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  <a href="/blogs-blather/blog/3969363/minstrels">Minstrels</a>&nbsp;
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  <div class="message"><br><div class="MsoNormal">                                                </div><div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-WJhlUOntl9Q/UBB2FZTyntI/AAAAAAAAAUM/dFX-ZIoin8c/s1600/smokey+spotlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img src="//3.bp.blogspot.com/-WJhlUOntl9Q/UBB2FZTyntI/AAAAAAAAAUM/dFX-ZIoin8c/s320/smokey+spotlight.jpg" class="size_orig justify_inline border_" height="320" width="213" /></a></div><br><div class="MsoNormal">                                             <b style="mso-bidi-font-weight: normal;">MINSTREL DESTINATIONS 1961-1968</b>
</div><div class="MsoNormal"><br></div><div class="MsoNormal">Our house stood in a neighborhood directly across the Rappahannock River from Fredericksburg in Falmouth,Virginia.  Although all the while retaining much of its core identity, Fredericksburg and its surrounding area have since expanded into and become part of the southern exurbs of Washington D.C. </div><div class="MsoNormal"><br></div><div class="MsoNormal">But in the 1960’s it was a Southern town, not so plain and simple. If local eyes, hearts or souls sought nearby city lights, they turned South toward Richmond.</div><div class="MsoNormal"><br></div><div class="MsoNormal">I was 4 years old when my family (older brother and sister…yep) placed me into the annual Kiwanis Club talent show in 1961. They felt that my rendition of <i style="mso-bidi-font-style: normal;">Mama’s Little Baby Loves Shortnin’ Bread</i> had potential. I don’t remember learning it or who taught it, but I knew it well enough to tap, snap and sing it, all to the beaming amusement of the tall ones. Nor did I grasp the meaning lurking within its repetitive rhymes:<i style="mso-bidi-font-style: normal;">“two little babies ---lying in the bed—one was sick and the other one, dead” </i>verse. I liked singing them. The song was funny. Folks laughed. </div><div class="MsoNormal"><br></div><div class="MsoNormal">The try-outs took place in the booming wooden auditorium of Maury School, an aging mainstay in the heart of downtown Fredericksburg. The late afternoon sun poured down from high windows through the municipal dust while hopeful youngsters sat in or scurried about the rows of theater seats. Jugglers, dancers, singers, plate spinners, card flashers, baton twirlers, joke tellers and trick mongers each awaited their turn to step up onstage for their shot at being in the annual show. </div><div class="MsoNormal"><br></div><div class="MsoNormal">One contestant was a girl who was bigger and older than me--7 years old, I thought.  I sat silently and spellbound beside my older Brother as she sang “Yellow Bird”. There on the stage, she stood starkly and stiff, with barely moving but slightly trembling blond braids, blue jeans and white sneakers and holding a painted wooden bird on a stick before her, carefully and softly reciting in a shaky voice the lyrics which her darting eyes scanned from its back.<br><br>Several times she started then stopped then started , <i style="mso-bidi-font-style: normal;">Yellllow Biiiird Up high in banana treeee<br>Yellllow Biiiird You sit… all…alone…like me… </i><span style="mso-bidi-font-style: normal;"> </span><br><br><span style="mso-bidi-font-style: normal;">On the third or fourth try, she made it to the end and the judges </span>were gently reassuring as she was led offstage by her mother. I was glad to see her utter relief that it was over.</div><div class="MsoNormal"><br></div><div class="MsoNormal">Soon we heard my name called and I slid off the theater seat, looked to my brother who said something like <i style="mso-bidi-font-style: normal;">“go on, Jon…just like at home…it’ll be great” </i><span style="mso-bidi-font-style: normal;">which </span>shored me up enough to launch into my bit without too much fuss.</div><div class="MsoNormal"><br></div><div class="MsoNormal">To this day I still feel that original pang of “this is the real thing” jitters after rehearsals in a well lit room give way to the dress rehearsal onstage and opening night in front of audience whose anticipations cannot be known. It was they who were now upright and attentative in those theater seats, judging from the dark night instead of ushering us through a sunny afternoon.<br><br>All performers sat on bleachers in a remotely stark and echoing sodium lit gymnasium in the bowels of the school. Waiting for their names be called when they would then proceed, three by three, toward the world which waited in their near untold future.  I held my brother’s hand as he led me down long locker-lined hallways around and through various realms of the school's daytime life, quietly moving toward my moment of truth.</div><div class="MsoNormal"><br></div><div class="MsoNormal">We scaled one last steep stairway leading up to a lady who smiled and “shushed” us as we rounded the corner, stepped through a door and found ourselves gazing from the offstage shadows onto the spotlit stage.<br>
</div><div class="MsoNormal">There before us, with two bows in her braided hair, a frilly dress and slightly nuzzling in shyness into the pleated curtains gathered before her,  stood the Yellow Bird girl. Her shiny patent leather shoes made short brittle scraping noises against the hard floor as she fidgeted.<br><br>We arrived just as the emcee's ominously amplified voice announced her name. From around the corner where we couldn’t see came the roaring applause of the roomful as she inhaled slowly then stepped out and crossed toward the lone glinting microphone stand. The clapping scattered and ebbed to silence as the girl stopped and stood facing them, holding the wooden bird on a stick. She and it were still, rigid and silent. She glanced down and squinted at the back of the bird, turning it around then around again, her neck gradually craning forward and toward the indistinct and impermeable black silhouette created by the giant spotlight.<br><br>With a quivering voice she started to sing, <i style="mso-bidi-font-style: normal;">Yelllow Bird…high up in banana treeeee</i>….</div><div class="MsoNormal">She trembled through four lines before sputtering to a halt. Still trying to make out the written words there cloaked in shadow she began again, stamped one shiny shoe, then restarted, then  gasped while lowering and raising the stick in desperation, holding it at arms length with both hands for one last try. Letting loose a tearful yelp before turning on her hard heels, she ran as if being chased directly toward where we stood in the wings.<br><br>My brother quickly stepped aside letting her blow past and we could hear her sobs echoing away down the stairwell while the man onstage uttered something jovial to the <i>awws</i> of sympathy and warm complicit applause.<br><br>I had never been that near to such panic and anguish, and it all happened moments before I heard my name called. </div><div class="MsoNormal"><br></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;">Don’t worry about it, Jon..remember, just like at home…</i></div><div class="MsoNormal"><br></div><div class="MsoNormal">I don’t remember much more about that night, other than the invisible roar of the audience, the blinding  glare of the super trooper spotlight which cloaked the seated crowd into a penumbra of anonymity. But I heard my family comments of how I must have just been nervous, etc.</div><div class="MsoNormal"><br></div><div class="MsoNormal">It was next year, 1962 when I would sit in that same dark auditorium as an audience member to see the Lion’s Club Minstrels. My father explained to me that there were no winners or losers and that it was a variety show, and he and our mom would be singing and dancing a romantic duet. We had heard them at home practicing at the piano once or twice, a show tune from My Fair Lady, <i style="mso-bidi-font-style: normal;">On The Street Where You Live</i> it probably was.</div><div class="MsoNormal"><br></div><div class="MsoNormal">My mother became ill and my dad would have to do the number with the alternate, which only made it more of an episode for her. There was arguing and accusations. It was a pattern, and the same drama would occur again the next year.<br>
