October 21, 2014

Some fun conversations on Twitter after some folks read my Sunday diary entry.

This is such an interesting observation. I’m sure Durham has its share of racist white people, but I can only assume that there are also a ton of white people who are, to greater or lesser degrees, feeling partially paralyzed by guilt, self-consciousness, reflexive discomfort, whatever. So much easier to just cling to 9th St. and the “DIY District.”

Dear White People [god I can’t wait until that movie opens around here – I hope it plays the Northgate & not the Carolina]: there are black folk who feel the same way. Let’s all try harder to just say hi to each other on the street & whatnot. The little things add up, y’all.

[Side note: Seeing Django Unchained at the Northgate with a predominantly black audience totally fucking ruled.]

Circumstances conspired to keep us from going to a screening of Kiss Me Deadly at Duke tonight. I met Mickey Spillane once, in high school, during the summer when I was at the SC Governor’s School for the Arts. (for all you fact-checkers: It’s a residential program now, but was a summer program at Furman University when I was a kid)

Spillane lived in Murrell’s Inlet, SC, and had for years & years – which is, I assume, the only reason they invited him to the GSA to talk to students. Noir was making a comeback – Black Lizard had just debuted the year before – but it was all Thompson & Goodis, and critical reevaluations of Raymond Chandler. Serious attention hadn’t trickled down to Spillane. Has it ever?

Anyway. Like any good thrift-store haunting freak weirdo high school student in the mid-late 80s, I had a fedora, so of course I took it with me to class & had Mickey Spillane sign it. “Some Mike Hammer,” he wrote. Later in life I guess my value system got skewed way out of whack, because I no longer have the damn hat.

October 21, 2014

October 20, 2014

Monday is never as action-packed as Sunday, so this is going to be pretty short. Work was work. Ran into a former intern who has been pretty bummed lately about ratio of work:recognition in his organization. He told me that he’d gotten fed up, went to his manager & demanded a promotion – and got one. A well-deserved one, too.

Note to people following the Satya Nadella controversy: This is how it should work for women, too. In some organizations I’m fairly certain that’s not currently the case. In our industry at least, though, demand is high enough that one can make ultimatums about walking and actually follow through on them if necessary, without crashing & burning. 

After work, continued watching Lonesome Dove. Tonight’s episode included murders from ambush, the execution of a wounded comrade, the murder, hanging & burning of two random farmers, the execution by hanging of their murderers, including one longtime friend of the main characters, and a brief shot of the aftermath of the murder by Indians of three secondary characters, including one scalping.

Oh yeah, and some moderately direct references to prostitution, and a horsewhipping.

Robert Duvall got to do some good work, and Anjelica Huston finally made her appearance. I’m starting to see some glimmers of actual work going on underneath Tommy Lee Jones’s hat & beard. 

In comparison to Deadwood, it’s basically a children’s show, but it’s still remarkably gory for 80s broadcast television. Now that I think about it, it’s actually gorier than Deadwood – but without any cussing, of course. What an odd pair of “historical” documents they are, together.

October 20, 2014

threelobed:

matadorrecords:

coming December 2 :  ’Extra Painful’, 2XLP, 2XLP editions of Yo La Tengo’s 1993 ‘Painful’ with tons of extras. 

I know the band was working hard on this – I know it will deliver. Pretty exciting on this end…

!!!!

Gallery

October 19, 2014

Dozed all morning, read the Sunday Times, etc. Visited a friend’s baby, whose name is Frank. He chewed on my watch for a while. I’m glad I own a watch that is palatable to a baby. And also waterproof.

We spent the afternoon & evening at a marching band competition, one specifically geared toward “high-stepping” marching bands, which is a style of marching band that, in the South anyway, is primarily associated with HBCUs and predominantly black high schools.

I was never in the marching band – I play no instruments, which people seem to find confusing, given my lifelong dedication to music – and I don’t recall ever attending a football game when I was in high school or college. But M was in the marching band, and in any case I love marching band competitions.

The best high school marching band in Durham is widely known to be the Hillside High marching band, which is an excellent example of the high-stepping style, with its multiple dancing drum majors, emphasis on the drum line, and breaks in certain songs in which the entire band kinda bugs out dancing & then pops back into formation again. I had seen Hillside (and smaller crosstown rivals Southern) in parades, but this was my first high-stepping competition.

And it was awesome, of course. I insisted on going early enough to see the scrappy smaller 1A schools, which might have only 2 tubas & a handful of each of the other instruments. I’ve always loved an underdog. But it also makes the buildup to the 3A & higher schools even more interesting. At this comp, Hillside was given a run for its money by the 71st High School band from Fayetteville, so, um, go see them march any chance you get. You know, if you’re in Fayetteville on a Friday night in the fall.

