While they continued to write and talk, we saw the wounded and the dying. — Erich Maria Remarque, “All Quiet on the Western Front”
I didn’t have much to say on the 10th anniversary of the 9/11 attacks, and a decade further on down the road I feel even less inclined to hold forth on the topic. A bunch of people got dead, maimed, or insane; another bunch got rich, famous, and powerful; and the rest of us went shopping.
Did we learn anything from the attacks and what Charlie Pierce calls “our blind, feral response?” Doubtful. We check the rear view every 10 years or so, but that’s just reflexive, like glancing at a TV as you pass.
Anything good on? Nahhhhhhh. Same ol’, same ol’. Hey, who wants to go to the mall?
And I didn’t hear about the 1969 Harlem Cultural Festival until 2021, when Ahmir “Questlove” Thompson carved a mountain of forgotten concert imagery into a Black Mount Rushmore, creating the documentary “Summer of Soul” for Hulu.
The Tulsa massacre was buried with its victims for reasons that should be all too obvious. And the Harlem Cultural Festival was strangled by the largely white Woodstock — until Thompson brought the late Hal Tulchin’s long-buried footage back to life.
For nearly 50 years, this just sat in a basement and no one cared. … History saw it fit that every last person that was on that [Woodstock] stage now winds up defining a generation. Why isn’t this held in the same light? Why was it that easy to dispose of us? Instead, the cultural zeitgeist that actually ended up being our guide as Black people was “Soul Train.”
We watched “Summer of Soul” last night, and man, what a blast from the past it was. So many cuts from the pivotal days of this whiteboy’s personal soundtrack.
David Ruffin, fresh from an acrimonious split with The Temptations. A young Gladys Knight and the Pips, very much on their way up. Sly & the Family Stone. B.B. King. Hugh Masakela. Stevie Wonder. The 5th Dimension. The Edwin Hawkins SIngers. And artists whose work I didn’t come to appreciate until later, like Max Roach, The Staple Singers, Mahalia Jackson, and Nina Simone.
All of them on stage in Harlem’s Mount Morris Park, playing for a largely Black audience of 50,000 people at a pop, guesstimated at 300,000 over six shows. Admission: Free.
And to think all that sound and glory wound up in a basement tomb, waiting for someone to roll away the stone.
I backed into Bob Dylan, the way you might bump into an interesting character at someone else’s party.
“Mr. Tambourine Man?” The Byrds sang me that one. “Blowin’ in the Wind?” Peter, Paul and Mary. “All Along the Watchtower?” Heard it first from Jimi Hendrix. I don’t think I really got into the guy that Chazbo Pierce calls “The Master” until “John Wesley Harding” came out in 1967, shortly after my family moved from San Antone to Bibleburg.
My friends and I played the shit out of that one, and then I started rooting around through his back catalog.
I lost interest after Bob found the Lord, though I dug “Gotta Serve Somebody” and “Everything Is Broken.” These days I only have the old stuff — “Blonde On Blonde,” “Blood On the Tracks,” “Bringing it All Back Home,” “The Freewheeling Bob Dylan,” and “Highway 61 Revisited.” You’ll find more killer tracks on those five albums than most singer-songwriters could produce in five lifetimes.
As Thomas McGuane put it in “Nothing But Blue Skies”:
No one compares with this guy, thought Frank. I feel sorry for the young people of today with their stupid fucking tuneless horseshit; that may be a generational judgment but I seriously doubt it.
Many’s the swab who dreams of being the cap’n, arr.
There was something of a “these kids today” thing happening on Marc Maron’s “WTF” podcast this week, and go figure — it struck a chord with me.
Maron was getting deep into the comedy weeds with fellow comic Mark Normand, talking about their backgrounds, their neuroses, how they became comics, standups they’ve worked with and admired, differences in style, the mechanics of jokes, lines and the crossing thereof, and whether the crossing is worth the caterwauling from a vocal subset of the audience getting their knickers in a twist over the outrage du jour.
They both agreed with Harry Shearer, who once told Maron, “The reason people do comedy is to control why people are laughing at them.” They both bitched about the gatekeepers with the God complexes who had the power to decide whether they would get any stage time Back in the Day.
And they both seemed astonished that anyone might think there’s a magical short cut to where they’ve gotten by dint of hard labor, some high-speed bypass that skirts the long and winding road.
Maron said it was his podcast that saved him in his mid-40s, at what seemed to be “the end of the line,” when he had no clue about what he might do next with his hard-won skill set.
And the idea that “we live in this world where it’s like all of a sudden everyone thinks they can do this” is “fucking annoying,” he added.
“We will all be immortalized as content.” —Marc Maron, “Too Real.”
“Give me where to stand, and I will move the earth,” said Archimedes, speaking of the lever. A lot of us feel the same way. With the right tool, we think, we can do anything.
Mmm … maybe not.
In my racket — and in Maron’s, too — it was the trickling down of technology from Olympus that led to delusions of grandeur here on earth. A MacBook Pro and Microsoft Office don’t make you a writer. A smartphone camera doesn’t make you a photographer. A microphone and a Libsyn account don’t make you a podcaster. The TikTok app doesn’t make you … well, to be honest, I have no idea what TikTok does to you. But whatever it is, it can’t be good.
Some of us who came to bike magazines through newspaper work used to give the old hee, and also the haw, to what we called “fans with laptops,” wanna-bes who thought devotion to cycling and/or the sport’s celebrities outweighed the craft of asking smart questions, remaining skeptical, and writing clean copy on deadline.
All you need is love? Not even The Beatles believed that shit.
“Podcasts are like babies. They’re too easy to make, and not everybody should have one.“ —Mark Normand on “WTF,” with Marc Maron
It’s one thing to play. We have all these cool toys now. We can blog, shoot videos, record podcasts, self-publish books, and broadcast email newsletters, all with a few keystrokes. Damn the gatekeepers, full speed ahead! Hold my beer and watch this! Slap it all up on the Innertubes, the modern equivalent of Mom’s refrigerator, the gallery for all your childhood scribbles.
But gigging is something else. Chops make a difference if you want to turn pro.
What annoyed me about fans with laptops — and what probably bugs Maron and Normand about amateur comics and podcasters — is that too many of them try to skip the whole boring learning-the-trade thing and step right to the pay window.
Sorry, man. No cuts. Maron got there ahead of you. And he ‘s not about to step out of line and go back to his day job. This is his day job.
“What am I prepared to do outside of show business? Nothing!” Maron said.
Preach, brother. Preach.
• Editor’s note: Incidentally, Mark Normand is a funny dude. He has a podcast or two, and you can catch his 2020 special “Out to Lunch” on YouTube.
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