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Studies on the effects of childcare on the young are colored by researchers' views about educated women who go to work.
This is not going to be a column blaming Ralph Nader and the Greens for the daily disasters of the Bush Administration, so don't stop reading--yet. That column has been written dozens of times, in every shade of emotion with which the words "I told you so" can be uttered, and I think it's been pretty well established that Tweedledum and Tweedledee are at best fraternal rather than identical twins. Or are there readers out there who think the Gore Administration would be proposing a budget that would end contraceptive coverage for federal employees while angling for a huge tax cut for the richest 1 percent? If so, you won't have any problem washing your delicious school-lunch salmonellaburger down with a big glass of arsenic-laced water from one of our fine mining and timber states.
Nader's assistant called me recently to say that he had been misquoted last summer in Outside, which had him hoping for a Bush win. But those who thought the Democrats deserved to die seem to have gotten their wish. I mean, where is Al Gore? I've been an adjunct professor myself, and the duties are not all that taxing. He could be going on the Sunday morning talk shows every week, rallying opposition to Bush's onslaught against the environment--the Kyoto treaty was supposedly his baby, after all. Maybe he read Alexander Cockburn's column in the testosterone-addled New York Press claiming global warming is bunk, and now thinks it's good that Bush slammed the door on the treaty and the Europeans are just crybabies. Clinton's off riding elephants in India, Hillary voted for the bankruptcy bill, nobody wants to pay to make sure votes get counted in poor neighborhoods (remember when voting booth upgrades were definitely on the agenda, whoever won Florida?), and the McCain-Feingold campaign finance reform bill, which was going to start the arduous process of getting big money out of electoral politics, has morphed into a measure that doubles the Republican hard-money advantage while abolishing soft money, where the Democrats had edged ahead. Thanks a lot, Senator Feingold! And you too, Senator Wellstone! Now advocacy organizations like the ACLU and NARAL will be barred from running issue ads for sixty days before the election. Forget the First Amendment: Let them buy their own radio and TV stations like the right-wingers do.
None of this cowardice, confusion and collapse is the fault of Ralph Nader or the Greens: Would the Republicans be quivering in fear if they were the ones out of power? Still, the political landscape we confront today does call into question some of the arguments that were made for the Nader candidacy. You will remember that I expressed a certain skepticism about these claims last spring and summer, for which I was belabored with e-mails from Nation readers for months. The Last Marxist often points out that progressives don't like to analyze their past enthusiasms in the light of history, preferring to move right along to the next glorious cause. So let's go to the videotape and see what happened:
§ I said the Greens would do poorly because that's the general fate of progressive third-party and symbolic presidential candidacies; for the decreasing number of Americans who actually vote, the two parties are not identical and each offers concrete rewards to its constituency. Perhaps nonvoters would bring a new set of concerns and demands to the electoral table--that was the thinking behind the motor voter bill--but to register nonvoters on a massive scale and get them to the polls was quite beyond the capacities (or radar screen) of the Greens. What happened: Nader polled 2.7 percent.
§ I said that history suggested presidential candidacies did not build movements, as many supporters claimed Nader's run would do. I noted the rapid descent into nutty irrelevance of the most successful third-party candidate in modern history, Ross Perot, and his Reform Party. A party that cannot attract large sums of money and cannot deliver favors to its supporters is just not in the game. What happened: The Greens tool along at the same modest level as before, with eighty-one mostly low-level elected municipal officials thinly scattered around the country. Nader claims he is shut out by the media--surprise--but media never built a movement. Can you imagine Eugene Debs or Bob La Follette, to whom Nader is often compared, letting Rupert Murdoch or the Washington Post decide whether his message gets out or not?
§ I pooh-poohed the Greens' somewhat contradictory prediction that Nader would attract new voters who would not have gone for Gore but would vote for "good Democrats" lower down on the ticket. Why would voters drawn to the polls by a candidate who spent months bashing the Democrats turn around and vote for them? What happened: Despite much spin on both sides, Nader votes were probably a wash for down-ticket Dems. There was no major influx of new voters lured by Nader. Youth voting went down.
§ I took issue with the argument that the Nader candidacy would push the Democratic Party left. As the Greens themselves have observed in disclaiming responsibility for Bush's win, thirteen times as many registered Democrats (13 percent) voted for Bush in Florida as for Nader (1 percent). Nationally too, many more Democrats voted Republican than voted Green. So if you were thinking of running for President as a Democrat, where would you look for votes? Left to the Naderites, or right to the Dems and moderate Republicans who voted for Bush? Answer: Joe Lieberman's already exploring his options for 2004.
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Speaking of past enthusiasms, the Teamster-turtle alliance isn't looking too good: Teamsters union president Jimmy Hoffa Jr. supports Bush's proposal to drill for oil and gas in the Arctic National Wildlife Refuge. According to the New York Times, Hoffa said drilling would help stabilize the economy and create employment, including 25,000 Teamsters jobs at a time when the nation appears near recession. Turtle soup, anyone?
A woman two months pregnant goes to see her Ob-Gyn for prenatal care. As required by law, her doctor informs her that her condition places her at greater risk for a wide range of medical problems: hypertension and diabetes if she is overweight; complications of surgery if, like one in four women, she has a Caesarean section; permanent weight gain with its attendant problems, including heart disease; urinary tract infections and prolapsed uterus if she has had multiple pregnancies; postpartum depression or psychosis, leading in rare cases to suicide or infanticide; not to mention excruciating childbirth pain, stretch marks and death. There are ominous social possibilities, too, the doctor continues, reading from his state-supplied script: increased vulnerability to domestic violence; being or becoming a single mother, with all the struggles and poverty that entails; job and housing discrimination; the curtailment of education and professional training; and lowered income for life.
No state legislature would compel doctors to confront patients with the statistical risks of childbearing, serious though they are; a doctor who did so on his own would strike many as intrusive, offensive and out of his mind. Should a woman seek abortion, however, anti-choicers are pushing state laws requiring that she be informed of a risk most experts do not believe exists: a link between abortion and breast cancer. Like the supposedly widespread psychological trauma of abortion, which even anti-choice Surgeon General Dr. C. Everett Koop was unable to find evidence of, the abortion-breast cancer connection is being aggressively promoted by the anti-choice movement. (Even Mother Jones, always quick to take feminists down a peg, leapt on this bandwagon, with an April/May 1995 piece entitled "Abortion's Risk.")
"It's yet another example of efforts to encumber this legal choice and make it more difficult and painful for women," says Dr. Wendy Chavkin, professor of public health and clinical obstetrics and gynecology at New York's Columbia Presbyterian Hospital, and editor in chief of the Journal of the American Medical Women's Association. It's also an attempt by anti-choicers to reframe their opposition to abortion as concern for women's health, something not usually high on their list. These are, after all, the same people who fight health exceptions to "partial birth" abortion bans and who have successfully prevented poor women from receiving medically necessary abortions with Medicaid funds.
Nonetheless, such is the power of the anti-choice movement that laws have been passed in Montana and Mississippi, and bills are pending in fifteen other states, mandating a breast cancer warning (and in some cases, a waiting period for it to sink in). Along with laws come lawsuits: In Fargo, North Dakota, the Red River Women's Clinic is being sued for failing to give such a warning; a 19-year-old Pennsylvania woman is suing a New Jersey clinic for her abortion two years ago, which left her, she claims, with an overwhelming fear of contracting breast cancer. In ferociously anti-choice Louisiana, a new law permits women to sue for damages--including damages to the fetus!--up to ten years after their abortion. Given today's high rates of breast cancer, a deluge of litigation is in the making.
Does abortion cause breast cancer? Some studies have appeared to suggest a connection: Dr. Janet Daling, for example, an epidemiologist who says she is pro-choice, compared the abortion histories of 1,800 women with and without breast cancer and found that, among those who had been pregnant at least once, the risk of breast cancer was 50 percent higher for those who had abortions--but her cancer-free sample was obtained through telephone interviews with women chosen at random from the phone book. Not everyone has a phone, of course, which raises questions about the comparability of the samples, and besides, how many women would volunteer information about their abortion history to a voice on the phone? Like other studies showing a link, this one was marred by "recall bias": Cancer patients are more likely to volunteer negative information about themselves than healthy people. They are looking for an explanation for a disease--and one many feel must somehow be their fault. Demographic studies, which are free from recall bias, produce different results: Lindefors Harris, analyzing the national medical database of Swedish women in 1989, found that women did deny their abortions, that breast cancer patients were less likely to do so--and that women who had had abortions were less likely to get breast cancer. The largest study to date, of 1.5 million Danish women, found no correlation.
