Category Archives: Interviews

Bromancing the Stone: Roger Stone dishes on Trump, Florida and political combat

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“They may call me a dirty trickster. I’m a real partisan; I’ve got sharp elbows. But there’s on thing that isn’t in my bag of tricks: treason.” Roger Stone has never backed away from a fight; indeed, he almost relishes starting them. Stone has been a human melee weapon, wielded to great effect in some of the biggest political brawls of the past half-century, dating back to his earliest years in the crucible that was the Nixon White House.

“1968 and 2016 were very similar, in many ways,” he says. “Just as leaders, Donald Trump and Nixon are similar. They’re both really pragmatists, neither is an ideologue, they’re both essentially populists with conservative instincts. … Both of them are very persistent, both of them had to come back from disaster.” The opposition is praying for further disaster, and they may well get their wish. To that end, Stone is one of several Trump affiliates under investigation for their dealings with various foreign nationals whose efforts helped facilitate Trump’s victory.

Stone’s newest book, “The Making of the President 2016: How Donald Trump Orchestrated a Revolution” (Skyhorse Publishing) lifts its title from the seminal series written every four years between 1960 and 1980 by journalist Theodore H. White (1915-1986), a quintessential DC Beltway insider who is, no doubt, spinning in his grave as we speak. One can’t help but view this choice as high-level trolling of the first order, which is his forte.

The subtitle is cunningly phrased, as every conceivable meaning of the words “orchestrated” and “revolution” seem to fit in this case. Speaking of which, Stone’s book notes the crucial role of one revolution—that waged in the Democratic primary by Bernie Sanders—in helping foreshadow the future president’s. “In many ways, Trump and Bernie, they’re riding the same wave. Donald’s voters think these trade deals have fucked America, and Bernie’s voters think these trade deals have fucked America. … And also, new voters: Both Trump and Bernie Sanders attract new voters in the primaries. It’s just more people upset about the so-called ‘rigged system’. Bernie rags constantly about the corruption and the power of Wall Street; so does Trump. So I think they’re very similar.”

This similarity was noted early on, and was key to Trump’s victory, according to Stone. “In order to win, Trump had to win three of ten Sanders voters, and he did.” Despite being a nominal frontrunner, Hillary Clinton was burdened with a top-heavy hierarchical campaign, largely disconnected from political reality. For all her billions spent, that money was squandered on failed strategies and poor logistics, reaching a peak as Trump barnstormed battleground states in the closing days, while Hillary had already begun taking victory laps. The Clintons expended so much time and energy fending off the Sanders insurgency that they never really got a handle on what awaited them in the general.

“I think they made the exact same mistake as did Jimmy Carter,” says Stone, who worked for Ronald Reagan in 1980. “The Clintons misunderstood Trump’s appeal. They didn’t think that his simple messaging would be credible; they didn’t understand that Trump talks more like average people than elites. The underestimated both his skill as a candidate, they underestimated his skill as a communicator, and they underestimated his ability to land a punch.”

When Trump first declared for president in 2015, there was almost no one who thought the man had any chance at all—except for Stone, who had raised the very possibility as early as 1988, when he arranged a meeting between Trump and his earliest political benefactor, Richard Nixon. “It certainly seemed possible to me, but let’s recognize that I’m a professional political operative, and I had at that point nine individual presidential campaigns in which I’m playing a senior role as experience. Plus I’ve known Donald Trump for 39 years; I have a very keen knowledge of his management style, his style on the stump, so I understand a lot of the basis of his appeal. … Trump is a giant, and he ran against a lot of career politicians who were essentially pygmies.”

As usual, Florida was a decisive factor in the election, and Stone expects that to continue in 2018. “Florida has proven once again to be the ultimate purple state. It truly is a state that’s always competitive in a presidential race, and less competitive, leaning slightly Republican, in a non-presidential race. The Democrats in Florida, because they have been out of power in the legislature so long, and because they have (generally-speaking) not done well in local offices, they really have no bench. They are yet to come up with a candidate who is a viable candidate for governor. It’s WAY too early to try to determine how Trump’s candidacy will impact the Florida electorate; it’s an entirely open question. Trump could be exceedingly popular, if he sticks to his agenda and gets things done by the mid-terms, or he could be unpopular, theoretically, for any number of reasons. But in politics, a year is a lifetime.”

