After Kansas Anymore

Not to throw a damper on your joy, but the man behind the curtain is still behind the curtain, and we better pay attention, Toto.

While the Kansas vote is cause for celebration, there’s no guarantee that it predicts what will become of reproductive rights across the nation following elections in every state this November.

Reason is quite simple: Voters in Kansas answered a referendum question that was specifically about the right to choose.

True, the state Republicans tried to finesse an anti-choice vote by putting it on a primary ballot rather than on the general ballot in November. This, they thought, would work doubly to their advantage since the only high-stakes primary contests were on the Republican side. Ordinarily, there’d be little incentive for Democrats or independents to go to the polls.

Knowing that wouldn’t be enough, Kansas Republicans then worded the question so that “Yes” would be a vote to outlaw abortion and “No” a vote to approve it. This is right out of the playbook of authoritarian regimes: Carefully crafted referenda intended only to give the outside world the illusion they respect the will of their people.*

Even that wasn’t enough in Kansas. Days before the vote, pamphlets appeared in Kansas City, Topeka, Lawrence, and other cities that trend Democratic with blaring headlines screaming, “Yes” to protecting reproductive rights, thereby deliberately distorting the word to give the impression that a “Yes” vote was how to do it.

Still, despite all that, Republicans lost. So, yes, the landslide vote in Kansas was a huge triumph on every level, and those who organized and got out the vote have earned all the toasts we can raise.

To help us all sober up, think about what’s at stake for reproductive rights in November and how the choice will appear, with or without Republican attempts to control, distort, or finesse.

For starters, the words “pro-choice” and “pro-life” will not be on any ballots. Instead, we’ll see the names of candidates, mostly in pairs, one with an R and the other with a D following his or her name. Any voter whose priority is to protect reproductive rights will need to know where each party as well as each candidate stands regarding those rights.

Sounds simple, but this is why many Republican candidates do not identify their party affiliation in their campaign ads and literature. This is especially true of challengers who accuse Democratic incumbents as being “part of the gridlock” even though it is their own party that obstructs.

And then there are many voters who like to say that they will choose the best person regardless of party. Sounds so reasonable, doesn’t it? On the surface, who can argue? Below the surface, the sheer number of party members determines which party chairs all of the congressional committees for the next two years.

Since the chair determines what comes before each committee, a Republican takeover of either the House or the Senate will kill all legislative efforts to protect reproductive rights–as well as voting, labor, and consumer rights; as well as addressing climate change and gun violence; and protecting social security and other public services. Instead, we’ll be listening to at least two years of “Benghazi!”

This is how it works in every state legislature as well as in the US Congress.

In other words, if you vote for the guy or gal who looks and sounds like someone with whom you’d like to have a beer or a cup of coffee instead of, say, a grumpy old white guy like Jerry Nadler, you could help make Jim Jordan chair of the House Judiciary Committee.

My advice?

As Glinda, the Good Witch, tells Dorothy: “You’ve always had the power my dear, you just had to learn it yourself.”

Keep the focus on reproductive rights and keep asking every candidate where he or she stands on it. Make it a yes-or-no question, and interrupt them if they begin with any other word. This is no time for Pollyanna politeness. This is time for Ruth Bader Ginsburg persistence.

Keep asking the same question until they answer. Anything short of a clear, emphatic endorsement of reproductive rights betrays a unwillingness to make Republicans “take their feet off [women’s] necks.”

Talk about it, write about it, tweet about it, text about it, insist that everyone you know knows about it. And then show up, no matter how long the Republicans’ contrived inconveniences make you stand in line.

Don’t just get mad at Republicans for your time in line, get even.

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https://www.ajc.com/opinion/mike-luckovich-blog/

*For an illustration of how sham referenda work, there’s a 2012 film about one held by Augusto Pinochet’s regime in Chile in 1988 titled No, a story so hilariously and brilliantly told that it serves as a satire of the advertising industry as we know it today:

Do They Have Any Bells?

Whenever I hear anyone express an interest in forming a third party to solve all that ails US, I ask:

“Does the name ‘Ralph Nader’ ring a bell?”

If they are under the age of, say, 35, I suppose the answer will be “no.” But if they are well into middle-age or beyond, I wonder if they have any bells to ring.

Imagine my surprise last week when hearing that Christine Todd Whitman and Andrew Yang announced the formation of a “centrist party,” an attempt to draw independents and moderates disaffected by the existing parties.

Whitman, a former New Jersey governor, earned her moderate Republican chops as the head of the Environmental Protection Agency when she stood up to the W. Bush administration’s deregulating disregard for the environment. Yang, a most successful entrepreneur but a failed candidate for US president and NYC mayor, impressed moderates and progressives alike in the early 2020 Democratic primaries with his suggestions to revive the national economy.

Yang’s signature line, complete with cutting and sweeping motions of his right forearm, was “Not left. Not right. Forward.” No coincidence then, the name of this new venture: The Forward Party. Two years ago, he sounded so good that many liberals and progressives, including me, hoped that the newly-elected president would name Yang to his cabinet as secretary of either Treasury or Commerce.