"The supposed link between breast cancer and abortion is motivated by politics, not medicine," says Dr. David Grimes, clinical professor of obstetrics and gynecology at the University of North Carolina. "The weight of the evidence at this time indicates no association. To force this on women is just cruel." Indeed, the National Cancer Institute, the American Cancer Society and the World Health Organization, none of which have an ax to grind, reject the notion. The standard medical textbook, Diseases of the Breast, concurs. The main figure advocating the link is Dr. Joel Brind, professor of biology and endocrinology at Baruch College, who has done no original research on this issue but is a tireless anti-choice propagandist--plug "abortion breast cancer" into a search engine and the top half dozen sites are his.
Abortion is just about the only medical procedure in which doctors and patients are hemmed about by lawmakers. No other operation has legally mandated waiting periods, although many are dangerous, life-altering and irreversible; with no other operation are doctors legally required to give specific information--certainly not information that the vast preponderance of medical opinion believes to be false or at best unproven. Good medical practice calls for discussion of the pros and cons of particular courses of treatment, not burdening the patient's choice with unsubstantiated fears. Will we ever see a law requiring doctors to tell pregnant patients that abortion is statistically safer than carrying to term--which it is? Sure, the day state lawmakers put a waiting period on Viagra prescriptions, to let male patients really consider whether an erection is worth a heart attack.
I was born by a Kerouac stream under Eisenhower skies
The New Folk Movement is now about twenty years old, and John Gorka is one of its leading voices, along with peers like Nanci Griffith and newer arrivals like Ani DiFranco. Over nearly two decades, Gorka has honed his warm baritone and offbeat songwriting skills with 200-days-a-year touring. His fine new album, The Company You Keep (Red House), is a characteristically bittersweet disc, understated but sharpened by deft word usage and a grasp of life's conundrums and paradoxes.
Gorka fits contemporary notions of a folk musician. He was a history and philosophy major in college, and got his performing start at coffeehouses in the late 1970s. His tunes are self-reflective, wry, pungent, pessimistic but unwilling to despair; they have titles like "Joint of No Return" and "Wisheries." In "What Was That," he sings, "Guess I'd better get back up/Get up off the ground again/Guess I'm really not so tough/Up is farther than it's ever been." And up he goes, discarding regret and clearing a space for whatever future he faces.
His country-tinged group has tasty yet simple arrangements, augmented with guest vocals by DiFranco and Lucy Kaplansky and Mary Chapin Carpenter. He's got real range, from on-point satire ("People My Age," which mocks baby-boomer elective plastic surgery) to playful ("Around the House"). And like older generations of folk musicians, he uses found material. The lyrics for "Let Them In" come from an unknown soldier in a World War II military hospital; God tells St. Peter to "Give them things they like/Let them make some noise/Give roadhouse bands, not golden harps/To these our boys."
The Eisenhower years saw the beginnings of the postwar folk revival; it gathered strength and followers in the 1960s. Maria Muldaur was part of it; her funky Greenwich Village apartment at the time often hosted other scene-makers, like John Sebastian. (Check out The Lovin' Spoonful Greatest Hits [BMG/Buddha], a wonderful CD of Sebastian's mid-1960s folk-blues-pop quartet issued last year; its only flaw is incompleteness.) This was the first generation of white kids exploring the folk blues, the language invented by dispossessed rural black America that underpins this country's music. Many went on Kerouac-like journeys in search of the originals, turned some up and then recorded them, resuscitating their careers. Their new audience of white college kids on campuses and in coffeehouses was a far cry from the plantations and street corners and juke joints where the music was created.
The rediscovery of rural blues roughly paralleled the rise of the mass civil rights movement, and reflected it. Blues seemed a true folk music, in the original German sense of the word: a manifestation of something fundamental and authentic about a people. Inevitably, some revivalists had a few misguided notions about authenticity, putting acoustic guitars in the hands of electric-blues masters like Muddy Waters. And yet they also knew what they wanted. Blues material certainly couldn't have been less like Tin Pan Alley's: Love may be a central theme for both, but the blues' gritty realism, with its raw sex and violence and irony and humor, exposed the superficiality of 1950s American pop. It let listeners step outside America's conformity. Not coincidentally, it also let them see black people as cultural heroes--a dramatic reversal of racist stereotypes.
Muldaur has always admired Memphis Minnie, one of the few folk-blues musicians who happened to be a woman. Minnie played mean guitar and wrote lustily double-entendre songs about the life she led. Her "Me and My Chauffeur Blues," with the signature lick that Chuck Berry swiped decades later for "You Can't Catch Me," is among the best moments on Muldaur's twenty-fifth album, Richland Woman Blues (Stony Plain). Age has deepened and coarsened the lilting flutters that shaped Muldaur's girlish voice, but to compensate she's developed heft and power. Maybe it's the spirit she's found in the largely African-American church she attends. Whatever the cause, she both evokes her idols and makes their music her own; her emotional identification with them enriches nearly all of these fourteen songs.
Like Gorka's, this disc gathers like-minded souls, a community joined by music and history. Sebastian's nimble John Hurt-inspired fingerpicking backs Muldaur on the opening cut, and the list spins on from there: Taj Mahal, Alvin Youngblood Hart, Tracy Nelson (whose duet with Muldaur, "Far Away Blues," is riveting and heartbreaking) and Bonnie Raitt. With Angela Strehli, Muldaur reprises the Bessie and Clara Smith classic, "My Man Blues," where two women, discovering they're sharing a man unwittingly, agree to continue the triad "on the cooperation plan," since they like how things are. The fluent piano behind them is courtesy of Dave Matthews.
History has been kind to the Five Blind Boys of Alabama. The original jubilee-style quintet met in 1939, at the Talladega Institute for the Blind, which they snuck out of to sing at a nearby military base. By the 1950s, the peak years of the "gospel highway," the church-based circuit that produced stars like Sam Cooke, they were shouters recording hits for Art Rupe's prestigious Specialty label. These top-tier, soul-rending performances are collected on Oh Lord--Stand by Me (Specialty).
In 1983 they were "rediscovered" in the electrifying remake of Sophocles called The Gospel at Colonnus; the musical hit Broadway in 1988. Now they've opened for rock superstars like Tom Petty and have headlined at the House of Blues chain. It sure ain't church, but in the wondrous way of art, the Blind Boys transform everything they perform into a forum for testifying. Clarence Fountain's massive voice is a monument in motion; few other than bluesmen like Howlin' Wolf match his raw timbre and full-lunged forcefulness.
Spirit of the Century (Real World) deliberately crosses gospel with blues, sacred with profane. It joins the three remaining Blind Boys with 1960s-vintage roots diggers like veteran guitarist David Lindley and blues harp great Charlie Musselwhite, who led one of the earliest and best 1960s electric-blues revival bands. They infuse Tom Waits's off-kilter "Jesus Gonna Be Here" with fearsome fervor, and deepen the resonances of Ben Harper's "Give a Man a Home." And they set "Amazing Grace" to the music of that whorehouse anthem popularized in the 1960s, "House of the Rising Sun." Though he's reimagined himself into something sui generis, Tom Waits has self-evident blues roots. In the early 1970s, he opened for an undersung hero of the 1960s folk-blues revival. Back then, John Hammond was known as John Hammond Jr.; his famous father, the leftist Vanderbilt scion who'd made his name "discovering" and recording black musical talents from Bessie Smith to Charlie Christian, the man who signed Bob Dylan to a major label, was still alive and looming.
The younger Hammond has never reached mass audiences, but some of his students, like an ex-sideman named Jimi Hendrix who worked with him at the seminal Cafe Wha? in the Village, did. Hammond mastered a dizzying variety of folk-blues styles and performed hundreds of old blues, back when the stuff was hard to impossible to find on disc. White kids were scrounging through attics and flea markets and the like searching for old blues records, trying to piece together biographies, compiling oral history and field recordings--work that, along with the Lomax field recordings for the Smithsonian, unearthed most of what we know about blues today.
