average American sensibility circa 1990-something.

Although only one member of the ensemble is gay, queer culture was featured prominently—or, at least unabashedly—waaaaay before it was as widely accepted, or commonplace as it would thankfully be less than two decades later. Perhaps the primary reason it was easier for some to describe, or dismiss the show as a bunch of dudes in dresses is because it was, and remains, pretty difficult to pinpoint what they were up to. Precious few impersonations, less than a little political pot-shotting, The Kids in the Hall managed to consistently skewer piety and send up our ever-uptight social mores through the creation of insanely indelible characters: they understood that to effectively ridicule the world they had to make themselves ridiculous. In one skit, fur trappers cruise office buildings, killing yuppies in order to sell their “pelts” to a high-end haberdashery. In another a harried corporate big shot, in the midst of a stress-driven cardiac arrest, rips his heart out of his chest, pouring coffee on it and yelling “Get back to work!” (more on that particular sketch, directly below, here). And how inadequate would our world be without the Head Crusher, the Chicken Lady, Buddy Cole or Cabbage Head?

The definitive sketch? Every fan will claim one, but it’s difficult to deny the exceptional “Retelling of a Complicated Italian Movie”, which features everything that made The Kids in the Hall so inimitable: as two guys in a bar discuss a foreign film, the happy hour crowd slowly assumes the roles being described. All of a sudden the storyteller is holding a pistol and melodramatic shots ring out. “Wow, what a complicated plot!” his friend says, still holding his buffalo wing as he collapses, clutching his bleeding stomach. You have to see it to disbelieve it, but it manages to be clever, surreal and, as always, hysterical. Naturally, one character is dressed in drag.

Bonus clip: this one, for me, illuminates everything that made Kids In The Hall so unconventially genius (and cliche-smashing) and, of course, exactly why it never had a chance to break big in the States (and it goes without saying that Scott Thompson is God).

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Newt Gingrich: Dimestore Despot

 

This just in: Newt gingrich remains the most repugnant and despicable ass-clown in America!

(Narrowly edging out the oleaginous Andrew Breitbart, who may finally have done civilization a favor by making himself impossible to take seriously in any respectable circles.)

In terms of offensiveness, illogic and opportunism, the insufferable one may have outdone himself here:

There should be no mosque near Ground Zero in New York so long as there are no churches or synagogues in Saudi Arabia. The time for double standards that allow Islamists to behave aggressively toward us while they demand our weakness and submission is over.

And lest anyone think I’m shooting a pale, bloated and loquacious fish in a barrel, let it be known that I’m actually offering Gingrich more than a little benefit of the doubt. I am inclined to believe that he knows better and says most of the things he says (trying to be incendiary, ending up being insidious) to stir the sluggish pot of ditto-heads, “Don’t Tread On Me” types, and the no-taxes troglodytes who invariably live in counties most reliant upon the largesse of government and well-paid (and heavily taxed) liberal elite socialist sorts. Indeed, I have no choice but to conclude he knows better, because the irony (and idiocy) would be too unbearable if this bozo, who constantly invokes his authority on founding fathers (always wrongly, such as his demonstrably incorrect insistence that men like Jefferson and Washington were devout Christians and, more, designed the new country to be a “Christian nation”—which is literally the opposite of the very documents they created) actually believed the garbage he so often spews.

Check it out: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof.” Pretty hard to misinterpret or spin, no? Not unless your audience consists of the willfully illiterate and mouth-breathing masses who turn to Fox news for a quick fix for what (Roger) ails them. Any serious thinker who hopes to be taken seriously does everything in his power to avoid leaning on the ever-reliable George Orwell, but sometimes no other analogy will do. In the intellectual wasteland that passes for the Republican party these days, down truly is up and night really is day. Only in this contemporary dystopia on the Right could anyone with the ability to reason (or read) fail to understand the difference between what the founding fathers wrote and fearful bigots fantasize about.

It became increasingly obvious (and unnerving) during the aftermath of 9/11 and the run-up to the ’04 election that nothing would please the religious right lunatic fringe more than to essentially become honky Taliban. Of course they would be aghast at such an offensive characterization. But think about it: these are the same sociopaths who endorse an oligarchic state (a bathtub-sized government run by the untaxed and unregulated wealthy), covet the conversion of all to Christianity (not, incidentally, the type espoused by Christ but the type reformulated by white, often closeted gay men lashing out against their own uncontainable impulses), and openly proselytize the possibility of a single preferred religion. (The peripheral analogies include the behavior and attitudes toward women, the dispossessed and impoverished, the zeal for censorship, the defense of government spying and the embrace of anti-intellectualism. As Andrew Sullivan and Christopher Hitchens have pointed out without hyperbole, these are all genuine hallmarks of Fascistic ideologies.)

