Joyce Carol Oates is not my favorite writer, but for all the repetition of her themes of fragile women being imperiled by evil masculine forces they masochistically desire, she does occasionally publish something both compelling and well written. I detested Beasts and The Falls since she exercises her familiar dreads in contrasting lengths, the first book a slender novella, the latter a literal brick, both books sounding rushed, fevered, and breathless, as first drafts of novels usually do. Or a finished Oates novel, for that matter. She does hammer that nail effectively and brutally as often as not, however, as she did with her novels Black Water and The Tattoo Girl", with the right configuration, her usual wit's end prose style and fascination with fragile psyches and marginally psychotic psychologies get as intense as fiction is ever likely to get. Zombie is a rather potent little psychodrama, and it's the kind of writing Oates excels at. She gets to the heart of the fringe personality better than anyone I can think of. The Tattooed Girl, from 2003, is likewise a well shaped melodrama. She depicts the thinking of women who allow themselves to be beaten and killed with seemingly scary exactitude. Oates can also be a bore, evident in We Were Mulvaneys and The Falls. My fascination with her continues, though, since it's impossible to tell when she publishes another novel that will be gripping and unnerving. I agree with the assessment on Oates. She writes so much that she's almost as undercooked and sometimes awful as she is brilliant. Producing novels at such an assembly line clip seems a compulsion. We Were Mulvaneys read like it was meant to capture some of the weepy women's market and I put it down, and Beasts was a novella of abuse that was better left in the manila envelope, as it was a flat litany of sexual assaults that she's done better before. But just as you think Oates is all used up, she surprises you. The Tattooed Girl was an amazing book, as was The Falls, with their portents of violence, domination, skewed rationalization of unworthy deeds. She has made an art of the dystopian personality, and it is here that she gets greatness. She merits a bit of respect, although you wish she'd stop trying to win the Nobel Prize so obviously with her tool-and-dye production and take longer to write a novel a reader didn't have to rationalize about. Editors hold much less sway in the preparation of a book, it seems. It's not just a matter of writers who write quickly getting away with redundant excess and awkward passages, such as Oates and Stephen King. Those who take their time also seem to avoid the more severe markings of the editor's blue pencil .
Sunday, January 14, 2018
Wednesday, January 10, 2018
The Huffington Post Rips Down an Article Sharply Criticizing Spotify — Here's the Original
The Huffington Post Rips Down an Article Sharply Criticizing Spotify — Here's the Original:
This is worth reading because it makes the case convincingly that musician creators are getting the short end of the stick financially from having their music featured on the Spotify streaming service. The caveat is that I find the author's recollection of the conversation with a Spotify executive about the financial relationship between the service and the creators who make their content reads a little pat. The executive comes across as too stereotypically dense and clueless and the narrator shows himself as a guy who too easily comes up with fast and stunning bits of pithy truth telling from which there is no response. It comes off as stunningly cliched TV drama, and I think Huffington Post was on reasonable grounds to doubt the veracity of the author's account of the meeting. Still, it's worth a read to glean the essential truth herin, that deserving artists are being cheated by the service . Spotify , from what I understand, is "making bank", as the kids say, and can well afford to pay these good people what their work is worth. Also, checking out the author's"I Respect Music" Website can help, perhaps, move the needle in the right direction.
The sublime "The Shape of Water"
That is, there is no shortage of f-bombs. Also done incredibly well is handling the sexual element that's usually obscured by sentiment and courtly sentiments; del Toro brings this aspect, and the entire premise, into a world we recognize, in this case, the early 60s in Baltimore. Time, place, inference, and the use of nicely chosen incidental details and art design set up the way the tale is conveyed. Most importantly, there is a human connection here, with the theme of loneliness being a primal driving force to seek love or revenge superbly embodied in fully rounded characters.
Visually, this is your typical del Toro production, with the deep, rich, dark color scheme, seamless editing, controlled and adequate contrast between the more human and banal world of the 60s and the more fantastical, menacing interiors of the more sci-fi sequences. Stand out performances from Michael Shannon, a grand and messed up baddie, and Richard Jenkins, who seems incapable of doing bad work.
