With all of this emotional outpouring toward Gord Downie, the musician, I thought I might give a few reasons to love the guy for things other than his music.
1. He’s got a lot of fingers scratching on his hull. I once made the mistake of telling him he’s a very sensitive guy, to which he replied, “I’m not sensitive. Why would you say that?”2. What’s this river that I’m in? I doubt he would admit to being funny, but it’s actually his reactions that are the funniest, falling over silently, choking a laugh into himself.
3. We’d climb a tree and then maybe we’d talk. Late, after a party, Gord was getting ready to go to bed and was being followed around by Bill, all through the house, up the stairs, into his bedroom, talking all the time, story after story. Gord never told him to leave, instead just turned off the light, laughing here and there, and let Bill talk on in the dark.
4. There’s nowhere that he’s really been. His dream of dreams is not to be on stage, but to be sprawled out on the ground, his children crawling all over.
5. He’s not from downtown. He knows what he knows. Not what he doesn’t.6. He worked it in to look like that. He does the work, a fourth line player, the guy you want on the ice with a few seconds on the clock.
Yeah, Gord’s a good guy, all right. Angst on the planks, spittin’ from a bridge.
Low entranced a Birmingham, Alabama audience on Friday evening with a set of music spanning their 16-year history. The set list was magical, the sound full and melodious, the visuals, the drinks, the venue, all of it so right that I thought about how great it was to be alive. It was like childhood contentment, almost knowing something to be true, turning ahead, out of nothing, more real than metal, naked, science and math and art and language, all of that in their sound. (Click here or on the picture below to hear for yourself) And so, I was pretty excited after the show and tracked all of the band members down – Alan Sparhawk, Mimi Parker and Steve Garrington – and tried to explain it all to them. I admit that I did go on and on and my wife tried to pull me away, realizing that I was acting like John Steinbeck’s Lenny, squeezing the beauty and truth out of a thing, but none of them seemed to mind too much. And then I wanted to thank them for that too.
And so we went to the July 4th Fare Thee Well concert. The Grateful Dead, even without Jerry Garcia, played with heart and inspiration.The sound was almost as great as was the feeling of being back at a show, that feeling of ecstatic calm, where it seems there is nowhere else ever to be, just in the music, surrounded, like a child, soothed, where everything else turns off, except thinking about what they might play next. It is a precious, precarious thing that, now gone, has left me melancholy, thinking that they have to do it again – just one more, man – where they just yet might get into a Lazy Lightning-El Paso-Supplication jam.
Filmmaker Stanley Kubrick has been praised as a great filmmaker and artist, one who probes the shades of humanity in such great films as Lolita, 2001: A Space Odyssey and Barry Lyndon. Bob Weir, not as highly praised, is certainly recognized for “chasing the music” as he says, on his 50-year journey as rhythm guitarist with The Grateful Dead. And so I was intrigued to watch documentaries on each man this weekend to perhaps gain an insight or two through understanding their trials and tribulations.
It was not to be.Stanley Kubrick: A Life in Pictures (2007) offers brief moments of filmic analysis amidst a tidal wave of laudatory praise, Steven Spielberg gushing, “He was a conceptual illustrator of the human condition”. And so despite a 50-year career, we are left with the trite summation that Mr. Kubrick worked terribly hard and loved his family, little else.
The Other One: The Long Strange Trip of Bob Weir (2013) is worse. While some fellow musicians offer comments on Bob Weir’s work, the documentary is almost solely guided by bland recollections by Weir – “Here’s my Jerry Bobbblehead” – occasionally, boyishly and evasively hinting toward his notorious off-stage reputation. His band mates are only briefly interviewed, likewise alluding, saying little else. It’s a shame that both of these these documentaries offered so little, not that they should focus on personal scandal, but that they veered so very far from the very same human condition that these men had endeavored to understand and instead settled on empty praise.
Jane’s Addiction is back on tour, playing their critically acclaimed Nothing’s Shocking from start to finish. As Perry Farrell asked the crowd last night at the Brooklyn Bowl, “Is it shocking that Nothing’s Shocking is having its 25th anniversary?” Meant to be rhetorical, it wasn’t. Because it is, shocking that is. Dave Navarro remains as tattooed and rocking’ out as ever while Farrell maintains his crackhead je ne sais crois. But even with the bra-and-pantied girls swinging above the stage, the music isn’t as raw, nor as overwhelming, but has deteriorated into more of a burlesque. All of which was made worse by the Williamsburghians, in their hats and beards, chanting “Let’s Go Rangers” at the bar.
A genuine bacchanalia needs the right music, music that evokes a sense of raw desire, truth in flesh, that kind of thing, not superficially bald renderings such as Madonna’s Like a Virginor at your local electric zoo. Dance party music is often predictable, denying the subtlety of the bacchanalia, the potential for a slow build, heightening the tension, a move to the side, and then incrementally back toward inevitable release.
Some alternate bacchanalia soundtracks to consider:
The Deadhead moved the thin plastic bag to his other hand and absently dug into a pocket. “I had it, man.”
“I need your ticket.”
“Yeah.” The Deadhead’s scruffy beard and dirty jacket and pants stood out in rumpled contrast to the commuters on their way home to Connecticut. “I had it.”
