Current Obsession: Gregory Alan Isakov

I saw Gregory Alan Isakov perform with Blind Pilot at Great American Music Hall many moons ago, and the man blew me away with his ever perfect pitch. It was one of those kismet moments where I’d stumbled across his album The Empty Northern Hemisphere the day before the show, had mental-noted an intent to return to it in earnest later, and then…magically…he was unexpectedly in front of me. Kablewie, a new love was born.

Kismet.

Since that fateful night, Isakov has been a steady companion of mine. The music, not the man (of course).  He’s there in the morning as the gears beging to grind when I embark upon my work that draws a wage; he’s there in the dwindling twilight as I sit down to my leather-inset desk, cup of coffee in hand; he’s always there for whatever I need: a shoulder on which to cry, a gentle nudge towards the day, a soft siphon for the day’s agressions as I sink under the covers into sleep. A contemplative, supple soul to unwind a weary one with song.

Beautiful.

On The Whole This Is A High Old Age

Part of the reason I nerd out on history is my fascination with how events repeat themselves, repeatedly. Times change, technology advances, yet we still experience tragedy, comedy and joy in similar ways to that of our forbearers. This means the human condition has remained fundamentally unchanged in the face of societal progress; we have failed to Darwinially adapt. After having experienced the Great Depression, shouldn’t we, as a nation, be able to bear the recent Recession with more grace and shouldn’t our political directors be able to maneuver the solution more deftly?

Granted, our globalized-digitized economies cannot be treated the same as that of the 1930s. Also, the New Deal would never have been so successful had it not been for the gargantuan influx of capital generated by World War II. Aside from these realistic differences, there is always something to be learned from the past such as FDR’s outside-the-box approach of taking a committed capitalistic country down a socialistic path of welfare programs like Social Security. So Social Security is in a bit of hot water these days, what with its looming financial ruin, but the noose of these troubles cannot be hung around the neck of its creators; it should, instead, be strung around the men and women who were supposedly minding the shop for the last seven or so decades. If only the powers that be had the forethought to keep a log of decisions for reference, like a congressional record or something. Wait a minute…

The thing about modern civilizations is that they are obsessed with logging their own history. Actually, that is what it means to be civilized and this impulse is why we have the Declaration of Independence (pro), but also why we have A Shore Thing by Nicole “Snooki” Polizzi (con). While Snooki’s elevated presence in our society is regrettable, it is a reality and thusly deserves to be chronicled if for no other reason than to have a record to prevent future Snookis. Thanks to the press we have an ever expanding archive of our national history that is supplemented by diaries that emerge from attics generations later to be published as disseminated works of non-fiction, by novels, by plays, and so on. I’m partial to diaries due to their authenticity, but newspaper editorials—that is, articles published from the point of view of the author and not strictly adhering to the factual—are equally as enlightening. Take this 1877 piece titled “Queer Fancies In Hard Times” originally published in the aftermath of the Panic of 1873 and during the Great Railroad Strike. The sentiments expressed here could also be expressed now, and it reminded me of a recently published book by Emily Matchar titled Homeward Bound: Why Women Are Embracing the New Domesticity.

Meaning, things are different now…but are…also…the same. The prevalence of second-hand shops, women repurposing things they already own instead of buying new clothes, men oblivious to any change in outfits, and the prevalence of jewels made of paste instead of something wrought from the ground that are discussed in this article are very much of the present. Especially for us “middling grade of women.” Enjoy.