Tuesday, January 2, 2018
These chops don't cut deep enough
Patrick Yandall would one of those jazz-inflected guitarists I would usually go nuts over.The qualifier "usually" gives you a hint of what I thought of his new album A Journey Home. The San Diego-based musician is a veteran of the scene, active since the ’90s in many bands and collaborative efforts, and has released 20 albums of his music. His productive longevity is understandable, considering that Yandall is an excellent guitarist, potentially a great one. He is a master of groove, tone, and feel, a fret man able to fill space with Wes Montgomery-like octave chords, punctuate the beats with short blues riffs and , and, when the feeling merits, let loose with an impressive flurry of runs. In its best moments—and there are many sweet spots on this disc—his soloing transcends the often repetitive and simplistic structures of his self-penned material. After the fact, the grooves lack personality; they are placeholders, more or less, existing less to push Yandall than they to keep his chops from getting too hairy for the average listener. The guitarist restricts himself , keeps himself in check, careful not to offend. The conservative approach creates conservative results.In another discussion, we might call it being chintzy with the available bounty. A guitarist as technically gifted and as fluidly expressive as Yandall ought to be leaping over such barriers and cutting loose for real on a track or two. Stronger, more varied, more intricate compositions would aid toward that goal, if Yandall were so inclined. The songs on A Journey Home are simple, hardly a sin, and there are some good melodic ideas here,.But there is a formula smooth-jazz/light funk motif they fall into, with incidental keyboards, synths providing a few pale shades of color, an occasional piano solo (played by Yandall, who, as I understand, plays all the instruments). The drum tracks, honestly, are without soul. The burden falls to Yandall’s obvious virtuosity, which raises to the occasion on several tracks, especially on “Passion,” a Latin groove where the artist unleashes what he can do; hot riffs, screaming ostinatos, raging note clusters. But alas, it is too short a solo, as it fades and we return again to the album’s steadfast sameness, waiting for another moment when the guitarist steps into the spotlight again. You might find yourself fighting an urge to fast forward through a mostly indifferent set of rhythm tracks to find some places where the music starts to cook again. Well, the guitarist anyway, if not the actual tunes to composed to hang his virtuosity on. Agreeably, Yandall, does a good turn with the last track . a stone cold blues shuffle, “Blue Jay Blues,” highlighting a glorious walking bass, and a pulverizing solo from Yandall, with brief and sharp assertions, serpentine runs weaving between the one-four-five beats, some bittersweet BB King-like vibrato. This track is a rousing, strutting jam. One wants more.This ought to have been an outstanding album. As is, it is only good one, buoyed by Yandall’s spirited playing. A musician this gifted deserves the energy and inspiration an actual band of musicians can provide, and the improvisatory possibilities better material can provide.
(This was published in slightlydifferent form in the San Diego Troubadour. Used with kind permission)
Thursday, December 28, 2017
Show some grit for the MC5
(In the spirit of Lester Bangs, exaggerated even by his standards, I wrote this fever dream as a tirade demanding the induction of the MC5 into the Rock and Roll Hall of Fame. It occurs to me that the 5, in their prime, could give a damn about such a corporately bestowed honor. Still, I thought this should have a home on this blog as well.-tb)
Wednesday, December 27, 2017
Name Brand Kvetching
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Bowie wanted some of that, to be all of that, but he was a tourist and didn’t stop being a mere borrower until Station to Station. Bowie coveted that kind of brutalism, evident in his band Tin Machine, which tried to be street, noisy and savant gardish in the shrieking sense of the Velvet Underground but which were undermined by Bowie's autodidactic habits and Anthony Newlyesque vocalisms, reminding you that he was, above all else, an actor. Bowie’s overt theatricality often made me roll my eyes, but he was a man who knew how to turn what can be used against him critically into an asset that elevates his art when his inspiration moves him to do so. He was a far superior synthesizer of many styles and moods and texture and had a genius for texture and color in the studio. Philip Glass, Brian Eno, funk, disco beats and plenty of chomping, comping guitar made this a revolutionary fusion masterpiece; Bowie, as well, reined in his persona to a dimension that suited him, that of a post WW2 soul,,, weary unto death, a witness to yet another large and irreparable crack in the foundations of a great and honored culture and attending traditions. Bowie was always musically more ambitious than Reed. That's pretty self-evident and not really worth the bother to point out unless your preference is competence over the kind of brutalism Reed specialized in. Reed's lyrics, in my view, have a substantial edge over Bowie, who was plagued by a prevailing sense of who wanted to sound like.