Today, no matter how calm the sound of his voice, he screams collective suicide.

The difference can be summed up by naming one day, January 6, 2021. But that’s a deceptive understatement as we continue to learn that the afternoon riot was but a small piece of a far more comprehensive attempt to to overthrow America’s electoral process. In effect, we remain stuck in Jan. 6, as state legislatures contrive laws that will allow them, unchecked by courts or by neutral observers, to determine outcomes of elections, including the certification of electoral votes every four years regardless of the state’s popular vote. And it is one of the two existing parties that has not just joined but is conducting it while the other has mounted the only possible, plausible, practical defense.

How anyone can think that 2022 is a good time to start a third party is beyond me. And I say this as someone who, in an op-ed column just two years ago, promoted the possibility of third parties as a benefit of Ranked Choice Voting (link below).

RCV allows us to vote for the candidate we most want without fear of tilting the election to the candidate we least want, simply by having us indicate our second choice. Had RCV been in place in 2000, it stands to reason that Al Gore would have received most of Nader’s votes in Florida and in New Hampshire, either one of which would have put Gore over Bush in the Electoral College.

In effect, RCV is a built-in run-off that takes effect only when no candidate gains 50% of the vote when first counted.

Furthermore: Nader would have gained many more votes nationwide from progressives who voted for Gore for fear of electing Bush. Yes, those votes would have gone to Gore in the run-off, but they would have also registered as votes for the third-party and helped it qualify for standing and funding it future elections.

In short, RCV will make third-parties possible.

Yet more: If, in a three-way election, the third party can finish second, it will likely gain most of the last place party’s votes in a run-off–regardless of whether the run-off is RCV or held separately.

At length, RCV will make third parties probable.

Until we have it, we are faced with one party that, for all its flaws, observes and seeks to preserve democracy while the other is bent–in spite of all they claim–on establishing authoritarian rule. Nor is it anything that can honestly be called a “political party,” not after its 2020 convention platform that said not a word about a single issue but simply offered complete deference to Donald Trump, carte blanche. That’s not a political party, that’s an authoritarian cult

Any attempt to form a third party now, ostensibly for “more choice” or to improve democracy, will not attract anyone who favors authoritarian rule. Not the corporados, not the evangullibles, not the Trumbeciles, not the white nationalists. In practical terms, without RCV, any attempt to form a third party will benefit them.

Already, they are raising ample funds while polls show neck-and-neck races for the US senate in Florida, Georgia, and elsewhere. How much of the funding for this shiny new object might instead be going to candidates to get and keep Trumpers out of the senate and gain enough votes to get past Republican obstruction?

Foremost problem with the Forward Party is that its appeal is purely superficial. There’s no regard for any practical, internal workings. And, not to be flip about it, but if you can’t tell the difference between Raphael Warnock and Herschel Walker, you don’t need a third party. You need a neurologist.

The friend who posted the news on social media was enthusiastic:

The either-or cycle needs to be broken. The minority obstructing the majority until they become the majority and then punishing the minority has to stop. The swinging pendulum isn’t the smooth motion of a well maintained clock, it’s the cutting terror out of Poe.

As another friend immediately responded:

This is a terrible idea. The democrats aren’t great, but they’re not evil like the republican party. To split the voting block of reasonable people, when we are threatened by extremist conservatives, is a horrible mistake. Please get the hell off the “they’re all the same” bandwagon and get on the reality track. The republican party is the enemy of democracy and morality — and you can’t fight them by splitting their opposition in two.

Ah, the “all the same” assumption! So glad he brought that up. It’s a sure indication of people who pay little or no attention, if only you do the math. Here’s a sample of House votes during one week about a month back:

An allocation for baby formula: Dems, 219 – 0; Repubs, 12 – 192

For veterans benefits: Dems, 222 – 0; Repubs, 34 – 174

To lower the cost of insulin: Dems, 220 – 0; Repubs, 12 – 193

To stop oil & gas price gouging: Dems, 217 – 4; Repubs, 0 – 203

The new advocate for the Forward Party was undaunted by the first complaint:

Will some Democrats leave? Probably. Will some Republicans leave? Probably more than you think. And there’s more than enough disengaged independents waiting for another option.

Should have asked him what the words “waiting for” say about these supposed independents. Instead, I asked what he thought of RCV, only to be told:

With all the BS about rigged elections, people are going to accept the accuracy of a ranked ballot? The damage has been done on that one.

So it all comes down to the cynicism that the authoritarians, starting with Putin, have sown and are counting on in their hi-tech versions of Divide & Conquer–the very cynicism that RCV would alleviate by making third-party bids more attractive, by making candidates and campaigns less extreme, by making coalitions more likely.

Much like the “all the same” ruse, cynicism is a convenient excuse not to think. That’s why, before I dare mention RCV, I respond to such news with that far simpler question about Ralph Nadar.

Even though I can’t help but wonder if the speaker has any bells at all.

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https://www.theguardian.com/us-news/2022/jul/27/forward-republicans-democrats-new-third-political-party?