The show was also interesting to me, sociologically, in that M & I were among only a handful of white people there. This wasn’t particularly surprising – the bands were integrated, but the sad state of self-segregation in American high schools means that many of these schools are 90+% black, even if they’re from communities which are, like Durham, much more racially balanced.

But that wasn’t what interested me. To be frank, what interested me was that after 6 years of living Durham, I felt entirely comfortable being one of the only white people in a crowd of 500+ people, a situation that probably wouldn’t have been the case at any time before I moved here.

It’s not that I was raised racist – far from it. My parents are pretty quintessentially mainstream American liberals. They’re Unitarians, had careers in academia, care deeply about the environment, etc.

But they didn’t engage us kids in a lot of self-reflection growing up. And they didn’t start marching on behalf of causes – primarily climate change – until after they were retired & us kids were long since adults.

Plus as a family, we’re all kind of shy, so our collective circle of friends with whom we socialized regularly probably totaled under 30 people, plus all the other [white] Unitarians whom we saw at church.

So I grew up meeting plenty of Asian graduate students. And I grew up with a reasonable number of black classmates (or at least after we moved to South Carolina from Indiana). But our actual social circles were pretty darn homogeneous. 

And I was a nerdy kid who liked to read fantasy & science fiction, and who listened to Rush (and later a lot of metal), so I wasn’t immediately enamored of mid-80s hip-hop in the way that so many of my friends were, and thus never had even that vicarious immersion in black culture that so many of my classmates did.

(Public Enemy was a different story, but you don’t get much more cloistered white upper-class liberal than having Public Enemy be the only hip-hop band you like.)

In college I took African-American literature classes, and women’s studies classes, but it was all pretty academic, and either I wasn’t hearing it (which wouldn’t surprise me), or the concept of white cis-het male privilege just wasn’t being talked about.

The 20 years after college have involved a slow, mostly positive trajectory towards actually understanding my place in the world, understanding my [absurdly large] privilege, coming to terms with it, figuring out how to start trying to counterbalance it, etc. 

But I’m still a shy person who has maybe a couple of dozen close friends, and then a much larger circle of vague acquaintances. And yeah, a lot of them look a lot like me. I work in the tech industry, for chrissake, and I listen to a lot of indie-rock and metal. 

So while I’ve had friends & acquaintances of many races for years, my overall social circles have still skewed whiter than American society as a whole. Which means that my politics have, sadly, been more progressive & integrated in the abstract than has my day-to-day life.

Which is not to say that I’m a bad person, or latently racist, or anything. I mean, I benefit from massive amounts of privilege conferred by a hugely racist society in which I live, but as an adult I’m at least aware of that & am trying hard to counterbalance it when I can.

But it is to say that before I moved to Durham, sheer personal unfamiliarity (mixed with generic free-floating white liberal guilt, I guess) might have made me feel pretty awkward to be one of a half-dozen white people in a stadium full of black people. 

Now that I live in Durham, my circle of friends is probably only slightly less lily-white than it was. My wider circle of vague acquaintances, though, is much more racially diverse. And my day-to-day life is entirely integrated, to a much greater degree than anywhere else I have ever lived.

And it’s that last fact that has actually made all the difference to me, I think. It’s not about having a few friends of different races. It’s about being so immersed in a multiracial environment on a day-to-day basis that you start to lose that insidious, unwanted, unconscious [built-in] sense of your own features as “normal” and other features as therefore somehow “not-normal.”

This shouldn’t even be a revelation, yet somehow on some level it is. On its surface, school integration was about equal access to quality education (something we still struggle with enormously within a system where property taxes fund so much of education). But of equal or greater benefit was just the opportunity to have that blessed & crucial experience of desensitization to otherness.

October 19, 2014

October 18, 2014

Firmed up the details enough to announce the Know Your Poll Party, a get-out-the-vote rally & concert sponsored by WXDU, the Pinhook, and Democracy NC (and organized by the tireless & endlessly persistent Reid Johnson).

Next Sunday, October 26, from 2-7 p.m, with bands playing both inside the Pinhook and outside on Main Street. Early Voting will be happening that afternoon just a few blocks away, at the recently-relocated Durham County Board of Elections, which is now at the corner of Parrish & Roxboro.