The atmospherics and production garnishes of Station to Station did free Bowie from any obligation to sound like he was trying to say anything that could be interpreted as philosophical. His words became more diffuse, full of associative leaps, ellipsis, images that were and remain private mysteries so far as what they reference but which provide a rich and vaguely mystical and definitely European tone to the inspired constructions he released from this point onward. As a lyricist, as a writer, as a storyteller, Reed was the authentic genius here; he was a blend of a mind that made equal use of his library card and his street smarts and provided a skill to be expansive while maintaining a hard, stripped-down veneer. Bowie the tourist became Bowie the innovator with Station to Station and, in his way, achieved parity with Reed as an expressive artist.
Monday, December 18, 2017
Zsa Zsa Gabor Deserved all her Close Ups
One year ago today actress, comedienne, professional celebrity Zsa Zsa Gabor died at the age of 99. Although my memories of her are mostly for being a go-to punch line for nearly six decades, she was in Orson Well's noir masterpiece "A Touch of Evil" and in John Huston's "Moulin Rouge". Not bad at all. And she had a solid grasp of her own absurdity as a Professional Celebrity. She wasn't just the punch line of jokes about her, she created the set up. If someone wanted to insult Gabor by citing her many marriages, her superficiality, her rampant materialism and heedless self -regard, she likely would make a move worthy of Cyrano and turn the game around, insisting that slights and curses at her expense be at least as good as as though she'd furnish herself. She was tougher than the public suspected. We tend to lavish praise and critical analysis of performing celebrities who create personas on which they could hang and adjust their aesthetic, whether that be Madonna, Lady Gaga, Bowie or Prince. Zsa Zsa Gabor certainly deserves some of that.Her self-creation is worth a tip of the hat and a round of applause.
Saturday, December 16, 2017
WE DISCUSS OUR DIFFERENCES IN A BAR AT THE EDGE OF THE WOODS
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for Jill Moon |
"Well yes", I said to her," I do dwell on the absurd in life, but mostly I like the problems our use of language gives us to solve . Things we say that are meant to clarify the metaphysics latent in awkward pauses in small talk, or worse, where there is no trivia left and a sense of embarrassment starts to come over us, as if we're naked, are concepts invented on the fly, with the perspiration still burning our nostrils, word structures that have terms enjambed to the degree that the brain , the outer periphery of the human capacity to feel ashamed and to blush, stops digging itself deeper into a metaphorical hole and instead convinces itself the world is more a cartoon, something rendered by an unseen hand and the will that guides it, than cartoons themselves."
She tilted her head, her shoulders arcing in the same direction, her posture a hard question mark of unconvinced arms and ready hand gestures of another version of this same moment, saying finally, but not finally "I cannot consider myself as a badly drawn and poorly scripted caricature of stammering awkwardness.I am a painter and I paint things that are not there , even in spirit. " She picked up a pencil and drew an apple, making it appear fresh and shining under an undisclosed ray of sunshine or tolerant light bulb.
"This," she continued, placing pencil down, "represents an idea of a fruit that does not exist. It is a lie , posing as a portrait of a fresh apple. But there is a lie in this thing that is already a fabrication, which is that this apple is extraordinary for being an apple and that it is a thing for all time and will always be as such. But this apple is already rotten , shriveled with skin like snake hide, or it is eaten , conceptually,and made into another idea of energy, an expression on another note pad, configured, perhaps, as a box of cherries or a glass of wine , or perhaps a dung heap, a representation that fails as representation...." She paused and lit a cigarette while I check for messages on a phone I paid too much for. She pointed t the phone. "There's no one out there" she whispered, "there are no messages from your friends. They are ghosts of conversations you only dreamt...of..."