From the Newburyport (Mass.) Daily News:

https://www.newburyportnews.com/opinion/columns/as-i-see-it-some-are-more-equal-than-others/article_0b818bfb-fefa-5414-9f88-f973dfab32d2.html

Bill Russell’s Last Team

To learn that a childhood idol has died, at least at my age, is to sense something beyond loss.

There’s an inevitability regarding your own life. While you know the world you knew is already gone, the world you now know will be, before long, without you.

But it will go on, with children choosing new heroes and role models with little regard for ours. Put another way, my generation isn’t just getting old, we’re losing relevance.

In grade school, I think we all heard, heard of, perhaps read the poem, “Ode to an Athlete Dying Young.” I might wonder if that’s still taught, but today I’m more inclined to wish for a poem called “To an Athlete Dying Old.” Would it emphasize immortality, or the disappearance of the past?

Oh, Bill Russell will be enshrined–beyond how he already is–with statues, plaques and things named for him. There’s already talk of the NBA retiring the number 6 league-wide as MLB has done with Jackie Robinson’s 42. As we are hearing in all of the tributes from former teammates, from rivals, and from hoop fans such as Barack Obama who honored Russell with America’s Medal of Freedom in 2011, it wasn’t just greatness on the court but off it.

Most of this had to do with the Civil Rights movement in the 50s and 60s when Russell was leading the Boston Celtics to 11 championships in 13 years. That came after two collegiate championships and an Olympic gold medal. At the time, we young boys thought Russell was all about defense, blocked shots, and fast breaks. We had no idea of his involvement with Martin Luther King, his ultimatums to hotels and restaurants in Southern cities where the Celtics played, his support of Muhammed Ali, his pilgrimage to Africa, or the vandalism of his home in a Boston suburb punctuated with racist graffiti.

Guess you could say what I thought was my world never existed. But the avalanche of tributes last night and today have restored that world, warts and all, as if to give my generation one last honest glimmer. Must say, though, that I can’t help but be bemused at the verbal acrobatics of so many commentators trying to honor Russell’s life and work “off the court” without saying the words “race” or “racism.”

Something completely missing from every tribute I’ve heard is any mention of what may be Russell’s last sustained public endeavor: Bill Bradley’s presidential campaign in the 2000 presidential primaries.

A Democratic US Senator from New Jersey at the time, Bradley had been a longtime star for the New York Knicks, making him Russell’s opponent. But Russell, at the age of 66, signed on to Bradley’s team for more than just an endorsement or a couple of casual appearances.

Russell spent most of the month of January making rounds all across Iowa, an early–and therefore influential–caucus state speaking in homes and auditoriums trying to convince Democrats to vote for the affable, soft-spoke, progressive Bradley rather than the sitting vice-president, Al Gore. January. In Iowa.

According to one report, Russell lived in Iowa for the entire month. I haven’t been able to verify that, but I do recall numerous clips showing him in various places during those weeks. He was easy to spot, moving head and shoulders among crowds in a part of the country where most people have blonde hair.

Don’t know when Alzheimer’s took over, but I like to think that Russell took his off-the-court work right to the end. Still a hero, he leaves an example that turns a sense of loss into hope.

What could be more relevant than that?

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**Caption:** In this file photo taken on February 14, 2011, US President Barack Obama awards the 2010 Medal of Freedom to NBA basketball hall of famer and human rights advocate Bill Russell. AFP
https://www.24newshd.tv/01-Aug-2022/nba-mourns-celtics-great-and-civil-rights-activist-bill-russell

Former NBA great Bill Russell, left, jokes with Democratic presidential hopeful Bill Bradley 17 January 2000 in Des Moines, Iowa. Bradley is campaigning for the upcoming Iowa caucus. Photo: TANNEN MAURY/AFP via Getty Images.

Bemused by Snivilization

Looking for a word to describe a people who complain about the price of gas while the entire nation of Ukraine suffers a war that precipitated the increase?

Call it Snivilization.

No, not mine. Found it–along with much else I’m about to report–in a brand-new dual-biography titled, Up from the Depths: Herman Melville, Lewis Mumford, and Rediscovery in Dark Times.

Yes, it was at least 130 years ago that Herman Melville coined the word, not on a mast a la Ahab in any of his novels, but in letters to friends. And yes, he is remembered for adventures in the South Pacific, as far from civilization (with a C) as you can get. But most of them tell of uncomplicated, peaceful island natives grateful for the fruit of their earth no matter how difficult it was to obtain or prepare.

Melville couldn’t resist comparisons to back home, as he recalled the huffs and puffs often expressed at any minor inconvenience or delay in what he and his contemporaries–Whitman, Emerson, Thoreau–called a “Get Ahead World.”

It was not a compliment. And it was aimed at a ruling class impatient with a servant class; at factory foremen pressuring women and immigrant workers in overcrowded, unventilated factories; at overseers cracking the whips on men, women, and children picking cotton in hot and humid fields; at bankers manipulating numbers to milk the farmers who milked the cows before any hint of dawn.

