Infinte Jest: It Is Finished, Part 1

This book has been on my shelf for about 10 years.  Since the late nineties, it’s been skulking there in the corner.  Bright-oranged and baby-blued, unmissable in girth and shelf-sagging heft.  (Can’t find it?  Look for the low spot on Shelf “W”.)  This year marked my third attempt at getting through, though I must confess that my motives had not been pure.

My first swing at INFJ was driven by thoughts of Ought.  As a recent graduate in the fantastic field of English Literature, I knew that it was my duty to continue my education.  (Call me old-fashioned, but I still buy into the idea that the goal of a Liberal Arts Education is to learn how to educate one’s self, ’til death or senility do we part.)  I had heard tale of this this new scribbler, this inscrutable hotshot Dave Wallace, and felt I ought to size him up as only I, college graduate, could.  So I read The Girl With Curious Hair and started in on INFJ.  Didn’t get far.  At all.  I had cash-in-hand waitering jobs to attend to.  (English Major career opportunities and all that.)

A few years later, the urge hit me again.  This time, I needed to get a few new intellectual bragging rights to wave around.  Rock ‘n Roll was good kicks, but my new venue for social performance was lousy with grad students.  I figured that tackling the Gen X version of Ulysses would do the trick the next time someone asked, “Read anything good lately?”  Unfortunately, the answer “I’ve read INFJ” is just as satisfying at a cocktail party as “I’m reading INFJ.”  And since nobody else had finished it either, there weren’t many questions relating to the captivating climax and the delicious denouement.  There was no need to complete the quest, as long as it loitered on the back of the john with a bookmark stuck firmly in place.

But this year he came up a lot.  New people that I’d met in new circles found him worth reading, indeed, worth finishing.  He seemed to have something to say.  So I licked a finger and held it to the wind, catching more and more interviews, essays, addresses, and other bandanna-brained dives into the icky depths of modern  life.  In death, his once-shelved specter loomed large.  I started to love the guy, the man, DFW.

Motivational rudder righted, compass reset, and course corrected, I set sail once again.

Matisyahu : Light

This post has been clogging up the blog for the last week.  I just can’t seem to get it right, and now I know why.

I like to write about things that I like.  I try to stay positive, to be a thumbs-up, glass-is-half-full fella.  But even when trying my best to stick to the bright side of life, I find it’s all too easy to slip into cynicism and find fault.  Just a few snarky remarks can undercut the upbeat and chase the joy away from a sunshiny day.  And as the adage goes, it only takes one bad apple to poison the punch.

So here’s the problem:  I just don’t like this record!  I love Matisyahu, but something was off.  So yesterday, to double-check my lens, cleanse the palate, and tighten up the eardrums, I listened back to my (and, I’m guessing, your) introduction to the man:  Live At Stubb’s.  What a disc!  I was lucky enough to catch the Stubb’s-era band shortly thereafter.  They took the stage and put on the kind of show that gets you high even if you’re keeping your feet on the ground, chemically speaking.

The band was still a little green, which you can hear on Stubb’s.  For every hot lick and tight break, there’s a meandering noodle-to-nowhere moment.  Babylon By Bus this was not.  But the troubles were forgivable as the guys were still fresh enough to get really, Really, OMG! excited about playing to a few thousand people in a college town a thousand miles from home.  They weren’t deer-in-the-headlights self-star struck, but there was this sense of collective joy that the dream was coming true and we were all in this together.

And the frontman had a burning fire in the belly.  Far past rolling in the shtick, his earnest recounting of his people’s past and his Let’s-Go-Build-Us-A-Temple! enthusiasm for the future made you forget that there was anything strange about the scene.  But, alas, that was then.

The critical response to this new album has been strangely kind.   Not that it’s been fawning; it’s been split 50/50.   What surprises me is that the critiques of the actual music have been fair to positive, pointing out the Sly & Robbie collaborations and other bits of finely-tuned production.  The scathing remarks have been directed much more at the man, this oddity named Matisyahu.  Sometimes it’s cheap shots at all purveyors of  kidnapped reggae, a broadside condemnation of  the music’s colonization by the fairer-skinned peoples, with curses cast in passing at the likes of Sublime and 311.  (The Clash will always get a true-punk pass on these things.)  Often the ire is focused on the historical inaccuracy of the spectacle.