</div><div class="MsoNormal">But the Mistrel Show, as it was known,  was a lively celebration with many varied numbers, each of which were enjoyable for a 5 year old, especially the vaudeville type bits. One such routine sported a group of 6 or 7 men bursting onstage in clownish suits of polka dots, wide stripes and bowler hats while cavorting and careening all about the stage crowing jokes and doing stunts. They shouted and guffawed in exaggerated Amos and Andy accents with their faces each painted black as a moonless midnight.<br><br>The audience roared with laughter, and I watched with glee as they volleyed risqué punch lines, poked each other and carried on like that for 5 minutes or so. One bit involved pushing a hen’s egg across the stage with a broom. I've never heard that one explained. </div><div class="MsoNormal"><br></div><div class="MsoNormal">The next day, after overhearing their arguing about last night’s show, I mentioned the blackface men to my parents. It seemed to be the centerpiece highlight of the show. My father responded by brusquely mumbling, that it probably had been the last time for that act to appear, and that was also probably a good thing. He said sternly that it wasn’t nice to make fun of colored people that way, and that lots of folks had been upset about it.</div><div class="MsoNormal"><br></div><div class="MsoNormal">Another year passed and it was again time for the Lions Club Minstrels Show. Mom and Dad rehearsed, mom got sick, dad did the number with another lady and there were jealous arguments before and after the show. I recalled the black face minstrel men, and my father’s remarks a year earlier. He once more uttered something about their not doing <i style="mso-bidi-font-style: normal;">black face</i> anymore.<br>
</div><div class="MsoNormal">The opening number of the show that year was again jovial, rousing and as harmonious as only grown-up singers and performers can deliver. The solos, duets and dance routines were met with rousing hometown appreciation. Intermission came, and I was wondering what would be the central “funny” bit, as I was already impatient to see it.</div><div class="MsoNormal"><br></div><div class="MsoNormal">Back in our seats, we waited as the lights went down. A fat moment of silence was pierced by the wailing siren announcing the clown men who emerged in their flapping tails, bright scarves and bow ties, top hats and bowlers. They scurried and crowed, howled and hammed while the audience reeled with delight. I was only 6, but I knew that what I saw was something sad, silly and very, very wrong.  </div><div class="MsoNormal"><br></div><div class="MsoNormal">My Dad was right and so were the other good folks who had raised their concern about the men with the black grease painted faces. Those folks who wanted to keep the act in the show decided on the only thing that they felt would make everyone happy: They painted their faces white.</div><div class="MsoNormal"><br></div><div class="MsoNormal">A few years later I was entered into another Kiwanis Club Talent Show. I played piano--a Clementi Sonatina which was abruptly followed by an “original” boogie woogie composition. The crowd liked it, and I won the $25 first prize in the Elementary Division and used it to buy my first guitar at Bill Ross’ Music store, where I spent a lot of my after school afternoons and Saturdays. Mr. Ross was a pretty stiff lipped fellow most of the time, and it felt good to see his faint smile as we made the deal.</div><div class="MsoNormal"></div><div class="MsoNormal">After that year's show dress rehearsal, I was waiting in front of a closed store across the street from the school near a pay phone where I’d called my mom to come and fetch me. The late afternoon sun had sunk and the street corner was falling into early nighttime. A group of neighborhood kids was walking down the sidewalk toward me. As they came closer I heard their laughter turn to whispers, and one of the three came up to me and asked for money. One of the other kids started patting my pockets hard then harder, and the others began shouting until the first piped up and said to stop because I was “the boogie woogie boy”. </div><div class="MsoNormal"><br></div><div class="MsoNormal">My dad was gone two years later when I served up the same Sonatina/Boogie Woogie formula for that talent show. He had already been around for the first time, though. It was pretty much the same deal too, except that I was now 12 and old enough to win the Grand Prize:  a trophy and another 25 bucks, I think. </div><div class="MsoNormal"><br></div><div class="MsoNormal">My big sister had taken me to those try-outs where there was a black kid whose act was singing along with Otis Redding’s <i style="mso-bidi-font-style: normal;">Dock of the Bay</i>. I wondered if he might have been one of the kids from last year’s phone booth convergence.<br><br>I loved that Otis record. The kid snapped his fingers, tapped his feet and sang it like he felt right at home. </div><div class="MsoNormal"><br></div><div class="MsoNormal">One day that summer I was in the kitchen singing along with the radio playing  Aretha Franklin’s <i style="mso-bidi-font-style: normal;">Respect</i>  and my mom asked me to turn it down because she thought those records “sounded like angry colored girls shouting at someone”. </div><div class="MsoNormal"><br></div><div class="MsoNormal">But later that year, we would sit at the kitchen counter and listen silently to the radio until the very last note of Brook Benton’s <i style="mso-bidi-font-style: normal;">A Rainy Night In Georgia </i><span style="mso-bidi-font-style: normal;">was done </span>flowing past. My mother looked at me with an accepting distance in her eyes and said “you know what? That was a really great vocal performance”. </div><div class="MsoNormal"><br></div><div class="MsoNormal">A year to the day after my father died, our next door neighbors took me with them to the second annual Smithsonian Festival of American Folklife on the Mall in Washington D.C. The live concert that night was to be Muddy Waters as well as the Chambers Brothers. The field was packed with folks of all shapes and colors, and I had not heard or seen anything like the sounds and sights of that night. Muddy’s slide guitar came straight from the heart of someone’s holy heaven and hell, and the Chambers Brothers’ voices weaved around and pounced upon the beats like a funky orchestra. They moved forward and toward the crowd while wearing brightly colored double breasted suits and proud floppy wide brimmed hats. <span style="mso-bidi-font-style: normal;">One singer danced to the edge of the stage, then sat down on its edge. </span><i style="mso-bidi-font-style: normal;">Time Has Come Today…!</i>
