Matthew T Grant

Us Five, a jazz ensemble led by reedman Joe Lovano and featuring James Weidman on piano, Esperanza Spalding on bass, and drummers Otis Brown III and Francisco Mela, opened their two night stand at Scullers last night. I saw the group almost exactly two years ago (sans Spalding—Peter Slavov handled bass duties) and, at that time, thought that they were the best jazz band I had ever seen. That may have been an exercise in hyperbole but they are a ridiculously talented group of people, and if anything, were even better this time around. The level of creativity and invention they brought to the stage was of such a high caliber, the music they made of such exquisite quality and played with such raucous refinement, I was literally moved me to tears.

There were three things I learned last night watching this group in action:

1. One Must Appreciate and Acknowledge Mastery

Two years back, I got real hung up by what I heard as excessive Trane-isms in Lovano’s playing. That was my problem, not his. Joe Lovano is a master who can play whatever he wants and everything he plays is dead-on—rhythmically engaging, intricate, elaborate, beautiful. And everyone in this band is as much the master. Last night, I focused on appreciating this fact and allowing myself to be amazed by these human beings and their stunning ability not only to spontaneously create remarkable music, but to do so collectively, “like they were one being,” as my friend Mike said after the show. I am insecure and am prone to neurotically transform encounters with incredible people into bouts of self-loathing. In this instance, however, I was simply glad  to be in the presene of these inspiring and illuminating masters.

 2. Go All Out, Every Time

The set I saw was, as I said, the first of a two night stand. Yet the band played with such intensity, joy and abandon that you would have thought it was the last time they would ever play together on this Earth. This aspect of their performance, this striving after the ultimate, made me realize that what made the evening special wasn’t simply how gifted they were as musicians or how impressive their technical virtuosity, particularly when exercised with such a relaxed, even casual air, but that they threw themselves into it so utterly. They didn’t have to do that. They didn’t have to play as if they were aiming to produce the best music possible, the most finely-wrought solos, the most ingenious accompaniment, but they did. To have ability is a good thing. To have the will to make the most of that ability and then to actually put in the effort (though it appear effortless) to do your utmost—for what? the audience? the art? the sheer joy of masterful performance?—that is the better thing. Go all out. Every time.

3. Esperanza Spalding Is Astonishing

She really is! I had heard of her, of course, (wasn’t she on the Oscars or something?) and seen some video on YouTube but I had no idea what a badass she really was. Laughing, smiling, swaying, lost in the music, she melded deftly with the chaotic, surging rhythmscape conjured by Brown and Mela and played several bravura solos of jaw-dropping artfulness. My only thought was, “I hope that this young woman, who could do whatever she wants musically, doesn’t get sick of doing this, because she’s awesome at it!” As good as the rest of the band is, and as great and irrepressible as Lovano himself is, Spalding was the unequivocal star. She’s astonishing.

I heard someone today say, “Nowadays, good enough just isn’t good enough.”

I disagree.

Good enough, by definition, is good enough. If it weren’t good enough, then it wouldn’t be.

But behind the statement is a more general cultural consensus that one should never “settle for less” and, instead, strive for the amazing.

“Go big or go home,” they say. (“Go for the gusto or don’t go at all,” they used to say.)

Why? Why do we have to be amazing? Why do our experiences need to be amazing? Our homes? Our cars? Our jobs? Our sex?

It’s as if dissatisfaction, rather than the result of circumstances every now and again, should serve as the desired state.

Whatever happened to appreciating things the way are, in all their unamazingness, and being happy with enough?

If things are bad, we should work to change them. (Or leave them as they are. I’m not here to tell you what to do.)

If things are good enough, shouldn’t that be good enough?

“Um über die nachträgliche Abspannung der Nerven hinwegzukommen habe ich leider wieder zum Chloroform meine Zuflucht genommen. Die Wirkung war furchtbar.” – Georg Trakl, 1905

I’ve begun to re-immerse myself in the intricate and densely overwrought sprawl of Pynchon’s masterwork. I first read it some 28 years ago and must declare that it remains, then as now, worthy of my idolatrous devotion.

20th Century literature begins with Ulysses and ends with Gravity’s Rainbow. The rest is either commentary or reaction.

