From the Daily Maverick: ends with ‘prayers’ that we all can share.
“It’s still nice to dance, crack jokes and wear a loud shirt”
Slightly adapted from a piece by Marelise Van Der Merwe
Our heroes are falling one by one, our police don’t protect us, and our politicians are weak and vicious. And we’ve been hanging onto Mandela as though our lives depend on it, not his; when what we should be doing is using the great gift of introspection that he gave us to pull ourselves from the wreckage.
Newspapers have been on standby in case the news breaks – so much so, in fact, that a DStv channel aired an obituary in error earlier this year, much to the righteous rage of the ANC. The country doesn’t want to look away, in a mixture of mercenary alertness (God forbid we be the newspaper that misses it) and heart-wrenching sadness (he is our everything).
After the DStv obituary aired, ANC spokesperson Jackson Mthembu flew off the handle somewhat, and I can’t say I blame him. To me, the incident symbolised everything that is wrong with this compulsive Madiba-watching. “This was uncalled for and totally insensitive,” Mthembu fumed. “President Mandela is alive and receiving treatment for a recurring lung infection, as reported by the Presidency.
“We join millions of South Africans and people all over the world in wishing Madiba a speedy recovery and discharge from the hospital. We also join all those who are offering their prayers for the old statesman to get better.”
I must say, though, that Mthembu was wrong on one count. My prayers were not for Madiba’s speedy recovery. My prayers and good wishes were that he would not have a long, drawn-out death; that he would be peaceful; that he would be surrounded by loved ones and look back with satisfaction on the life he lived. He was an old, old man – one who crammed more into his active years outside of jail than most people would do in two lifetimes. He used his jail time, too, to good effect, educating himself and others, spreading messages of peace, and most importantly, working on his inner world – coming to terms with the abuse he had suffered, so that when he came out of jail, he was able to lead us all to genuine reconciliation.
What I didn’t want for him was speculation, the endless watching for whether he made it through the night, the long process of going into hospital, coming back out, labouring for air. There is a reason pneumonia is known as the old man’s friend: it is quick and usually not painful.
If there is anything Madiba taught us, it was gentleness and humanity, not to mention the stupendous power of forgiveness. In my own life, this struggle for forgiveness has been massive, for reasons unrelated to the political climate. But every time the anger comes, I look towards Madiba and remember what the human soul can overcome. He had a profound influence on my life, and I am sure I am not the only one. Part of what made him such a remarkable human being is that you would be hard-pressed to find a person who had not been influenced by him in some way. He was the person who looked through the vicious shells of Apartheid leaders, prison warders; the insensitive crusts of self-righteous whites who did not want to change. He looked through them all, saw the human beings inside, and reached out to them. He gave us all the mercy we so desperately want, and he led others to it, too.
Madiba earned his rest. He earned the right to sit quietly with the people he loved most in this world, and drift gently into the next one. He gave us his life in service – but we didn’t even want to grant him his death. Why did we keep on wanting him to get better, just so that he could go back into hospital? Selfishly, we didn’t want to let go of all he symbolised, so we wanted him to cling to a life that he had, in all honesty, lived out.
Madiba withdrew himself many years ago, as we all know. He did not want public life anymore; what he wanted was a life, a good life, with his family. He was done fighting and wanted happiness. And that, ironically, seems to be the one thing that – for all our claimed love – we didn’t want to grant him.
If you have ever read fairy tales or epics, you will know that a typical plot manoeuvre is for the main character, at the critical stage, to lose his mentor. South Africa is at that critical stage now: we are staring into the abyss, the crisis times have come, and we have lost our father figure. But what happens in these stories? The fighter gets up and carries on; he moves forward with the tools the mentor has given him already. And if it is a good story, he emerges victorious.
Madiba gave us many tools. He is done giving now, and we should accept that. What we can do if we want to honour and respect him is use those tools and remember those lessons. The way I see it, if we really want to show love for Madiba, we should be praying for ourselves.
We should pray that we can learn to forgive like Madiba.
We should pray that we learn to sacrifice, without complaint, for the common good.
We should pray we learn that even time we believe is wasted can be used to achieve so much good: in learning, in thought leadership, in becoming greater within ourselves, while we wait for circumstances beyond our control to change.
We should pray that we learn his great gift of introspection, so that we never let the bitterness grow inside us, even when it seems nothing is changing.
We should pray that we have the courage to speak up and be honest, even if there are grim punishments in store for us when we do.
We should pray to be gentle, but not meek – to fight for what we believe in.
We should pray that even when we are good, good people, we remember that nobody likes a goody-goody: that it’s still nice to dance, crack jokes and wear a loud shirt.
And most of all, we should pray to remember that all great changes begin with the person in the mirror: our own transformation leads it all.