</div><div class="MsoNormal"><br></div><div class="MsoNormal">Like most childhoods, mine flew by like a bittersweet breeze in Summer. My adulthood allows me to stand and look back on those few years from Boo Radley's porch, if you will, and appreciate the social changes that were happening above, beyond and all around me. I can still hear my father’s and my mother’s voices like so many other sounds that continue to echo down a long hall, and I think about the Yellow Bird girl more often than I probably should. And when asked an honest question by a child--questions such as why is that wrong? and why not?--I also think carefully before uttering my answer.  </div><div class="MsoNormal"><br></div><div class="MsoNormal">~JC</div><div class="MsoNormal"><br></div><div class="MsoNormal"><br></div><div class="MsoNormal"><br></div><div class="MsoNormal"><br></div></div>
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  <a href="/blogs-blather/blog/3969364/levon">LEVON</a>&nbsp;
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  <div class="message"><span style="background-color: #f6b26b;"></span><br><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;"><b><span style="background-color: #b6d7a8;"></span>LEVON</b></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">There seems to be every sort of bullshit in every business—especially show business—and Levon Helm seemed to cut right through each and all.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span style="font-size: small;"><a href="http://3.bp.blogspot.com/-l6FsRWWdrGA/T5LtqF5w6EI/AAAAAAAAAUE/b4-1xUiAOIA/s1600/Levon+at+the+Ramble.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img src="//3.bp.blogspot.com/-l6FsRWWdrGA/T5LtqF5w6EI/AAAAAAAAAUE/b4-1xUiAOIA/s320/Levon+at+the+Ramble.jpg" class="size_orig justify_inline border_" height="216" width="320" /></a></span></td></tr>
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<td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">The Great and Powerful Levon Helm </span></td>
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</tbody></table><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">It was the autumn of '69, and I was an eleven year old kid just starting to play in bands in Fredericksburg, Va., when the elastic funk of that wah-wah clavinet first bounced out the radio announcing the arrival of the train that would take us <a href="http://youtu.be/wLCmxMrgfDA" target="_blank"><i>Up On Cripple Creek</i></a>. The conductor called us on board with a sonorous Arkans-drawl, and the country collectively and gladly boarded. The beat was brawny and adult, the tale was told proudly with each syllable making every stop through the ululating pipes until it was laid before us all, resolute and unashamed. It was news: the sound, the message and the manner and everything but shy. It teemed with spirited energy while relaxed and playful. It was delivered plainly, self-assuredly and directly without being the least bit harsh, hostile or aggressive.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">I now realize that what we were then listening to was a man presenting his heart and soul entirely with every word, every beat. The whole honest deal swirled before you, or rather sat in the saddle of celebration while digging in with the sophistication of the lived-in ages, crookedly smacking each rimshot, twisting his torso toward the thing that was undoubtedly the truth: the only prize worth clamoring  for instinctively, relentlessly-- the thing worthy of stumbling toward like a fool, if need be.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Levon Helm was known for crowing about what’s worth crowing about. He was able to do precisely that for a long time, but we wish it were for much longer. Wisdom seemed to have been born with him. He had that wonderful duality, at once the tenured wise beyond his years teenager and the old-timer with the rough and rowdy heart of foolish youth. </span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: small;">I’ve been fortunate to have performed with more than a few talented folks over the years (dumb-luckier than a chance spied evening meteor to have played with the man himself on a few occasions), and I’ve mostly endeavored, by his inspiration, to try and put the utmost heart and commitment into every note of each performance –enough so that there may be no doubt that I’m “all the way in”. It’s an ambitious and hopeful touchstone of an approach, and not always a successful one, but it hearing and seeing Levon that showed me that if you stood </span><span style="font-size: small;">in the ring </span><span style="font-size: small;">squarely </span><span style="font-size: small;">on both feet</span><span style="font-size: small;">, looked the song in the eye, and brought your soul to its statement with total conviction, that the inarguable truth could be willed out. Damn—how could anyone up there get away with “phoning it in” while <i>that</i> dude was singing and playing? I dunno, is how. </span><br><br><span style="font-size: small;">I've heard and seen Levon more times than I can count: of course with The Band as well as his other numerous projects (Levon and The Cate Brothers in the 80's was always a must) right up until last year. And during all that time, I neither heard, felt nor otherwise witnessed from him one false or halfhearted note or moment. I choose to believe there were none.</span><br><span style="font-size: small;">  </span>
</div><div align="center" class="MsoNormal" style="text-align: center;"></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">That‘s not to say that Levon was the guy to reel in a breakdown, stifle the giddy, wag a finger, be a whip-cracker, task-master or buzz-killer in a studio or stage setting. In fact, in the few times I remember, the contrary was the case.  Although listening to him tell the tales from his early and then long career, or reading stories from his book, one might be sobered to learn that the glorious music was the end to the means, and up until, around and after that fact, there was much banality and pesky no-nonsense scenes to be seen to by those with level country heads such as his.  </span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">But, before and after all, what is (good) music if not total joy, and what is a show, a gig or a session if not a great hang with other musicians? I was blessed to be able to hang out and be joyful with Levon on several occasions, mainly and thankfully due to my friend and brilliant songwriter Emory Joseph having hired me on, along with a few other longtime band-mates and buds Duke Levine, Dave Mattacks, Kevin Barry and the late great T-Bone Wolk for his recording sessions for <a href="http://www.amazon.com/Labor-Spirits-Emory-Joseph/dp/B000087DSH" target="_blank"><i>Labor and Spirits</i></a>, and to later perform a few years ago at Levon’s notorious Midnight Ramble house concert in Woodstock.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: small;">At the Ramble (I was playing keys with Emory, Steve Holly, Andy York &amp; T-Bone for an opening set by Emory doing tunes from his Robert Hunter collection <i><a href="http://youtu.be/4CjbHfGXW9g">Fennario</a>, </i>and<i> </i>his original<i> <a href="http://www.cdbaby.com/cd/emoryjoseph">Labor &amp; Spirits</a></i>), it was figuratively and literally a Thanksgiving celebration, but that night Levon contributed his spirit exclusively at the drum set as per doctors’ instructions, saving his voice for a more mended and fit to crow day, which indeed would arrive after that and several other subsequent healing hiatuses. </span><br><br><span style="font-size: small;">The Ramble’s stage/studio/barn/playhouse was packed with fans, friends and family, and the stage was full of brilliant players and singers—revel truly rocked the hills--while Levon beamed and walloped with the zeal of a god, exuberant as any man is allowed to be in this world—perhaps enjoying the tribal celebration and his venerated spot at its center for what it was: a cultural phenomenon to be savored and cherished then and there within the moment that would, like all others, come to be no more as quickly as it’s noticed. </span>