Queer Fancies In Hard Times

“It is generally understood that these are hard times, but, for all that, a great man people spend just as much money as ever they did. Our fashionable restaurants, tailors and barkeepers keep up the old tariff of prices. Fifty cent cigars are still displayed; swell receptions are crushed by bejeweled people the same as ever; but while the rich are very rich and the poor are very poor, there is a great middle class among whom we detect economical eccentricities of the most extraordinary type. Collectors have a hard time of it, and how they manage to keep their patience, and preserve even the semblance of decent intercourse with the people they have to dun day in and day out for money, is something we cannot understand. Cheap clothiers enjoy this sort of thing. You can get sums that a few years ago would barely buy a decent vest, a full suit of clothes; though the tailors say that while their cloth was fabulously cheap, there never was a time when people seemed to be so averse to buying, if they can possibly help it. Second-hand shops seem to suffer terribly. In the first place second-hand shops don’t get the goods. People keep all their old clothes now; just as long as there is any wear in a coat a man wears it. You cannot find a second-hand overcoat on a stand, because everybody is wearing his own. Repairers, menders and cleaners are doing well. The patent cement with which boots are patched has become quite an article of commerce. Men are less particular about how their boots look than they were in other days. The middling grade of women look to the mere masculine eye as beautiful, as charming, and as gorgeously dressed as ever; but the feminine eye detects the weakness. First of all, the girls economize on their bonnets. They fake them. They fix them all over—take an old hat and cover it with feathers. In other days a woman who put on a pair of gloves more than twice or thrice was looked upon as an example of economy, while the woman who patronized a cleaner for her gloves was considered on the way to the home of a miser. Nowadays women have their gloves cleaned two or three times. They trim their dresses, nearly worn out, with other colors; they wear new overskirts; they wear old boots at home instead of fancy slippers; they do not indulge so much in embroidery and silk on their under-linen; they have their washing done at home, or by women whom they pay by the week instead of sending it to the laundries. To be sure it does not look so nice, but it is cheaper. Of course the laundries suffer; but the dyeing establishments are doing better than ever. Fashionable modists are hard up, but cheap dressmakers have more than they can attend to. Who knows but what if these times continue every American girl will be her own milliner, and every honest woman her own dressmaker? Perhaps the jewelers—the high-toned jewelers—suffer more than any other traders. Parisian diamonds and Lake George crystals are really taking the place of genuine stone, among the middles classes, and, to a surprising extent, among ladies whose cheeks would turn to the color of their carbuncles if the truth about their precious stones could be but revealed. On the whole this is a high old age.”

The Whitmanic Joel P. West

One of the best singer songwriters actively working today is Joel P. West, the brain-force behind The Tree Ring. When I say “actively,” I mean it. The man released three albums under his own name from 2007 to 2011, then two albums by way of The Tree Ring in 2011 and 2012 and in his free time he scores films such as I Am Not A Hipster.

It’s no surprise that West has found a home in the realm of film because his music tends toward the hopeful, and all the best films float you from the theater on a current of hope manifesting as meditation, inspiration, or maybe merely a suspension of the everyday drudgery; this is the power of possibility. Images without sound are powerful but moving images set to music are affecting because music transforms mere images into life imagined in tandem to life as it is lived, and parallelism is enthralling since the two points (the real and the imagined) by definition can never meet. They are parallel. Thus, art is created from the force of the question, “But what if that’s not true? What if I can make what I want to see real?” This is the essence of hope, the great chameleon whose meaning changes with the scenery—that liquid gold that Barack Obama bottled and sold to us all on his way to the presidency, the thing that is a filmmaker’s Ace in hand and a musician’s magic potion.

But hope is not just a tactic, it is a fragile force that drives us to know the next day, the day after that and so forth until we’re able to see into future space, beyond the moments we need to conquer just to survive and onto the ones that will set the tone for years down the line. This is planning, a derivative of scheming also known as the fruit of schematics set down with intent—a transparent overlay of guidance points that keep us moving, not always forward but ever in motion. Therefore, hope is built upon motion that breeds results. Music and movies are the same. Hope offers a respite, a place to lose oneself in the possible. Music and movies do the same. Hope is most useful in steady doses, not the erratic peaks that plaque artificial stimulants. Likewise, music and movies emote best when a vision unfolds slowly with direction, wrought from craft and not happenstance. The difference between an album defined by one radio friendly hit that dominated one summer and Abbey Road, the difference between Shawshank Redemption and Happy Gilmore, is depth.  True musicianship spawns a comprehensive, multilayered production that releases slowly and stays fresher longer. One hit wonders melt in your mouth quickly and are devoured, but everlasting albums—the ones that may have gotten short shrift at first in the shadow of a flashier wunderkind—provide the longevity so essential to fermentation. Because things taste better when they’ve aged—just like steak and wine and whiskey. And what is fermentation but the hope that the tasty thing you have in hand will be better if you watch and wait in an environment of your own design?