If you ever wondered how Hawaii became a state, Melville’s early novels will convince you that America had no choice but to grant statehood after destroying the natives’ way of life under the pretext of bringing the conveniences of “civilization” and the benevolence of Christianity. All the early missionaries and military had to do was make a few islanders–usually one family–rich while the rest went to work for a pittance. Statehood finally came as an act of obligatory mercy. If Melville were alive at the time Hawaii entered the Union, he’d have been amazed that Tahiti wasn’t “admitted” with it.

And who benefitted from America’s Pacific ventures? American consumers, many of whom would complain if the price of pineapples went up, no matter that the natives climbed trees and picked them for pennies a day while their ruling class feasted with managers of the Dole Fruit Company and other “investors” by night.

In retrospect, it may either amuse or anger anyone who ever heard an English teacher or literary critic fault Melville for his tendency to “go off on tangents.” In Typee and Omoo, many tangents are screeds against colonization of Pacific Islands by the French and English while the Americans tagged along like eager teens ready to share the spoils. By the time he wrote Moby-Dick, Melville’s “tangents” tended more toward philosophy, disguised in Ishmael’s skittish, puckish, rhapsodic, whimsical narration.

His target was an American public that valued its own convenience over the consequences it had for others–much as Americans today enjoy inexpensive clothing and shoes without a thought of it being all stitched together in third-world sweat shops, or think that the price of gas is all the fault of a political party and not at all due to a war waged by a foreign power that wants nothing less than the end of democracy.

For all the lip service that we pay to sacrifices made by those deployed by our military into harm’s way, America is deaf and dumb to any need to sacrifice at home. Risk over there is nothing compared to inconvenience back here.

And pay no attention to any corporate pretext for price-gouging behind the screen. Sorry for the “tangent,” but it’s what happens when a subject has you amused (by the gullibility of those who fall for it) and angry (at the consequences) at the same time.

The word for that is bemused.

“He can neither believe, nor be comfortable in his disbelief,” was how Nathaniel Hawthorne described his friend after the commercial failure of Moby-Dick ten years before the outbreak of the Civil War.

Following a string of six spirited novels–the first of them, Typee, so successful it made him an international celebrity–Melville wrote dark, brooding novels that had critics (publicly) and loved ones (privately) questioning his sanity.

His fans didn’t buy them. In fact, one he titled The Isle of the Cross was declined by his publisher, as was a short story, “The Two Temples,” a biting attack on organized religion. Already absorbed in another story in his most intense way, Melville shelved and apparently forgot Isle. Unlike Billy Budd and “Temples,” the manuscript was not among papers he left behind and is presumed lost.

Imagine finding it today! It would fetch at least a million at auction, enough to put a down-payment on Beethoven’s Tenth.

Soon after the Civil War, America’s most prolific author fell silent save for a few slim volumes of poetry. He was so forgotten by 1891 that an obit in a New York paper called him “Hiram.” And he would remain forgotten until his centennial in 1919 when an enterprising young scholar named Raymond Weaver started writing magazine articles that would eventually form the first biography of the creator of Ismael, Ahab, Bartleby, and many more characters now impossible to forget: Herman Melville: Mariner and Mystic.

“Mystic”? Well, the Great War had just ended, and America was rushing headlong into the Roaring Twenties. What better time for Weaver to revive the author of Moby-Dick, a book he tells us “reads like a great opium dream”?

That assessment, though not definitive, is just as valid and useful as any other made of the book, reminding me of one calling it “clam chowder” due to Melville’s combination of various ingredients. A recent natural history titled Ahab’s Rolling Sea called it an “the first environmental manifesto,” a forerunner of Rachel Carson’s Silent Spring with Ishmael as a “blue environmentalist.” During the McCarthy era, another critic called it our first “totalitarian novel,” a forerunner of Orwell’s 1984 with Ishmael as Winston Smith.

Back at South Dakota State forty years ago, I wrote a paper for a graduate seminar claiming that, if the Bible is “God talking to Man,” Moby-Dick is Man’s response. As a way to avoid the arrogance of appointing himself a spokesman for mankind, Melville’s “in the beginning” took on a life of its own, a reference to an outcast in the book of Genesis: Call me Ishmael.

The most recent assessment calls Moby-Dick “the warp and woof” of two books. One is the adventure story that the public would have bought, while the other is a manual of the whaling industry that would also have found an audience in its time. So why did Melville serve them up as one?

That is among the subjects of Aaron Sachs’ fascinating Up from the Depths, itself a “warp and woof” as it intersperses Melville’s life and work chapter by chapter with that of Lewis Mumford.

If Weaver set the table for the Melville revival in the 1920s, Mumford was the one who served the fare and poured the drinks. Born in 1895, Mumford found that Melville’s misgivings about an inattentive, carefree America in the 1850s leading to Civil War matched his own about an equally blissful nation in the 1920s. His far more incisive and insightful bio, Herman Melville, appeared right on cue in 1929, the year of the crash.

If Mumford wrote that book today, his publisher would change the title to Why Melville Matters.