Speaking of Florida, 2018 will be the first year in nearly three decades in which the shadow of Jeb Bush will not be blanketing the states political landscape, and by Stone’s reckoning, you can thank Trump for putting our former governor into permanent retirement. “If Jeb had stayed in the race, and there had been another debate, Trump was prepared to say, ‘Jeb, the [FDLE] had over 22 individual tips about the 9/11 hijackers training in Sarasota; you seem to have done nothing with that information. Don’t you think you could have stopped the attack on America if you had actually done something?’ That was coming, and I think Jeb knew it was coming, and of course that’s all documentable. Only Trump would’ve had the courage to do something like that.”

Today, at 64, Stone is prepping for what may be his biggest fight to date, waged on behalf of his good friend, President Donald J. Trump, whose election was somewhat controversial, to say the least. Although Stone has not officially worked for Trump since last fall, he remains very much in the mix, as far as the president’s wider circle of advisors and adjutants. Indeed, the fact is that the very idea of Donald Trump as POTUS originates in the always-fertile mind of Roger Stone, who never stops thinking of new angles and novel approaches to shaking up the political status quo. Of course, a lot of folks really wish he would stop, but after last year, that seems unlikely.

Whereas most folks tend to get all shy and introspective when talk of subpoenas begins, Stone is embracing his opportunity to face off with congressional Democrats before a live, mainstream audience. Having served in the White House under presidents Nixon and Reagan, Stone is by no means a stranger in Beltway circles, but his appearance at the Capitol will mark, for many national observers, their initial introduction to a man that, without whom, everything would be different today.

Stone has still not appeared before Congress at press-time, but he has made no secret of his enthusiasm. “They dragged my name through the mud in a public hearing. Several statements made by members were just flatly incorrect, others were chronologically out of order, and still others were written in such a pejorative way that I must have the opportunity to take that language and re-tell it my way, and then bitch-slap the member for his partisanship. … Here’s my proposal: Waive your congressional immunity, so I may sue you, and we’ll let a judge and jury decide if you have slimed me. And you know they won’t do that.”

sheltonhull@gmail.com

March 28, 2017

 

Shifting Into Summer: john Shannon’s newest project debuts in Florida

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The Shift

Jack Rabbits

Thursday, June 11

“7th Direction” is an impressive debut EP from The Shift, a New York-based trio whose show at Jack Rabbits this Thursday comes at the end of their first-ever swing through the Sunshine State, amidst a tour that’s taking them from coast to coast. “The tour has been great,” says lead singer/guitarist John Shannon, writing in from the road. “Our starter went out on our van the other day in Alabama but luckily there was a bowling alley with a bar across the street from the mechanic.”

I’ve known Mr. Shannon for nearly a decade, having met through mutual friends at his old Brooklyn loft back in 2006. Our party watched “An Inconvenient Truth” at the Sunshine Theatre one night, with Questlove’s afro partially blocking the view. I first saw him perform a couple nights later, at Manhattan’s venerable Jazz Gallery, playing guitar in the sextet backing ace cellist Dana Leong; it remains one of the ten best jazz sets I’ve ever witnessed, anywhere. He was then leading his jazz group Waking Vision Trio, which put out a couple of excellent albums a decade ago.

From that first initial meeting through the week spent pacing the circles he runs in, he made an immediate and impactful impression on me, not just as a person, but as one of the most prodigious musical talents in a dense, dynamic scene that was then just beginning to be branded as the borough we know and love (and kind of envy) today. His current group, which includes bassist Ben Geis and drummer MJ Lambert, is his newest and most polished vehicle on a musical journey that has already taken him around the country, more than once.

Born in Pittsburgh in 1980, John Shannon’s released three albums under his own name: “American Mystic” (2008), “Songs of the Desert River” (2010) and “Time Was A Lie” (2012). Critics have compared his work to masters like Tim Buckley, Nick Drake and Paul Simon; the albums have earned praise in places like Rolling Stone, Minor 7th and Time Out NY. His credits include sideman work with Bob Reynolds, Ben Harper, John Mayer, James Maddox, Lauryn Hill and Hiromi Urehara; he’s also recorded with Gary Go and Sonya Kitchell, whom he also backed on tour, as well as composed music for the FX show “Louie”.

In many ways, The Shift represents the present culmination of careers cultivated throughout the 21st century, a syncretic smash-up of the members’ traditional training, processed through years of long nights working club gigs in one of the most competitive commercial markets in the world. The album was recorded in less than a week, using a mixing board in Brooklyn that had once been used by George Martin to record the Beatles. Shannon writes the lyrics, while his colleagues build the music together.