Although Matisyahu stretches your eclecticism tolerance to new heights, what could be more natural?  A hippie kid rediscovering his Jewish roots would find it hard to miss some sort of cosmic connection to the chant-down-Babylon music of the Jamaican champions of the Ethiopian Zion.  If you’ve got a beef with authenticity, pick a fight with the original Rastafarians for misappropriating 3000 years of glorious tradition (from Moses to Sandy Koufax), not some Phish-following kid who decided to borrow it back.

Not that this is a reggae album, which is the real problem.  “Light” is a mash-up of Hip-Hop hype and Jack Johnson tripe that loses itself in a thousand-layered studio sheen.  But I’m a loyal fan, and I’ll be here for the next one.  Looking up expectantly, channeling my inner Norman Vincent Peale, believing that Matisyahu will rediscover his inner Stubb’s, and that good things are a-gonna come.

House Of Heroes: The End Is Not The End

Sometimes I’m a little slow to catch on.

Despite having been told by numerous good-eared friends that I should buy this, and despite the fact the I’ve seen them live and know first-hand that they’ve got the stuff to really rip it up, it still took me a year or so to grab my own copy of The End Is Not The End, the latest album by the Columbus-based, and God-fearing, House Of Heroes.

Maybe my reluctance had to do with those last two qualities.  It’s hard to have any critical distance from music released by those within your milieu.   And I’ve always been biased to quick-skip tunes writ for the safely cordoned-off, closed market of the CCM crowd.  Preaching to the choir creates mediocre music like Trekkies breed Tribbles.

Please forgive me, Listening Public, for I have sinned.  I should have tried this disc a long time ago.  It is, as one buddy of mine sez, “all killer and no filler.”  Each Sing-A-Long (indeed, Radio-Ready) chorus is sandwiched in angular, proggy guitar hooks that launch the 3-chords-and-a-hunch Power-Pop template into sonic bliss.

And they’re funny!  My favorite track (at this point)  is “Baby’s A Red” about crushing hard on a lil’ commie cutey.  It splits the difference between The Beach Boy’s Surfer Girl and The Dead Milkmen classic, Punk Rock Girl.  Listen to it for the “Hammer & Sickle” backing vocals alone.  “I’m not ashamed to be your comrade.”  Indeed!

Not that it’s all fun-n-games.   You can’t pretend to be Muse on every bridge and breakdown without taking your craft pretty seriously.  And you can’t sample preacher extraordinaire Rich Nathan pontificating on capital-”g” Grace (as they do on “Voices”) without a dose of divine conviction.

So why now?  House of Heroes is playing Sioux Falls this weekend.  I thought I’d check it out for kicks, but after spinning this record all week, I’m really looking forward to the show.  Though I was once a skeptic, I am now going as a fan.

Jane’s Addiction in Pittsburgh

This summer, I finally made it to a show.

The first time Perry came to my town was with the original Lollapalooza line-up at the idyllic Blossom Music Center.  I was invited by a gal I was kinda dating.  Hindsight being 20/20, I think I wish I had been dating her a little more.  She was cool. Cooler than me.  (Speaking of nothing shocking…)  But my intimidated 16-year-old self stuck his head in the sand and his fingers in his ears when the invitation came.  Jane’s represented a secret world of clove-smoking art students, clad in weird black xl t-shirts emblazoned with letters like PIL and KMFDM and XTC.  I had yet to crack the code, let alone be initiated into the scene.

But I think I’m glad I waited.

That first trip was marred by reports of blasphemy and nudity and a sloppy set cranked out by a band about to blow.  Seems Perry’s a better man these days.  A little Torah never hurt anyone, eh?  He was certainly in high spirits in the ‘burgh this June, bouncing around the stage in his lamé and lycra-infused fashions, peeling off a layer a tune as he proved that 50 ain’t too old to rock and roll.  Did I mention that he’s 50?  Goodness.  Stamina.

I’d witnessed Perry do what Perry does once before with Porno For Pyros a long time back.  But I’d never sat at the feet of my all-time-guitar-hero Dave Navarro (sorry, Edge,) nor had the opportunity to catch a glimpse of the elusive Eric Avery ’til now. I’ve often watched the Three Days documentary DVD which commemorates one of the last big tours featuring Flea on the four-string.  This was a different experience.