Long underrated or simply overlooked, Hammond serves up Wicked Grin (Pointblank), and it's a marvelous treat: In a way, it's this year's second Tom Waits disc. That's not a putdown. Old friend Waits produced this edgy album; he also penned and plays on twelve of its thirteen songs. Backed by other roots veterans like keyboardist Augie Meyers, Hammond makes Waits's surreal, character-driven tunes more emphatically bluesy, and Waits endows each song with a sound that evokes different original blues recordings. It's a more creative use of the blues than most have come up with in years. And dig Waits's open-lunged gravel voice dueting with Hammond on the spiritual "I Know I've Been Changed."
Since he joined the Yardbirds, then John Mayall's Bluesbreakers and became the Godhead of the 1960s British blues revival, which paralleled the folk and blues revivals in America, Eric Clapton has changed fairly constantly, yet remained recognizably the same. That, after all, is how superstardom works. One of the biggest shifts came thirty years ago, when he was touring with Delaney and Bonnie and Friends, and they taught him to sing for real. His next album, with Derek and the Dominos (PolyGram), showcased his heartbreak, his suddenly raunchy vocals and his slash-and-burn band featuring slide guitarist Duane Allman.
In the decades since, Clapton has made a few good, even great albums and a pile of slush. Last year's much-heralded outing with B.B. King sounded haphazard and undercooked--a shame, really, given what it could have been. By contrast, Reptile (Reprise) is a keeper, reminiscent in style and pacing to the classic album he made as Derek. During recording, his uncle died. Raised by his grandmother, Clapton had grown up thinking his uncle was his brother. His uncle's favorite term of endearment gave this disc its name. On it, Clapton tours his past with consistent conviction, and his guitar is spry and sharp and ready to slice almost everywhere. He taps oldies like "Got You on My Mind," which gets a nice Jimmy Reed-ish blues treatment, and covers Stevie Wonder and Isley Brothers hits. "Travelin' Light," the latest installment in his ongoing J.J. Cale tributes, is stuffed with rheumy guitars snarling. But "Come Back Baby," his Ray Charles tribute, is the show-stopper. Clapton's overdriven guitar blazes and curdles the clichés of his millions of imitators, and his voice exposes just how rich and craggy it has grown to be. Brother Ray could still outchurch him without too much pain, but Clapton makes us believe he's got us gathered, swaying, in Charles's pews, to the music compounded of the sinful blues and heavenly gospel, the music called soul.
Over a decade ago, Clapton covered Robert Cray's "Bad Influence" and gave the now-multiple Grammy winner an early boost. Cray started mixing blues and soul with touches of jazz in 1974, working the circuit relentlessly; older bluesmen like Albert Collins and Muddy Waters championed his updated sound and lyrics. As time went on, he pumped up his soul-music aspect, deliberately extending the tradition of singer-guitarists like Little Milton and the B.B. King of "The Thrill Is Gone."
On Shoulda Been Home (Rykodisc), Cray's limber voice and spiky guitar once again merge blues and r&b with Memphis soul, with profitable results. Cray is well-known for tackling topics he sees as contemporary versions of the blues. "The 12 Year Old Boy" may even attract the unholy mob of politically correct leftists and Lynne Cheney followers who've climbed on Eminem's back, much as they would have onto Elvis Presley's. In this hard blues, Cray suggests ways to avoid having a preteen rival steal your lover: "If a young boy hangs around you/You should do what I shoulda did/Send him over to your neighbor's/And hope your neighbor likes kids."
Cray writes lyrics that tell stories, and storytelling is one reason I, like Charlie Parker, dig country music as well as blues. Which brings me to Charley Pride. Pride was a black star in country music in the 1960s, at the height of the whitebread "Nashville Sound," and was inducted into the Country Music Hall of Fame last year.
It's often been said that country music is white folks' blues, but that's what Pride always sang. In the midst of sharecropped Mississippi fields, he hugged his radio to listen to the Grand Ole Opry. Not good enough for the ballplayer career he wanted, he went into the Army, became a smelter and moved his family to Montana, where he sang part time and caught the attention of touring Nashville stars. Chet Atkins signed him, released his first album without a picture, and started the hits rolling.
Country Legends (BMG/Buddha) collects them. Some, like "Snakes Crawl at Night," are period curiosities. There are solid genre efforts: the wistful look home ("Wonder Could I Live There Anymore"), infidelity ("Does My Ring Hurt Your Finger"). There's a tribute, a nice version of Hank Williams's classic "Honky Tonk Blues." There's his biggest hit, "Kiss an Angel Good Morning," a tune whose hooky bounce always makes me grin as it offers advice to "kiss an angel good morning/and love her like the devil when you get back home." And there's "I'm Just Me," to which you can add racial inferences, if you like: "Some want more and more's a-getting less/I just want what I got/Some wanna live up on a hill and others down by the sea/Some wanna live behind high walls/I just wanna live free."
The panorama that is American folk music opens in all directions on guitarist Bill Frisell's latest, most far-reaching album, Blues Dream (Nonesuch). For years now, Frisell has been integrating elements of jazz, folk, blues, new music, rock, pop, parlor tunes, you name it, into his musical quest. Unlike too many of his contemporaries, though, he's been trying to distill them into something of his own; he's not trying to slap together yet another postmodern slag heap of influences. With Blues Dream, he's succeeded incredibly.
The album charts many paths across the American landscape. The tremolo-shimmery title track is a brief minor-mode intro, an evocation of post-Kind of Blue Miles Davis. Track two, "Ron Carter," named for the great 1960s Davis bassist, opens with metallic horn squiggles that wind over a brief bass ostinato and off-kilter guitar licks, then builds with horns and overdriven guitar solos. It evokes and updates 1960s experimentalism--no mean feat--as do the rest of the album's tracks.
Music has one big advantage over the real world: Resolution is always possible, if you want it. Take "The Tractor." It kicks off as backporch bluegrass, drummer Kenny Wolleson and bassist David Piltch laying down a shuffle behind Frisell's arpeggiated rhythms, sometimes doubling Greg Leisz's mandolin. Suddenly a snaky, slightly dissonant horn section slices across it. With each chorus, the fine section--trombonist Curtis Fowlkes, saxist Billy Drewes and trumpeter Ron Miles--connects the riffs, filling in until they're almost continuous, a Monkish counterpoint to hillbilly jazz heaven. It's a brilliant work, a wondrous musical portrait of a melting pot or tossed salad or whatever metaphor you prefer for the multiracial, multicultural place America has never, in sad reality, managed to become.
In the near future we plan to expand our faith-based initiative, Holy Terror Sandblasting and Demolition Corp. New York City Mayor Rudolph Giuliani finds much merit in our proposal for a workfare program in which homeless people (men only, naturellement!) would be trained in medieval theology, art criticism and the use of explosives. Please send dollars and the floor plan of the Brooklyn Museum. Or else.
Dear Professor DiIulio,
With medical costs going through the roof, you'd think there'd be a better way. And now, with the Lord's help, there is! Our idea is to buy up struggling inner-city hospitals and turn them into profit centers--no doctors, no nurses, no fancy-shmancy machines and best of all, no messy malpractice suits. Just the blessed healing power of prayer, provided 24 hours a day at bedside by recovering drug addicts as part of their therapy. It's total win-win--the government saves, the patient is saved--if not in this world, the next. And that's the world that counts, right?
Rev. Tommy Johnson
Pentecostal Holiness Church, Memphis, TN
People say communism is just another religion, and they're right! We have everything the other faiths have--an all-encompassing worldview, sacred texts, meetings (and how!), schisms, excommunications and declining numbers and influence. We'd like to reverse that last item with funding for our workfare proposal: First, we provide welfare mothers a crash course in job readiness, parenting skills and the works of Karl Marx. Then, we get them jobs in daycare centers, where they pass their new "faith" on to the next generation, hopefully in time for the stock market crash. Don't count us out--a god that failed is still a god.