Bottom line: equating the tolerance of a Muslim learning center with “submission” and an indication of the “timidity, passivity and historic ignorance of American elites” (in addition to being a profound case of transparent projection), is a craven and fallacious misnomer that needs to be forcefully called out, and rejected. Indeed, if this disgusting sentiment was translated into another language and placed in a thought bubble above any ayatollah, it would seem like the ranting of an intolerant dime-store despot. Which is exactly what it is.

It almost makes you want to sardonically cheer Newt on and see how the dots connect, down the road, with the hard lines he endorses and how their implementation would affect ordinary Americans. Why stop at establishing (or rewriting history to assert there was) an official religion, let’s begin slicing off thieves’ hands with scimitars; let’s make certain types of artistic expression illegal; let’s throw rocks at adulterers…oops! See what happens, Newt? When you crawl out from under your rock and use it as a soapbox, you are eventually and inevitably hoisted by your own petard. And Newt, as much as any self-righteous offender, is serially petarded.

Of course the other, egregious fallacy of Newt’s outburst is the notion that the world is (or ever was) split into “us and them” (certainly it is if you are indifferent to and frightened of the “Other” and seek to divide susceptible citizens for naked political gain); Americans are Americans (presumably white Christians, natch) and Muslims are Muslims (presumably dark-skinned jihadists). This willfully ignores the fact that Muslims, as well as myriad other religions, cultures and creeds, all exist peacefully and democratically in the United States of America. Your average second grader is capable of understanding this, but not your average Tea Partier—which is exactly what Gingrich, with the subtlety of a raccoon in a trashcan, is relying on. But this underscores the always-ugly underpinning of the contemporary conservative mind (which is not terribly evolved from the historical conservative mind): the facile (and fictional) formulation that our great nation—a nation comprised of and built by immigrants—has a preferred demographic. Not so ironically, the only time this explicitly was the case happened to be (mostly in the south) during the sordid spectacle of slavery. Implicitly, that bias still extends to women, as well as non-whites, but in virtually all legal and moral respects, that type of race-baiting bigotry is discredited on arrival. In today’s right-wing sprint to the bottom of the tea-pot, this is the fuel that drives the cause. But like that other cause so fondly (and wrongly) reminisced about in certain quarters, it is a lost one and tends to spoil when exposed to the direct light of reality.

Let’s cut to the chase: I would wage considerable sums of money that there is no chance Newt could ever weasel his way into the nomination for 2012. Frankly I don’t think God loves us enough to make that remote possibility a reality. However, few things would provide me more pleasure. It might even be worth praying for.

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Summertime is Reggae Time (Revisited)– Part Three: ‘Right Time’ by The Mighty Diamonds

Big misconception about reggae music: it’s all happy, at the beach, drinking music. Biggest misconception about reggae music: it all sounds the same. Even Bob Marley (and it is both respectful and required to at least mention the great man’s name in any consequential discussion or reggae) had markedly different styles he embraced throughout his career, as his sound evolved from straightforward ska and rocksteady in the ‘60s to the full-fledged rastaman vibration everyone has heard on the radio—or at Happy Hour. Indeed, Marley serves as the most obvious case study for the distinctive sounds reggae has produced: anyone unfamiliar with songs not included on Legend, but curious to explore what else is out there, are encouraged to start with the crucial transition albums from the early ‘70s. You cannot go wrong with African Herbsman, the culmination of his brief but bountiful collaboration with Lee “Scratch” Perry. Or to appreciate the incomparable harmonizing of the original Wailers (Marley along with Peter Tosh and Bunny Wailer), Catch A Fire and Burnin’ are indispensable cornerstones of any halfway serious reggae collection. And, above all, if it’s possible to single out one work that encapsulates Marley’s genius, Natty Dread is the alpha and the omega: not only is this his masterpiece, this one holds it own with any album, in any genre.