There's too much cogitating in here said Romulus, who'd been in the corner doing a Sunday crosswords before realizing he didn't knew enough angry words to fill all the boxes.
"What's a ten letter word for Migraine?"
The melting pot, Euro style
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A Droite!--Big Boss Bubeleh |
Yael Gmach and Vlady Yarovinsky, a North County duo performing and recording under the rubric Big Boss Bubeleh, are a flavor quite apart from what one would expect from local original music. Avoiding the obvious choices of styles, flavors, and stances that local original artists might assume, these two dig into the roots music they obviously love, an intoxicating alchemy of Gypsy jazz, torch songs, blues and swing, as well as calypso and assorted Latin references. And, to be sure, the grainy textures of American music one recollects from the Ozark Mountains to the Mississippi River.Their new release, A Droite! (a French phrase, “on the right; to the right”), brings this myriad of influences to fruitful perfection, a selection of 14 original songs that, through uncluttered instrumentation and a natural feel for the varied grooves and uncommon weave of genres, makes it easy to willingly suspend disbelief and imagine, for a while, being in an Bohemian cafe on a side street of an East European capital, getting lost in the tales and bitter sweet melodies.
Especially effective is Yael Gmach’s wonderfully adaptable vocals, at once making one think of a Dietrich-like chanteuse from the film Blue Angel, a playful, bubbling style with eccentric elongation of syllables and vocal emphasis where you don’t expect them. Her voice is a low, seductive rumble, a hook that brings you for a full measure of Old-World emersion, particularly on the song “Recalling,” an ironic recollection lessons learned in an enticing minor key, wonderfully supported by Vlady’s precise guitar work and the lyric, ironic musical elaboration by guest violinist Marguerite-Marie Sort.“Coffee” continues the sweet otherness of this duo’s marvelous world view, a more traditionally folkie number with Yael—in another gloriously alluring accent—lists the tribulations and work ways of doing what one must do on a daily basis only to come to the reward for one’s efforts: a cup of coffee and the caffeine therein. The epiphany of this odd lyric is that a cup of coffee, for all the energy and nervousness it might jolt the nervous system with, is merely coffee, a drink over which the life’s lessons, if any, can be pondered. Again, Sort’s violin commentary over Yael’s wide-eyed vocals lures you even deeper, closer into this unique world.
Relateably exotic, honestly off-beat, funny, and ingratiatingly wise in ways that suggests a intimate sharing among friends, Big Boss Bubeleh’s A Droite! has an effortless and persuasive eclecticism that makes this one of the most delightful entertainments I’ve encountered for a good while.
(This originally appeared in The San Diego Troubadour. Used with kind permission.)
Tuesday, December 5, 2017
from 1978, MY AIM IS TRUE by Elvis Costello
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MY AIM IS TRUE--Elvis Costello |
Among the miscellaneous debris The Seventies have given rock and roll is the chance for a new artist to regurgitate and , at times, imaginatively retool the many over-incubated cliches of Pop and rock music .Older critics who long for their heyday (first cigarette, first sexual encounter, first visit to the doctor’s office without informing one’s parents) as something in the vanguard of the movement, a ...fresh and invigorating voice that outlines the future of rock and roll.. ." We seem stuck in a state, perhaps permanently, where we have given way to unavoidable nostalgia and have taken to wallowing in recollections of an Ideal Past. This is Fall-From-Grace stuff, a perverse funk for a generation that barely has the right to call itself middle age; as it has for some years now, we continue to search for the next Dylan, the new Hendrix, the next Beatles; overpraise and hyper critical rejection are the two polarities the new blood is greeted; the middle position did not hold in these surmising discussions. Bruce Springsteen combines elements from Phil Spector records, old rhythm and blues tracks, and basic 4/4 backbone of rock and roll ,wrapping a Dylanesque ,free-associating surrealism around it.