</div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">After our set I sat on a radiator within yards of the widely grinning man in the starched collared shirt, wearing the short gloves that held the sticks so deftly, at times recklessly, passionately drilling home the deliberate but wiley ride cymbal, ballistic and balanced about the toms with each fill tumbling rebirth into another verse or refrain. It was truly a wonder and a one-time thrill. All eyes were on him, and all gazes were glad and good. All hearts were soaring and it was as if he had the lot of us on his knee, children giddy-upping along on the whoop-whipping ride of our lives.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">The recording sessions years earlier were yet another story to tell.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">I had been on a few shows along with Levon, who performed on-- and was the voice for--a television series in the 90’s called The Road. I was participating as a band member with Mary Chapin Carpenter and Rodney Crowell. There were some roll-out shows at Opryland in Nashville, and I remember Levon--bearded and leading with his toothy smile and aviator shades, his lithe and seemingly frail frame swimming deep within a coordinated warm-up suit. He sported the endearing charisma of the bad-ass who could never escape the sincerity that would always prohibit him from coming off as flippant, rude or lofty. Levon seemed to me real, and a real good and cool cat.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Years later, in ‘98, at Longview Studios, a converted 1919 dairy farm  in rural Massachusetts, Levon would arrive with a couple of his own closest friends to join us for a day of tracking on Emory’s <a href="http://www.cdbaby.com/cd/emoryjoseph">Labor &amp; Spirits</a> record. He bounded amiably in, proceeded to make himself--and thereby all else there—comfortable and relaxed. Proceeding to wield and prepare organic substances he jovially credited with his remission from throat cancer, it was perhaps the pervasive nature of such a smoky realm that transformed the day into one of the most guffaw-filled, fun house rides that I’ve ever survived.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: small;">The day was summer sunny, hot and humid, dusty and buggy. I recall his remark that this was “heat that’ll follow you into the shade”, among many other stories, tales and asides. I must include the image of Funk legend Bernie Worrell who aimlessly ambled into our studio, having nothing to do while his sessions in the nearby larger barn studio were suspended due to a death in the family of one of the crew. I’ll forever kick myself for not taking a picture of Bernie wearing his tee shirt, head wrapped in a bright blue bandana, tenuously and daintily tooting notes on my new (to him) penny whistle. Bernie Worrell playing a penny whistle. Think about it. </span><br><br><span style="font-size: small;">Back to the sessions.</span>
</div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">It was decided that it wouldn’t be too insane to set up two drum kits, each facing the other, at which Levon and Dave Mattacks could respectively concoct a tandem groove. It came together like a sideways train on a sky bound track. Those familiar with the artistry and angles of Dave Mattacks can possibly imagine the resulting delight that was those two percussive worlds colluding. You can hear it on Emory Joseph’s <i>Family Dog</i>…</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Much music, mirth and magic was made that day, and it all now exists forever, along with some extemporaneous outtakes that Emory was foolishly wise enough to include in the final master.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">It was then time to lay down some background vocals on a few tunes <i>(Rhum and Coffee </i>and<i> Family Dog) </i>the first song written for and dedicated to the great Guy Clark. It’s a bouncy, rollicking proclamation and celebration of recipes promoting poetry and the autonomy of personal choices. That’s my read, at any rate. The second is a first-dog description of the canine ethos that you by now may have heard.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">We all gathered around one microphone with Emory, T-Bone &amp; Levon, whose hoarse voice was neither a disclaimer nor a discouragement. Once we were done clowning and were underway, every note from his challenged pipes was pure and perfectly pitched, a singer's singer in any circumstance.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: small;">Until then though, it was pretty much of a riot. I won’t delve way into it here, but suffice to say that a good joke is worth developing for as long as it promises to be funny, and Levon's efforts wouldn’t end until all was explored. </span><br><br><span style="font-size: small;">To this day, it’s one of my personal all-time favorite outtake bits, and I wish I’d had the chance to laugh to it all over again with him. </span>
</div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-size: small;">I like to call it <i><a href="http://snd.sc/HVF4OZ">Duckboy and The Day Visitors</a></i></span><br><span style="font-size: small;"><i>(careful...intentionally offensive language) </i></span>
</div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">This past few days since Levon’s exit from this world have been like that tough dream you must muddle through until you eventually awaken. You’d rather not be within it, but it’s too late now. It’s hard to peg this feeling, because it’s hard to tag the man, the artist, the voice, the legend. Every note he sang, strummed, picked or played was the whole picture: the picture with which Levon Helm was wholly familiar: the way of the world. </span></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">There’s no doubt that The Band was one of music’s most influential forces, and even as an eleven year old, it was clear to me as I listened to other songs that were somehow too real, too honest and too important to become hits you heard on the radio repeatedly alongside Frankie Vallie, The Grassroots, Buckinghams, Monkees or--you get the picture—that these guys weren’t merely <i>onto</i> something that was special like a new sonic discovery or genre recipe. Instead they were continuing, developing and adding to a mountain of heart, soul and song that, without these responsible sentinels minding the other careless kids who were whistling through the candy store, might very well be whittled and weathered down to whispered ephemera. </span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Theirs was a stewardship of almost holy proportion. Merely to illustrate the point further: <i>The Night They Drove Old’ Dixie Down</i> was the B-side of their<i> </i>sole<i> </i>top 40 hit<i> Cripple Creek</i> in ‘69. That was and is the  prevailing “wisdom” of commercial radio. </span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">As a band, the group contained profound multitudes, as any great band must. Multi instrumentalists, gifted storytelling and lyricism, <a href="http://youtu.be/MuTzrBbT7B8" target="_blank">singular and combined vocal magic</a> made them distinctive, almost mystical. Danko’s frantically wavering tenor barely able to contain itself, Richard Manuel’s father time confessor of pain and purity, sincere energy from a darker place that maybe only he and Ray Charles could see—Robbie Robertson’s perfectly placed strums and licks economically serving those brilliant songs while he added vocal element X to the harmonies. And all that dressed up and launched heavenward by the illustrious operatic orchestrations of Garth Hudson's keys and reeds. Also, like any great ensemble, the sum of it all became one glorious sound, not to be easily analyzed or deconstructed, but accepted and appreciated like a golden rising moon.