The Communist Party, USA
Dear Brother in Christ,
Did you know the Chicago Archdiocese has an exorcist on staff? Our faith-based initiative, The Exercist, would get this superbly trained but underutilized man out of the apse and into the community, where he'd help the so-called mentally ill get their sillies out with a carefully graduated low-impact aerobic workout that goes beyond head swiveling and projectile vomiting to get at the real nitty-gritty of diabolical possession! Then, everyone cools down with a sharing session, novena and group hug: because admitting you're possessed by the Devil is half the cure!
Hope to hear from you soon,
Msgr. George O'Reilly
Roman Catholic Archdiocese of Chicago
Dear Prof. DiIulio,
For ten years we've been trying to get our own public school district so our kids wouldn't have to go to school with goyim. The courts keep turning us down. Then we wanted buses with only male drivers and sex-segregated seating, and the self-hating Jewish liberals said no to that too. So we would like to become a Faith-Based Initiative with ourselves as clients. Our project is, we stay in our own town and only talk to each other. Because that's what G-d wants. Eventually we hope to get NEA funding as a conceptual art project ("The Choice: Chosen People Choose Themselves"), but a starter grant from your office would really put us on track.
Let us know,
Rabbi Shlomo Greenblatt, Kiryas Joel, NY
Ever wonder what's really behind that weird weather of recent years ? Hint: It's a long time between burnt offerings. How about paying some deadbeat dads to slaughter a herd of oxen and throw those fabulous thighbones on the barbie? Everybody benefits: They learn the meat business, you get fruitful harvests, favorable winds and calm winedark seas, and we get a decent meal. Reply soonest--the wife is pushing me to zap you with a thunderbolt.
Death Row Dad is a moving story of one father's embrace of capital punishment--despite his own imminent execution! While his ACLU lawyer tries frantically to turn up new evidence even as his own marriage unravels, and beautiful crusading nun Helen Prejean pleads with the governor for a stay, Leroy, who is in fact innocent, wants only that his son renounce his homosexual lifestyle and accept Christ as his personal savior. Soon the whole prison--even the crusty warden and a pair of racist guards--is praying for Leroy to get his wish. Jack, I promise you, when Leroy looks up from the gurney just before the lethal injection, sees his son standing there with his new girlfriend, and rejects the last-minute stay of execution ("I reckon the Lord is waitin' for my sorry self"), the audience won't know whether to cheer or go down on its knees. Morgan's people think yes for the lead, Julia's very interested in doing the nun. A major studio is ready to greenlight the minute your office comes through with co-financing.
Talk to you after the prayer meeting,
How about a grant where I become a lay minister and practice laying on of hands? There's a whole heck of a lot of lonely women out there with big spiritual needs. I mean, really big.
If a critic's clout can be measured by the ability to make an artist's name, the most important art critic in America today is clearly Rudolph Giuliani. Just over a year ago he excoriated the Brooklyn Museum of Art for including in its "Sensation" show Chris Ofili's Holy Virgin Mary--the elephant-dung-decorated painting of an African BVM, which the mayor found "anti-Catholic," blasphemous and disgusting--and turned Ofili himself into a sensation overnight: One collector, I heard, complained that the media attention had driven Ofili's prices so high he couldn't afford him anymore. If I were Jake & Dinos Chapman, represented by a perverse sculpture of deformed and weirdly sexualized children, I would have been seriously peeved, and if I had been Richard Patterson, whose Blue Minotaur, a profound meditation on postmodernity and the heroic tradition, got no attention at all, I would have wept.
You'd think the mayor would have learned to stay his theocritical thunderbolts, but once again he has gone after the Brooklyn Museum for including an "anti-Catholic" work--Renee Cox's Yo Mama's Last Supper--in the new show of contemporary black photographers, "Committed to the Image." He's even suggested that what New York needs is a "decency commission," which got big laughs all around, since the mayor, a married man, is openly carrying on with his mistress, upon whom he has bestowed police protection worth some $200,000 annually at taxpayers' expense. As the whole world now knows, Yo Mama is a five-panel picture in which Cox appears naked, as Jesus, surrounded by male disciples--ten black, one white--at the Last Supper. As an artwork it's negligible, glossily produced but awkwardly composed and, to my eye, rather silly. Cox is thin and beautiful; the men, in robes and caftans, are handsome and buff--apparently the first Christians spent a lot of time in the gym and at the hair salon, getting elaborate dreadlocked coiffures. Unlike the figures in Leonardo's Last Supper, which are highly individualized and dramatically connected, the figures here are generic and stiff. My eye kept going to the limited food on offer: bowls of wax-looking fruit (did they have bananas in Old Jerusalem?), rolls, pita bread. Was the Last Supper a diet Seder?
If you want to see visually haunting work at "Committed to the Image," there's Gordon Parks, Albert Chong, Imari, Nathaniel Burkins and many others. LeRoy W. Henderson's black ballet student, dressed in white and standing in front of a damaged classical frieze, interrogates the Western tradition much more deeply than Yo Mama does. Mfon's self-portraits of her mastectomized torso, a meditation on beauty, heroism and tragedy expressed through the female body, lay bare the high-fashion hokiness of Cox's costume drama. For fan and foe alike, the interest of Yo Mama appears to be political. Cox describes her art in ideological terms ("my images demand enlightenment through an equitable realignment of our race and gender politics"), and she has been quite pungent in defending it. As with The Holy Virgin Mary, the mayor hasn't actually seen it, nor had the numerous people who sent me frothing e-mails after I defended government support for the arts on The O'Reilly Factor.
Even the New York Observer's famously conservative art critic, Hilton Kramer, who usually delights in withering descriptions of pictures he hates, apparently felt that depicting Christ as a naked black woman was so obviously, outrageously anti-Catholic he need say no more about the photo before embarking on his usual rampage. It would be interesting to know where the offense lies: Is it that Cox as Christ is naked, black or female? All three? Two out of three? If one thinks of Catholics, the people, there's nothing bigoted about any of this. (Like Ofili, Cox is Catholic--as are most perpetrators of "anti-Catholic" works.) There is no ethnic stereotyping of the sort on view, for instance, on St. Patrick's Day, when the proverbial drunkenness of the Irish is the butt of endless rude humor, especially from the Irish themselves. While we're on the subject of ethnic stereotyping, it's worth noting that in a great deal of Christian art, Jesus and the disciples are portrayed as Northern Europeans, while Judas is given the hooked nose and scraggly features of a cartoon Jew.
But if what is meant by anti-Catholic is anti-Catholic Church, why can't an artist protest its doctrines and policies? The Church is not a monastery in a wilderness, it's a powerful earthly institution that uses all the tools of modern politics to make social policy conform to its theology--and not just for Catholics, for everyone. It has to expect to take its knocks in the public arena. A church that has a 2,000-year tradition of disdain for women's bodies--documented most recently by Garry Wills (a Catholic) in his splendid polemic Papal Sin--and that still bars women from the priesthood because Jesus was a man can't really be surprised if a twenty-first-century woman wonders what would be different if Jesus had been female, and flaunts that female body. And a church with a long history of racism--no worse than other mainstream American religions but certainly no better--can't expect the topic to be banned from discussion forever.
At the Brooklyn Museum, Yo Mama's Last Supper is in a separate room with its own security guard. On Sunday afternoon, it attracted blacks, whites, Asians, parents with small children, older women in groups, dating couples, students taking notes--le tout Brooklyn, which is turning out in large numbers for the show. I asked one black woman, who described herself as a Christian, what the picture meant to her. "It shows Life as a woman," she said. "It's beautiful." Her friend, who said he was a Muslim, liked the picture too.
If only I could get the Mayor to review my book!
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Show George W. Bush you support RU-486. Make a donation in W.'s name to the Concord Feminist Health Center (38 South Main Street, Concord, NH 03301) and help it buy the ultrasound machine this method requires. The center will send the President a card to let him know you were thinking of him when you wrote your check.