The New York of their generation is simply not a place where you can last for long unless you’re good, and all three have put in practically a decade, ample time earn the confidence that comes through so clearly on the album. Shannon’s voice evokes nothing so much as mid-70s Robert Plant, while the clean, crisp tonality of the instruments gives it a prog-rock flavor, with the kind of tight, dextrous articulation that one would expect from three alumni of the Berklee School of Music—a school so prestigious that using the word “prestigious” to describe it is practically a cliché in music journalism. “It’s kind of a microcosm of the future music business when you’re there that seems to than move out into the real world—at least it has for me,”  says Shannon, who randomly encounters fellow alumni on a regular basis in his travels.

“If you know you have something strong, unique and a band willing to persevere,” notes Shannon, “you end up in more of a relationship/competition with time than with other bands. If you can use that inevitable pressure involved in the process of getting recognized to be more creative, resourceful and alive, then you are already winning.”

http://shiftwithus.com/

https://www.facebook.com/shiftwithus

http://www.johnshannonmusic.com/

https://www.facebook.com/john.shannon.9047

http://en.wikipedia.org/wiki/John_Shannon_(musician)

Interview with Maitejosune Urrechaga, from Pocket of Lollipops

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Pocket Of Lollipops/Lake Disney/Legs

Burro Bar, 100 E. Adams St.

Friday, November 29; $5

Pocket of Lollipops have quickly made a name for themselves since springing fully-formed from the burgeoning Miami scene a couple years ago. Their music reflects their shared interests in art and fashion, as well as their shared experiences living in a cultural hub. The band is a duo, consisting of singer/guitarist Maitejosune Urrechaga and her husband, drummer Tony Kapel. There is a very kinetic sound, jangly and propulsive; the music practically vibrates, like a wino with the shakes or a kid about to meet their hero.

Opening for Pocket of Lollipops at Burro Bar will be Legs, from Orlando, and Jacksonville’s own Lake Disney, one of the many interesting new local bands of 2013. The band was formed as a trio of electronics (Greg Price and John Lackey) and bass guitar (Kareem Ghori, aka “Special K”), set in a Joy Division/Nick Cave sort of mold, but they’ve rapidly breaking that mold, with epic house-party jams that can last for hours.

Even with the holiday season approaching, and a couple really busy weeks ahead (including performances at Art Basel Miami), I was able to ask some questions of Urrechaga, who was kind enough to respond…

SDH: What does the name “Pocket of Lollipops” mean to you, in the context of the band.

MU: Multi-flavor, the options are endless. We can even be a surprise flavor.

SDH: How did you end up getting booked at Burro Bar? Who did you deal with?

MU: James Arthur Bayer III, we played with him at the Loft last time we were in Jacksonville and he reached out to us this past summer so we set something up. He runs the records label “Infintesmal”.

SDH: How would you describe the band’s aesthetic? What is Pocket of Lollipops about?

MU: When the natural and the dream collide. We are punk kids at heart with a love for the avant-garde. I would say we are the kind of aliens you can talk to and don’t have to fear. Or when you find a unicorn on your bike ride home. We do have a specific aesthetic for how we represent our material. Most of it is DIY; I like touching all the shirts, records etc. I will silk screening some of my drawings for t-shirt designs or for our current vinyl.

Sometimes I make things for our shows to give to everyone. It really depends on the setting and how we are feeling. We also like working with other artists. It is cool to see how they represent you. We currently released our video “Open Pirate”, artist Christopher Ian Macfarlane created it. All we told him was we wanted his style of work, and that I wanted an image of a goat, his family had to be in it someplace, I also told him what the song was about but told him that did not have to be in it at all. So we let him have loads of creative freedom. I love the new video. We also did a fan video for “Shelby Apples” like 2 years ago and fans had to take a mask we made download it and draw on them and video tape themselves. We enjoy that interaction with people.

SDH: How many tracks has the band recorded, all together?

MU: 23-25 tracks for sure. We may have one or two random tracks recorded on special cd’s that we give out at shows or sometimes we give free downloads of things we haven’t released if you win a prize from us. We are really into doing one of kind things.

SDH: What are your songs about?

MU: Some are about the education system/parents. Others are about parties. Running around abandoned train stations; Tony and I still do a lot of that stuff any second we can. Some is about dumb conversations you have with people.

SDH: Is there any one song that, for you, epitomizes the sound of Pocket Of Lollipops?