The Deadhead offered a crumpled dollar bill. “I have this, man.”
The conductor glared back. “Next stop.”
“Listen, man, I…” He held out his hands and raised his shoulders in a pathetic, slow motion shrug.
The conductor continued on through the car. “Tickets, please.”
The Deadhead stayed where he was, half hiding between cars, slumped in the corner, hoping the conductor wouldn’t come back. And he didn’t.
The Deadhead got off at his stop, Port Chester where there was a Phil Lesh concert, and adjusted his pants and CVS bag on the platform.
It struck me, as I walked past, how I’d seen this same character many times before, so often at Grateful Dead concerts, everything sweet and cool as long as they got what they wanted: free rides, food and tickets.
The issue was significant enough for Jerry Garcia to write Day Job, in which he preached to his followers: If you ask me, which I know you don’t/ I’d tell you to do what I know you won’t/ Keep your day job until your night job pays.The Deadheads never liked that song much, giving it that tell-tale Deadhead Shrug, ironically enough, the same shrug offered by The Dead’s management and promoter David Shapiro when only 10% of the people got tickets through the mail order while Ticketmaster, Stubhub, etc feasted on profits. “Sorry, man, hope to see you there.”
The Brooklyn Academy of Music is currently staging Eugene O’Neil’s marathon play, The Iceman Cometh. At just under five hours (!!!), the play delivers its message in the form of a blunt object (“the pipe dream”) ad nauseum, inducing an uneasy drowsiness for actors and audience alike.While the acting of Nathan Lane, Brian Denehy et al is solid, as are some tableau moments, the trauma of this painfully slow drama begs the services of a certain tool. The highlight of the evening was in fact the relief of it being over and then getting on the NBA All-Star subway train home.Although even this moment of reprieve became painfully slow.
I’m a little worked up. I just entered the ticket lottery for the Grateful Dead’s 50th anniversary show in Chicago on July 4th…but I didn’t decorate my envelope.Yes, I realize that this thing is over-hyped and over-priced (and that the lead guitarist is Trey Anastasio of Phish and not Jerry Garcia), but the thing is I really like the music.
I’ve seen the various incarnations over the past 20 years, including Phil Lesh & Friends, Ratdog, Further and The Dead, and have always enjoyed it.
Phil Lesh and Friends plays Forest Hills, 2014
In other words, as too many have already said, I’m thinking this thing just might be epic.
And so I followed all of the directions from Grateful Dead Ticket Srvices (GDTSTOO) exactly as scripted. I wrote how many tickets I wanted (2) and for which night (July 4) on the envelope. I filled out the 3 x 5 index card with all of the required information. I inserted a neatly addressed SASE. I filled out three different money orders – for the lower priced ticket ($95.50), the price difference with the higher priced one ($120.00) and the fee for priority mail return ($9.00). (Not Fedex!!) I did all of that. And I posted it on the very first day, right behind another meticulous fan who scoffed. “We don’t have a chance.”
The only thing I failed to do was decorate my envelope, something that is stated as being “welcome”. This is where I think that I made a mistake. As one Deadhead mused on-line, “I don’t want my order thrown onto the scalper’s pile!” And while that logic might makes sense, I still don’t see why I have to decorate my envelope. I mean, I’m not a toddler, nor am I ever stoned. It just doesn’t make any sense to me. It actually seems a cult-ish, dare I say conformist, thing to demand. If you don’t decorate, we know you’re a greed-head capitalist! (Which I’m really not.)
Anyway, so I didn’t do it, and now I have second thoughts. ‘Cause, the truth is I want to be there. I have to be there! They could open with El Paso-Lazy Lightnin’-Supplication-Me & My Uncle-El Paso-Supplication-Smokestack Lightnin’-Mountains of the Moon-El Paso! I mean, Holy God, it’s possible! They really could do that! But what can I do now?
Maybe I should send an letter of apology and decorate that! What about a picture of Jerry dancing with those little bears and a steal-your-face sun above them all? I bet that no one’s thought of that!
Last Friday, Toronto lost to Buffalo, the worst team in the league, and Phil Kessel, the Toronto Maple Leafs’ star forward walked away from the media scrum, telling them, “Leave me alone.”
The jilted scum (sic) made a story out of that. As Mr. Kessel admits, his answers rarely offer them anything much. “I’m a guy that likes to go out and play hockey and have some fun.” Teammate Nazem Kadri, victim of as much negative press as anyone, gave his point of view: “When (Phil) doesn’t feel like he can trust anybody, he gets a little bit shy and a little bit timid in that regard. It’s really nothing personal.” Let me put it differently and not so nicely: sports reporters are lazy and judgemental. They do not pose insightful questions that develop understanding of the nature of the game nor the player, but instead pose trite statements with question marks at the end, searching for a quote that they can insert into their pre-written narrative.
These are the statements/questions Kessel avoided: “What are your thoughts on losing to the worst team in the league?” “How disappointed are you in the team’s efforts?” “How can the team improve?”
Phil Kessel is a great hockey player not only for his skill and humility on the ice but also for his most admirable disdain for these morons he must endure.