If all South Africans strive for this, maybe, just maybe, we will be able to give Madiba the same gift back that he tried to give to us: a country that works.
He has paid his debt to South Africa, and more. He has led each one of us to strive to be a better person, in a better South Africa. It is time for us to lovingly let him go, and to move forward with the lessons he sacrificed so much to teach us.
Felix Dexter 26 July 1961 – 18 Oct 2013
Charlie Higson and Paul Whitehouse pay tribute here
…about jazz and much else…
Above: Murray (left) and friend Ralph Ellison
By Eugene Holley (at npr’s a blog supreme)
An essayist, cultural theorist, novelist, educator and biographer who died on August 18 at 97, Albert Murray spent more than five decades developing his thesis that America is a culturally miscegenated nation. His contention was that blacks are part white, and vice versa: that both races, in spite of slavery and racism, have borrowed from and created each other. In all of his writing, jazz music — derived from the blues idiom of African-Americans — was the soundtrack at the center of his aesthetic conception.
For the Alabama-bred, Tuskegee Institute-educated, New York-based Murray — and his Tuskegee classmate and aesthetic fellow traveler Ralph Ellison, author of Invisible Man — jazz was “the embodiment of the American experience, the American spirit, the American ideal,” he is quoted as saying in Jazz: A History of America’s Music, the companion book to the PBS documentary series for which he served as commentator and artistic consultant. It was the creation of a sepia panorama of black, brown and beige people, partially descended from Africa but fully Euro-American in outlook, character and aspiration.
“The omni-Americans are the Americans. My conception makes Americans identify with all their ancestors.” —interview in American Heritage, September 1996
To fully understand Albert Murray’s jazz aesthetic, a vital part of the worldview he called “Cosmos Murray,” you have to read his first book, The Omni-Americans (1970). The collection of essays counter-states “the folklore of white supremacy and the fakelore of black pathology” as social-science fictions that dehumanize black people as inferior. “American culture, even in its most rigidly segregated precincts, is patently and irrevocably composite,” he writes.
In The Omni-Americans, Murray critiques black authors Richard Wright and James Baldwin for creating clichéd views of black life; Afrocentric romanticism and the separatist tendencies of Black Nationalism; and well-meaning but paternalizing U.S. inner city social programs. Murray’s answer to such folly is the blues: home-grown black music that acknowledges the “essentially tenuous nature of all human existence … through the full, sharp and inescapable awareness of them.” In the subsequent essay collection The Hero and the Blues (1973), Murray celebrates the bluesman as an epic hero who, in his tragicomic lyricism, confronts the difficulties of life through the creation of a resilient art.
“We invented the blues; Europeans invented psychoanalysis. You invent what you need.” —interview in American Heritage, September 1996
Musically speaking, all this leads up to Stomping the Blues (1976). Beautifully illustrated with vivid period photos, LP covers and broadsides of black jazz icons, Stomping represents the zenith of his writing on the subject. Eschewing a bleak sociological approach for affirmative, literary prose, Murray celebrates jazz as the most advanced and comprehensive blues-derived art form, one which ritualistically provides people with “equipment for living.” The music serves as a “stylistic code for representing the most difficult conditions, but also provides a strategy for living with and triumphing over those conditions with dignity, grace, and elegance.” In other words, one does not kill the blues, but one can, by what he called “the velocity of celebration,” stomp the blues to keep them at bay.
In Stomping, Murray portrays African-American musicians like bandleader Duke Ellington, singers Jimmy Rushing and Ella Fitzgerald, and saxophonists Lester Young and Johnny Hodges as courageous blues stompers. Their artistry is “a synthesis of African and European elements, the product of an African sensibility in an American mainland situation.” Musicologically, Murray also examines jazz in its myriad locales, inventions and dimensions, from New Orleans and Chicago to Kansas City and Harlem, and how it grew from a folk art to a fine art, “stylized into aesthetic statement.”
Murray also co-wrote Good Morning Blues (1985), the intimate autobiography of the pianist and bandleader Count Basie. It covers the halcyon days of Kansas City in the ’30s, where Negro territory bands reigned supreme and where Basie — who hailed from the East Coast — transformed his stride-style piano into the rugged, 4/4 swing that characterized the driving Kansas City sound. The Blue Devils of Nada (1996) features more impassioned essays on Duke Ellington, Louis Armstrong and his friend, collage artist Romare Bearden. Jazz and the blues also color his quartet of semi-autobiographical novels, starting with Train Whistle Guitar (1974), a coming-of-age chronicle of a boy named Scooter who hails from Alabama, grows up to be a college-educated bassist and leaves home to find fame in Harlem-like Philamayork.