Okay. Even for those who are not sufficiently intrigued by the notion of a deeper dive into reggae’s abundant waters, there are more than a handful of sure things right on the surface. Enter the Mighty Diamonds and their first—and best—album, Right Time from 1976. Like the Wailers, the Mighty Diamonds are a harmonizing trio (with a killer backing band), and these three men, Donald “Tabby” Shaw, Fitzroy “Bunny” Simpson and Lloyd “Judge” Ferguson, created songs that stand tall alongside the very best reggae. Right Time manages to combine several styles and merge them in a seamless, practically flawless whole. This, to be certain, is roots reggae, yet at times it sounds like the most accessible soul music, closer to Motown than Trenchtown.

The group’s allegiance to Rastafarianism is skillfully articulated in the socially conscious lyrics, but the ten tracks on Right Time tackle romantic turmoil, violent crime, and redemption—sometimes all in one song. The title track, equally an ominous call to arms as well as a rallying cry against the system, sets an immediate tone that predicts chaos while promising resolve, pre-dating Culture’s epochal Two Sevens Clash by a year. The brilliance of the songs that follow must be heard to be believed, and it’s difficult to imagine how singing and song craft this tight, spiritual, and emotionally rich could fail to convince. The next two songs, “Why Me Black Brother Why?” and “Shame and Pride” constitute a one-two punch that manages to invoke Marvin Gaye, Smokey Robinson and Otis Redding: Gaye’s authentic words, Smokey’s silken voice, and Redding’s gut-rending fervor. If the world was right side up, all of these songs would be standards, familiar to anyone who listens to the soul legends mentioned above. The album’s highlight may be the resplendent anthem “I Need a Roof”—-a rather uncomplicated piece of poetry that invokes Marcus Garvey and Jesus Christ with its (obvious) insistence that without shelter there can be no peace, and without justice there can be no love. Listen: even writing about this record, albeit while offering the highest possible praise, inexorably mutes the message. That message is conveyed with voices that must be heard so that the music can make sense. Go seek it out.

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If Two Jazz Fans Fight on the Internet, Does Anyone Hear It?

Kind of like two trees falling in the forest, right?

Well, for anyone (and I mean “one”) who may wonder what it sounds like when two jazz fans fight, here is the ugly, unvarnished tale of the tape (to be cont’d?).

Brief back story: in June I took the opportunity to express my (not particularly controversial) opinion that Miles Davis’s second great quintet was the best band of musicians to ever assemble in one group, here (the piece also appeared at PopMatters). Here is some of what I wrote:

Those men, individually, are some of the most important and brilliant musicians of the last century. Together? Forget about it. This quintet (Davis’s second famous fivesome) was an unstoppable force and they made some of the greatest albums. In jazz music? In any music.

And then, after discussing the merits of the individual players, lamented that Wayne Shorter still seems to get short shrift when all-time greats are mentioned:

Wayne Shorter is, for my money, possibly the most underrated genius in any genre of music. To be sure, he gets plenty of props within jazz circles and the people who know really know. And in his wise, humble way, he is probably cool with that. But his name does not come up quickly enough, or often enough in discussions of the true masters. And aside from his considerable proficiency on the horn(s), he is also among the most distinctive and consistently satisfying composers. And while Miles, who was without peer in assembling talent, had the vision and deservedly gets the lion’s share of the credit (he was the lion, after all), a good chunk of the material on those second quintet sessions was written by Shorter. And here’s where it gets unbelievable: all through the mid-to-late ’60s –at the same time they were in The Quintet– he (as well as Hancock) was dropping epic masterpieces on the Blue Note label (think Maiden Voyage, Speak Like A Child, JuJu, Speak No Evil –for starters).

So then, about a week later, I went ahead and sang the praises of Wayne Shorter in greater detail, here (a piece that also appeared at PopMatters). This is how I concluded the piece:

Wayne Shorter, on the other hand, is like imported dark chocolate. Or fresh Kona coffee beans. Or a 2004 Brunello (or a 1964 Brunello for that matter). Or whatever type of car people who appreciate cars get excited about. You get the picture. Wayne Shorter is, in other words, the authentic item that aficionados savor, but whom virtually anyone with unpolluted ears can immediately appreciate. We odd and admittedly obsessed folks who really love jazz have no agenda. Really. (I’m not talking about the aesthetic prigs who have nothing good to say about anything other than the music they endorse; that is a certain type of poseur who has always been amongst us, whether the topic is music, literature, movies or wine or food or coffee or, especially these days, beer, et cetera.) All we care about is disabusing opinionated but clueless blowhards of the notion that jazz is (insert cliche here: to include “old-fashioned dance music”, “boring”, “musical masturbation”, “shrieking”, “easy listening” (!!!), “overwhelming”, et cetera) what it is or, put another way, what it is so manifestly not.