Imagine Madison Square Garden brimming over with 18,000 laughing and ebullient women of every size, shape, age and color, along with their male friends, ditto. Imagine that in that immense space, usually packed with hooting sports fans, these women are watching Oprah, Queen Latifah, Claire Danes, Swoosie Kurtz, Kathleen Chalfant, Julie Kavner (voice of Marge Simpson), Rosie Perez, Donna Hanover (soon-to-be-ex-wife of New York's bigamous mayor) and sixty-odd other A-list divas put on a gala production of The Vagina Monologues, Eve Ensler's theater piece about women and their mimis, totos, split knishes, Gladys Siegelmans, pussycats, poonanis and twats. Imagine that this extravaganza is part of a huge $2 million fundraising effort for V-Day, the antiviolence project that grew out of the show and that gives money to groups fighting violence against women around the world. That was what happened on February 10, with more donations and more performances to come as the play is produced by students at some 250 colleges around the country, from Adelphi on Long Island--where it was completely sold out and where, sources assure me, the v-word retains every bit of its shock value--to Yale.
And they keep saying feminism is dead.
The Vagina Monologues, in fact, was singled out in Time's 1998 cover story "Is Feminism Dead?" as proof that the movement had degenerated into self-indulgent sex chat. (This was a new departure for the press, which usually dismisses the movement as humorless, frumpish and puritanical.) In her Village Voice report on the gala, Sharon Lerner, a terrific feminist journalist, is unhappy that the actresses featured at the Garden event prefer the v-word to the f-word. ("Violence against women is a feminist issue?" participant Isabella Rossellini asks her. "I don't think it is." This from the creator of a new perfume called "Manifesto"!) Women's rights aren't what one associates with postfeminist icons like Glenn Close, whose most indelible screen role was as the bunny-boiling man-stalker in Fatal Attraction, or Calista Flockhart, television's dithery microskirted lawyerette Ally McBeal. Still, aren't we glad that Jane Fonda, who performed the childbirth monologue, has given up exercise mania and husband-worship and is donating $1 million to V-Day? Better late than never, I say.
At the risk of sounding rather giddy myself--I'm writing this on Valentine's Day--I'd argue that the implied contradiction between serious business (daycare, abortion, equal pay) and sex is way overdrawn. Sexual self-expression--that's self-indulgent sex chat to all you old Bolsheviks out there--was a crucial theme of the modern women's movement from the start. Naturally so: How can you see yourself as an active subject, the heroine of your own life, if you think you're an inferior being housed in a shameful, smelly body that might give pleasure to others, but not to you? The personal is political, remember that?
The Vagina Monologues may not be great literature--on the page it's a bit thin, and the different voices tend to run together into EveEnslerspeak about seashells and flowers and other lovely bits of nature. But as a performance piece it's fantastic: a cabaret floor show by turns hilarious, brassy, lyrical, poignant, charming, romantic, tragic, vulgar, sentimental, raunchy and exhilarating. In "The Flood," an old woman says she thinks of her "down there" as a cellar full of dead animals, and tells of the story of her one passionate kiss and her dream of Burt Reynolds swimming in her embarrassing "flood" of sexual wetness. A prim, wryly clever woman in "The Vagina Workshop" learns how to give herself orgasms at one of Betty Dodson's famous masturbation classes. At the Garden, Ensler led the cast in a chorus of orgasmic moans, and Close got the braver members of the audience to chant "Cunt! Cunt! Cunt!" at the climax of a poetic monologue meant to redeem and reclaim the dirtiest of all dirty words.
How anyone could find The Vagina Monologues antimale or pornographic is beyond me--it's a veritable ode to warm, quirky, affectionate, friendly, passionate sex. The only enemies are misogyny, sexual shame and sexual violence, and violence is construed fairly literally: A poor black child is raped by her father's drunken friend; a Bosnian girl is sexually tortured by Serbian paramilitaries. None of your ambiguous was-it-rape? scenarios here. Oprah performed a new monologue, "Under the Burqa," about the horrors of life for Afghan women under Taliban rule, followed by Zoya--a young representative of the Revolutionary Association of the Women of Afghanistan (RAWA)--who gave a heartbreaking, defiant speech. Three African women spoke against female genital mutilation and described ongoing efforts to replace cutting with new coming-of-age rituals, "circumcision by words."
I hadn't particularly wanted to see The Vagina Monologues. I assumed that it would be earnest and didactic--or maybe silly, or exploitative, or crude, a sort of Oh! Calcutta! for women. But I was elated by it. Besides being a wonderful night at the theater, it reminded me that after all the feminist debates (and splits), and all the books and the Theory and the theories, in the real world there are still such people as women, who share a common biology and much else besides. And the power of feminism, whether or not it goes by that name, still resides in its capacity to transform women's consciousness at the deepest possible level: That's why Betty Friedan called her collection of letters from women not It Got Me a Raise (or a daycare center, or an abortion) but It Changed My Life. Sisterhood-is-powerful feminism may feel out of date to the professoriat, but there's a lot of new music still to be played on those old bones.
Besides, if feminists don't talk about sex in a fun, accessible, inspiring, nonpuritanical way, who will?
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Subject to Debate: Sense and Dissents on Women, Politics and Culture, a collection of columns originally published in this space, is just out from Modern Library as a paperback original. It has a very pretty cover and a never-before-published introductory essay, and contains most of the columns I still agree with, and one or two about which I have my doubts.
How many times did we hear during the endless campaign that Bush wouldn't go after abortion if elected? Republicans, Naderites and countless know-it-alls and pundits in between agreed: Pro-choice voters were too powerful, the country was too divided, the Republicans weren't that stupid and Bush didn't really care about abortion anyway. Plus whoever won would have to (all together now) "govern from the center." Where are all those smarties now, I wonder? Bush didn't even wait for his swearing-in ceremony to start repaying the immense debt he owes to the Christian right, which gave him one in four of his votes, with the nominations of anti-choice die-hards John Ashcroft for Attorney General and Tommy Thompson to head Health and Human Services.
On his first full day in office, Bush reinstated the "gag rule" preventing international family-planning clinics and NGOs from receiving US funds if they so much as mention the word "abortion." (This action was widely misrepresented in the press as being a ban on funding for performing abortions; in fact, it bans clinics that get US aid from performing abortions with their own money and prohibits speech--whether lobbying for legal changes in countries where abortion is a crime or informing women with life- or health-threatening pregnancies about their legal options.) A few days later, Thompson announced he would look into the safety of RU-486, approved by the FDA this past fall--a drug that has been used by half a million European women over twelve years and has been more closely studied here than almost any drug on the market. In the wake of Laura Bush's remark to NBC News and the Today show that she favored retention of Roe v. Wade, both the President and the Vice President said the Administration has not ruled out a legal challenge to it, placing them to the right of Ashcroft himself, who told the Judiciary Committee he regarded Roe as settled law (at least until the makeup of the Supreme Court changes, he did not add).
Don't count on the media to alert the public. The press is into champagne and confetti: Who would have thought "Dick" Cheney would be such an amiable talk show guest! Time to move on, compromise, get busy with that big tax cut. "Who in hell is this 'all' we keep hearing about?" a friend writes, "as in 'all agree' that the Bush transition has been a smashing success?" An acquaintance at the Washington Post, whose executive editor, Leonard Downie Jr., claims to be so objective he doesn't even vote, says word has come down from "on high" that stories must bear "no trace of liberal bias"--interestingly, no comparable warnings were given against pro-Bush bias. So, on abortion, look for endless disquisitions on the grassiness of the anti-choice roots, the elitism of pro-choicers and the general tedium of the abortion issue. Robin Toner could barely stifle a yawn as she took both sides to task in the New York Times ("The Abortion Debate, Stuck in Time," January 21): Why couldn't more anti-choicers see the worth of stem cell research, like anti-choice Senator Gordon Smith, who has several relatives afflicted with Parkinson's (but presumably no relatives unwillingly pregnant); and why can't more pro-choicers acknowledge that sonograms "complicate" the status of the fetus? In an article that interviewed not a single woman, only the fetus matters: not sexuality, public health, women's bodies, needs or rights.
Now is the time to be passionate, clever, original and urgent. I hate to say it, but pro-choicers really could learn some things from the antis, and I don't mean the arts of arson, murder and lying to the Judiciary Committee. Lots of right-wing Christians tithe--how many pro-choicers write significant checks to pro-choice and feminist organizations? Why not sit down today and send President Bush a note saying that in honor of the women in his family you are making a donation to the National Network of Abortion Funds to pay for a poor woman's abortion (NNAF: Hampshire College, Amherst MA 01002-5001)? March 10 is the Day of Appreciation for Abortion Providers--send your local clinic money for an abortion "scholarship," flowers, a thank-you note, a bottle of wine, a Nation subscription for the waiting room! (Refuse & Resist has lots of ideas and projects for that day--call them at 212-713-5657.)