Sachs points out, with numerous private letters to prove each point, that Melville was always on the mind of Mumford, who ranks high among 20th Century American historians, sociologists, literary critics, and philosophers of both urban planning and technology. To that end, a very young Mumford invoked Melville’s skepticism during the Red Scare that followed World War I; in middle-age during McCarthyism following World War II; in his senior years during the American War on Vietnam.

Hence, the last phrase of the subtitle: In Dark Times.

What better time to consider a possible descent back into Dark Ages than a year when our Supreme Court is for the first time eliminating basic rights, when state legislatures are openly restricting voting rights, when governors are dictating what can and cannot be taught in schools, and when a sizable segment of the American public is clamoring in favor of authoritarian rule?

In his conclusion, Sachs writes that he is…

…grateful to Melville and Mumford for reminding us that people have been living with the trauma of modernity for a long time… The fantasy of increasing security and comfort–the fantasy of Progress–is pernicious, because it distracts us from the unending misery of others and also inhibits our resilience, undermines our age-old adaptations to hardship.

Others may have called it everything from an opium dream to a bowl of chowder, from a political manifesto to a religious tract, but Moby-Dick is a warp that refuses to let you forget the woof. Sachs considers that to be a formula that might once again help snap us out of Snivilization.

Up from the Depths is not just a chronicle of one Rediscovery, but a bid for another.

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https://press.princeton.edu/books/hardcover/9780691215419/up-from-the-depths

My own pilgrimage, Woodlawn Cemetery, The Bronx, February 2018. Yes, the scroll is blank. Photo by Michael Boer. https://onewe.wordpress.com/

With Coffee and a Kiss

Ever notice how various styles of music fit the three requests of the “Serenity Prayer”?

Yes, there are far more than three genres of music, many of them overlapping, but just as three primary colors give us a complete spectrum, so too music:

Classical offers the serenity to rise above a gotta go-go world; rock and roll the courage to confront it; folk the wisdom to understand it.

Such was my thinking after hearing Roger Ebacher’s jazz quartet, Re:Groove, on a night I was determined to put all the concerns of my go-go if not already gone-gone world out of mind. No matter that I left jazz out of those prayed-for qualities, Re:Groove bestows all three while taking you into a relaxed and relaxing world of its own.

This is Latin jazz, Brazilian and Cuban, samba and bossa nova, cha-cha-cha, and it’s easy to forget that you are sitting in a brewpub in downtown Haverhill and imagine yourself instead on a Caribbean beach. It’s just as easy to filter out the din from the bar in the next room while four musicians turn their featured passages into stories that captivate from their opening chords to the notes that return to the full combo.

All of them have a few, complementing Ebacher’s signature melody flute on the lead of most tunes, all of them articulated so fluidly and clearly that Herbie Hancock would be proud to have his name on “Herbally,” Ebacher’s tribute to him.

Michael Shea’s keyboard sizzles on “Down to My Very Last Dream,” a composition by legendary Newburyporter Charles Bechler and his sometime collaborator Ed White. Lionel Girardeau’s bass swaggers through Ebacher’s enigmatic “Three in the Afternoon.” And percussionist Michael Wingfield dances all ten fingers in a mesmerizing solo over four congas–at one point bouncing a closed fist for comic relief–in a joyous piece Ebacher titled “Zola.”

Let me disclose here that I’ve known Ebacher since the 1980s when our daughters were both in a children’s play produced by Newburyport’s Theater in the Open. I’ve heard him in jam sessions and I’ve heard his recordings, but apparently not enough to know that he’s a vocalist as well as a flautist and percussionist.

The songs he sings are his own, and are just right for his across-the-cabana voice. “What the World Is Coming To” hints at topical subjects:

Faster and faster
Everything’s spinning
Seems like we’re losing control
Life is a game, but nobody’s winning
Better hold on to your soul

That one and a sky-kissing, yet still determined “This Time Around” are just enough to remind us that this is a night off from any woes of the world as Ebacher reassures us in his most charming “Coffee and a Kiss”:

There’s nothing better
I can tell you this
And if you leave me
That’s what I’ll miss
Your coffee and your kiss

Charming becomes disarming when the band takes it up an octave leading into “Welcome Home,” a vibrant melody that Ebacher composed in a rhythm of Mozambique to highlight the chops of both Shea and Girardeau.

Re:Groove plays all tempos, effortlessly kept and shifted by Wingfield’s congas occasionally abetted by a pair of bongos and various shakers Ebacher keeps in front of himself. Among the more sentimental tunes is “Missing Rio” which he imagined on a flight out of “The Marvelous City.” Though Latin, an unmistakable feel of departure turned back my own musical clock to missing Denver even if I was well more than a mile high.

Yes, I heard them in The Tap in Haverhill, which hosts jazz every Sunday night, 6:00 to 9:00, and Re:Groove will be back likely in October. But this is a Newburyport-based band formed by Ebacher, a Port native–as is Wingfield–with a keen regard for this city’s musical history.

In addition to Bechler’s “Very Last Dream,” we also hear “Plum Island,” a samba composed by another local legend, world-renowned saxophonist Charlie Mariano. Bechler and Mariano who, in Ebacher’s words:

… were band mates in the seminal psych/jazz/rock group Osmosis, who opened for Miles Davis, Frank Zappa, and the Grateful Dead in the early 70s, just a few years before my tenure in the Charles Bechler Group.

