Writing About Music, Pt. 2

I suppose that music is no less appropriate a subject for a writer than boating, flowers, suicide, marketing, teen pregnancy, vacation rentals, or any other subject that becomes a pretext for a writer’s self-examination/promotion. Often the accompanying photography (that accompanies writing-about-musician[s]) can be quite a bit more attractive. And I suppose that experts in any of these subjects may feel that writing-about-the-[subject of their expertise] is usually just as annoying and useless as I feel that writing-about-music is. But, still.

One problem with writing about music is that everybody has their own tastes in music, which may have been formed by actual listening but is more often simply the unconscious consensus of one’s post-pubescent social group. Much as political opinions/persuasions are often based on one’s parents opinions, musical taste is usually based on the tastes of one’s high school or college social scene. So any writer who writes about music that you would tend to even bother reading is probably going to have to be the kind of person you went to college with, or who went to the same sort of college you did, or who hung out at the same sort of bar/café/library/mall/salon/park/race track you and your friends did during the same general time period.

And because musical tastes are defined by a social group, most of whom are not musicians or musical experts of any sort, in writing-about-music there is no deference toward “experts”—musicians, etc., which is probably as it should be. I mean, it’s just music, right? Why let anybody (except, of course, your best friends in highschool/college) tell you what music to enjoy, anymore than you would let someone tell you what food to enjoy. Music is a sensual experience. But then, so is reading—at least for me. And there are literary experts, people whose taste you defer to simply because they can write better than you, or have read more than you, or have had some sort of literary honorific bestowed upon them. Now you aren’t going to necessarily agree with them, but if you stumble upon John Updike or Dave Eggers or Orhan Pamuk at a party, you’re going to ask them what they’re reading. And you’re probably going to go out and buy whatever it is they’re reading and try to read it yourself, if only so you can share to some extent in their world. But would you necessarily go out and buy the musical recommendation of someone like, I don’t know, Chris Potter or John Adams or Jenny Lewis or Mark Knopfler? Well, I probably would, in at least two of those cases, and yes you might too, which is why in some publications, including the newspaper of record, it is popular to have musicians write-about-music that they’re listening to, and . . . hmm, this isn’t going quite the way I’d intended.
--to be continued

Writing About Music. Pt. 1

Writing-about-music is what I do, much of the time, especially when I need to make money and opportunities for playing music are slim, but it is a strange thing and rarely successful, except as a way for musicians and other overeducated liberal arts majors to make money. I hate to use the old “dancing about architecture” cliché, but it is, like many cliché’s, apt. Or rather perhaps, “dancing badly about architecture” is more appropriate. Because those people who do actually attempt to write about music--as opposed to those who manufacture writing-about-oneself-in-relation-to music or writing-about-the-lives-of-celebrity/musicians or writing-about-the-effect-of-a-celebrity/musician-and-his-activities-both-public-and-private-on-a-particular-social-aggregate, which is, of course, what most writing-about-music is or has become, at least, pop-culture-writing-about-music--will never really succeed. Writing-about-music will never convey or capture anything that music does; reading writing-about-music will never be more worth your time than listening to or playing music. Which may be why writers-who-write-about-music are probably better off not knowing much about music.

This pedantically begun screed is written in response to the receipt of a recent collection of music writing, published in book form by a music magazine that has recently succumbed to market pressures and “gone under,” surfacing a handful of months later as a website and book-a-zine (their word not mine). I would have normally have ignored such a book, but I was a sometime fan of this unnamed magazine, and was curious about its evolution. Not only that, but some of my friends were featured both on the cover and inside. I quickly grew despondent, however, as I scanned some of the articles, as I realized that none of this, though technically well-written, even approached the music that these people made, and inspiring me to attempt this even more ludicrous project: writing-about-writing-about-music.
--to be continued

New Website

Since my old website became difficult to manage, I've switched to a wordpress site, and scottnyaard. com will soon point to it (I hope). I'll continue with this blog, and it will mostly be about "not me." The new website/blog will be about "me."

I Have a Dream

I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident, that all men are created equal."

I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.

I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today!

I have a dream that one day, down in Alabama . . . little black boys and black girls will be able to join hands with little white boys and white girls as sisters and brothers.