“In 12 years, there have been 6 million dead men and women in Congo and 1.4 million people displaced. Hundreds and thousands of women and girls have been raped and tortured. Babies as young as 6 months, women as old as 80, their insides torn apart. What I witnessed in Congo has shattered and changed me forever. I will never be the same. None of us should ever be the same.” – Eve Ensler, May 2009

The World We Live In

The situation Ensler describes above has only gotten worse and its “intractable” nature, documented by yet another report on the extent of sexual violence in Congo, led her to declare last week, “Here’s what I Am Over/400 thousand women getting raped a year in the Democratic Republic of Congo/48 women getting raped an hour/1,100 raped a day.”

As she rightly points out, we live in a world that “… has allowed, continues to allow 400 thousand women, 23,00 women, or one woman to be raped anywhere, anytime of any day in the Congo.”

Of course, we also live in a world in which Odd Future can release a song (“Swag Me Out,” from the Radical mixtape) containing the line (picked more or less at random), “”Nigga we/take a girl/rape her in the back/of the fucking jeep,” followed soon by, “Chop a bitch head off/Then get a pleasant nut off/Bitch!” In fact, in this world, the band can appear on Jimmy Fallon’s show and even have an interesting article written about them in the New Yorker. Read the rest of this entry »

Phil Johnson has an ad agency (PJA) and also likes to read books. One day I asked him if he ever read science fiction and he said he didn’t. He asked me then to assemble a list of science fiction books I would recommend. I agreed to do so but thought, “Why should this list just sit in Phil’s inbox? Why don’t I, in fact, share it with the world via this worldwide, web-like platform I normally use for blogging about atheism, communism, and heavy metal?”

I’m no science fiction fanatic, and there’s probably a ton of great stuff out there that I’ve never even heard of (if you think so, PLEASE leave suggestions in the comments!), but this is the list I put together for Phil with the understanding that he has not even read some of the “classics”.

1. Do Androids Dream of Electric Sheep? – The book upon which Blade Runner was based, of course, though much more engaging, involved, and philosophical than the film. It also contains at least one passage that, I believe, induces a palpable experience of existential vertigo. Watch out!
2. Spaceman Blues: A Love Story – Brian Francis Slattery’s relatively recent vignette hits you with a heady melange of beat prose, hard-boiled pacing, and an undying love of New York City. It also depicts the banal horror of alien conquest.
3. Dune – Speaking of melange, I was surprised to learn that Phil had never read this. The epic weirdness of David Lynch’s movie version aside, this novel is a virtuosic display of world-crafting that functions as political allegory, alternative history, and mystic tome.
4. Neuromancer – William Gibson is a reserved—at times almost austere—stylist with a keen eye for future probabilities and a good record collection. Oh, and he coined the term “cyberspace”. One of his most recent books, Pattern Recognition, was about marketing.
5. Schismatrix – I read this right after I read Neuromancer and thought that it actually contained more interesting ideas about social evolution, humanoid psychology, and the polymorphy of culture. If you like hallucinogenic drugs and societies built around the practice of sewing, you’ll love this.
6. The Three Stigmata of Palmer Eldritch – Speaking of hallucinogens, Philip K. Dick’s novel about the extreme ennui experienced by space colonists, their flight into a world of Barbie dolls and pharmaceuticals, and the appearance of drug-peddling cyber-god works both as a parable of the 60s and a prophecy for the future.
7. Radio Free Albemuth – This is the last Philip K. Dick novel I’m going to recommend but, in many ways, it is the best written (possibly because it was published posthumously and bears the trace of careful editing?). Dick had a religious experience in 1974 that obsessed him until his death. He wrote a lengthy exegesis of this experience and incorporated many of its details into his later novels (Valis, The Divine Invasion, Flow My Tears). It plays a central role in this novel as well but is handled in a more human, and less cartoony, way.
8. The Deathworms of Kratos – This was Book 1 in a series called “The Expendables” (I also read The Rings of Tantalus). It is totally adolescent science fiction that made a big impression on me when I read it in seventh or eighth grade. The lesson here isn’t that this is a great book; the lesson is that, with science fiction, sometimes you just have to pick up a book because it has a cool cover or weird title and start reading (that is in fact what I did with Spaceman Blues above).
9. The Alegebraist – This guy Iain Banks (or Iain M. Banks) is prolific and a very solid writer except that he sometimes gets too many plot threads cooking for his own good. This book definitely suffers from that but the weaknesses in plotting are more than made-up-for by the phantasmagoria of worlds, beings, and circumstances Banks conjures.
10. A Deepness in the Sky – Vernor Vinge is the guy who invented “The Singularity” and he’s written a bunch of cool science fiction novels. Some may argue that this book’s predecessor, A Fire Upon the Deep, is better, but this creepy, slow-burning study of intergalactic colonialism, mind control, and revolt has stuck with me much longer.

