Tuesday, October 30, 2007

We're So Low and Life Is Brief


Eight days ago I had the privilege of seeing two living legends in concert, these legends of course being Elvis Costello and Bob Dylan. Newcomer Amos Lee opened the night with a decent set of tunes that partially held my attention. Elvis Costello followed with a set list of songs that spanned his catalog of albums. Highlights of his set included Alison, (Angels Wanna Wear My) Red Shoes and the Nick Lowe penned (What’s So Funny ‘Bout) Peace, Love and Understanding. Thirty years after the release of his debut “My Aim Is True”, his voice sounds exactly the same. Dylan followed to close the night with a set list that included a string of hits from his past catalog as well as cuts from “Modern Times”. The highlight of the show, though, would be a surprise encore duet of Tears of Rage with Dylan and Costello on acoustic guitars. This particular performance is significant to avid Dylan fans because it is the first time in about five years that Dylan has played acoustic guitar on tour as well as the first time in over twenty-five years that Dylan has played without a backing band. With the rest of his tour dates wrapped up, and no other duets, it’s safe to say that the audience saw something very special on October 22, 2007 at the Fabulous Fox Theatre. Below is the MP3 of the duet as well as a few other versions of Tears of Rage.
Bob Dylan and Elvis Costello - Tears of Rage (October 22, 2007 in St. Louis, MO)
Bob Dylan and The Band - Tears of Rage (The Basement Tapes)
The Band - Tears of Rage (Music From Big Pink)
The Band - Tears of Rage (July 17, 1976 in Washington, D.C.)
Remember don’t steal music; delete these files after your sample. If you like what you’ve heard use the link to amazon and pick up the albums.

Monday, October 29, 2007

Networking

As if the mere utterance of the term were not sufficiently revolting, the free thinker's plight is protracted in choosing the more appropriate subject for his criticisms: those who willingly partake in self-debasement to advance their careers or those who actively encourage the practice to ensure its continuation. To some limited degree, they are indeed two separate categories of the same species of absurdity; the former are merely the youthful reflections of the latter, and the latter are little more than the professional beneficiaries of a collective renunciation of dignity. To my mind, however, such distinctions on the basis of age or social standing are entirely illusory; the opulent prostitute is really no different than the desolate whore. Indeed, like the networker, each must resort to regarding ones' self as a commodity, developing some particular skill set, marketing the resultant package for an irresistible price to the highest bidder, and repeating for as long as food, shelter, and clothing, or -- perhaps more accurately -- fine wines, opulent quarters, and haute couture, may be necessary or desirable.

In the course of their contemptible transactions of moral degeneracy, one can only assume that networkers remain as scornful of their competition as they are oblivious to the destructiveness of their craft. For what can be gained in conversing with like-minded individuals, seemingly willing to offer their guidance and instruction on Monday, who, without compunction, would just as willingly throw you from a cliff to a den of flesh-eating lions on Tuesday, if it meant advancing their own prospects of landing that "dream job?" One could, perhaps, take solace in the knowledge that antiquated notions of "lying," "betrayal," and "backstabbing" have been assuaged by the newly-embraced cultural credo which assures us that such practices are "nothing personal," and instead, "just business." Nevertheless, witless platitudes cannot overcome the laws of gravity nor satiate a pack of hungry lions.

Lest I be criticized for abjuring the virtues of "competition," I can do no better than reference that which competition has created. Peasant cunning might be desirable when one is in need of a loaf of bread, but in positions where right conduct, equity, and -- for good measure -- wisdom, are required, peasants need not apply--or even be eligible to do so; for someone who is so desperate to obtain something that they would participate in such a vile act as self-commodification, not only infects others with their confusion of means and ends, they advertise themselves to all as malleable objects perfectly willing to be manipulated by their superiors at the mere suggestion of monetary gain. When asked to jump from a cliff, they respond with, "I'm already in the air, boss; shall I feed myself to the lions too?" The thought of giving voice to the meddlesome annoyances of one’s conscience, and, insofar as it may impinge on the superior's demands, asking "why," is flatly rejected--if even conceptualized.

Despite far surpassing what Nietzsche saw as “slave morality,” the virtues of networking continue to be heralded on high from the organizers of “career fairs,” representatives of “placement offices,” and the sundry beneficiaries of self-debasement in an office environment near you. “The best way to show the world how great you are is to talk with other people who share your passions, interests, and goals,” they counsel; if you gave each an enema, you could bury them all in the same matchbox at the end of their sad, pathetic lives. For my part, I rest content in knowing that my own life will not be lived on their terms; and that I would rather die as a humble pauper content in himself, than live and work in a sprawling network of rapacious rats. It’s nothing personal, you see; but my life is about far more than “just business.”