To complete the tribute, Ebacher plays “Plum Island” on a Casio DH -100 digital horn, which I’d rather call a melody sax in keeping with the melody flute.

But then, why fit labels and categories when the music offers every color and answers every prayer whether you asked or not?

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Roger playing “Plum Island,” composed by the late, great saxophonist Charlie Mariano. The Plum Island motto appears on the wall over keyboardist Michael Shea’s left shoulder.
Please enter our Mouth of the River poll: “Melody Sax” or “Casio DH -100 digital horn.” Deadline is midnight, August 1. Members of the band may not enter. No write-ins. Choose wisely!

Re:Groove at The Tap in Haverhill, July 24, L2R: Michael Shea on keyboard, Roger Ebacher on melody flute, Lionel Girardeau on bass, and Michael Wingfield on congas.

All photos courtesy of Jazz at the Tap
https://www.facebook.com/JAZZ-at-the-TAP-303756670443083/

May I Misquote You?

By now, any honest person, no matter his or her inclinations or beliefs, knows enough to fact-check quotations that circulate on social media before indicating any approval and certainly before reposting.

Not that many years ago when we were all just getting used to what might be called information-saturation, it was easy to be tricked into believing fabrications, especially when the quote “sounded like” something that Mark Twain or John Lennon or any witty, glib personality from the past or present might have said.

I learned the lesson early on when I quoted the then-president of the United States insisting that his sons had 2nd Amendment protection while they bagged wildlife on an African safari. Seemed so plausible, and the photos of a grinning Eric and Don Jr. proudly holding up carcasses larger than themselves seemed to justify a proud, if geographically challenged father.

Luckily, a friend caught my error on-line before it went to print, and so I was able to correct and apologize for it quickly. My subject had so many other gaffes from which to choose–Clorox, windmills, hurricanes, “very fine people,” upside down Bibles, contempt for the military, ridicule for the handicapped, defamation of minorities, degradation of women–that I was hardly at a loss.

Unfortunately, this keeps happening, and it is clear that many of those in error simply do not care about error. Most examples are so petty that the quotes are hardly worth noting. However, the responses can be eye-opening, as in this thread that followed a post of a fabricated quote attributed to Abraham Lincoln after Facebook covered it up:

Wow Fascistbook is on a roll. They have this covered up with a black window claiming false information. Sheesh.
No kidding. No testing the character please. Lol.
Oh they think it’s mis attributed to Lincoln. But others have posted the same thing…
“If you want to test a persons character, give them power” ~ There! “I” said a thing. LOL.
Why is that photo covered by FB?
apparently Abe did not speak these words.
there’s plenty of other lies to cover. Cancel culture erasing our past

Fascinating to note in two of those comments how closely “whataboutism” is entwined with whining over what they call “cancel culture.” How else could something which never existed–the “quote”–be said to be “erased”?

Some fabrications are of such an extreme nature that they reveal far more than, say, carelessness with facts. In fact, they scream with an intent to bury what is true in favor of what they say is true.

Perhaps the most glaring example was when someone slowed down a tape of Nancy Pelosi making some remarks that, in real time and tempo, were clear and coherent. The slowed version made her sound drunk, slurring words. Numerous posts were made of it long after the truth was exposed, and those who posted didn’t want to hear any objections. As one told me, “This is what we think she really is.”

No doubt this is what Kellyanne Conway had in mind when she cited “alternative facts” at the start of the Trump presidency, and it may explain the very foundation of efforts in several state legislatures to submit an “alternate slate of electors” in the 2020 election for certification by the sitting-while-a-noose-awaited-him vice president.

On the surface, all of this is so absurd that it’s tempting to laugh right into the faces of those who do it. Problem is that it has such a proven appeal to so many people in the right places–as fabricated by gerrymandering and by the Electoral College–that “alternate electors” could determine the 2024 presidential election.

Are these people at all phased by a transparent effort to erase the popular votes they anticipate in states with growing minority populations in 2024? No, not in the least. Why?

Because this is what they think America really is

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Driving Rock & Roll’s Car

If you told me any time in the last 40 years that you heard a band play the Rolling Stones’ “19th Nervous Breakdown,” I’d have figured you were drunk when you thought you heard it.

But I heard it live in the beer garden of Newburyport Brewery last weekend while still sipping my first pint of Overboard IPA.

Oh, the nostalgia in that so unusual song! Something of a litmus test for those of us who were teenagers when it shocked the airwaves. Who dared dance to drug abuse?

Nor did it help that the song remained number two on the charts while at the top each of those weeks was “The Ballad of the Green Beret.” How’s that for polarization?

But all of that happened when the five members of Pathological Outliars were still cluck-clucking and moo-mooing “Old MacDonald Had a Farm.”