I could recommend a bunch more, but that’s enough for now. Like I said, if you’re reading this and got something to add, go for it!

Image Source: th3ph17.

I went to see Rush at the Garden last night. It was good, but it wasn’t sublime.

Here’s the thing. I’ve liked Rush since I was a kid and in fact still listen to their music with an, for some, alarming frequency (my favorite album being Fly by Night). However, I never really explored their catalog, which I otherwise celebrate, beyond Moving Pictures, the mega-hit which sold over 4 million copies worldwide and put them on the classic rock map for good.

If I think of things from the standpoint of Geddy, Alex, and Neil, I realize that for them, Rush is everything they have done since they started playing together in something like 1968. In fact, early on in the show Geddy Lee joked that they had “400 songs” that they could play for us.

Unfortunately, for many of my generation—I recently turned 47—Rush actually boils down to the 4 or 5 songs (“Tom Sawyer,” “Limelight,” etc.) that we’ve heard a thousand times and, if you are a semi-fan like me, choice cuts from the preceding albums (“Xanadu” from A Farewell to Kings or “The Necromancer” from Caress of Steel). Aside from “Subdivisions” off Signals, I couldn’t really name a Rush song recorded after 1980.

It was for this reason, and a couple others, that the first lengthy set Rush played was a bit of the hard slog. Kicking things off with a very corny, though highly produced, film clip that set up the “time machine” theme of the evening, the band launched into one of their biggest hits, “Spirit of the Radio,” and it was exhilarating. When you hear a band play a song that has been kicking around your ears for thirty years it is undeniably powerful and I was, for about 4 minutes and 50 seconds, transported. Read the rest of this entry »

“Can’t you see that I’m the one who understands you?”

When my oldest son was 3 or maybe 4, he picked up a copy of Jacques Lacan’s Four Fundamental Concepts of Psychoanalysis, opened it and, looking intently at the pages (he could not read at the time), started shouting, “I knew it! I knew it!” This perfectly illustrates my own relationship to the work of this seductively abstruse thinker.

One thesis of the aforementioned well-worn paperback is that the gaze is an object of desire. We want to be seen. This yearning is rooted in us at an existential level and finds expression throughout our culture. Why else, I ask you, would  spiritual union, intimacy, and intense personal commitment be expressed simply as, “I see you,” in the film Avatar?

Of course, the idea that people seek out “the gaze of the other” doesn’t really sound that profound considering that everywhere we look advertisements abound promising methods to improve our appearance in order to make ourselves more attractive. For his part, Lacan makes his idea stranger than obvious by insisting that the gaze is an actual object (captured, for example, in Holbein’s anamorphotic skull), and not just the fact that someone casts a longing glance our way.

In her finely crafted hit, “You Belong With Me,” Taylor Swift emphasizes that the “gaze” as object of desire is actually a placeholder for something even more potent and abstract: knowledge. That is, rather than merely being seen, we want to be known. To put it another way, what we want the other to see in us is our understanding of them.

The protagonist of the song, well-aware of the visual allure of her high-heeled, short-skirted sexual rival, goes out of her way to convince the object of her desire (“you in your worn out jeans”) that what she has to offer is something to be more highly prized. Certainly, she says, the toned legs and prominent ass buttocks of a cheerleader are undeniably appealing, but what is more elusive and valuable, in fact, what you yourself lack, is the satisfaction that comes from clear-sighted self-knowledge, which I alone, as the one who gets your humor and knows your story, can provide.

The irony, and tragedy, I suppose, is that visual immediacy can so easily trump this intimate knowing, however desirable the latter may in the end be. I believe that this is amply illustrated by the video for “You Belong with Me.” The fact that Taylor Swift is herself physically attractive not only makes the narrative unbelievable, at least as told from her perspective, but also highlights the challenge of becoming an object of desire through primarily subjective (“I know you”) means.

At least that’s what I got out of it.

I spend more time tending my Twitter garden than I do planting bulbs here in my own backyard.