Of course, Flea played the parts flawlessly, sliding effortlessly from supple to spank.  Eric didn’t care about that.  He wrote the damn parts in the first place and he was gonna play ‘em any way he wanted.  This meant pounding it out while stomping out a tribal tantric circle dance like an Iroquois warrior preparing for the fight, clad in direct-from-1991 combat boots and cutoffs.  No poofery for this fella.  While bass players are often unjustly remaindered to the periphery of the 8×10 glossy, hiding behind the ego(s) up front, this band never would have happened without Eric giving Perry a platform on which to wail.  He’s the most essential Jane; here’s to détente if not reconciliation.

It was good to finally make it to a show.  It was great to see the band in fine form after all these years.  And it was pleasing to look around at the beer-sipping crowd of 30/40-Somethings politely comparing notes while respecting each other’s space to enjoy a civilized conert.

We all got older, but Jane’s stayed the same.

Maybe She Was Thinking Of Dylan Thomas

A few weeks ago, Bob Dylan got himself rounded up by the New Jersey police as a suspected up-to-no good, itinerant, vagrant-type individual.  Described by concerned residents as looking “scruffy” and “eccentric,”  the officers had no choice but to respond to the call that a man was wandering around the neighborhood, alone.

Once apprehended, Dylan was found to be entirely without ID, proving to be a problem as the 20-something gendarmes drew a blank when the culprit claimed to be a Mr. Bob Dylan.  Now under scrutiny as a hypothetical celebrity, the fuzz drove the bemused Bob back to the stadium where the marquee claimed that there was indeed a Mr. Dylan playing in town with the also unknown duo Willie Nelson & John “Ze Coug” Mellencamp.

Everything worked out in the end as there were in fact several staff and crew members available who could vouch for both the existence of such a musician/public figure, and his resemblance to the man in the back of the black ‘n white cruiser.

What can we learn from this escapade?  What lessons can we take from this frightful foray to the dark side of the law?  Namely that Simon & Garfunkel were on to something 40 years ago:

Interesting live bootleg, eh?  Lots more words ‘n references than the album version, enough to give both REM and Billy Joel a run for their money.

Spin Sez: Columbus Rock City

I know it’s been way too long since I’ve hit the right balance of inspired and untired to do a little writing, but the last issue of Spin has convinced me it’s nigh time to pop the cork on another bottle of blog.

So it’s back to my roots; back to the guys that most recently lit my muse.  Columbus, OH may not be an Athens or an Austin or a Seattle, but this college town has got more than its share of real deal rock ‘n roll, as evidenced by the August ’09 issue of Spin which declared that it’s pages contained “100 of the Greatest Bands You’ve (Probably) Never Heard.”

The headline was right on the money.  Yes, 96% of these guys I’ve never heard.  But the other 4% were some of the greatest.

I know because 4 of the top 100  hailed from what  was once known as Cowtown, the now magnificent megalopolis of Columbus.  That’s 4% of Spin’s Top 100 Worldwide.  That’s saying something for a snatch of real estate which sure as hail ain’t New York or LA or Chicago or even Hotlanta.

Granted, all of these guys peaked before I earned the right to plug in my Fender Twin, but it’s this scene that gave me the dream to keep it going on and on and on.  (Not Stopping Believing, as it were.)

So, for the record, they are:

Gaunt

Great Plains

Royal Crescent Mob

Scrawl

I’m a little bummed that I can’t find a decent picture online of any of these guys rocking out in obviously Central Ohio sort of way.  Sure, there’s a million pictures of bands bashing away at Bernie’s, but they all post-date the digital revolution (iPhones n’at.)  I’m sure that somebody out there has got a stash and a scanner.  Get to work!  Because of this, I’m using the above picture of some guy wearing a Gaunt t-shirt.  It’s the best that I can do.

Just to round out the Buckeye Beat, I must also mention that the hard workin’ Michael Stanley Band made Spin’s list of “Essential Heartland Rock” at slot number six with his EMI-released and spot-on titled, “Heartland”.  Trust me, he was a big deal if you grew up on bunny-ear-only Cleveland TV.  Kind of a local King Of All Media.  The kind of guy who only had to play one show at year, at the biggest shed in town, and it always sold out.

