Memories of Times Squared: Dick Clark and Levon Helms

So, we lost two giants of the worlds of music.  One was the eternal teenager who made it acceptable for the music of youth to be heard and danced to in the late fifties and early sixties and beyond.  Unlike Alan Freed, who was more of a pioneer of rock, Dick Clark was a moderator of rock who stood behind the bandstand and took the music and culture to the next level and made adults feel safe and easy with the rock of their otherwise rebellious sons and daughters.  He was the trusted adult for the kids who he looked like and showcased in clean but not pulsating fun. He gave them a sense of power as they rated the records on their beat and whether they could dance to them. 

He made a fortune from the rock of others and rode the purified Billies and Lillies, and Rydells, Avalons and Fabians as the next cleaned up versions of Elvis to the top of a Pat Boonized world.  He skated through the allegations of payola while Freed got tripped and trapped and died from its clutches.  The Times did a piece on this at: 

http://www.nytimes.com/2012/04/20/arts/television/dick-clark-understood-the-american-teenager.html?_r=1

Dick Clark rode the wave of eternal youth into the celebration of time passages and new beginnings, hosting the eternal New Year Eves in Times Square.  He did make Times Stand Still and Square, and acceptable.

Levon Helm also battled time as he led the Weight and the Band through time as a throwback to an earlier era of a more innocent, earthy rock than backed Dylan the trusted troubador as he shed his folk-skinned roots to become a folk rocker who was booed at first as a traitor, and then became a rocker who was cheered on his endless tour.  Levon's pure voice seemed eternally young until he was ravaged by cancer, but he fought back and survived and came back to lead celebrations of song at Woodstock, and then on the road, and even to Wolf Trap.  His comeback and curtain calls were a celebration of life and a simpler rock music that was timeless and comfortable and attractive to all ages, until he could run against and throwback time no longer.  


Time comes in all shapes and sizes, and Jennifer Egan examined time in front of a packed auditorium at the Arlington Library, as she talked about and read from her prize-winning Goon Squad episodes.  She went off in each chapter not bound by time to celebrate a new character and a different time.  Her Sasha's stealing epidemic shone a light on the givers and the takers of this life, as she borrowed objects from others' lives and times, and then tabled them in her apartment bathed in a kitchen of borrowed time and possessions that she took and possessed, but did not own except for a time. 

Rock, Roll, and Remember (Substitute Revolution)

I remember it well, twenty or so years ago, a rock critic/teacher at a Smithsonian course in the history of rock and roll remarked that true rock and roll is a revolution of sound, turmoil, the swirling sounds of the underworld, the music of the underdog. With its roots in the jazz, the blues, and country, it was the sound of the those who hadn't made it to the so-called professions; it was the music of the truck drivers, the factory workers, the lonely, the misplaced, the unemployed, or the underemployed. It was wild and untamed, the music that was not played in polite company, on commercial TV, on commercials. It was the sound of rebellious teens, the rolled in the t-shirted James Dean, the hip, the rebels, the down and outs in the straight and narrow 50s, and into the rebellious sixties and early seventies. Back then, classical music was the sound of the privileged, the well-dressed, the upper class, the professions.

So, where are we now, spin ahead twenty years. Rock is the plaything of the corporate, the conglomerate, it entertains the millionaires, it has the corporate sponsors, there are special concerts for investors, and their friends in chic music halls that used to host classical music. Fans pay thousands for special concert packages, complete with access and swag and all else that glitters and is gold. Rock has its glitzy shows and packaged sounds, struggling for its next successful business model and encompassing all that it was once was not.

It is rare when a reunited Van Halen plays a concert "[r]emoved from their stadium-sized pedestal and placed on the foot-high stage, David Lee Roth, Eddie and Alex Van Halen seemed to be reduced to their key elements as a blues-rock power trio." The Times report is at:

http://www.nytimes.com/2012/01/07/arts/music/van-halen-at-cafe-wha-review.html?hp

It is a treat when a rock troubador plays a free acoustic concert for a protest group. It still happens and that it is when it seems to be the true rock and roll that it once was, still surviving way under the glitz of the corporate rock that has come to dominate--away from the glitz, just playing the music for what it does to the artist and the listener. It needs no costumes, stadium glitz, or any explosives, or any millionaire greed--it is just rock 'n roll after all.

Rock of old, rock of now gone underground--that is where some of the classical music seems to be headed now, striving for an audience, exploring new sounds, trying new things, doing more free shows, workshops, getting the message out to the people--artist and the listener. That is what Alex Ross wrote about in his review of the year in classical music, in his blog the Rest is Noise, at:

http://www.newyorker.com/online/blogs/culture/2011/12/the-best-classical-performances-of-the-year.html

While"[t]here’s no denying that classical music routinely serves as an ornament for extreme wealth," it is also becoming relevant again, taking up "a more enlightened stance," a way for the music and the art to survive.