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">But its front man ambassador, pilot, admiral, spokesman, non-apologetic and all encompassing personae that stood undeniably on the shoulders of the sturdiest and oldest truths of our earthly clan here, was the scruffy rascal that knew how to put it across. He wasn’t slick or jive or posing or primping. He was a <a href="http://youtu.be/4cnAfSsk2wc" target="_blank">truth-teller</a> with gusto, a crusader with class, and the clarion call for all to not be afraid, have a REAL good time, do a good job and tell it like it is.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">He was what making music and being alive IS all about. </span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">Wow—a jewel is gone. Let all shine on.</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-size: small;">~JC</span></div><div align="center" class="MsoNormal" style="text-align: center;"><br></div></div>
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    <p class="post-info"><span data-time="2012-04-21T13:31:00-04:00" title="April 21, 2012 13:31">04/21/2012</span></p>

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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blogs-blather/blog/3969365/to-folks-who-condemn-addicts-on-moral-grounds">To Folks Who Condemn Addicts on Moral Grounds</a>&nbsp;
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  <div class="message"><span class="echo-item-text">There is a fatal disease called drug  addiction. Millions of people have it, and millions seek help --many  working hard enough and being blessed enough to begin successful  recovery. <br><br>Many are unsuccessful. <br><br>Many people who battle this addiction (some prefer to call "demons") have  creativity, artist expression and beauty as their raisin d'etre. The fact that as show-biz  celebrities and "stars" they are venerated and awarded with financial  success (extremely--Whitney was truly one of the greatest  singers of all time in that world, if these detractors are capable of  appreciating), is often fleeting as is most else when the disease is  unrelenting and defeating. It's reported that Whitney Houston was financially--and I suspect also physically and spiritually--  bankrupt.</span><br><br><span class="echo-item-text"> It is an  insidious disease. It's cunning and baffling. Look it up. <br><br>Many here and elsewhere are quick to condemn addicts on moral grounds which is brazenly naive, utterly ignorant. There are some who are offended by an outpouring of sympathy, grief, appreciation and adulation for an artist or personality who meets an untimely end which they consider self-inflicted. I cringe at and recoil from those relatively talentless and much less than  admirable personalities whom we collectively hoist to the pedestal. <br><br>But we should better mind and consider that this disease discriminates even less. It doesn't discriminate at all. </span><br><span class="echo-item-text"><br>With all  that considered, addiction and self-destructive behavior, albeit  collaterally pervasive for the family, friends and associates of the  sufferer, is not as abjectly and outrightly destructive as that of so many  others' whom we admire, pardon and emulate.</span><br><br><span class="echo-item-text">~JC </span></div>
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<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blogs-blather/blog/3969366/on-chris-richard-s-washington-post-grammy-review">On Chris Richard&#39;s Washington Post Grammy Review</a>&nbsp;
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  <div class="message"><div class="MsoNormal" style="mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span style="font-family: Times New Roman; font-size: x-small;"><span style='font-family: "Times New Roman","serif"; font-size: 10pt;'>It’s </span></span><span class="echo-item-text"><span style="font-family: Times New Roman; font-size: small;"><span style='font-family: "Times New Roman","serif"; font-size: 12pt;'>unfortunate that Chris Richards [</span></span></span><b><span style="font-family: Times New Roman; font-size: x-small;"><span style='font-family: "Times New Roman","serif"; font-size: 10pt; font-weight: bold;'>Disjointed Grammys honor Whitney Houston]</span></span></b><span class="echo-item-text"><span style="font-family: Times New Roman; font-size: small;"><span style='font-family: "Times New Roman","serif"; font-size: 12pt;'> couldn't find more to appreciate positively about the evening. A live broadcast of a multiple-act performance oriented variety show will of course not have uniformly seamless transitions and as a whole, and will be technically "disjointed".  </span></span></span>
</div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style="font-family: Times New Roman; font-size: small;"><span style='font-family: "Times New Roman","serif"; font-size: 12pt;'></span></span></div><div class="MsoNormal">
<span style="font-family: Times New Roman; font-size: small;"><span style='font-family: "Times New Roman","serif"; font-size: 12pt;'>With variety, one must expect some inconsistency.<br><span class="echo-item-text"> </span><br><span class="echo-item-text">The few positive remarks he did make were framed and diluted with cynically contextualized. He cites a few “moments of clarity”, while merely relating others without comment, reserving all his writer's eloquence for stabs and snarks. </span><br><span class="echo-item-text"> </span><br><span class="echo-item-text">His commentary on Springsteen's opening number “We Take Care of Our Own” (“given Houston’s death, an ill-considered opening line: “America, are you alive out there?”) was just plain opportunistic and trite.  </span><br><span class="echo-item-text"> </span><br><span class="echo-item-text">And Taylor Swift's number (which received a show-stopping standing ovation, hello...) was strong and masterfully rendered. "Sour grapes"...o.k., but that's indeed the theme of the song, man. </span><br><span class="echo-item-text"> </span><br><span class="echo-item-text">If Richards feels the night's show was "something to be endured </span></span></span><span class="text_exposed_show">...a ceremony riddled with  disjointed collaborations that spanned genres and generations for the  sake of ... what, exactly?"</span><span style="font-size: small;"><span style='font-family: "Times New Roman","serif";'>...</span></span><br><span style="font-family: Times New Roman; font-size: small;"><span style='font-family: "Times New Roman","serif"; font-size: 12pt;'><span class="echo-item-text">and a "missed opportunity" some 25-hours after the untimely and unfortunate death of one of the music world's all-time greats, then perhaps he's the one that's missing an opportunity to consider writing about something else. </span><br><span class="echo-item-text"> </span><br><span class="echo-item-text">I've seen, performed at, and attended numerous Grammy telecasts, and I felt this was one of the more memorable and richly enjoyable, warts and all.  </span></span></span>
</div><div class="MsoNormal"><br></div><div class="MsoNormal">