Still not convinced?  To let the proving begin, here he is with a song I know you know, the glorious romp “He Can’t Love You.”  Enjoy:

Police On My Back! That Was A Cover?

The Clash have always been ready and willing (and with impeccable taste) to borrow a tune, digging deep into the roots of reggae for such gems as Police & Thieves, Armagideon Time, and Pressure Drop; and a little old-fashioned American rock ‘n roll like Brand New Cadillac and I Fought The Law.

However, the fact that they covered one Eddy Grant, formerly of The Equals and most famously of Electric Ave., came as a surprise. Here’s the original:

And here’s The Clash:

Math & The Mother Of All Cigarette Bans

Recently, The Economist ran this article about a new law to rid the land of Nebuchadnezzar from the the dangers of secondhand puffing by introducing legislation to nix lighting up within the four walls of all public institutions.

How’d it work for them?  Here’s a sampling of the hyperbolic reaction greeting the new measure:

“My cousin was recently murdered by terrorists, my neighbour was tortured by the police, my electricity is cut for most of the day, the same is true in most hospitals in the city. And they are worried about smoking?”

“Bring back Saddam. We were free to smoke anywhere then.”

“Prisons are public buildings, right? So will they now prevent guards from stubbing out cigarettes on the arms, legs and backs of inmates?”

Wowzers.  That all being said, the key fact behind the bill is that smoking is responsible for 55 Babylonian deaths a day, as opposed to 10 for insurgent-related shootings and bombings.   A 10-death-daily toll is still way too high for my little green-lawned and shrubberied suburban mind to comprehend, but it’s still a lot safer to face the jihad than to make a habit of sparking up a Camel.   Of course, that just doesn’t feel right, now does it?

This gap between feeling and thinking illustrates a greater principle:  People are pretty bad at setting priorities.

Ever since reading the book Innumeracy, I’ve been fascinated by the odds underlying life as we know it.  In his book, author John Allen Paulos makes the case that the average person can’t apply basic math to everyday decisions.  This results in much idiocy and hullabaloo.

Freakonomics mined much of the same turf when it famously pointed out that swimming pools are much more lethal than pistols, yet we joyfully take the kids swimming and fear them finding a gun.  And we can listen to Dave Ramsey run the figures all day and then go out and still slowly swipe ourselves into debt and depression.

I’m as guilty as anybody when it comes to ignoring the numbers.  Not in my head, mind you, but somewhere in that emotional part of the back of the brain where opinions are formed and next steps are felt-through rather than thought-out.  But I’m not alone.  There’s a growing field of study known as Behavioral Economics that’s been endeavoring to figure it all out.  A guy named Barack Obama channeled it to great success last year with a little campaign called “Hope & Change”, so it might be on to something.

Another resource I’d highly recommend is the BBC documentary The Century Of The Self which describes the revolution on Madison Avenue a few generations back, when Freud’s Id was tapped to sell us what we want instead of what we need.

Spock we are not.  That’s not a bad thing, but a little self-awareness might do us some good while we attempt to “live long and prosper.”

Is This A Problem?

It’s happened before.

Last time, the tears filled my eyes and spilled over the broken shards of all my shattered dreams as they lay splintered on the hard-tiled floor of my new hard-won, respectable existence.   I’m a little better off these days.  This time it was just a shrug and trip to the hardware store for a tube of Titebond.

Last time, I had a pro patch-up by the formidably talented Mike Cox (if you’re in c-bus, look him up.)  This time, I knew the scars were to be permanent and unavoidable.  Time to embrace the beat-down/beatific patina of warts-and-all life and DIY.

As long as I can keep on pickin’, it’ll be alright.

Anachronistic Trick

For $30, this trick isn’t the cheapest one in the book, but it’s already done the job of snagging some attention for one of the hardest working bands in rock ‘n roll.

While many industry insiders get their new releases in oddball packaging to keep ‘em off the ‘net for a little bit longer, the band explains that at this point in their career, “We’re kind of more worried about being ignored than being ripped off.”

I admit that I haven’t heard the album, but I’m curious:  How would this sound, on a nice vintage hi-fi in a faux-oak paneled basement, as compared to the mp3 version on the computer in front of you?

I’d rather surrender myself to the shag-carpeted comfort of the former.