Saturday, October 13, 2007

Le Monde des Faux Artistes

I've recently returned from an aborted sojourn into the pretentious world of "art for the sake of art." My reasons, I admit, were largely self-serving and my intentions were wholly lascivious. Looking beyond my bookshelf for entertainment, I wondered whether the outside world had something to offer. As luck would have it, my former French instructor had had the good fortune of having three of her photographs (I still cringe at the thought of photography praised as "art") included in the opening of "3-Way," a Central West End gallery, named, so it seems, for the local's favorite pastime. Despite being located in the veritable asshole of the community -- which, one would think, would be quite a popular destination among its residents -- I decided to throw caution to the wind, and pay a visit to le monde des faux artistes.

From the moment I turned left onto Euclid, I immediately regretted my decision; and not for the reasons that those just looking to be offended might think. No, my rapidly escalating rage had nothing to do with the sights and sounds of frolicsome couples prancing down the sidewalk or having to artfully dodge car doors being flung open by oblivious socialites (actually, that does piss me off enormously); it was the totality of being immersed in a community whose seeming raison d'etre is pretentious escapism.

To be fair, this phenomena is in no way unique to the Central West End; a community which, itself, seems to be a microcosm of contemporary society--if only with a bit more flair. In the grand scheme of things, what is the difference between parking one’s ass on the couch, popping open a Coors, and watching a football game, and parading it around to art galleries, sipping Crystale, and trying to impress as many people as is humanly possible? I suppose the second example of hedonism at least provides some semblance of exercise -- a much needed activity for those in either category -- but it far surpasses the first in its appeal to solipsism. I have nothing but contempt for both extremes of such profound self-indulgence, but the second seems to me to be far more deserving of criticism. For it proceeds from what it regards as an irrefutable position: “the beauty and meaning of our indulgence is only appreciable to those capable of finding its beauty and meaning for themselves.” (This, incidentally, is the circular logic upon which all of Impressionism is based. Attack it as a ridiculous attempt at creativity, and you are dismissed as a philistine; praise it as a brilliant effort of originality, and you are praised as a patrician.) For those of us with the intellectual courage to call a spade a spade and a charlatan a charlatan, little difficulty is expended in dismissing such pathetic attempts at self-aggrandizement as entirely unworthy of one’s time.

With that in mind, I promptly turned my back on a culture which had turned its own to reason. How magnificent it might have been to be received by le monde des faux artistes! We could have tried to impress one another by seeing who could offer the more profound commentary on a picture of the French countryside or an epileptic’s depiction of a starry night. But alas, reason and dignity compelled me to pull an illegal U-turn, and high tail it out of the black hole of pretentiousness. As appealing as its allure might sound to some, I remain unwilling to debase myself quite that far, even if it means forgoing the self-bestowed gratification which “art for the sake of art” is uniquely capable of providing.

Sincerely,

Philistine

Tuesday, October 2, 2007

Hallelujah, Hall of Fame

The Rock and Roll Hall of Fame recently announced the 2008 induction nominees. They include Afrika Bambaataa, The Beastie Boys, Chic, Leonard Cohen, The Dave Clark Five, Madonna, John Mellencamp, Donna Summer and The Ventures. Today I want to spotlight Leonard Cohen’s fine rock and roll contributions. Born in Quebec in 1934, Cohen first reached prominence as a poet in the early to mid-sixties with the publications of The Favourite Game, Flowers for Hitler and Beautiful Losers. He came to the United States in 1967 where he caught the attention of John Hammond who, of course, “discovered” Bob Dylan, Bruce Springsteen and Billie Holiday. He released a series of acclaimed albums starting with Songs of Leonard Cohen in 1967 and ending with Death of a Ladies Man in 1977. His work in the 1980’s produced the frequently covered “Hallelujah”. Cohen still remains active as a musician and can more-than-likely count on his name soon gracing the Rock and Roll Hall of Fame inductee list. Below are a few selections from Leonard Cohen’s expansive catalog of great music.

Suzanne - Songs of Leonard Cohen
http://rapidshare.com/files/59878559/01-Suzanne.mp3.html

So Long, Marianne - Songs of Leonard Cohen
http://rapidshare.com/files/59879953/05-So_Long__Marianne.mp3.html

Chelsea Hotel #2 - New Skin for the Old Ceremony
http://rapidshare.com/files/59878995/09-Chelsea_Hotel__2.mp3.html

Take This Longing - New Skin for the Old Ceremony
http://rapidshare.com/files/59879484/10-Take_This_Longing.mp3.html

Don't Go Home With Your Hard-On - Death of a Ladies Man
http://rapidshare.com/files/59880599/06_Don_t_Go_Home_With_Your_Hard-On.mp3.html


Remember don’t steal music; delete these files after your sample. If you like what you’ve heard use the link to amazon and pick up the albums.
http://www.amazon.com