The result is a pastiche of styles that sounds forced.The motivation is obvious to a disinterested observer, but Springsteen’s movements do not move me beyond recognizing that his is influences will remain hipper than he could hope to be. What constitutes the ephemeral, mystically conferred essence of hip on someone, I admit, is a mystery that is and will remain the subject of engrossing discussions and debates that will not find resolution. But I know it when I see/hear/read it, and Bruce Springsteen appears fated to remain an earnest hipster, another face in the chorus protesting the same hard knocks and cold soup. Patti Smith wants to merge early Sixties rock, ala Stones and "Louie Louie" with the legends of dead poets, sounding in the end merely silly.
Tom Waits combines black jazz hep jive with Jack Kerouac, and sounds stupid.From this parade of pretenders, the more jaded among us are leery of anyone trying the same thing. My Aim is True by Elvis Costello, takes one by surprise. Like Springsteen, the backbone 01 Costello's music is old rock and roll. But apart from that, they differ radically. Springsteen has a tendency to stretch his material to the breaking point, pouring crescendo upon toughness, and Costello's sing• crescendo. verse upon verse, ing, similar to Springsteen's trying to create an epiphany but more tactful, is full of that never culminates into pro- bouyancy, emotion and conviction. Costello, though, is without any overkill. What he loves about tin pan alley, the Brill Building , the hack songwriters of all callings, genres, convictions, was their mastery of craft. Mr. Costello knows when to weave narrative elements and spare details that contain a beginning, middle, and end. His sense of poetic irony, though influenced by Dylan and John Lennon, is entirely his own. He doesn’t mistake a song's verses occasions for wildly opaque analogies. or repeated and ineptly expressed philosophy. Instead, his stanzas are vivid items that logically follow one another in tone, temper, plot. One leaves these songs understanding the situation. What is understood is that Elvis Costello is angry with many people and that these songs are his chance to let them and the world know why he's ticked. It's an exhilarating feeling, seductive and alluring.
The stripped down to a vernacular (songs number twelve in all on the disc, unusual for a rock disc, and each exist as polished lyrical gems of a cynical, penetrating working class intelligence. Costello's strength, a virtue that Springsteen, Smith and Waits lack, is his ability to use rock cliches for their full value. Instead of brandishing them like a set of museum pieces that one is supposed to bow to in historical awe and respect, Costello gets the heat to the meat. The make takes ownership of them and does with them as likes.The rockabilly stuff is done with a verve that equals Buddy Holly, his use of reggae captures the required anguished, sinister mood, and his boogie material does a lot more than plot the course for the band. His lyrics, though, are imbued with a seventies sensibility, an awareness of absurdity , works minor miracles with the clichés. Though not notable for originality, My Aim Is True is honest work where the songwriter makes innovative use of what he's borrowed. Elvis Costello has an intelligence that can develop into something more complex and rewarding. My Aim, for now, suffices as an excellent example of how old forms may be revitalized, even reinvented from scratch, with the basic elements and energy renewed, if for a time, and be metaphorically capable of making the vulgarity , self-seeking and tangible afflictions that make life a cruel waiting room all melt into air and make you happy for the voice you hear next to you and the voice he or she is singing, grateful for the breath your taking, and feeling fully alive , if briefly, knowing that you and yours are not the only ones seeking transcendence. That is what great art does, if briefly.
The result is a pastiche of styles that sounds forced.The motivation is obvious to a disinterested observer, but Springsteen’s movements do not move me beyond recognizing that his is influences will remain hipper than he could hope to be. What constitutes the ephemeral, mystically conferred essence of hip on someone, I admit, is a mystery that is and will remain the subject of engrossing discussions and debates that will not find resolution. But I know it when I see/hear/read it, and Bruce Springsteen appears fated to remain an earnest hipster, another face in the chorus protesting the same hard knocks and cold soup. Patti Smith wants to merge early Sixties rock, ala Stones and "Louie Louie" with the legends of dead poets, sounding in the end merely silly.