Perhaps their relative youth combined with their multi-generational tastes makes them the ideal outdoor hot-weather band. Their repertoire spans decades from “Slow Down,” a 1957 R&R classic later popularized by the Beatles, to “Molly’s Chambers,” a Kings of Leon hit in 2003–and genres from Booker T & the MGs’ suave “Green Onions” to the Ramones’ punk-raucous “I Want to Be Sedated.”

Sunny Douglas and Ed Cameron alternate vocal leads, both pitch perfect for their individual selections. Cameron may not be able to find matching socks, but he harmonizes well with Douglas whether they are belting out Bowie’s defiant “Suffragette” or lifting the weight of the Kinks’ “Tired of Waiting.”

Craig Douglas’ drumming accelerates and decelerates the Outliars like a fine-tuned transmission through songs that demand both. Peter Larsen’s bass is distinct, exact, and bold, keeping the group on the roads the songs chart.

The steadiness of those two allow lead guitarist Eric Gootkind to pick and fret magic. From the flaming intro of Loretta Lynne’s “Portland Oregon” to the iconic drive of Cream’s “Sunshine of Your Love” all the way to the Beatles’ “Ticket to Ride,” Gootkind can drive rock-and-roll’s car.

Back when I danced to “19th Nervous Breakdown”–and not quite that far back when I danced at all–my favorite rock songs were always the ones where the steadiest rhythms make possible the wildest leads, and where confident vocals launch energetic instrumentals that return to the lyrics seamlessly.

Much of the Pathological Outliars’ set list fits that description. And it goes quite well with Overboard IPA.

Look for them again at Newburyport Brewery and, in mid-September, at Plumfest over here on The Island.

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The Pathological Outliars, L to R: Drummer Craig Douglas, Vocalist and Rhythm Guitarist Ed Cameron, Bass Guitarist Peter Larsen, Vocalist and occasional guitarist and tambourine-shaker Sunny Douglas, and, looking directly at you over the top of his shades, Lead Guitarist Eric Gootkind.
Photo by Richard K. Lodge.

Off to the left is now their beer garden. There’s a tent in front of the vat for the band, and tables and chairs extend further to the left, all with a decent view of the western horizon.
https://www.nbptbrewing.com/

No Team in I

Sunday night, ESPN aired Major League Baseball’s draft. One selection keeps nagging, or maybe it’s just me. See what you think:

Put aside the team, the player selected, and the high school he did not play for.

Yes, you read that right. Midway through his senior year, the “high velocity” pitcher knew that pro teams were scouting him. So, he decided to “shut it down,” as the saying goes, and not risk any strain on his arm that could lessen his value.

The move paid off–paid him off at least–in both senses of the word. He was drafted quite high which guarantees him a lucrative contract. All smiles as he donned the pro team’s jersey, he spoke with a congratulatory reporter who asked about his decision to abbreviate his high school season:

“I have to do what’s best for me, and be in the best condition I can be when I join a new organization.”

Something like that, and he went on in that vein. I am sure that he used the word “organization” rather than “team.” Referring to his high school, he used neither word. He used no word at all, and he certainly never used the word “teammates,” which is understandable because he quit on them.

The reporter was all smiles when congratulating him at the end of the interview, and ESPN’s anchor and commentator added their praises as well.

This is what America celebrates in 2022. We each have to do what’s best for our individual selves. There is no team in I.

Is there something wrong with this picture? Or is it just something about me that makes this nagging?

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https://www.pinterest.com/pin/115686284157489687/

Finding Folk & Roll

They live up to many descriptions–from “rootsy” and “gutsy” to “gritty” and “edgy”–as well as labels from “genre-fluid” to “alt-Americana.”

Here’s a second to all the adjectives, and though their music defies labels, their own “folk and roll” comes closest.

More specifically, I’ll recommend them as a duo-at-times-trio featuring a vocalist who can belt out like Maria Carey–or entice like Nanci Griffith–and a guitarist with licks reminiscent of the lead guitarist of Arlo Guthrie’s Shenandoah, as deft, precise, and clear as a recording studio.

Except that this is live.

And this is Rockwood Taylor, a duo since 2018 who had played together in other local bands, most notably as the rhythm section for Liz Frame and the Kickers. Lynne Taylor accompanies her vocals on keyboard, at times playing a bass ukulele while guitarist Charlie Rockwood sings lead in a few songs, including Gillian Welch’s “Red Clay Halo.” He also turns the instrumental passages in every song into lively conversations with the listener.

As energetic as his riffs are, it’s as if he’s confiding in you. Any musician ever in a jam session will think he or she is aside him, no matter the distance, able to see every figure made by his left hand no matter how fast it goes up and down the fret.

So, too, Taylor’s voice. Her delivery engages us with every song, several of them RT originals. As one reviewer notes, songs such as “Where I Started From” and “Steel Wheels” from the band’s recent album, Finding Home, “brim with melancholy and remembrance.”

Taylor’s vocals and keyboard on those–and on “Plenty” and “Collateral Damage,” scheduled for release this fall–also brim with exhilaration and hope. Her blues renditions are riveting, particularly on Sam Cooke’s “Change Is Gonna Come” and her uncle RC Wilson’s “Crooked River Blues.”