<span style="font-family: Times New Roman; font-size: small;"><span style='font-family: "Times New Roman","serif"; font-size: 12pt;'><span class="echo-item-text"><a href="http://www.washingtonpost.com/lifestyle/style/at-grammys-musicians-honor-each-other--and-salute-houston/2012/02/12/gIQA0Lyj9Q_story_1.html" target="_blank">The WP Piece Here</a> </span></span></span><span class="echo-item-text"><span style="font-size: small;"><span style="font-size: 12pt;"></span></span></span>
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</article>  <article class="post blog-article full-item post-full" data-controller="zoogle-video" data-action="message@window-&gt;zoogle-video#handleVimeoPostMessage">
    
<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blogs-blather/blog/3969367/in-response-to-wcp">In Response to WCP</a>&nbsp;
</h2>

<div class="post">
  <div class="message"><a href="http://www.washingtoncitypaper.com/blogs/artsdesk/music/2012/01/20/should-city-paper-cover-more-singer-songwriters/#comment-147130" target="_blank">As per dialogue concerning This Piece</a><br><br><!--[if gte mso 9]><xml>  <w:WordDocument>   <w:View>Normal</w:View>   <w:Zoom>0</w:Zoom>   <w:TrackMoves/>   <w:TrackFormatting/>   <w:PunctuationKerning/>   <w:ValidateAgainstSchemas/>   <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>   <w:IgnoreMixedContent>false</w:IgnoreMixedContent>   <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>   <w:DoNotPromoteQF/>   <w:LidThemeOther>EN-US</w:LidThemeOther>   <w:LidThemeAsian>X-NONE</w:LidThemeAsian>   <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>   <w:Compatibility>    <w:BreakWrappedTables/>    <w:SnapToGridInCell/>    <w:WrapTextWithPunct/>    <w:UseAsianBreakRules/>    <w:DontGrowAutofit/>    <w:SplitPgBreakAndParaMark/>    <w:DontVertAlignCellWithSp/>    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Priority="31" SemiHidden="false"    UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>   <w:LsdException Locked="false" Priority="32" SemiHidden="false"    UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>   <w:LsdException Locked="false" Priority="33" SemiHidden="false"    UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>   <w:LsdException Locked="false" Priority="37" Name="Bibliography"/>   <w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>  </w:LatentStyles> </xml><![endif]--><!--[if gte mso 10]> <style> /* Style Definitions */  table.MsoNormalTable  {mso-style-name:"Table Normal";  mso-tstyle-rowband-size:0;  mso-tstyle-colband-size:0;  mso-style-noshow:yes;  mso-style-priority:99;  mso-style-qformat:yes;  mso-style-parent:"";  mso-padding-alt:0in 5.4pt 0in 5.4pt;  mso-para-margin-top:0in;  mso-para-margin-right:0in;  mso-para-margin-bottom:10.0pt;  mso-para-margin-left:0in;  line-height:115%;  mso-pagination:widow-orphan;  font-size:11.0pt;  font-family:"Calibri","sans-serif";  mso-ascii-font-family:Calibri;  mso-ascii-theme-font:minor-latin;  mso-fareast-font-family:"Times New Roman";  mso-fareast-theme-font:minor-fareast;  mso-hansi-font-family:Calibri;  mso-hansi-theme-font:minor-latin;} </style> <![endif]-->  <br><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Dear Jon &amp; WCP~ </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>You seem to have acknowledged the full dress of the issue, addressed it with articulate and consultative dialogue, than stitched it all together once more into a nice hat that more closely resembles a burlap sack then crammed it back over our head. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>My problem, after all, is how the term <i style="mso-bidi-font-style: normal;">singer-songwriter</i> is presented as a sonic signifier as well as a genre dismissal. Not that all recordings begin or end with a song, but most do. And regardless of what that song is saying and how it’s being said, anything with lyrics is a written song whatever the genre. And someone is singing that written song. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>To name a mere few: Leonard Cohen, Tom Waits, Paul Simon, Lou Reed, Coldplay, Bowie, Beefheart, Band of Skulls, Lola Jesus, Junip, Jesus and Mary Chain are each and all songwriters or bands with songwriters. Take your pick of most any recordings, and unless it’s strictly instrumental--and sometimes even then--you’ll see a song with lyrical content in there.</span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Are some edgier than others textually or sonically? One might easily neglectfully overlook one while knowingly dismissing the other. Some more pop-ier? Some folk-ier? <i style="mso-bidi-font-style: normal;">Folksy-pop</i>, maybe not an established genre--but what does that exactly mean?</span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>If WCP is referring to acoustic, folk, spare or simple 3 to 4 chord starkly accompanied performing songwriters, you might state so more articulately, more specifically. You clearly wax colloquial in a time when labels are so blurred (you do acknowledge the mix tape/album ambiguity) that we’re ever-compelled to clamor for descriptive certainty. So this could be a discussion of semantics, but I fear it concerns something more formidable and more consequential.<span style="mso-spacerun: yes;">  </span></span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Is one to perceive WCP’s reiterated policy statement as an unwillingness to write about, promote or cover any artist whose principal element purveyed through their art is lyrical content? Should WCP then recuse itself from critical regarding the lyrical content within any of the genres they do cover, or at least admit that lyrics are the least and last aspect worth regard? </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>It would be refreshing to sense a more positive eagerness to welcome a field of potential critics to cover “singer-songwriters”, rather than beholding your skepticism-laced frontloaded naysay based on your two-year history with the paper. In any vibrant arts city--especially this Capital one—any apparent ongoing intransigent policy or a status quo smells very uncreative, inartistic, unadventurous, unliberated, stodgy— etc. and ew. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Art reviewers--music reviewers in particular—can sometimes understandably frustrate and unnerve an artist for they enjoy the privileged license to impart the first and last official word regarding works whose very creation was something in which they had no direct hand. That’s not meant disrespectfully, or as a dismissal. Critical review is essential to a healthy artistic process, within and without, published or not. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Many a critic’s names have become household words. The great Edmund Wilson was a well admired and respected writer, although mostly known for his abundant critical reviews and pieces. He had enough inherent and cultivated taste and judgmental skills as well as earned erudite credibility to be a trusted source for literary appraisal. He, too, had a dismissive side. He, too, felt some types of writing were not worth consideration. He also believed that all writing--even critiques—should be good enough to be considered literature. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>I’ve heard other music critics state proudly that their primary concern is to provide their readership with something colorful, enticing and entertaining. H.L. Mencken, Christopher Hitchens, Martin Amis (certainly a novelist first) each discerning to barbed degrees, always manage to be fun to read.