Tom Waits combines black jazz hep jive with Jack Kerouac, and sounds stupid.From this parade of pretenders, the more jaded among us are leery of anyone trying the same thing. My Aim is True by Elvis Costello, takes one by surprise. Like Springsteen, the backbone 01 Costello's music is old rock and roll. But apart from that, they differ radically. Springsteen has a tendency to stretch his material to the breaking point, pouring crescendo upon toughness, and Costello's sing• crescendo. verse upon verse, ing, similar to Springsteen's trying to create an epiphany but more tactful, is full of that never culminates into pro- bouyancy, emotion and conviction. Costello, though, is without any overkill. What he loves about tin pan alley, the Brill Building , the hack songwriters of all callings, genres, convictions, was their mastery of craft. Mr. Costello knows when to weave narrative elements and spare details that contain a beginning, middle, and end. His sense of poetic irony, though influenced by Dylan and John Lennon, is entirely his own. He doesn’t mistake a song's verses occasions for wildly opaque analogies. or repeated and ineptly expressed philosophy. Instead, his stanzas are vivid items that logically follow one another in tone, temper, plot. One leaves these songs understanding the situation. What is understood is that Elvis Costello is angry with many people and that these songs are his chance to let them and the world know why he's ticked. It's an exhilarating feeling, seductive and alluring.
The stripped down to a vernacular (songs number twelve in all on the disc, unusual for a rock disc, and each exist as polished lyrical gems of a cynical, penetrating working class intelligence. Costello's strength, a virtue that Springsteen, Smith and Waits lack, is his ability to use rock cliches for their full value. Instead of brandishing them like a set of museum pieces that one is supposed to bow to in historical awe and respect, Costello gets the heat to the meat. The make takes ownership of them and does with them as likes.The rockabilly stuff is done with a verve that equals Buddy Holly, his use of reggae captures the required anguished, sinister mood, and his boogie material does a lot more than plot the course for the band. His lyrics, though, are imbued with a seventies sensibility, an awareness of absurdity , works minor miracles with the clichés. Though not notable for originality, My Aim Is True is honest work where the songwriter makes innovative use of what he's borrowed. Elvis Costello has an intelligence that can develop into something more complex and rewarding. My Aim, for now, suffices as an excellent example of how old forms may be revitalized, even reinvented from scratch, with the basic elements and energy renewed, if for a time, and be metaphorically capable of making the vulgarity , self-seeking and tangible afflictions that make life a cruel waiting room all melt into air and make you happy for the voice you hear next to you and the voice he or she is singing, grateful for the breath your taking, and feeling fully alive , if briefly, knowing that you and yours are not the only ones seeking transcendence. That is what great art does, if briefly.
Sunday, December 3, 2017
Two short tales of two snap shots with no moral of the stories (so far)
This, I believe, is the best photograph I have ever taken. A black and white photo of a tv screen with the sun-glassed mug of the late George Michael toothfully smirking into the drive-through vacuity of a southern California Mexican restaurant isolates the compulsive idiocy of our look-at-me ethos that will have us all buried in the walls of suburban condos, with only a thin sheet of drywall separating us from the waiting hell of dry donuts and porno jazz soundtracks in an empty food court.
__________________________________
"Do you speak and read 6 languages?" He paused, then continued, seeming annoyed.
"No , I sing opera and I sing in Latin, Italian, French, German..."
"And you don't speak or write or read in those languages?"
"No, but what I do is an unusual skill..." Now i wanted to end the conversation. "So you're singing phonetically is what you're telling me..."
"Yes". "Well good for you, that must be hard t do, but it's not so special. Kinda so what?, in fact. " He rose out of his seat a little.
"Sit down, Mr. Souffle" I said.
He sat , I got off the bus. In the intersection two guys had gotten out of their pick up trucks during the red light and we punching and grabbing each other awkwardly. When the light changed, they got back into their trucks and sped away, presumably to the next traffic light for round two.
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The Atlantic a month ago ran a pig-headed bit of snark-slamming prog rock as "The Whitest Music Ever, "a catchy bit of clickbait...
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here