“Jazz is only possible in a culture of freedom.” —from Jazz: A History of America’s Music
Though Murray was not as well-known as his contemporaries Ralph Ellison, James Baldwin and Toni Morrison, his work not only lives on in his books, but also in well-known Murray-ites. Writer and cultural critic Stanley Crouch, whose long-awaited biography of Charlie Parker will be published in September, is a prominent one. Another is Wynton Marsalis, the celebrated musician and artistic and managing director of Jazz at Lincoln Center; the well-known jazz performance venue was largely built on Murray’s philosophical and musicological ethos. “He’s my mentor, but it’s more than that,” Marsalis told Newsweek. “Stomping the Blues had a profound impact on me in terms of understanding the context of the art form and the society.”
In the 21st century, Murray’s omni-American idea — that the U.S. is a composite nation of culturally multiracial people — still deeply resonates in today’s browning, globally connected world. He used jazz to shine a light upon these lesser-seen pockets of American culture — the ones that he believed unite us all.
Guardian obit, here
Fascinating interview with Murray at The Ralph Ellison Project, here
Frost v Powell, 1969
Originally scheduled for 39 minutes, this 1969 interview with Enoch Powell was allowed to continue for a further 20 minutes during the live broadcast as the TV producers realised that something exceptional and absolutely gripping was taking place.
It starts politely – amiably even - but the tone soon changes as Frost attempts to pin down the old racist on matters of straightforward fact. Essential viewing, especially for those who’ve only seen Frost in his later, smug and pompous, incarnation. Put aside an hour for this extraordinary encounter:
Seamus Heaney 13 April 1939 – 30 Aug 2013
Most of his poems can be found here. One of my personal favourites is below:
He would drink by himself
And raise a weathered thumb
Towards the high shelf,
Calling another rum
And blackcurrant, without
Having to raise his voice,
Or order a quick stout
By a lifting of the eyes
And a discreet dumb-show
Of pulling off the top;
At closing time would go
In waders and peaked cap
Into the showery dark,
A dole-kept breadwinner
But a natural for work.
I loved his whole manner,
Sure-footed but too sly,
His deadpan sidling tact,
His fisherman’s quick eye
And turned observant back.
To him, my other life.
Sometimes on the high stool,
Too busy with his knife
At a tobacco plug
And not meeting my eye,
In the pause after a slug
He mentioned poetry.
We would be on our own
And, always politic
And shy of condescension,
I would manage by some trick
To switch the talk to eels
Or lore of the horse and cart
Or the Provisionals.
But my tentative art
His turned back watches too:
He was blown to bits
Out drinking in a curfew
Others obeyed, three nights
After they shot dead
The thirteen men in Derry.
PARAS THIRTEEN, the walls said,
BOGSIDE NIL. That Wednesday
His breath and trembled.
It was a day of cold
Raw silence, wind-blown
Surplice and soutane:
Coffin after coffin
Seemed to float from the door
Of the packed cathedral
Like blossoms on slow water.
The common funeral
Unrolled its swaddling band,
Till we were braced and bound
Like brothers in a ring.
But he would not be held
At home by his own crowd
Whatever threats were phoned,
Whatever black flags waved.
I see him as he turned
In that bombed offending place,
Remorse fused with terror
In his still knowable face,
His cornered outfaced stare
Blinding in the flash.
He had gone miles away
For he drank like a fish
Swimming towards the lure
Of warm lit-up places,
The blurred mesh and murmur
Drifting among glasses
In the gregarious smoke.
How culpable was he
That last night when he broke
Our tribe’s complicity?
‘Now, you’re supposed to be
An educated man,’
I hear him say. ‘Puzzle me
The right answer to that one.’
I missed his funeral,
Those quiet walkers
And sideways talkers
Shoaling out of his lane
To the respectable
Purring of the hearse…
They move in equal pace
With the habitual
Of a dawdling engine,
The line lifted, hand
Over fist, cold sunshine
On the water, the land
Banked under fog: that morning
I was taken in his boat,
The screw purling, turning
Indolent fathoms white,
I tasted freedom with him.
To get out early, haul
Steadily off the bottom,
Dispraise the catch, and smile
As you find a rhythm
Working you, slow mile by mile,
Into your proper haunt
Somewhere, well out, beyond…
Plodder through midnight rain,
Question me again.
RIP: Marian McPartland, jazz pianist and broadcaster, b March 20 1918, d August 20 2013
Great Day in Harlem: Marian, Mary Lou and Monk
Jazz can be proud of its anti-racist traditions and of how, from the early twentieth century, black and white musicians defied Jim Crow in order to work together to make great music. Jazz played a major role in the civil rights movement and - long before the Brooklyn Dodgers signed Jackie Robinson for the 1946 season - helped convince white America that black people were at least their equals, and had an awful lot to contribute to the American Way Of Life, if only given the chance.