The antis look big and powerful because they have a built-in base in the Catholic and fundamentalist churches. But (aha!) pro-choicers have a built-in constituency too: the millions and millions of women who have had abortions. For all sorts of reasons (privacy concerns, overwork, the ideology of medicine) few clinics ask their patients to give back to the cause. Now some providers and activists are talking about changing that. "My fantasy," Susan Yanow of the Abortion Access Project wrote me, "is that every woman in this country gets a piece of paper after her procedure that says something like, 'We need your help. You just had a safe, legal abortion, something that the current Administration is actively trying to outlaw. Think of your sisters/ mothers/daughters who might need this service one day. Please help yourself to postcards and tell your elected representatives you support legal abortion, join (local group name here), come back as a volunteer' and so on." If every woman who had an abortion sent her clinic even just a dollar a year, it would mean millions of dollars for staff, security, cut-rate or gratis procedures. Think how different the debate would be if all those women, and the partners, parents, relatives and friends who helped them, spoke up boldly--especially the ones whose husbands are so vocally and famously and self-righteously anti-choice. If women did that, we would be the grassroots.
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Correction: It was Joe Conason, not Chip Berlet, who reported that John Ashcroft had met with the St. Louis head of the racist Council of Conservative Citizens. Berlet's equally fascinating story, cut for space reasons, was that Ashcroft made a cameo appearance in a 1997 Phyllis Schlafly video that claims that environmentalism, feminism, multiculturalism, gay rights and even chemical weapons treaties are part of a conspiracy to bring about One World Government. See clips at www.publiceye.org.
Let's cut to the chase on Ken Burns's Jazz, which rolled out on PBS January 8, by invoking Wallace Stevens.
1) Is it entertaining TV? Mostly, in PBS fashion.
2) Does it leave out people and places and whole periods and genres
normally considered vital parts of jazz history? Yes.
3) Does it need more editing? Yes.
4) Does Louis Armstrong claim 40 percent of its nineteen hours? Yes.
5) Does post-1960s jazz claim 10 percent? Yes.
6) Does it tell an informed and informative story? Usually.
7) Does it identify the 500-odd pieces of jazz that serve as its soundtrack? Rarely.
8) Does it have rare and evocative pictures and film footage? Absolutely.
9) Is it good history? It's made-for-PBS history.
10) Will it satisfy jazz fans and musicians and critics? Seems like it already hasn't, and it hasn't even aired yet.
11) Will it save the jazz industry? That depends: CDs labeled Ken Burns's Jazz are bullish.
12) Will it make jazz a part of mainstream American culture again? Not likely, but it may help make it an official part of American popular history.
13) Is it part of the transition jazz has been making for three decades into the academic world? You bet.
Now let's dolly back and try to tell the story.
The numbers have to come first. The ten-episode, nineteen-hour series was six years in the making, and it sprawls: seventy-five talking heads, thousands of still photos and pieces of film, some 500 pieces of music and so on. Costing some $13 million, about a third of it from General Motors, it's the biggest documentary that's been done about jazz.
And yet a lot of jazz musicians and critics and fans, in print and on the web, have been complaining that it's too constrictive. It's easy to see why. It's certainly not comprehensive. For Burns and collaborator Geoffrey Ward, history unfolds in the textures of individual lives. (Ward won the Francis Parkman prize for A First-Class Temperament, one volume of his biography of FDR.) Jazz for them is the story of a few great men (and the odd woman) who changed the way Americans, then the world, hear and think and act. Chief among them: Louis Armstrong and Duke Ellington. There are places of honor for the likes of James Reese Europe and Jelly Roll Morton, Sidney Bechet and Bix Beiderbecke, Benny Goodman and Count Basie, Artie Shaw and Charlie Parker, Miles Davis and Dave Brubeck. This sort of survey is easier to sustain until about 1929, because jazz musicians were few (though not as few or as limited to New Orleans, Chicago and New York as the series implies). But Burns & Co. can tell a credible story of jazz's first decades using a handful of pioneers.
One reason for the noise is that this overlaps the story of jazz according to the Jazz at Lincoln Center program, a flashpoint in the jazz world. JALC teaches that jazz is a clear-cut genealogy of a few outstanding figures, and it excludes many important artists, especially after 1960, often for ideological reasons. The basic plot for both: Taking its building blocks from slave music, marching bands, blues, the church, European dance and classical music, jazz began life as a mongrel in New Orleans, came up the river to Chicago, met up (via Armstrong) with New York proto-swing bands and Harlem stride pianists and exploded, drawing young white players into a black-developed music. This is true enough, though it ultimately means ignoring uncomfortable parallel developments (Red Allen and Armstrong) or scenes (between-the-wars LA jazz) or entire genres (Latin jazz, European jazz). But schematic history can be good TV, and Burns, like earlier PBS filmmaker Frederick Wiseman, makes long, long movies that depend on strong, heavily delineated characters and themes to keep them from dissipating.
His story's heart is Armstrong. Its head is Ellington. And its soul is the Jazz Age and the Swing Era.
In episode five, "Swing: Pure Pleasure (1935-1937)," writer Albert Murray declares, "Jazz is primarily dance music." Though that hasn't been true for nearly half the music's history, it's clear he's speaking for Burns: Three episodes, nearly six hours, discuss the big-band era, when jazz underpinned popular music, lifted Depression-era spirits, saved the record industry and dominated that new omnipresent technology, radio. Nevertheless, as the often-intrusive talking heads tell us, from Ellington on down the musicians knew the difference between the business and the music; stage shtick and chart slots were as important then as now. This is a bittersweet Golden Age of speakeasies, hoods, the Great Depression, squealing bobby-soxers, lynchings, jitterbugging, novelty tunes and early moves toward racial integration. It is described as a time of "adult sensibility" and is the series' gravitational center.
The great-man schematic creates escalating difficulty for the plotting starting with episode seven, which begins with Charlie Parker and spends nearly as much time on Satchmo as it does on bebop. By the mid-1940s, the musicians had multiplied and moved on--out of Harlem and swing time. And so jazz dissolves into hundreds of musicians searching for different sounds, styles, approaches, languages, multimedia formats. The last forty years of Jazz are a choppy and unreliable ride; a lot disappears, and what's left can be telegraphic or confusing and look exactly like JALC speaking.
Burns says post-1960s jazz is too controversial even in the jazz world to be history. Maybe he should have ended, then, with John Coltrane; Baseball, after all, stopped at 1970. For in less than two hours, faces from Charles Mingus's to Sonny Rollins's flash across the screen between inevitable reprises of Duke and Satchmo. Miles Davis's push into fusion shrinks to his alleged desperation for teen fans. Ornette Coleman is dismissed. Keith Jarrett and Chick Corea don't appear. The 1970s and 1980s are a quick-blur artistic wilderness until the arrival of Wynton Marsalis, artistic director of Jazz at Lincoln Center and the film's senior creative consultant and prime talking head. And there, after a brief survey of new stars (Cassandra Wilson, Joshua Redman) and a recapitulation of key figures and themes, it ends.
The signal irony: If Burns had cut the final episode and billed this as Jazz: The First 50 Years, more of the discussion might be where it belongs--on the movie.
Until pretty recently nobody thought enough of jazz to point a movie camera in its general direction for very long. There are snatches of footage of Armstrong, Ellington, Fats Waller, Bessie Smith and the like from the early days. By the mid-1930s the popular swing bands cropped up in films and then in "soundies." But the video record of what fans like to call America's greatest art form is sporadic and discouraging.
This problem plays to Burns's strengths: He loves having his staff dig up old photos (for this, they turned up millions), and he loves working stills to make them kinetic. He pans across and slowly zooms in and out of a single shot to give it a movielike temporal depth. In one vignette about Harlem's Savoy Ballroom, where drummer Chick Webb held court and introduced Ella Fitzgerald in the 1930s, Burns intercuts shots of separate white and black dancers to hammer home the voiceover's point about its integrated patrons--a first in America. He assembles a deft mix of photos and film to re-create the stage-fright-to-triumph of Benny Goodman's 1938 "Sing Sing Sing" concert at Carnegie Hall.