To remedy this, I’m attempting a little cross-pollination and invite you, dear reader, to drink deep from my Twitter well. Just look at the precious coins I’ve tossed therein:

• “How to Train Your Girl with a Dragon Tattoo” #ijustsaw Sat May 1 22:38:34 2010
• I just realized: Plaid is the new paisley 10:35 PM Feb 4th
• i think i crashed Google. #sorry! Wed Feb 10 23:25:44 2010
• It started with a shout-out, and ended in a shoot-out Mon Feb 22 14:24:43 2010
• um, because you’re psychotic? RT @warrenellis: I do not understand why I have not been approached to run the UK Space Agency. Tue Mar 23 12:55:30 2010
• @tallbonez I like wearing hash browns too but they leave grease and ketchup stains everywhere I sit Wed Mar 24 08:42:07 2010
• Are humans the only species with the proven ability and willingness to hunt other species to extinction? #justcurious Sat Apr 10 09:57:35 2010
• Don’t hate the player, hate the instrument Sat Apr 10 19:34:31 2010
• “divine” is just another way of saying “inhuman” Tue Apr 20 08:37:22 2010
• I wanna be part of a global teeny-bopper trend I don’t understand! “Older Girl, You’re So Pretty” – #happy700thdayshinee Sat Apr 24 10:10:06 2010
• Somebody asked me for a “realistic estimate” of when I could do something. I told him, “Realism isn’t exactly my bag.” Fri Apr 30 11:31:33 2010
• If you’re trying to figure out if something is a good sign or not, it’s probably a bad sign. Sat May 1 22:39:47 2010
• I knew the focus on ROI was just a fad: http://adage.com/agencynews/article?article_id=143644 Mon May 3 09:12:22 2010
• Maybe global warming is just God’s way of boiling the ocean. Tue May 4 06:42:41 2010
• As anyone ever actually said, “Here, let me Bing that for you?” I thought not. Tue May 4 07:15:36 2010
• People always say “re-invent” yourself. Is this tacit acknowledgment that we are inventions to begin with? Tue May 18 09:52:32 2010
• I have nothing to add to the “conversation.” Pls RT Fri May 28 16:07:18 2010
• The remarkable power and portability of some euphemisms: People say “I have to go to the bathroom” even when they’re out in the woods. Tue Jun 1 17:14:01 2010
• Some complain about our growing inability to read anything of length online. What do they expect from people using “browsers”? Thu Jun 10 23:55:07 2010
• Hemingway called the blank page “The Great White Bull” – Does that make Twitter’s “What’s happening?” box “The Little White Bull”? Thu Jun 17 22:44:12 2010
• The hint of androgyny that suggests a kind of decadent villainy in American popular culture. Tue Jun 22 14:43:53 2010
• The lump on his neck pulsated as though it were full of bees. Tue Jun 22 15:32:16 2010
• Sea-foam on beach-breaking waves always seems to be galloping to boil and feather on the shore. Thu Jun 24 12:58:42 2010
• Every life is a word and every horoscope it’s false etymology. Fri Jun 25 09:30:58 2010
• Backlit leaves, sunlit ghosts Fri Jun 25 14:11:21 2010
• The real question is, “Wozu Twitter in dürftiger Zeit?” Fri Jun 25 14:49:30 2010
• The truth will set you free, but first it will make you throw up. Tue Jun 29 10:02:20 2010
• “The only thing our society rewards is potential. Accomplishment actually counts against you” Mon Jul 12 09:34:56 2010
• One sip of Pilsener Urquell and I’m back in Mittteleuropa. This beer is my Proustian madeleine. Mon Jul 12 23:46:09 2010
• “403 Forbidden: The server understood the request, but is refusing to fulfill it.” – Servers are basically like teenagers Wed Jul 14 11:09:07 2010
• Me: Listening to Jimi Hendrix makes me want to get a Stratocaster. My friend: It makes me want to get a hooker. Thu Jul 15 20:41:03 2010
• I wish I got “Frenemy” requests on Facebook. Sat Jul 24 15:18:02 2010
• We need WikiDepends to prevent WikiLeaks Mon Jul 26 13:18:35 2010
• I’ve never counted my chickens before they hatched, but I have counted them right before they got gobbled up by the fox 4:32 PM Feb 1st
• I think I may have just violated the Prime Directive. 11:18 PM Jan 21st
• When I grow up, I want to be an unindicted co-conspirator. Mon Jan 11 12:27:05 2010
• OMG! LOL! WTF? 10:07 AM Jan 5th
• EYE OF THE TIGER!!!!! 2:27 PM Dec 17th, 2009

Pretty good, right?