I have a dream today!

And so let freedom ring from the prodigious hilltops of New Hampshire.

Let freedom ring from the mighty mountains of New York.

Let freedom ring from the heightening Alleghenies of Pennsylvania.

Let freedom ring from the snow-capped Rockies of Colorado.

Let freedom ring from the curvaceous slopes of California.

And when this happens, when we allow freedom to ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual:

Free at last! Free at last!

Thank God Almighty, we are free at last!

--Martin Luther King, August 28, 1963

Hardly Strictly BG

I had a great time playing at last weekend’s free bluegrass (and beyond) megafest in Golden Gate Park, the Hardly Strictly Bluegrass Festival. This year I was playing with the Bill Evans String Summit, which included Bill on banjo, Megan Lynch and Alex Hargreaves on fiddles, Steve Smith on mandolin, Bill Amatneek on bass, and yours truly on guitar. I’ve been amazed at the quality of the sound at this festival, which has three huge stages and a couple of medium-size stages, including the Porch Stage, where we held forth. Though an all-acoustic band like ours might be leery of the rock ‘n’ roll proportions of this fest, the sound in my experience has been fantastic, both for audience and performer. I’ve never heard a festival stagehand say to me (as I did Sunday) “You probably want more guitar in your monitor than that, don’t you?” and then proceed to get it for me.

After our set, we braved the (estimated 100,000 strong) crowd to try to catch a little of Elvis Costello’s set. Though I didn’t get close enough to actually see Elvis, I did hear him sing a sweet, mournful duet with Emmylou Harris on “Love Hurts” and rage garage-band-style through “What’s So Funny (‘Bout Peace, Love, and Understanding).” After catching some of Ricky Skaggs’ trad bluegrass set, highlighted by the pyrotechnics of guitarist Cody Kilby and fiddler Andy Leftwich, and watching the Bad Livers busk outside the mainstage backstage area, we retreated from the crowds and settled in at the Porch Stage. This is one stage where you can actually see the performers and even grab a comfy spot on the lawn, and here we were treated to a rousing set by Justin Townes Earle (who alternated his own swingy originals with covers of songs by Blind Blake, Arthur Smith, and the Replacements) and a sweet acoustic set by folk diva Maura O’Connell. And we even discovered a great new Vietnamese restaurant on our (long) walk back to the car.

The Future of Bluegrass, #2

The Future of Bluegrass, #1

Ralph Stanley Endorses Obama

Check out this radio ad from Dr. Ralph.

Palin-ese, or Rather, Unease

From today's NYTimes

On the “CBS Evening News” on Thursday, Katie Couric asked Ms. Palin what she meant when she cited Alaska’s proximity to Russia as foreign affairs experience. Ms. Palin could have anticipated the question — the topic of their interview, pegged to her visit to the United Nations was foreign affairs. Yet Ms. Palin’s answer was surprisingly wobbly: her words tumbled out fast and choppily, like an outboard motor loosened from the stern.

“That Alaska has a very narrow maritime border between a foreign country, Russia, and on our other side, the land — boundary that we have with — Canada,” she replied. She mentioned the jokes made at her expense and seemed for a moment at a loss for the word “caricature.” “It — it’s funny that a comment like that was — kind of made to — cari — I don’t know, you know? Reporters —”

Ms. Couric stepped in. “Mocked?” Ms. Palin looked relieved and even grateful for the help. “Yeah, mocked, I guess that’s the word, yeah.”

Ms. Couric pressed her again to explain the geographic point. “Well, it certainly does,” Ms. Palin said, “because our, our next-door neighbors are foreign countries, they're in the state that I am the executive of.”

Ms. Couric asked the governor if she had ever been involved in negotiations, for example, with her Russian neighbors.

“We have trade missions back and forth,” Ms. Palin said. “We — we do — it’s very important when you consider even national security issues with Russia as Putin rears his head and comes into the airspace of the United States of America, where — where do they go? It’s Alaska. It’s just right over the border.”

Ms. Palin, looking at Ms. Couric intently, kept on going. “It is from Alaska that we send those out to make sure that an eye is being kept on this very powerful nation, Russia, because they are right there. They are right next to — to our state.”

David Foster Wallace reading