AJ Soprano, mob boss

The Sopranos is now down to four remaining episodes yet unseen, and the speculation about the cognoscenti , given the pending demise of Tony Soprano's reign as Boss, is who might come after him, continue the business, so to speak. It's a slippery slope,
but one wonders if this New Jersey enterprise will stay a Soprano-helmed concern. What about Anthony Jr.?We've already had a taste of AJ acting like a made man a couple of seasons back when he was organizer enormous parties for under aged drinkers; in one scene he and an associate told some guys who got into a party without paying to pay up, and when told to buzz off, kicked the collective of the deadbeats. AJ seems like a young man who only really gets motivated when he's excited about something, whether that means being in love or punishing those who owe him money. Given how unsatisfactory straight life has been for him, he'll find it easy enough to continue the sins of his father as his father continued the sins of his pater familias. It's a big apple tree with very short branches. If AJ became the next boss, after various time spent in the earner's trenches, he would likely find that would inherit more than a business from his Dad; a generation of conniving and resentment comes with the job description.

What Tony has had to contend with since he became boss, more about protecting his position as Boss against various challenges and less about extending the mob's clutches into other scams. But then his is not a business as anyone understands capitalist instinct, that profit and the bottom line matter more than strong senses of entitlement. In the real business life, ventures run on a third of the collective, mendacious vanity of mob culture would go out of business(sans the violence). for all the talk among the bosses and the captains and various members of the crew about being better "earners", grotesquely distorted feelings of entitlement , envy, resentment and a general lack of seeing beyond the demands of their primal wants undermines all efforts to conduct this enterprise like it had a rational purpose. It's fitting, perhaps, since what they make money on are the libidinous appetites of a those willing to pay for access to illegal vices and wares--gambling, prostitution, drugs, boosted dry goods-- and that the disinterested stance needed by a merchant who refrains from sampling their product is not Tony's nor his crew's quality to posess. Dispite a hundred forms of denial,rationalization and excuse making about themselves and what they're doing in The Life, they fall victims to their own wares, gambling, drugs, whoring and the lot, and exist in a perpetual state of impulsive action. What I find riveting here is that the truth of The Life and the unvarnished facts of Tony Soprano's realm is being bluntly exposed. His years of trying to live on both sides of the fence are taking their toll, and it's the truth that he will find unacceptable on any terms other than in madness and death, like Lear.

Carey Bell, Blues Harp Master, RIP

Carey Bell, a Chicago blues harp master who's snappy phrases and soulful tone were among the influences that kept me playing the harmonica, has passed on. A mere seventy years of age, one is grateful that he's well represented by quality studio work. More than anyone else I listened to when I was woodshedding, Bell's rhythm and blues flavored style taught me the importance of "punching it" on the microphone; each note had to land like a fist and be light as a dollar caught in a Michigan Avenue wind. Seek out this man's harmonica work. He was amazing.

Would you throw another slab of crap at me, Erica?

Sometimes you read things that rub you the wrong way, the way wet clay clumps in the hair.I think both the cows and the old woman with the goiter should take turns slapping Erica Levy McAlpine's for defaming them by inclusion in a dumfoundingly tacky poem. McAlpine perhaps wanted to see fast she could over extend the equpoised parts of a what should be a brief comparsion, or perhaps she wanted to parody a bad writer's habit of trying to write himself out of a bad idea by getting prolix and posied, but the result all the same instills nausea, as peering too close and long at something is prone to do. This is not a compliment. The title is fitting; this is not a poem, it's a growth.

Tony Soprano Becomes King Lear?