Life is too short to try and pick up something you simply can’t appreciate. But if you’re willing to give it a shot you just might be surprised. So consider this five song sampler from Wayne Shorter a win/win: if you don’t like this, you don’t like jazz; if you do like it, welcome to the rest of your life.

I’ll confess I did not think anything I offered up was particularly debatable or objectionable. But when it comes to the so-called jazz intellegentia, all bets are off. Sure enough, a very hip(ster) reader of PopMatters felt obliged to chime in and (I have to hope unintentionally) misinterpret both the literal words and –more egregiously– the entire spirit of where I was coming from and why I was writing.

His letter, which prompted a response in kind, are below.

Him:

I am sorry, but I find your article very stupid.

I am a jazzman, I love jazz and I can’t live without it, but when I see sentences like, if you don’t like this, then you don’t like jazz, I can say anything but “stupid”.

First, you can love basie or billy without loving modern jazz. Jazz rythm is the most important thingin my life but it can’t be different for other people.

Twice, I know hundreds of people who like jazz and lots of them don’t like Wayne that much and it doesn’t mean they don’t like modern jazz. Moreover they may be much more advanced in their tastes than you, when it comes to real jazz ( they love Cecil taylor, the last thing of Coltrane and so on…)

You can give your opinion and as you say you are here for that, but don’t do what you are fight against. Let people have their own tastes and enlarge their tastes, not the contrary.

Best,

Serge

Me:

Serge,

Appreciate the thoughts and while I’m disappointed you found the piece “very stupid” I’m glad it provided you with the opportunity to vindicate the honor of those *really* misunderstood and sophisticated jazz aficionados (presumably for whom Wayne Shorter is simply too conventional).

Unfortunately, and more than a little ironically, your protestation kind of misses the purpose of my rather tongue-in-cheek point. Which is: the proposition that if a person, who has never taken the time (for understandable and legitimate reasons) to check out jazz does not find much to like in these rather accessible and representative post-bop recordings by Shorter, it’s unlikely that they will find much in the more free and “out” works of the last half-century (and for the record, I endorse Cecil Taylor, thank you very little, but find that there are two primary reasons I don’t recommend him first when talking to would-be jazz fans: one, however much I dig ‘Silent Tongues’, in my experience it’s not exactly an ideal aperitif for the uninitiated; two, dropping late period Coltrane (which I actually discuss in a recent appraisal of Trane’s career) or Cecil Taylor or Henry Threadgill as proof of my avant-garde bona fides would make me precisely the insufferable poseur I excoriate in this piece).

That said, I reckon there has to be at least one or maybe three people out there who ‘Speak No Evil’ would not speak to, but who would connect, at first listen, with Sun Ra’s ‘Cosmic Tones for Mental Therapy’. Likewise, I am sure there are more than a handful of folks who just love pre-bop jazz but don’t care for anything after Coleman Hawkins; the problem is, they are all 130 years old.

The central impetus of this piece (and the previous entry on Eric Dolphy, and whatever subsequent ones I write) is to hopefully turn on a handful of open-minded listeners to some great music that—whether because of some insidious stereotypes that still exist about jazz, or because they encounter uber-hipsters who feel that John Zorn sold out after ‘Naked City’, or Albert Ayler sold out…by dying, which understandably confirms the worst clichés about how *real* jazz fans roll—they might find worthwhile. It is a humble endeavor that I imagine artists like Wayne Shorter might even appreciate—perish the thought!

Cheers,

Sean

For even unconvertable jazz haters, Mr. Shorter casts a long shadow –and you’ve probably heard him before, even if you don’t realize it.

Steely Dan’s “Aja” (featuring Wayne Shorter):

Portishead’s “Strangers” (which features two samples, particularly the DOPE one that opens the tune, from Weather Report’s “Elegant People”, composed by Wayne Shorter; that’s him on the sax…):

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William, It Was Really Nothing or, The Faux Pi of Sarah Palin

Memo to Sarah Palin: when Lady Macbeth cries “Out, damn’d spot!” she is not talking to her dalmation.