Jazz’s record on sexism and women’s rights is less honourable. Until quite recently, women were scarcely tolerated in jazz, and even then only as fans, hangers-on and singers. The few female instrumentalists that there were in the 1930s, 40s and 50s tended to be treated with condescension or (as with pianist Mary Lou Williams, whose talent could not be denied), as novelties if not downright freaks.
When British-born pianist Marian McPartland arrived in the US in 1946, having married the American cornetist Jimmy McPartland, the influential jazz critic Leonard Feather (himself a Brit) declared, “Oh, she’ll never make it: she’s English, white and a woman.”
Marian went on to prove him, and many other detractors, wrong. On her arrival in America, she sought out the great Mary Lou Williams and, no doubt, received some tips about “making it” in the macho world of the US jazz scene. And she didn’t depend upon the reputation or the contacts of her husband Jimmy: he was a well-established “hot” traditionalist (“Dixielander” if you must) who’d taken over from Bix Beiderbecke in the Wolverine Orchestra in the 1920s, whereas she had more modern ideas and was more at home with bop and post-bop players. In the famous 1958 ’Great Day in Harlem’ photograph Marian stands at the front with Mary Lou Williams, Thelonious Monk and Sonny Rollins. Husband Jimmy isn’t present, though cronies like George Wettling, Bud Freeman and Pee Wee Russell are there, forming a distinct little group a couple of rows behind Marian.
By that time, in any case, the McPartland marriage was in trouble, due at least in part to Jimmy’s heavy drinking. Marian, meanwhile, began a long-standing affair with drummer Joe Morello. Jimmy and Marian finally divorced in 1972, but remained friends and continued to work with each other from time to time. Jimmy even quipped: “All married people (should) get divorced and start treating each other like human beings.”
Further unpleasantness in Marian’s life was caused by Benny Goodman, who in 1963 asked her to join his band only to decide that he didn’t like her playing after all, giving her a miserable time on tour, and driving her into therapy. Marian eventually sort-of forgave Goodman, noting that he had unwittingly done her a favour: her time in therapy gave her an opportunity to re-think her life and resulted in a second career as a radio broadcaster specialising in interviews with fellow jazz musicians. Her series Piano Jazz on NPR ran for 33 years and was syndicated throughout America and beyond (though regrettably, not in the UK). Marian said she treated her role as an interviewer in the same way as she approached working in a jazz group: knowing when to contribute, and when to shut up. The show began, in 1978, with Marion interviewing and playing alongside fellow jazz pianists, as in this wonderful encounter with Dick Wellstood. But the show evolved (perhaps as Marian became more confident) and she eventually began interviewing non pianists and, indeed, musicians who might not, strictly, be considered jazz at all: here she is with members of Steely Dan.
But Marian remained active as a pianist, and her stylistic range continued to develop. She continued to perform in public until her late 80s and before she turned 90, composed a symphonic piece, A Portrait of Rachel Carson in memory of the author of the environmental book Silent Spring.
And throughout it all, she and Jimmy remained friends. In fact, just before Jimmy died in 1991, they remarried.
Here they are, playing together at a jam session in 1975. It’s more Jimmy’s scene than Marian’s: most of the musicians are old cronies from the 1920s, 30s and 40s (note the presence of violinist Joe Venuti, for instance). But it’s a great opportunity to see and hear Jimmy and Marian playing together. The marriage may have had its ups and downs, but the music was always great:
New York Times obit, here.
Marian McPartland: A Life in Jazz (2009 tribute), here.
Elmore Leonard died today, aged 87.
The New York Times obit is here.
If you’ve never read his stuff, start with Get Shorty and/or Rum Punch (both filmed, Rum Punch as Jackie Brown).
Here he is on his famous (and somewhat tongue-in-cheek) ’Ten Rules of writing’:
Here are the ‘Ten Rules’:
- Never open a book with weather.
- Avoid prologues.
- Never use a verb other than “said” to carry dialogue.
- Never use an adverb to modify the verb “said”…he admonished gravely.
- Keep your exclamation points under control. You are allowed no more than two or three per 100,000 words of prose.
- Never use the words “suddenly” or “all hell broke loose.”
- Use regional dialect, patois, sparingly.
- Avoid detailed descriptions of characters.
- Don’t go into great detail describing places and things.
- Try to leave out the part that readers tend to skip.
He added: “My most important rule is one that sums up the 10: If it sounds like writing, I rewrite it.”
* Excerpted from the New York Times article, ‘Easy on the Adverbs, Exclamation Points and Especially Hooptedoodle.’
J J Cale has just died. I had a flatmate who played this and After Midnight about 50 times a day.
Ex-cop turned actor, star of Law & Order and Hill Street Blues and, by all accounts, all-round good guy, Dennis Farina is dead.
Here he is with Gene Hackman in Get Shorty (1995):
New York Times obit here