</span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Yes, a critic’s job contains multitudes. It should never be taken lightly. Perhaps you feel that critical commentary on the work of singer-songwriters doesn’t offer enough fuel for that sort of fire. <span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Critics have the ironic power of the written word with which to express an informed, informing and seasoned opinion of a work with the intention of aiding and influencing the audience’s approach to it, possibly hastening a decision whether to approach at all. It can and often does pass as entertaining reading. In fact, words and their crafted scan and sequence combine for an eerily powerful commodity. <span style="mso-spacerun: yes;"> </span>Any songwriter known for their songs would more than likely attest to them being if not the most important aspect of their work, than the one requiring the most focused and intensely invested effort. <span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>The creative process is a painstaking and subjective one. So is the act of critically reviewing, assessing and assailing, praising or poo-pooing the resultant work. Each process can be fulfilling, endearing, gratifying and righteous or unsettling, dyspeptic, vindictive and torturous. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>But for WCP to proudly brandish categorical and sweeping subjectivity as a policy statement (furthered in the guise of speculation that no one with “the chops” will likely come forth to mollify the situation) is pure bigotry, somewhat poorly articulated, at that.</span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Today’s social networking platforms can create the unfortunate illusion that one’s proximal and encircling universe is the <i style="mso-bidi-font-style: normal;">only</i> universe. A newspaper (a City Paper) has the task (and you largely rise to it) of transcending that phenomenon and unifying—magnifying-- a city’s diverse art scene into our one proud corner of the sky. Within that though, exclusionary policies based on vague terminology will prove counterintuitive. You notably and generally do excel at this mission--the title of your piece was the inviting inquiry, “so how’d we do?” which is, on one hand, amiable, admirable and encouraging--unmistakably in the spirit of convivial inclusion and pluralistic awareness. One the other hand, it contrasts into an unfriendly and unbecoming light the reiterated intent to banish a huge--and I believe legitimate--faction of our arts community to the literary elsewhere. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>‘What is hip? Tell me, tell me if you think you know…”</span></i></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>I’ve been around long enough to know what isn’t: bigotry and uninformed dismissiveness. We might all strive to be cooler in that regard.</span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>Thanks for indulging my far too many words, and many thanks for all you do! I’m digging the 2011 list of salient artists and recordings from 2011. </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>I can also chime, apart from this bit of a blip, <i style="mso-bidi-font-style: normal;">job well done!</i> </span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>May yours and other area publications along with the efforts of all the artistic players in the Washington DC area continue to be a hearty, mindful and soulful collaboration toward an ever-more realized, flourishing and thriving artistic community. <span style="mso-spacerun: yes;"> </span></span></div><div class="MsoNormal"><br></div><div class="MsoNormal"><span style='font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-bidi-font-family: "Times New Roman";'>~Jon Carroll <span style="mso-spacerun: yes;"> </span>Songwriter, Musician <span style="mso-spacerun: yes;"> </span><a href="http://www.joncarroll.org/">www.joncarroll.org</a> </span></div></div>
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    <p class="post-info"><span data-time="2012-01-23T01:56:00-05:00" title="January 23, 2012 01:56">01/23/2012</span></p>

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  <div class="message"><h6 class="uiStreamMessage" data-ft='{"type":1}'><span style="font-size: small;"><span class="messageBody">Again,  spirituality becomes merely another type of "condition" rendering  someone or something remarkable and apart from most.</span></span></h6><h6 class="uiStreamMessage" data-ft='{"type":1}'><span style="font-size: small;"><span class="messageBody">There has been and will always be race, sex, creed bigotry--the cause of the deliberation most folks make--repeatedly-- in deciding  to what extent they should or shouldn't be overt in the expression of  their identities.</span></span></h6><h6 class="uiStreamMessage" data-ft='{"type":1}'><span style="font-size: small;"><span class="messageBody"> As fans or as media<span class="text_exposed_show">  monkeys, we seem to have stigmatized Tebow-cast a different colored spotlight than that which shines on the nominally prominent sports figure. We've made him extra special--moreover, peculiar. </span></span></span></h6><h6 class="uiStreamMessage" data-ft='{"type":1}'><span style="font-size: small;"><span class="messageBody"><span class="text_exposed_show">But I'll wager that he is much  more inclusive in his assessment and analysis of his team's successes: Jesus on the main line, yes...but shouldn't we also cite the FRONT line?  Believers? How about those receivers?  That's one great congregation out there (Matthew 18:20, indeed) and I'm sure Tim would demure from taking all that credit, even when offering the overall to the Almighty. </span></span></span></h6><h6 class="uiStreamMessage" data-ft='{"type":1}'><span style="font-size: small;"><span class="messageBody"><span class="text_exposed_show">There's a spirit moving in and through all of us, and that's regardless of how, why and where we may kneel.</span></span></span></h6><h6 class="uiStreamMessage" data-ft='{"type":1}'><span style="font-size: small;"><span class="messageBody"><span class="text_exposed_show"> ~JC     </span></span></span></h6></div>
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  <div class="message"><a href="http://youtu.be/Q7aAbQxD_3Y" target="_blank"><span style='font-family: "Helvetica Neue",Arial,Helvetica,sans-serif;'>SATISFACTION</span></a> From The BandHouse Gigs Tribute to the British Invasion.<br><br> Everybody cooks on this. Yeah.</div>
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  <div class="message"><div class="MsoNormal">Hey Pete, Dreadful Show~</div><div class="MsoNormal"><br></div><div class="MsoNormal">I have to weigh in with a bit of a raised eyebrow that you weren’t aware of author <b style="mso-bidi-font-weight: normal;">Martin Amis</b> when <b style="mso-bidi-font-weight: normal;">John Avlon</b> brought him up yesterday. Fair enough, as it’s always refreshing to hear you (and too few others) own and confess to areas of expertise and erudition where you, as well as all of us, sometimes find ourselves lacking or without more formidable knowledge. Curiosity is a golden resource, which you recognize and remind your listeners of regularly. I’m now a reader of over a dozen new writers/journalists with whom you and your listeners have made me familiar. </div><div class="MsoNormal"><br></div><div class="MsoNormal">I was a bit surprised, because you seem to put a high premium on soul-stirring and mind/game changing narratives, and in the wake of <b style="mso-bidi-font-weight: normal;">Vaclav Havel</b>’s recent passing, which in fact was the context of your and Johns’ conversation, there is acknowledgement of the worth of great artists—writers, thinkers, poets, musicians as well as eloquent activists--in the realization of real societal change--they, the real warriors in the battle for hearts and minds, if you will. <b style="mso-bidi-font-weight: normal;">Amis</b> is truly one of those.