And so it is, much of the rock world labors on listlessly for its corporate sponsors in a bloated state, while classical music thins out and becomes an exploration of themes of our day including war and civil disobedience and gets out of its genre and explores new areas to play and partner with, even reaching out to its once enemy, rock, to survive. Both search for a successful business model as we are spoiled by the onrush of free information and music and accessibility on the Internet, but one seems to be seeking its meaning in life and music, and the other is over amplified, glitzy and fat with excess and the rest is noise.

2011 in Review--Stalking the Wild Billboard

It has been every year since '55. Towards the end of the arbitrary period, a year, just 365 days, I try to buy the year end issue of Billboard and whatever other periodical has a good year in review issue. In some years, it was also Cashbox, Record World, and Radio and Records, and the Village Voice's "Pazz and Jop" issue, and some British music publication--Uncut, Q, or Mojo. Lately, for the last few years at least, it has been harder and harder to find Billboard, while many of the other American competitors have dropped away altogether.

The adventure of finding Billboard, has been almost as exciting as reading the year end issue; when it is ultimately found, it is almost anti-climatic. This year the adventure included a number of calls to the reduced number of book stores, and newsstands, a few false leads and wasted trips, which were not entirely wasted because of the nice helpful people I met along the way. And ultimately there was success, at an out-of-the-way newsstand that is barely surviving sitting almost undercover in a well-traveled part of town.

And there it was--a big glossy oversized reality in a declining world of print media, when we have many other less physical outlets for satisfying our year end fix. It has become glossier in design and taste and more pop-oriented in an effort to attract more of a crowd in this dying ember of printed time. And so on the tale goes, the adventure of fighting the growing receding distance of the printed page in the physical world as parts of the real world fade away teetering on the virtual brink of extinction with nary a crutch holding it up and alive for another year. On the other hand, some things have gotten better in this era of virtual reality. I used to have to stay up on new year's eve or new year's day to hear the top 40 or top 100 on the radio--now the top songs of the year seem always available as they stream endlessly on Internet.

So, into the abyss of another year past we go, and with it we take the sounds and themes to mark it and commemorate it that may reappear in later years to rediscover. Every year and it's music has its own adventure and character. And this year is no different, even though the music industry has also been falling away and in decline, and the streaming world is bulking up in new sounds, new mashing, new mixes, new genres, and rediscovering some of the old and weathered sounds too. So this year was a mixture of the past, present, and a mashing view of the future, in this remarkable, swirling cauldron of sights and sounds. The NY Times called it a year "when rock just spun its wheels," but it continued to dazzle and reinvent itself in new and interesting ways, even while the business model of music kept out of sight.

Timeless and floating to the top was the delightfully voiced, Adele, with her prime "21" cuts of a fine British voice reinterpreting American blue-eyed, and soft and velvety sounding soul. Her confections like the never-tiring "Rolling In The Deep" are a very pleasant almagm of new and old sounds that always sound fresh out of the box, standing alone ahead of her imitators. And then there is Birdie, a possible British imitator who covers sounds of newies and oldies, such as the luscious "Skinny Love" in another soft-soaked approach that also engages you in the fresh and deep. Florence and The Machine had a successful follow-up album "Ceremonials," which was a timeless wonder that should expand her audiences.

Almost as long as I have been searching for Billboard, there has been the lost tapes of the Beach Boys, which finally came together in the release of the legendary "Smile," which is dated in the late 60s but sounds fresh and traditional with the still-experimental mixing of voices and sounds. The past also came up in Paul Simon's "So Beautiful or What" which consisted of finely-crafted, tuneful songs that fell pleasantly on the ears in a worldly wise way. For more timeless classics, we got a new/old entry from Tom Waits, "Bad As Me," celebrating the seamy underside of life in decline, and Steve Cropper, celebrating the music of the 50s Five Royales in "Dedicated." There were also the perennial pop country sounds of Miranda Lambert, and Pistol Annies, her harmonious side project, and Lady Antebellum, which contributed "Need You Now" as one of this year's anthems for capturing the loneliness or desperation of life extremely well as rock once did.

Leaving shades of the past behind, we are well tuned to the year 2011 with the adventurous sound of TUnE-yArDs or Merrill Garbus with "w h o k i l l." Her war painted-faced music has its unexpected starts and rough spots of sound collages that flow or are shaped in a fluid junkyard-like manner, unleashed in a world of sound of afrobeats and percussion of all kinds, and varied voices, which alternately croon, chirp, and yelp in raw emotion to pointed and often sophisticated lyrics. It's both a strange and warm, alien and native sound. There was also an auspicious debut from budding starlet Lana Del Ray, who had the jewel of sexiness, "Video Games." Another interesting new styled entry is from Mexican singer, Ximena Sariñana, whose first English-language eponymous effort comes less than three years after her Spanish-language debut, and unlike many crossover attempts, little is lost in the translation, and she contributes a quirky and bouncy talent, mixing pop and indie forms seamlessly. There were also impressive outings from PJ Harvey, with "Let England Shake," M83 with the value-packed "Hurry Up we're Dreaming," Coldplay's "Mylo Xyloto," James Blake's eponymous album, Foster the People "Pumped Up Kicks," and Girls's ambitious "Listen to Father, Son, Holy Ghost."