The series boasts tours de force. The evocative segment called "The Road" strings out a head-turning daisy chain of wondrous footage: bands on trains and buses and touring cars, chugging 500 miles a day, six days a week, making whoopee and changing tires, riding high onstage and coping with breakdowns and prejudice offstage. The recently deceased bass and photography great Milt Hinton recalls how at band stops his wife would head into town to look for black homes where the musicians could eat and stay, how musicians were people of prestige in the community. Readings from journals and newspapers and diaries sample big-band life's dizzying ups and downs, while the film rolls from impromptu baseball games to a couple of female jazz fans puffing fake reefers while hugging the sign of a town named Gage.
And in the background rolls out more jazz by far than 99 percent of America has heard. Much of the time, it's as snippets in the background when one after another talking head pops up. The heads are duly identified time after time. The tunes aren't, unless they're keyed to a biographical or sociological set piece. Why not flash a subtitle to tell the audience what's playing?
Because jazz is the soundtrack for this series as much as or more than it is its subject. To put it another way, this isn't really a movie about jazz history. Think of Burns as PBS's Oliver Stone. Like the Civil War and baseball, jazz for Burns and Ward is a lens to focus on basic questions: Who are Americans, and how do they manage to get along--or not? And their central query concerns race.
So they film jazz as the tale of black redemption in and of America, a narrative of conversion and triumph whose shape recalls St. Augustine and Dante. From the days of slavery through the humiliations of Jim Crow and minstrelsy to the assertive freedom of the blues and jazz, Burns's movie resounds with the apocalyptic ring of apotheosis, as it examines a few crucial candidates for cultural sainthood. For it wants both to carve jazz greats into the American pantheon and to underline jazz's pivotal centrality to twentieth-century America as an affirmation of African-American creativity and endurance.
This, coupled with Marsalis's camera-savvy polish as a spokesman as well as his insistent championing of jazz education over the years, explains why a filmmaker like Burns would feel drawn to JALC's version of jazz history. (Actually, Dan Morgenstern, the respected head of the Rutgers Institute of Jazz Studies, was the film's senior historical consultant and vetted the script; there were twenty-three consultants in all, so until the final episode there are inevitable points of similarity, but not identity, with Lincoln Center's tale.) But dramatic necessity also helps explain why some characters, like Armstrong and Ellington, are the story's recurrent focus.
Swing, you might guess, is a buzzword in this series, and you'd be right, even though the film itself doesn't swing much. The earnestness that suffuses PBS cultural products won't let it float for long. At times, the music's lilting ease and fire contrast vividly with its deliberate, self-conscious pace. That's exacerbated by Burns's seventy-five talking heads: Watching can be like sitting through a course team-taught by the UN.
Besides Marsalis, Burns's other main soloist is writer Gary Giddins, and Giddins swings: His wide-ranging erudition rides his love for jazz easily. Other commentators--Stanley Crouch, Albert Murray, Artie Shaw, Gerald Early, James Lincoln Collier, Dave Brubeck--give good camera and consistent historical edutainment. But too many proffer vague impressions, clichéd memories, breathless interpretations and warmed-over anecdotes. They could easily have been edited or edited out. Then there are periodic pileups. In episode seven Joya Sherrill, Mercedes Ellington (Duke's granddaughter) and a few others repeat that Duke and Billy Strayhorn were a rare and wonderful match. In episode five, the same two dancers appear twice with virtually the same observations about Harlem's Savoy Ballroom.
Sometimes the anecdotes are fun or fabulous, sometimes they're bad history. Take Jon Hendricks, who in episode four retails the disproven mythic origin of Armstrong's scatting (sheet music fell off his stand at a recording session). Or director Bertrand Tavernier, who gushes about Django Reinhardt and Stéphane Grappelli introducing the guitar-violin combo to jazz, though they themselves would have fingered Eddie Lang and Joe Venuti. Ballplayer Buck O'Neil rambles good-naturedly about Billie Holiday giving listeners "the greatest moments" and "the saddest moments," demonstrating how a tighter edit could have sliced out the lapses into vacuity.
Marsalis's starring role has several sides. He delivers very effective musical glosses and explanations, polished by years of shows and clinics with adults, teens and kids. His knowledge of and passion for the jazz he loves, and his conviction that it represents American life in full, are infectious, if sometimes hyperbolic. But when he holds forth about Ellington and Armstrong and the semilegendary Buddy Bolden as if he knew them intimately, it's TV, not history.
History can be light-fingered instead of heavy-handed, and Jazz could use more humor, more of the "light" Marsalis ascribes to the best jazz musicians. It has some fabulous vignettes from Crouch, the third-ranked talking head. Except for the last two hours, Crouch swings. In one priceless bit he mimics pre-Armstrong pop vocalists and then Armstrong himself, and asks why anyone would want to revert. "That would be a bad choice," he deadpans. Anybody who makes that choice, he adds, should be deported--count a beat--"to somewhere." Another beat. "Maybe Pluto." It's impossible to disagree, especially when you're laughing.
To some extent, Burns has himself to blame for the unjoyful noise in the jazz world. In conversation, he tends, rightly, to underplay his work's ambitions. It's not the history of jazz, he says. Viewers will get to know a handful of musicians, meet another dozen or two and brush past a few dozen more. He can't possibly compete with books like Giddins's Visions of Jazz or jazz histories like those of Ted Gioia or Marshall Stearns; he's made a movie that tells an educational story for a mass audience. This is reasonable, accurate and no small feat. And, in fact, the movie is steeped with rich human detail of the sort most music historians rarely touch on. But the PR bombast trumpets him as jazz's Joan of Arc, and once he's on-message he can't stop selling. Jazz, like academia, is small and marginal with plenty of defensive, combative types; "the music" is a secular religion. Burns's perceived power inevitably lights the territorial fuses.
As it happens, the jazz industry, now down to about 1 percent of US music sales once you exclude Kenny G and his clones, looks like a Victorian maiden lashed to the tracks awaiting her hero. Burns's movie is a mantra, as record labels crunch despairing numbers and weed out personnel and artists after the latest wave of megamergers and Internet terrors. For his well-designed five-CD companion set (subtitled The Story of America's Music), the filmmaker brokered a deal between Sony and Verve (Universal), bitter corporate rivals, then brought in other labels; all are hoping for sales like the companion book's, which had a first printing of 250,000. This is mind-blowing if you're a jazz-label head used to dealing in niche sales (Marsalis himself rarely moves more than 10,000 CDs) and waiting for the next guillotine stroke.
Potential audience numbers get tossed around fervently: 40 million viewers for Baseball and The Civil War, and Jazz will probably draw less, but... It fascinates me that few of the film's critics address that. Why not consider an America where 20 million more people--or 3 million, or however many finally watch--know something, anything, about Armstrong, Ellington, Parker, Davis and a few others? Where, if they survive the overstatements, talking heads and pacing, they learn some hidden history?
Am I a Pollyanna? Maybe. Reality check: This is a made-for-TV movie. But I too think race is America's central issue, even more multifaceted in the twenty-first century. What holds this joint's pasted seams together, beyond the Founding Documents, is the frequently intangible glue called culture. TV is a major place American culture gets made. Can anyone measure what it meant to have Bill Cosby playing an upper-middle-class dad-next-door for a generation? What it means now that there are black and Hispanic and Asian and gay and you-name-'em channels filling cable and satellite TV? Can anyone guess what it might mean in five years to have Jazz, whatever its warts, playing over and over to a country as terminally divided and in search of itself as this one?
These are not delusions of grandeur about the power of jazz or Ken Burns. They are possibilities written in the history of jazz in America. Take Burns's vignette about Charlie Black, a white Texas teen who saw Armstrong perform in the 1930s. It changed his life. He joined the NAACP's legal team working on what became Brown v. Board of Education. The sociology of jazz is full of such stories. And they are very real.