I found Sarah Palin’s latest tearjerker invoking William Shakespeare particularly interesting on two levels (and, I say tearjerker in the sense that her indefatigable self-promotion combines with illimitable delusion to produce these types of comments, which at once induce laughter unto tears which then prompts one to weep for our future). First, it was, of course, The Bard who wrote the following lines, which demand to be quoted in full for a variety of obvious reasons:

Life’s but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

I know, right? (This is life imitating art, super-sized.) But second, it is more than a little appropriate to consider that the other great William (Faulkner, that is) utilized this poetry for the title of one of the towering literary achievements of the last century, The Sound and the Fury. It is amusing (aside from the audacity) that Palin likens her creative license (or that of the semi-literate cadre of ghostwriters who Tweet for her) with masters of the form who on occasion changed the language. The difference, aside from the fact that they could actually speak the language with no small degree of proficiency, is that for artistic folks who innovate and advance our template for communicating or creating, one must already have mastered the fundamentals. This is demonstrably true of Slick Willy (Shakespeare) just as it is true of will.i.am (Faulkner), as it is true of Salvador Dali or Ornette Coleman. Can you dig it?

Sarah Palin is in what seems to be a historically unique position in that the more she embarrasses herself, the better it turns out to be for her career. And bank account. Sarah Palin is hated and loved in equal measure, always a good niche market. And she is popular, to a large extent, because her legion of dimwitted acolytes find, in her looks, attitudes, pronouncements and propensity for faux pas (faux pi?), a reinforcement of many things they want and need to believe. She is popular the same way boy-band pop stars are popular: she sells copy because the things that come out of her mouth are the things that a great many people want to hear. There is a formula for insipid pop music and there is a formula for pseudo-populist hucksterism.

What is different about Palin—and what makes her dangerous—is that while virtually every move she makes is calculated and carefully calibrated to resonate with the semi-literate and unreflective Americans whose bigotry is set on cruise control, she is not entirely disingenuous. Indeed, the things that most annoy the principled, learned and sentient citizens happen to be the things that are unaffected and/or unrehearsed. That is, her astonishing, almost impossible-to-properly-fathom ignorance. But that didn’t stop Ronald Reagan (whose amiable dunce routine, in fairness, looks downright Socratic after eight years of his Vice President’s son and Palin’s scorched earth ill-will tour). The problem, now, is what we have wrought as a nation with our voracious appetite for insipidity: being dumb is not only no longer an obstacle, it is a short cut. People like Reagan (and, to a lesser extent, his V.P.’s son) had to work hard to overcome their manifest intellectual shortcomings. Imagine how much time and energy is freed up (to fundraise, for instance) if you no longer have to fake it ‘til you make it. Think of how inordinately liberating it must be to celebrate—and be celebrated—for keeping it unreal on the campaign trail. Consider how much more confident one can be in one’s untested and uninhibited convictions if one never has to explain them.

I don’t blame Palin or her fans for this phenomenon. The staggeringly unenlightened have always been amongst us; mostly innocuous platforms like Facebook and Twitter have just given them more ways to connect and commiserate. No longer do misguided cretins have to conduct solitary diatribes in their attics or consult with their tinfoil hats in a dark room; now they can plug in, connect and blame the godless, the gays, the immigrants and the evil machinations of Socialist-minded social servants with one hand comfortably snuggled in the bag of Cheetos. They can incite riots and excoriate the elites without even leaving the comfort of their recliners.

But I suspect that even if social media (and, of course, the Internet) had been available two decades ago, an unabashed simpleton like Sarah Palin could never have made it out of Alaska back then. And for this I blame our disintegrating, increasingly useless mainstream media. The only thing liberal about today’s media is the appetite they have for horse races and sensational gossip over more mundane matters like what policies (take health care reform) actually contain and who they actually benefit, or making readership aware when a particular pol or pundit is straight-up lying. But we know this is treacherous ground to tread because, as Dr. Stephen Colbert established, the truth does have a liberal bias.

Which brings us to Sarah Palin’s latest crime against the English language and (more distressing) cocksure condemnation of racial and religious intolerance. No, not her own, but the ostensible hatred a certain ethnic and religious group harbors. That would be Muslims or, in Republican parlance, towel-heads. You see, because of 9/11 Muslims hate Americans, want to kill us, and their religious beliefs—and those who practice them—are violent and insidious. They also are not white or Christian, which is two strikes against them from the get-go. But this manufactured outrage over a Mosque in New York City is actually a teaching moment. In one imbecilic sentence, Palin is illuminating the misguided thinking that even allows someone to go there. Rather than attempt to disentangle the convenient (and conveniently backward and bigoted) sleight of mind that can equate Muslims with terror and a Mosque with violence, let’s try to use this insulting illogic in another scenario where Palin currently applies it. Below we have an image of the Murrah Federal Building in Oklahoma City. As my perspicacious friend Tony James reminded me, Timoth McVeigh was Catholic, so clearly we need to tear down St. Joseph’s Old Cathedral (indeed, the proposed Mosque will be two blocks from Ground Zero; this church is practically across the street!). Needless to say, the average American redneck cemprehending that comparison would be as conceivable as the average Christian conceding that Jesus wasn’t, in fact, a honky.

