Reports Mother Times, quoting Himself in The Philadelphia Inquirer:
“Our music is centuries old, but it is very much a living thing. We don’t use any flashing lights or smoke bombs or acrobats falling off the stage. We try to communicate a party feeling, and that’s something that everybody understands.”
I’m grieved to learn that Paddy has left the party to which he brought so much feeling. In his honor let us banish misfortune.
First, the fall issue of Alta Journal includes a special section featuring seven of the last poems by Jim Harrison. A complete collection of his poetry is slated for release in December by Copper Canyon Press.
Second, Denver’s Tattered Cover bookstore will be opening a new location in downtown Bibleburg. The story doesn’t mention that it will be about a block from where the fabled Chinook Bookshop once sat. It was B-burg’s Tattered Cover Back in the Day®.
Zeezo’s they remember, but not Chinook. So much for institutional memory.
Blue skies have returned, but it’s still autumnal out there.
If any of yis should find the “deep thought” dispensed here as shallow as a hoofprint on concrete and infrequent as a desert blizzard, well, take heart, Grasshopper. There are alternatives.
And James Fallows, who has been hard to find lately at The Atlantic, is posting regularly to “Breaking the News” over at Substack.
Fallows is the main reason I subscribed to The Atlantic, a decision I am now reconsidering, since he seems to have been downsized from staffer to contributing writer. But I might keep the sub’, since science writer Katherine J. Wu is doing good work there, too.
The other fella you may recall from his 16-year run as host of “The Daily Show.” I’ve missed both Stewart and Stephen Colbert’s previous incarnation at “The Colbert Report.”
Speaking of TV, here’s another recommendation: “Reservation Dogs,” on FX/Hulu. Shot in the Muscogee Nation and run entirely by people of Indigenous descent, it’s a real gem; sweet without getting sappy, sad without descending into cliché, and funny without telegraphing every comic punch.
I think Willie Jack (Paulina Alexis) may be my favorite character, but Dallas Goldtooth crushes it as a bumbling spirit (William Knife-Man) who occasionally visits Bear (D’Pharaoh Woon-a-tai) to provide some rambling, less-than-useful advice.
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.
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