Lineup:

PIPE
Shirlette Ammons
Daniel Bachman
Hammer No More The Fingers
Some Army
Midnight Plus One
SOON
DJ Direwolf

(not necessarily in that order)

We are VERY EXCITED about this show & I hope everyone (especially parents!! no excuses!!) will stop by, see some music, and then walk over & vote.

The rest of the day was kinda meh, so much so that a trip to Target was actually a welcome diversion. Another welcome diversion: buying two of the last four bottles of Fidencio mezcal left in Durham County, since apparently it’s never coming back.

A measure of just how generally meh the day turned out to be: we had dinner at the Whole Foods hot bar.

But! That was because we needed to eat in time to go to Baldwin to see The Bad Plus, augmented by Tim Berne, Ron Miles & Sam Newsome, blasting their way through Ornette Coleman’s Science Fiction album, a record which I have never heard.

I was pretty exhausted, so I spent the entire show kind of drifting in & out of focus – not really dozing off, but definitely drifting, which let the music do all kinds of weird things to my brain. Not a bad way to take it all in, really, even if I wasn’t completely following every line.

The piano was kind of hard to hear, but all three of the horn players were very audible and pretty fucking mindblowing. I’ve seen Tim Berne a few times before, and I remain a fan – he was able to channel Coleman’s emotive feel without overtly aping him. Cornetist Ron Miles was a revelation & I want to seek out more of his work.

I still find whole sets of balls-out frenetic everything-a-16th-note nonstop flailing free-jazz drumming pretty hard to take, though, especially when there are extended passages of simultaneous two-handed wailing on the cymbals. I’m a notorious cymbal-hater.

That room is a tricky room, too – it was redesigned beautifully to be a space for chamber music, which means it projects sound out from the stage rather moreso than in a club. Sit too close for a loud/amplified show, and you risk an unbalanced mix. We were getting a LOT of drums out in the 4th row, even on the opposite side of the stage.

I need to remember that when buying tickets for loud shows in Baldwin. It’s an amazing space for quiet music, though.

October 18, 2014

October 17, 2014

More or less constant stream of Good Stuff happened at work – today was my early deadline for project proposals for next summer, and I got some really interesting ones. Had a great conversation with a potential sponsor who wants to do something in collaboration with an intern team at a major customer. Interviewed an awesome student. Got good news about some interns accepting full-time offers. Hung out with one of my all-time favorite former interns, Lauren Schaefer.

In between all of that fun, I was spurred by a ridiculously high Pitchfork score to seek out & listen to Jawbreaker’s 24 Hour Revenge Therapy for the first time ever. I’m not even sure if I had ever consciously heard any Jawbreaker before. By the early ‘90s I was living in Raleigh & was pretty heavily immersed in North Carolina music culture. It’s weird, though, since I had a lot of friends who were ~5-6 years younger than I was, and I know for an absolute fact that Jawbreaker were hugely important to them. I was kind of a purist at the time, I guess.

To be honest, I found it difficult to pay close enough attention to the record to draw any detailed conclusions. I found it surprisingly generic-sounding, but that’s possibly because I’ve been exposed (mostly indirectly) to a lot of bands who were heavily inspired by Jawbreaker. Mostly I was thinking “yeah, that’s definitely a 90s punk singer vocal archetype.” But also “these songs are all kinda slow, and that rhythm section is pretty flabby.” Like seriously, give me ’94-era Ballance & Wurster over these dudes any day.

But at least now I know where Resol’s guitar sounds came from.

After dinner we watched the 2nd part of Lonesome Dove. This is a fairly recent widescreen Blu-Ray edition, and while I can’t be sure (and don’t feel like figuring out how to check), it seems like they widescreened it by cropping the 4:3 TV framing. The closeups seem awfully close up. I wonder if they just didn’t frame it well for widescreen when they were shooting it & wound up with too much clutter on the sides of the screen.

The HD transfer looks pretty good, so I’m assuming they went back to some reasonably high-quality master. Tis a mystery.

Also a mystery: They showed this stuff on TV? I’m pretty sure I read the book shortly after its publication in ’86, and certainly before the miniseries. And since I’m not sure I had a TV in ’89, I don’t think I have ever seen the miniseries before. Last night there was dirty talk about Robert Duvall’s junk shrinking up in a cold stream, and then a closeup of a scalping of a [still living] bandit.

It’s bleak, unsurprisingly crappy in its depiction of Native Americans, has a higher body count than I expected, and kind of engrossing despite feeling TV-dated. I can see why Robert Duvall called it his favorite screen role ever – he gets to be as goofy as he wants to be for 6 hours, basically. He does some good work in between the hammy bits, though.

October 17, 2014