Instead, the focus has almost entirely been on her beyond-W butchering of English syntax and no one (outside of the progressive blogosphere which, while useful and necessary, is mostly preaching to the choir) seems terribly concerned in addressing the racist and moronic reasoning that would even lead one to endorse such backwards thinking. (That said, it must be mentioned that the collective genius of humanity has rallied in a time of need, and is busy at work on Twitter making appropriate mockery of Palin’s bungle. Enjoy the hilarity @ #shakespalin.) Naturally, the emphasis has involved a “discussion” of whether she intended to make up a new word (duh) or whether we should take it seriously (DUH). Less than a little effort is made to remind anyone that everything she is saying is historically wrong, mean-spirited to the point of psychosis and flat-out racist. One could also make a case that she is persecuting another group’s religion, something Christians, for all of their whining and “War on Christmas” crapola, should be at least a tiny bit sensitive about. Of course, as we know in America the only groups who are genuinely persecuted are white fans of Jesus and billion dollar crybabies who pay too many taxes (Ha).

(Sidenote: it is either disconcerting or enticing—and possibly both—to consider what would happen if people like Palin and her ilk were really forced to sit down and actually read the bible or the Constitution (including the Bill of Rights) and understand who Jesus really was (even as a fictional character) and who the founding fathers really were (based on the things they actually believed and wrote which, unlike the authors of the bible, bear their signatures). Would heads explode? Would pre-packaged ideologies, at long last, suffocate on their own fumes? Would something approximating enlightenment ensue? Would reading lessons be necessary first?)

A prediction: There is an unforseen silver lining in all of this. Most of us have suspected for quite some time that Palin is the de facto leader of the G.O.P. brand; the only people unwilling (or understandably unable) to acknowledge this are the insiders and party elders themselves, who have so much to lose if and when she ultimately steps out of her Fox-News bunker and pre-scripted press releases (which she calls speeches). Once she puts herself in the proverbial crosshairs of even cursory (and at that point inevitable) media scrutiny, the lies will unspool and the façade will crumble and a modicum of sanity will be restored to our woeful world. And along the way the unthinkable will happen: the Republican contenders will necessarily have to go on the attack. That is when things will get very interesting indeed.

And people will write about it, we will laugh about it, and we will do everything in our power not to learn from it.

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Cut Chemist Drops Knowledge, Old School Style

I needed this today: a little trip down memory lane is just what the doctor (or, chemist) ordered.

A couple of old school lessons from last millennium (both taken from the outstanding joint Cut Chemist Meets ShortKut: Live at the Future Primitive Sound Session).

Lesson One:

Lesson Two:

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Funny Or Die + Jewel + Karaoke = Genius

Okay, you have to give it up to Jewel and the (hysterical) site Funny Or Die.

Jewel recently agreed to have make-up artists (from F.O.D.) put her in disguise so she could roll into a Karaoke bar and surprise the unsuspecting patrons.

It worked. And it’s, well, darn it, it’s kind of heartwarming.

A few quick observations:

1. Jewel has aged very well. In fact, she seems more smoking than she did 10 years ago. And she obviously has a sense of humor. Good for her!

2. Funny Or Die rules. They’ve already got the (first?) epic Mel Gibson mash-up. Go check it out. Just do it.

3. Jewel is very smart, and this latest adventure indicates that her business acumen is very in tune with the times. At the top of the video, on the site, it announces that she has a new CD out. I’m certain this will help her move more units than she otherwise would. Good for her, and good for Funny Or Die for making that happen. It’s a very rare win-win where everyone comes away happier, and hopefully richer. That’s America, without (much of) the disgusting free-market aftertaste.

4. That old dude they interview has a brilliant t-shirt on. Rock on, Pops!

5. Also, the audience’s reaction to her (in costume) once she starts singing proves that no matter what you look like, you are about one hundred times hotter if you have a good singing voice.

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