Caught Pat Martino’s first set at Scullers last night. He was playing with organist Tony Monaco and drummer Jason Brown and confirmed note-by-sinewy-note  his well-deserved status as a living master still very much in possession of his prodigious gifts.

Martino’s patented “horn-like” lines were in full display, as was his aptly groovy and well nigh gut-bucket comping, while his dynamic phrasing added a sublimely meta-rhythmic layer to all the serpentine spideriness of his “concept.”

One thing that separates Martino from the be-boppers and modernists who preceded him (the Jimmy Raneys and Jim Halls of the world) and the post-modern post-fusionists of today (from Scofield to Rosenwinkel) is that he’s got a healthy dose of the Sixties on him. This shines through in his come-by-it-honestly nativist approach to the funky organ trio setting as well as in his trance-inducing, raga-esque vorticism (which reminded me, at times, of my longtime idol, Gabor Szabo).

In other words, Martino was great.

Nevertheless, for me, the true star of the evening was Tony Monaco. A highly animated and expressive guy (his protean facial expressions were themselves worth the price of admission), he played astoundingly well, moving fluidly from vintage Jimmy Smithery to an ELP-like psychedelia. The neck-deep in the reverb, quasi-soap-opera tone he chose during “Alone Together,” which he rode deep into an obscure, supersonic well, was emblematic of his adventurous, effervescent, and endlessly captivating style. We haven’t heard the last from Mr. Monaco.

The evening’s one moment of strangeness was when Pat temporarily dismissed the band and invited his wife, Ayako, to play a couple numbers with him. I couldn’t get my head around that move until I thought, “This guy has basically been on the road for 45 years and, at this point, the stage is more or less his living room. Why shouldn’t he just sit down with his wife and play a couple tunes for friends?”

Except, of course, the stage is not a living room and we are not his friends, which made this portion of the show either eccentric, endearing, or irritating, depending on where you were at mentally.

Image Credit: tom.beetz

The way I see it, there are three paths to social media success.

1. Invent a Popular Social Media Platform

Marshall McLuhan once said something like, “Media owners don’t care what’s on TV, as long as everyone is watching.” To put it another way, the people who own what everyone uses, are the big winners. Unfortunately, becoming an owner is easier said than done and it just gets harder over time.

Facebook, for example, may have displaced MySpace – as MySpace displaced Friendster – as the center of the social media universe, but it’s hard to imagine what will displace Facebook. It’s user base just keeps growing and it really has become part of everyday life for millions. Same goes for Twitter, Flickr, LinkedIn,  and YouTube, among others.

One possibility, I guess, is creating a meta-tool that allows people to aggregate their disparate online personalities and communities, but that didn’t exactly work for FriendFeed (and plus Facebook is kind of headed in that direction already) though it is kind of working for Apple (if you know what I mean).

2. Become a Social Media Celebrity

Mass media like television and radio have always been platforms for celebrity and the social media are no different, to a degree. Certainly people you have never heard of, such as Fred, have become “famous” by launching programs on YouTube, but that’s because YouTube is basically an open, explorable space.

You can explore Twitter but, generally speaking you are only paying attention to the folks you’ve chosen to follow and only really get noticed by them what follow you. In any event, it’s a lot easier to be a famous person. such as Oprah, Ashton, or Conan, who chooses to use Twitter than it is to become “famous on Twitter” (not sure who counts in the latter category aside from maybe Brogan and Vaynerchuk).

Finally, the rules of engagement on Facebook make it so utterly closed that, at best, it may allow you to become “better known” to your friends and acquaintances. You will never, however, become “well known” via Facebook.

3. Use Social Media to Do Something

Aside from being the easiest way to achieve “social media success,” this is the only way that the words “success” and “social media” ever make sense together in a sentence, as far as I’m concerned. The social media are tools and tools are only meaningful in their application to this or that situation.

This is one reason that I don’t believe it makes sense to have a “social media plan” for your business or one person there who is “responsible for social media.” Social media will only help you achieve your objectives – that’s what “success” means, right? – if it is integrated into the plans and programs you’ve undertaken to achieve them.

So incorporate social media channels in your PR strategy or figure out how to leverage social media in support of a product launch or make social media an important component of customer service. That way leads to success and, specifically, success via social media.

Everything else is just pipe dreams and pyramid schemes.

Image Credit: http://www.flickr.com/photos/33142058@N06/ / CC BY 2.0