While fermentation may have fallen pray to instant gratification, Joel P. West is not interested in the fleeting or the superficial. As a counter-balance, West creates music that is full-bodied and optimistic. His ability to stand apart from a soundscape littered with superfluous noise lies in his ability to craft albums. Not just songs, but albums that beg to be listened to from first to last. In accomplishing this, he is able to restore a totality to music listening that has been fragmented by an iTunes-loving world that has divorced songs from the aura of the album. Perhaps this ability is an extension of his composition work in film. Songs beget songs on his 2012 opus Brushbloom, just as scenes beget scenes in film, on a journey to that final climax that justifies your emotional investment. He not only creates music, he masters atmosphere. The cover art features desert shrubbery West recalled from a camping trip or something and hunted down, at dawn, so he could photograph it in the perfect light for the perfect metaphoric ambience, for Christ’s sake. This is what a painstaking attention to detail motivated by an incredibly thorough vision will produce. To further explore the totality of Brushbloom, let’s look at the song “Shoulder Season,” shall we?

It begins with a softly plodding beat that could be the soundtrack for a nature flick about the growing cycles of daisies (in a good way). That beat is joined by a crisp yet warm guitar, and then it breaks: “Even these trees are huddled tightly in the sharpness of the morning.” But their apples are rotten, their arms sun-starved, and the sounds from his mouth so loud. Here we are, the stage is set: it’s morning and our hero has a tale to tell. West describes a stubborn gracious, earth; he breathes deep. This is when he finds his Whitmanic yawp and the tempo quickens into a refrain that speaks of cold air and is driven by shakers that give way to that same soft beat which opened the track. Then, without warning, we have our new spring with soft new things on its way. Here is our direction and we are no longer alone, surrounded instead by the vivid ghosts of swelling instrumentals—present yet spectral.  With our balance underfoot, the story has reached its zenith and the music has summited. Here, West admits, times are harder but we’ve taken flight so, worry not: if we are sustained then we alive, left with an endowment of hope.

If good music gives gravity to images and great music conjures images from the blank canvas of your brain, then lasting music, music like that which is made by Joel P. West, draws meaning into quiet moments with invigorating bliss, compelling you into different territory, onto new tangents. Brushbloom gives context by placing the listener in an atmosphere of simple imagery and understanding, thereby outlining the possible. In this respect West’s music is cinematic in scope and breadth using lyrics which mimic the music in an expertly choreographed dance that can be experienced again, and again, and again without fatigue. Whether for hire, for film or for his own musical persuasions, Joel P. West is a poet with a purpose and a vision too enthralling to bypass.

Sergeant Willis Clifford Abernathy

As any good southerner would, Willis Abernathy lied about his age in order to join the United States Marine Corps during World War II. Those lies left him wounded at Iwo Jima, and brought him home with a Purple Heart. As a civilian, he taught at a flight school in California before he took to the sky, permanently, on June 30th, 1995, landing at the San Francisco National Cemetery. One final touchdown, alpha bravo.

Diary of Lois Elaine Jelin: Entry One Hundred Forty-Two

Entry One Hundred Forty-Two

Friday, June 27                     Weather unmarked.

Dear Diary,

We all went to Aunt Betty & I slept over. We saw Beauty & the Beast & Age of Innocence.

Mrs. Suggarman phoned today and told me I was chosed as a delegate for Asilomar! She told me they chose me because I had given so much to the club since I joined (4 months) & that they wanted the future leaders to go, so that they could bring back from camp what ever they got from it & that the age limit is 16 but they would lie for me & I was the only new comer to go & a bunch of other things which made me feel very wonderful. The others going are: Marian Holman, Vicky Rubell, Tom Beattes, Dick Holer, Ritchy Gaylor, me. Paying for selfs: Jaime Grey, Nancy Gaylor