The center of the The Sopranos universe is Tony Soprano, enforcing whatever laws of gravity there were in this skewed Americana that kept the players and their agendas in something resembling order. Sheer force of personality, brutality, dry-bone ruthlessness were what it took to maintain this crime empire and to maintain a social hierarchy in which everyone--Christopher, Paulie, Silvio, Carmella-- has an agenda they would pursue to disaster had the wrath of Tony not been their shared constraint. Uneasy , wobbly and self-doubting is the head of this fiefdom ,as all the self knowledge and revelation Tony has learned through therapy hasdecentered his mojo. Where he'd been able to compartmentalize his criminal career, the infidelities, the murders, and family life in square and sealed boxes whose contents and consequences never met, the barriers have collapsed, the actions and the pathologies behind have become irretrievably twined and knotted together, a perfect tangle. Tony is witnessing the world he's been the center of break apart, and he can no longer hold it together.I suspect his rhetorical question to Dr. Melfi regarding what therapeutic results, "IS THIS ALL THERE IS?",will be enlarged in the final four episodes. Tony Soprano, demanding love and loyality while he exerted his will, is soon to have his King Lear scene, alone in the rain, stripping himself of the literal and symbolic vestments depicting an idea of omnipotence he never had.

There are substantial differences between Tony and Shakespeare's delusional Majesty, the key one being that Lear relinquishes his power once he foolishly assumes that he has secured his version of reality , with all avowed loyalties and relations in tact, and that he may indulge his whims to be free of responsibility and merely be revered and adored.Betrayal and calumny are his results, and the cause of disasters, his vanity and failure to realize he's been grossly flattered in the efforts of a daugher and uscrupulous supplicants to rest power from him. The truth is what drives him past the brink and into the rain. Tony does not relinquish power to anyone in contrast, but he wearies of the weight of what he must to do maintain his position, and his refusal to change his behavior in order to change himself is costing him dearly. An old axiom comes to mind, that one cannot think their way into good living, but one can live there way into good thinking.Tony's problem is that he thought he could make his anxieties vanish on the basis of self-knowledge alone.The gathered revelations have gotten thick for him.

All the lies told to him and the lies he told himself are laid bare, and all that awaits is the last brick to fall from the last wall from this shoddily bolstered construction of self delusion. What producer David Chase and his writers come up with by the series is one of the few things to look forward to in this season of dim news and dimmer celebrity hi jinks.

Awarding genius for the right reasons

It was a fortunate circumstance in 2006 that the long denied Martin Scorsese finally won his Best Director Oscar for The Departed, luckier all the more because the star-driven crime drama was actually one of the best movies that year, and a strong effort from Scorsese himself. One may name their own example of a important artists being belatedly honored by their peers and critics with an award given to something that is not their best work. The Academy dodged the bullet that time, and Scorsese can make the legitimate claim that he did the best job of directing a film last year.Following suit, the Pulitzer Prize was awarded to long time jazz maverick Ornette Coleman for his 2006 album Sound Garden. Nothing ages worse than yesterday's avant gard, so it's said, but Coleman's work survives fashions that have gone to the wayside because of his uncompromising singularity of concept. Sound Garden, uniquely fractured with funk, twelve tone colorations, skewed bop references and a full host of energized against-the-grain improvisation, continues a
hot streak the saxophonist and music theorist has been for the last decade. The Pulitzer Prize folks have been seeking to make their awards for best music composition less Eurocentric, and here picked an outsider genius who, fate of fates, might now have to make peace with the cultural mainstream.

Hip Hop's Intransigent Vulgarity

Kalefa Sanneh weighs in on the renewed focus on hip-hop's intransigent vulgarity in the New York Times and offers a typical middle of the road position about the music's part in encouraging violence and the furthering coarsening of American life. Don't blame the music, Sanneh writes, these words, these jokes, these attitudes have been part of African American and urban culture for generations, evolving from.   The tradition of "toasting" and graduating from the streets and the rent parties to the airwaves, discos, and television. The point of it all was to shake up the mainstream, upset the comfortably settled, and give voice at the same time to a vital life that boiled and roiled in the heart of every poor neighborhood languishing in the shadows of corporate America. Blame the corporations for disseminating the material to the larger population, blame your uprightness if you are offended and taken aback by the rough language and general ugliness of much of the work. Some points well taken, and I'm of the mind that music and lyrics, whether Muddy Waters, Elvis, the Ramones or NWA in themselves cause people to have unprotected sex and buy "cop killer" bullets--this is a controversy that gets replayed every few years when media critics and their employers have exhausted the current crop of pseudo-events for their capacity to inspire unending opinion-mongering whose collective outrage seems more scripted and assigned than spontaneous and reflecting real offense--but what irks me is the casual implication that if we'd relax and take a broader view we wouldn't get so upset. 