The sounds of 2011 further soften with Bon Iver whose also eponymous album sounded a lushly sweet note for the year. A group of folk-oriented groups also really impressed this year--led by the breakthrough effort by Laura Marling - "A Creature I Don't Know," the follow up by Fleet Foxes -"Helplessness Blues," The Decemberists – "The King Is Dead," The War on Drugs- "Slave Ambient," Smoke Fairies- "Through Low Light and Trees," Wailin' Jennies- "Bright Morning Stars," and Gillian Welch's- "From the Harrow and the Harvest."

Also deserving of honorable mention are the following: Feist- “Metals,” Shabazz Palaces- “Black Up,” Eleanor Friedberger- “Last Summer,” Real Estate- “Days,” and St. Vincent- "Strange Mercy."

And so another year end in review closes out as we lurch forward into the world of musical discovery already in progress. I continue to look for artistic genre bending and found some in the music of Gabriel Prokofiev, and in the delicious mixture of world and classical sounds in "Chamber Music," from Malian kora player Ballake Sissoko and French cellist Vincent Segal. I also found the mixing in a top 100 list from jazz writer, Ted Gioia, which bends and brakes and crosses the genres. It is at: http://tedgioia.com/100best2011.html He sums up the year as "[e]ven as music becomes more omnipresent and accessible, new barriers prevent listeners from hearing the most talented and creative artists." It is a good place to stop and put a bookmark in the year for future ease of finding.

Loud and Louder

I have been to two concerts of two highly-regarded groups in a week--Ted Leo and the Pharmacists and two other punk bands in a church basement, and Los Campineros at the Black Cat, a DC rock club. And both suffered from over the top loudness.

The sound systems at each venue were ill-equiped to handle the sounds of either group, and the resulting muddled music mix was a thick cereal of noise. But in both cases, the crowd seemed to eat it up with enthusiasm. The difference between the rest of the crowd and me may have been that I was not really familiar with either band's catalog of music, and the fans were--they could make out the songs even with the murky mix. But that should not matter. Judged on the quality of the real sound that was present for all, the fans and all music listeners deserve much more from the groups and the clubs, and until the groups and clubs ensure the appropriate sound, the appropriate place for the fans and music listeners is at home.

Selling Out

It was a cloudy day at first in center of culture in NYC as we lined up to drink at the trough of corporate excess and greed--it was Baron's day of food, talk, and entertainment all bought by Ron Baron to honor his corporate accomplishments and achievements. The corporate honchos talked about their philosophies and played up their growth and visions. A few were thoughtful and impressive, but most were blocked in their vision by their ids, their egos, their libidos, and achievements. One's business plan had at its center a brutal criticism of the geeks who probably had a lot to do with his success as he moved away from them and criticized their complications. Ron Baron set up his philosophy which seem above politics and somewhat enlightened, but in response to a question, he seemed blinded by his own politics, and said the President should resign as a joke (maybe) that was applauded by many in this slobbering crowd.

James Taylor was one of the lunchtime entertainers, and while I wondered why he had sold out his caring soul to the corporate concert sponsors, he gave a warm and pleasant concert. Sting was the surprise headliner, and he seemed to phone in his pedestrian performance with his pleasant songbook sung in a perfunctory manner. The day ended with the handout of a corporate goody bag, and I felt like it was a final nail in a day of selling out to the corporate largesse, and I needed some good spirit from a music-laden Friday night service at Romomu to save the day and the soul.

open door--musical interconnectedness

Coming to this concert of mixed traditions, was a crowd for India Arie and a crowd for Idan Raichel, and then there were a smaller group who wanted to see and hear them both together. On one level, it was an unlikely pairing and melding of a multi-talented African-American rhythm and blues singer, India Arie, who has built up a decent treasure of songs and fanbase, with a jazzy Israeli pianist/composer, Idan Raichel, who fuses singers from around the world into the music of his Israeli trio. On another level it's a natural blend of voices, talents, and visions into a deep feeling of togetherness that sparks a menu of songs for interconnectedness.

At the beginning of the concert, India greeted the crowd by turning up the lights to see them and and greet each section of the vast hall, thanking them for trusting in the artists in a new experiment of song. And she asked the audience to experience the concert in three ways--to see the concert, to listen especially for the poetry of the words, and to keep their hearts (and souls) open. The concert hung together loosely and tightly as the night weaved its musical threads through the varied work of the two artists together and then separately and then together again--crafting a musical vision of relations and unity even when there are clearly distances between the songs.