Hippo Press captured Rockwood Taylor as “a mix of Shovels and Rope rusticity and singer/songwriter emotion.” Yes, that’s a comparison to a husband/wife duo from Carolina, but for all I heard and felt, it could as well be lower-case.

Eclectic? As Taylor quipped, “Enough serious songs. We’re going to play some silly songs.” In that category is their own spoof of a Chuck Berry classic, re-titled “Covid B. Gone.”

She also tells us, “Tomorrow is Sunday. We won’t be going to church, but we will sing this song.” Tom Waites himself may not have a better intro for his “Chocolate Jesus.”

In their recent local gigs, Rockwood Taylor has added percussionist Kristine Malpica of Imagine Studios in Amesbury who often plays with Meg Rayne. She’s a nice fit, not just for the group’s rhythmic range, but for its overall joyous, at times comic, cast with her back-up vocals.

Joy was the driving force of the show-stopper when all three rang out the medley of Dave Rawlings and Ketch Seccor’s boisterous “I Hear Them All” wrapped around Woody Guthrie’s “This Land Is Your Land.” No song so old has ever sounded so new and so urgent.

At this writing Rockwood Taylor are touring west and south for gigs as far flung as Ohio and North Carolina. On August 20, they play Manchester, N.H. After that, you can look for them at BareWolf Brewery in Amesbury, a frequent venue, as is the Newburyport Brewery’s beer garden and, in warm weather, maybe again at Cider Hill Farm in Amesbury.

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Rockwood Taylor at BareWolf Brewery in Amesbury. L2R: Lynne Taylor, Kristine Malpica, Charlie Rockwood.
Photos by Fred Long.

Forbidden Fruit

There’s a moment early in the film Elvis when his manager, as the film’s narrator, looks at the young women reaching up and onto the stage and says:

Now, I don’t know nothing about music. But I could see in that girl’s eyes, he was a taste of forbidden fruit.

“Forbidden fruit” was the charge some American critics made against a Boston-born actress in the mid-19th Century, but it didn’t stick because her performances were so powerful, making her so popular–and rich–that she could flaunt convention all she wanted.

And she wanted a lot according to her recent biography, Lady Romeo: the Radical and Revolutionary Life of Charlotte Cushman, America’s First Celebrity.

Some might object to that “first” designation, having read it applied so often to Mark Twain and by some to Herman Melville. Yes, both were sensations, but a teenage Cushman had wowed audiences from New York to New Orleans a decade before Melville hit the scene in 1847, or right about when Twain was born.

Author Tana Wojczuk paints a picture of a woman obsessed with theater from girlhood, never with a thought of anything but acting. That included–or excluded–getting married. Instead, she strung relationships, all of them with women, many of them overlapping while remaining close friends with most all to the end of her life

Whispers and gossip never phased her as she threw herself into a profession in which women were assumed to be prostitutes.

She didn’t play roles. She became them, as she did Nancy in Dickens’ Oliver Twist, spending days by herself roaming the slums of New York, trading her clothes for the rags of a dying prostitute. That became her costume on stage, as did the woman’s rheumatic voice.

While making theater more respectable, she also, without trying, gave a generation of women a powerful example of what we now call an alternative lifestyle choice.

Nothing phased her as she became the first actress to seriously play leading male roles. Previously, the few women who played them were cast “to titillate the men in the audience who enjoyed seeing a pretty actress in a short tunic.” One role made her an international sensation: Romeo. Says Wojczuk, Cushman…

…acted like a man rather than a woman in tights, besting men at swordplay. Then, when her chivalric Romeo collapsed weeping in the final scene, she gave men in the audience the dangerous impression it was okay to do the same.

Cushman breathed controversy, but her prim and proper critics were drowned out by important allies. Walt Whitman, a young editor of the Brooklyn Eagle, “was awed by the ‘overpowering grandeur of her genius’.” Others raved about her “virile energy,” her “pythonic inspiration,” her “noble frenzy of eccentric genius.”

A coveted conversationalist, she kept company with Emerson, Hawthorne, Dickens, and on more than one occasion with Lincoln who probably knew Shakespeare better than any man alive, but not better than she.

She gladly shared the stage with the Royalty of American Theater, the Booths, Junius and two of his sons, Junius Jr. and Edwin–but not the third son, John Wilkes. Cushman “disliked him intensely, calling him reckless, drunken, a ‘dare-devil'” years before the assassination.

Following the assassination, the coroner who examined Booth’s shot up body was able to identify him by a scar left by a laceration on the back of his neck made years earlier by a zealous Cushman during a play.

Tana Wojczuk’s portrait of Cushman is flush with these vignettes of American public life in her lifetime, 1816 to 1875, that keep a reader turning its 179 pages. With its fair-sized print and generous spacing, its a book you could read on a long day at the beach or on a cross-country flight.

Lady Romeo is a biopic waiting to happen. Catch may be casting. There’s no actor anything like this actor. Then again, we could have said that about Elvis Presley.

If the film Elvis is fresh in your mind, the comparisons are eye-opening. Not just for celebrity status, but for sexual attraction and all other forbidden fruits that theater always implies.

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