That's the old Lenny Bruce theory on foul language, that words are only words and that if we use them frequently and openly, they would lose their shock value and their capacity to offend. Nice theory, but very Fifties in fact, and one that does not travel well. Lester Bangs, writing of the N-word in a seventies piece called "White Noise Supremacists" in the Village Voice, examined his adherence to Bruce's notion to de-fang the quarrelsome words and found the formula lacking. The word is generations old, used as a powerful weapon to reinforce cultural and institutional racism and oppression, so much so, he found that no matter how ironic one tried to be in their attempt to liberate the term from it's originating pathology, the N-word hurt, it hurt deep, it still caused anger, as it was designed to. Violence is an inevitable consequence for some when this word gets used, and so it goes with the hip-hop's street-level idiom. 

The language will not be less upsetting merely because most of us shrug our shoulders and do nothing. The republic will survive, and the language we might object to will cease finding its way into our public spaces only when the reality the words reflect ceases to be attractive, enviable, romantic. We return to our original and ongoing problem as a country: the transformation of a political apparatus into a means that allows people to achieve lives worth living.

"In Flight Couplets": by Alfred Corn

Alfred Corn's mentions of Mandelshtam in this week's poem ought not be made too much of, since it's name dropping vanity to mention the great Russian poet in a poem that he, Corn, is writing about his own fears of being forgotten as an artist
in the event of a catastrophe that would eradicate his name and the words he wrote. It would one thing for a poet to compare himself to another writer if that nervous one-to-one resulted in work that surpassed the fragility of the author's self-image and touched on matters that involved a readership larger than those who are entertained by the poet's version of mirror-gazing. Norman Mailer is notoriously obsessed with his fame, influence and his position among the writers of his generation and the generation before him, but he hasn't be disingenuous about his craving for influence and praise, and has worked hard to make that liability into a problematic asset.
Fraught with peril, the self-advertising resulted all the same with memorable books that transcended the neurotic center of Mailer's ego and got him to engage events larger than himself, whether massive antiwar marches, political conventions, Moon landings. The scheme was simple, effective more often than not; there were Mailer's expectations of how he would change things when he wrote about personalities and events, and then the realization of what was actually underway; Mailer got beyond to best DosPossos and Hemingway and Faulkner at their own games and became, instead, a voice unlike any other of his generation. Not well liked by many folks, yes, but undeniably the author of several brilliant books that flourished despite his worst habits. The secret was that Mailer knew when to get out of the way of the story.Corn does not know when to step aside, though, and the constrictions of the sonnet make his subject a swim in the muck that comprises a writer's vanity that cannot transcend itself. His poem "Windows on the World", nominally about 9-11, was a distanced recollection of cranky ironies that were whimsical rather than resonant with the solemn associations we would term "poetic". Horrible attacks were reduced to being mere finger exercises for the poet to limber up the writing muscle. This week's poem again works a similar airplane/bomb equation, and there is poor Alfred Corn, prisoner of text, scribbling away the words of his own epitaph , as if this page would be discovered, identified and applied to posthumous notices if the worst that happen indeed took place. The silliest thing of this whole poem is that Corn wants the audience that would read him after he's nothing but splattered body parts that he read Mandeshtam. It's comical; if one cannot be remembered for their work, they can at least be remembered for their good taste.