</div><div class="MsoNormal"><br></div><div class="MsoNormal">I was happily surprised to hear that John A and Martin A were buds.  I’ve read many, but not all, of Martin's books, fiction and non-fiction, and have just completed <i style="mso-bidi-font-style: normal;">The House of Meetings</i>…which is a wonderful novel tale of a love triangle involving brothers who each spent time in <b style="mso-bidi-font-weight: normal;">Stalin</b>’s camps. I feel that<i style="mso-bidi-font-style: normal;"> London Fields</i> is his most sure-handed and most realized accomplishment, although all his books are masterfully written, full of wit, irony, tears, and magnificent and masterful wordcraft.  <i style="mso-bidi-font-style: normal;">Time’s Arrow</i> is, unfortunately, the one book that is read by many whom only have read one of his works. It is a gem, though. </div><div class="MsoNormal"></div><div class="MsoNormal"><br></div><div class="MsoNormal">An added irony is that <b style="mso-bidi-font-weight: normal;">Llewellyn King</b>, who like John, was subbing for you while you were on vacation, was listing authors whose language and philosophies served as salient examples of great language and societal examination. I was compelled to call in when he mentioned <b style="mso-bidi-font-weight: normal;">Kingsley Amis</b> (Martin’s father), as one of his favorites (the English teacher from Texas, as I recall, was unaware of him) and I was eager to discuss language—linguistics in particular. I waited...and waited until The King connected, apologised, then was his usual gracious and affable self, albeit in the last minute of his show. </div><div class="MsoNormal"><br></div><div class="MsoNormal">In my travels as a performer, I cross paths with many journalists, statesmen and politicos, collaborate with some, and have cultivated lasting friendships with a handful. Two in particular, on different occasions, were slow to recognize <b style="mso-bidi-font-weight: normal;">Llewellyn King’s</b> name when I brought it up, as I do frequently due to my highest regard for his work, as well as his wonderfully entertaining style of commentary. They came to, of course, when I mentioned his show, <b style="mso-bidi-font-weight: normal;">White House Chronicle</b>. He is a golden resource in a field of tinfoil, and <b style="mso-bidi-font-weight: normal;">POTUS</b> is smart to enlist his gifts. Folks will be ever increasingly aware of him, thanks to you all.</div><div class="MsoNormal">Pick up on <b style="mso-bidi-font-weight: normal;">Martin Amis</b>, you’ll be very glad you did.</div><div class="MsoNormal"><br></div><div class="MsoNormal">And, speaking of narrative and framing, and if you’ve yet to do so, please see about getting linguist <b style="mso-bidi-font-weight: normal;">George Lakoff</b> onto the show. Hell, why not <b>Martin Amis</b>? He and <b>Avlon</b> together would be profoundly wondrous.</div><div class="MsoNormal"><br></div><div class="MsoNormal">Gratefully Yours~</div><div class="MsoNormal"><br></div><div class="MsoNormal">Jon Carroll           Jon in Leesburg, Va           www.joncarroll.org</div></div>
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  <div class="message"><span style="font-size: small;"><b><a href="http://www.washingtonpost.com/opinions/why-occupy-wall-street-will-keep-up-the-fight/2011/11/17/gIQAn5RJZN_story.html">Why Occupy Wall Street Will Keep Up The Fight--Kalle Lasn &amp; Micah White </a></b></span><br><span style="font-size: small;"><b>Great piece. </b></span><br><br><span style="font-size: small;"><b>IN RESPONSE TO THIS COMMENT:</b></span><br><br><span style="font-size: small;"><b>COMMENT </b></span><br><br><span style="font-size: x-small;"><i>A new left-right hybrid party forming based largely upon an anti-business political platform?<br><br>The  idealism is cute.  I have to wonder, though, who from the right would  be interested in a scheme for higher taxes that would risk seizing up  our capital markets.  The vision is a left-right hybrid, but the  platform is far-left progressive.  At the end of the day, I suspect that  the Occupy people will remain in their current position in the American  political landscape, as the alway<span class="moreText">s-disgruntled  (but sometimes more disgruntled than others) far-left flank of the  Democratic Party.  An Occupy candidate is not likely to win an election,  and, since someone has to win, most of the Occupy crowd will continue  looking for idealistic messiahs within the Democratic ranks, by whom  they will continue to be disappointed.<br><br>It is good to see  someone involved in Occupy starting to think about real policy proposals  that could change the system.  Ultimately, though, there isn't much  here that is very different from anything I've heard from Democratic and  progressive voices for the last several years.</span></i></span><br><br><span style="font-size: x-small;"><span class="moreText" style="font-size: small;"><b>RESPONSE </b></span><i><span class="moreText"><br></span></i></span><br><br><span style="font-size: small;"><b>As any "occupations" have historically </b>had as an aspiration--and this would include the 11th hour Republicans who saw the leverage inherent in the debt-ceiling intransigence, and Nordquist's tax-pledge, etc.-- this movement is, maybe not yet as well, all about <i>forcing the issue.</i> <br><br>The OWS needs to hope for, strive for, some sort of leverage to up their octane. The divide of inequality and available resources is much too wide to be bridged or narrowed by rhetoric and moral platitudes. <br><br>The vision of a higher-tax induced "seizing up" of our capitol markets is threat-like, and therein the arm-twisting is already in play, front loaded. <br><br>Since when has the market NOT been about risk? When things were greasing right along, the markets apparently didn't feel such risk while they ventured and bundled and default swapped and frittered hundred of billions of private $$ away. Who was risking what then?  Heretofore, the pattern in place is to privatize gains while socializing losses. Now who's seized up?   <br><br>Policy change is good, only when new and/or improved policies are implemented. Yes, there need to be legislative leaders to work toward that end. There are such elected officials and respected erudite and reasonable voices (Ron Paul, Bernie Saunders, Robert Reich, Krugman, etc) sitting at their desks and standing in the wings. We need to force them up onto the stages and out onto the floors. <br><br>OWS is NOT merely "kids" in the parks, and the movement will increasingly become more difficult to ignore as it morphs and assimilates to find traction and force some results.<br><br>And we shouldn't fool ourselves: it won't all be peaceful, and it won't be all be pretty. Or cute. It will be hard and cruel, much as it has become for jobless, the poor and the hopeless in the US and elsewhere.</span><br><span style="font-size: small;"><br>~JC</span><br><span style="font-size: small;"> </span><span style="font-size: small;"><br></span></div>
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</article>  <article class="post blog-article full-item post-full" data-controller="zoogle-video" data-action="message@window-&gt;zoogle-video#handleVimeoPostMessage">
    
<h2 class="heading-secondary heading-blog alt-font">
  <a href="/blogs-blather/blog/3969372/paint-that-dollar">Paint That Dollar</a>&nbsp;
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    <p class="post-info"><span data-time="2011-11-20T01:32:00-05:00" title="November 20, 2011 01:32">11/20/2011</span></p>

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