She set up a striking stage presence, almost luminous in a flowing white dress that was made by her mother, that is accented by a high white turban and a personality that lights up the stage with its warmth and engagement. Arie introduced each of the songs and built a direct relationship with the audience that is so rare in modern music. From the moment she asked for the light to come on and she walked along the stage waving at the various sections in the theater, she had the audience with her.

Her music, though, is what really grabbed the crowd. She and Raichel and their backing musicians performed many songs from “Open Door,” their album that’s due out next spring, but as much as the show was billed as an international pairing of sounds (aside from an occasional interlude from the oud, a Middle Eastern instrument somewhere between a banjo and sitar), it is still rooted in Arie’s intense American-soul approach. Her voice ascends to unexpected heights and often dips into a husky deep when it needs to, carrying Raichel’s jazzy-pop melodies along for a sweet soulful ride.

As vivid visually as the concert was – her nimble dancing and presence with Raichel's swinging curly locks, gave the show a strong feast for the eyes – it definitely felt like Arie’s vehicle with Raichel's support more than a fusing of two equals. Raichel seemed comfortable with the role, for his group, The Idan Raichel Project, while featuring music written and played by him, always has a variety of guest singers. Idan seemed like the perfect party host for a celebration of music and ideas built around world unity.

While sometimes Arie’s lyrics, built around world unity and understanding of other people and other cultures, seemed too literal and bordering on preachy, she and Raichel are so sincere and devoted to their uplifting messages that the show never bogged down. For me , the most interesting moments came on a couple of tunes when Arie and Raichel sang in Hebrew. Another high, if not chai moment was when Arie and her two backing singers dove into the funky, soulful “Complicated Melody,” an already interesting song that flashed when Arie’s mother came out and joined them with a voice that was surprisingly skillful. It was clear that Indie Arie’s had a good source for her talent.

Indie and Idan blended well into a style that is becoming their own--Indie’s lyrics along with her Afro-American soulful sounds blend nicely with Idan’s authentic Middle Eastern musical expression--and together their multilingual lyrics sung in forged cultural divides to created a performance that was uniquely personal and uplifting. Together with their very different backgrounds, they tell a story of a world of healing and love, of brotherhood that can be shaped with little pain and no hatred. Through spoken word and music, they lead you through a lilting journey of their meeting, their friendship, and their appreciation of each other's talent and culture. Their music and lyrics were politically correct, but filled with energy and emotion and life affirming. It is more than what I usually receive from a concert.

Labor Day Reset--Take the Risks for Freedom

With skyrocketing profits for American companies, but lack of confidence in investing in new jobs in America, it is time for leaders in all sectors of the economy and the body politic to grow up and step forward together and take steps to affirm their belief in what America is and stands for. While men and women continue to die across the world to defend what America believes in, it is time for other sectors of America to take a risk, and contribute to America stands for; they need to put aside political squabbling and corporate, owner, and stockholder selfishness, and invest in America and what it stands for. It may not be the most profitable and the safest politically, but it is time to put pure profits aside and other priorities and make a decision that America as we know it is worth it. It is what soldiers, and policemen and fireman and many other people and their families do everyday for each one of us.

It is simple plan, and all politicians should step forward to come together and forget about elections and partisian politics and come together for the good of America. For now, we seem at a crossroads. We have heard enough debates about whether stimulus packages, bail outs or tax reforms are the answer--there are merits to each of them, but there may not be just one answer, and it is time to step away from the debating, and do something simple for America.

If there is one thing that seems clear, it is that our leaders need to step away from the fractious political discourse and mature if they want to earn the right to be our leaders and our chief businessmen and women. The business people need to commit to invest in America (and put aside their shaky sense of confidence in America and their decision to invest in cheaper foreign workers, and other choices for a profitable moment), whether it is making new investments in creating new jobs and contribute through donations to our social well-being. And we need to report clearly on the results so that the public can decide whether to buy their products and services or decide to pass them buy for those who care about us and America, or until they care about us. One place that companies can invest in is customer service, which is woefully poor in so many companies with putting people on hold for literally hours (and then when we finally connect with a person (often in a foreign country), the service is woefully poor and uncaring).

We are in this together, and it is time that we did something about it. We need to grow up and invest for the great democratic and free society that we all believe in. We know that the world is flat and we need to be globally competitive and globally connected. But for the moment, if our country is worth saving, it is worth investing in. We cannot just think about how best to deal with the current situation ("momentary situation ethics"), we need to address our situation for more than just the immediate moment. We cannot just ask our soldiers, policemen, and firefighters to take the risks. If it is worth it for all of us to take the risks, we need to grow up, and invest in us for a better America.