For instance, no one with a brain disputes that jazz was initially an African-American creation. But as Marsalis, Giddins, Crouch, Murray and Early point out over and over, jazz was welcoming, inclusive, open. It replaced minstrelsy with a cultural site where all Americans could participate, speak to one another, override or ignore or challenge or slide by the society's fixations on racial and ethnic stereotypes. Black Americans (and other ethnic outsiders) could use it to enter mainstream society, white Americans could flee to it from mainstream society, and the transactions created a flux and flow that powered American cultural syntheses.
Jazz, the theme goes, represents America at its best--the dream of America. In the Depression, as Early reminds us, it rivaled MGM musicals in lifting the country's spirits. Of course, since jazz is a human activity, it also reflects the deepest divisions as well as the ideals at America's core. Race, sex, money, power, capitalism, creative freedom, the interaction of the individual and the group--these are all questions embedded in jazz history. They're the questions Burns and Ward are truly interested in. At its best, Jazz gets us interested in them too.
Burns admits he never listened to jazz until he started considering it as a subject. Ward became an Armstrong fan at age 10, when he was hospitalized with polio. Jazz is lucky they're interested in it.
Right now, jazz's commercial future is murky. The major labels are mostly wreckage. Marsalis, who used to get $1 million a year to make niche-market records in the hope that they would turn into catalogue gold, doesn't have a label; neither does Redman. High-profile jazz promoters are hemorrhaging. The Knitting Factory is reportedly in the hole for $2 million, after luring a big entertainment firm to take a stake, opening a club in LA and losing its annual jazz-festival sponsor. The Blue Note chain is said to be spurting red ink from expansions into Las Vegas and midtown Manhattan. Nor are jazz's nonprofit arms thriving. The Thelonious Monk Institute, so closely aligned with the Clinton/Gore Administration that its head was reportedly hoping for an ambassadorship if Al won, is looking pale. And the long-dormant board of Jazz at Lincoln Center has just fired executive director Rob Gibson in a swirl of intrigue: changed door locks and computer codes, fired and rehired personnel, amid persistent rumors of financial malfeasance, bullying and drug abuse.
Jazz has been on a commercial slide since the 1970s, when it racked up 10 percent of retail music sales. At the same time, it began entering the groves of academe. Today most jazz musicians are trained at schools; jazz history is laced through American studies and music curriculums.
This process has already fundamentally changed jazz itself and its relation to American culture, though how isn't always clear at first. As a colleague reminded me recently, in the jazz heydays celebrated by Burns's Jazz, musicians fashioned their own idiosyncratic solutions to musical problems, drawing on oral tradition (which varied considerably) and their own ingenuity and needs. This meant finding individual creative solutions to problems--how to finger this note or sequence, how to get that timbre, how to connect those chord changes. Now, a professor distributes computer analyses of famous solos, templates for solutions that are shared by hundreds and thousands of students. This has a paradoxical effect: It raises the general level of and standardizes jazz training, but it also tends to vitiate the individuality traditionally at the music's heart. This is why older musicians routinely complain that younger schooled players all sound alike. On the other hand, they're well suited for jazz repertory programs like JALC.
That is part of jazz's changing contemporary dynamics. So is Ken Burns's Jazz.
A cold snowy start to the new year, the first day of the new millennium. Not the fun one with champagne at the Pyramids and the all-night, round-the-globe pseudoprofundities and the secret letdown when our computers didn't turn into pumpkins at midnight. I mean the real millennium, with the bad news bears basking on their ice floes as the stock market sinks and thousands tremble as The Anxious Consumer ponders whether to spring for the new Chevrolet Astro or live with the old Dodge Caravan a bit longer. On the radio a mom explained that her kids just wanted gift certificates for Christmas so they could take advantage of the post-holiday sales. How old are these kids? 50? This morning, same station, a man from the Cato Institute instructs us to count our blessings: We are all a lot better off than a hundred years ago; after all, Americans are two inches taller now.
On New Year's Day, a stern young black man missing his front teeth preaches on the subway: "Mr. Black Man! Mr. White Man! What is the meaning of Eternity? Repent! Repent!" He stalks the aisle, dressed all in black and carrying a blood-red Bible, like a mad priest in an opera, while passengers stare stonily into the headlines: I'm Sacking Satan, declares ex-Jet Marc Gastineau in the New York Post, once again evading jail for beating his wife, who like him has gone into Christian therapy ("'I contributed to a lot of the violence,' said the slight, 5-foot-5 woman"). In the passageway between stations, a tiny man of unguessable age wearing a filthy Ralph Lauren American Flag sweater plays a violin as if it were an unfamiliar object he had found in the trash; a young black man sings Beatles songs expertly and with unflagging good cheer. The Christmas-caroling street minister with the fantastic baritone voice is gone, but the Chinese musician is still seated on the L train platform, bending in total concentration over his pipa, an elegant longnecked stringed instrument that emits at the touch of his bow a thin wail, like a dying cat.
My father turns 81 in his hospital bed. After three brain surgeries, who knows what he understands? Flowers arrive that he does not look at; cards are read that he does not listen to. Friends arrive with "get well" offerings--a sleep mask, earplugs, pictures of their children--and leave quickly, stricken. Newly arrived from England, a Kazakh friend complains, "They won't move him to the other bed, although I keep asking!" It seems that bed is the lucky one, the one where the patients get better. A staggering amount of medical help and equipment swirls around my father; it is as though experts have been summoned from all over the world--a doctor from Korea, nurses from the Philippines and Ireland, aides from Jamaica and Guyana and India and Central America--all for the express purpose of tending a few limp, pale Americans. And yet the simplest realities--that my father has eaten essentially nothing for almost two weeks--seem to evoke no sense of urgency, to fall into the spaces between specialists and between changing shifts.
In Man's Fate, the Russian Communist Katov prepares himself to be thrown alive into a furnace after the Shanghai rebellion he helped organize is betrayed by Stalin. He says to himself, "Let's suppose I died in a fire." What style, I thought as a teenager, what cool. Today I think: Well, it would be scary and painful, but at least it would be quick. And by dying in 1927, Katov got to keep his political dignity: He didn't have to persuade himself that voting for a protest candidate was a radical act or inveigh against "global capitalism," or "corporate capitalism," as if there were some other kind--national capitalism? mom-and-pop capitalism?--that could be brought out of the closet of history, and donned like a comfy old suit.
I had planned a very different column--upbeat and energetic, with exhortations to do more and a list of clever resolutions. I e-mailed my whole address book asking for suggestions for feminist activism. I don't know what I was hoping for--seize the TV stations? Dangle John Ashcroft off a skyscraper till he promises to spend the rest of his life cleaning abortion clinic toilets? Raise a lesbian militia to fight the Taliban? What came in was nothing like that. Write letters, the activists said, make phone calls, raise money, bother your politicians, volunteer. Challenge the sexism of daily life, the writers wrote: racist and sexist remarks, panels with no women, all-male magazine forums and debates. Link issue A with issue B, the academics urged.
Fine, but according to Newsweek, there are now 1 million slaves in America, mostly women and girls--cleaning houses, making clothes, servicing men sexually to pay off traffickers and pimps. Ask yourself what kind of man would fuck a slave, some Chinese or Albanian or Thai teenager in a plywood cubicle with a mattress on the floor. Do you think he cares if you write a letter to your congressman? Maybe he is your congressman.
The world spins only forward, says Prior Walter in Angels in America. But which way is that? Most members of my study group think intellectuals and activists have no special role to play in history. They only perch atop its shifting tectonic plates, ready to jump on the backs of the workers at the first sign of autonomous action. "The working class is revolutionary or it is nothing," quotes the Last Marxist at least once per meeting, which goes on all day and ends with a wonderful meal. Last time, we invited the Race Traitors--Noel Ignatiev, John Garvey, Beth Henson--and accused them of daring to think they could spark a movement with a magazine and a book. Wow, said Noel, you guys are really depressed. Yes, I said, usually it takes us all day to feel this irrelevant, and it isn't even lunchtime yet.
I go home in the snow, I e-mail the President to save the Alaskan wilderness, proving yet again that I have no dignity and do not read my own columns. At bedtime we read aloud from Mona in the Promised Land, by my daughter's favorite contemporary American writer, Gish Jen.
"If there's a depression, will we have enough money?" Sophie asks as we turn out the light. "Don't worry about it," I say. "Everything will be fine. We can always sing in the subway."
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