MU: Tony thinks it is “Sewing Circle”, but I think “Angry Kittens”. I think our fans would say “Shelby Apples”or “Cute Chaos”

SDH: How does the songwriting process play out? Is the band a full-on partnership, or does one of you act as the nominal “leader” of the group?

MU: We are both leaders at different time. I write the bass lines and organizes parts, then I share them with tony then he plays drums and I listen to what he does a bit and vice versa, Then I add lyrics that both of us come up with. Usually the ones I can’t sing are the ones he can sing perfect. After we write the song tony composes some digital violins, space sounds, etc. I just tell him some sounds I like and he just writes things. Eventually one of the digital tracks works with the song we are putting together. If it doesn’t work we save it and use it later. IT is a partnership almost all the time, unless we disagree then I just fight for what I want. I usually win, or he lets me win.

SDH: How long have you been married? How did you meet? Does your marriage pre-date the band?

MU: We got married on 11-11-01 I have a crazy thing with numbers. We meet at a third grade bake sale, but became friends later on high school. Yes, the marriage pre-dates the band, the band started in 2009.

SDH: Being in a band is a challenge, and being married is a challenge…

MU: I like challenges.

SDH: What kind of equipment do you use?

MU: Tony plays a Gretsch Drum set and I play an Acoustic 450 Bass/Combo. I use tons of pedals to create different distortion and other effects. All the extra sounds Tony makes are done on a Mac Computer with synths.

SDH: How long are your sets usually?

MU: 25-30 min…for a bar. For a gallery, sometimes we do 45 minutes-2hours. It really depends on the space and if we are playing with other people.

SDH: What artists have inspired your approach to music?

MU: My approach to music is more how I approach art; I take things I like and start to put pieces together. Tony and I are inspired by so many artists it would be really hard to pick one out. For example, Bjork for the way she can come out in some random outfit, or Brian Wilson how he was a studio nazi, or how Radio Head could sell their cd for whatever they wanted, the rule breakers or makers, whatever you wanna called them. But we are drawn to those who did what they wanted.

SDH: What’s been your favorite music to listen to this year?

MU: Julie Ruin, I just got into and I am enjoying that. Echo and the Bunnymen, Television, Pink Floyd, The Unicorns, Versus, Unrest and Dr. Dre.

SDH: What Basel-related stuff are you guys doing?

MU: We are playing for an opening party for one of the fairs. And I have an art show for a fair that is not a fair, and we are playing it also.

SDH: As a Miami-based artist and musician, what does Basel mean to you, in terms of business? Is it something locals look forward to?

MU: Yes and no. We complain about it and rest before it and always say we won’t do anything that year, and then you feel its presence, and you start saying yes to things, and it’s cool, ‘cuz so many things are going on, and you want to try and see all of it also.

SDH: Do you guys make your living fully through your art and music? Is that something the artists and musicians in your scene are able to do?

MU: Maybe a handful…they may take up an odd job here and there, but some are. But it is a hustle. Tony the other half of Lollipops(my husband) just quit his day job so one of us can put more time into everything we are doing. I also teach high school art for the public school system somehow–I just don’t tell everyone.

SDH: Which is more stressful: being a working musician or being an art teacher?

MU: I tend to look at things pretty positive. I think they both feed off of each other right now. I like going to work with kids; they have a great energy, and it feeds for good lyrics. I would say the stress is when i have a show and I am up till late, and somehow I make it to work the next day ‘cuz i don’t want to be a slack teacher ‘cuz of my other career, and vice versa. I do know a stress: one time we played at some crazy house party, and out of nowhere i saw students in the crowd. That was my two worlds combining. I was not prepared for that.

SDH: Does your status as a musician help you relate to the students?

MU: Yes. They love it. They always ask me why i don’t play our songs in class, ‘cuz i play music all the time with our lessons. I tell them I am there to teach art, not gain new fans.

SDH: What are your plans for 2014, personally and professionally? What do you wish to accomplish next?

MU: We have an artist/music residency in Rhode Island at the end of June at the AS220 Building, so we will also set up a little mini tour on the way. We are releasing another video. Working on a SXSW bill. Making new drawings and songs. Tony is writing another novel, which lends to our lyrical layout. Maybe figure out a way to make it overseas. Make more music and tour some more. I like visiting new places.

http://www.pocketoflollipops.com/

https://www.facebook.com/pocketoflollipops

https://www.facebook.com/LAKEDISNEYBAND

http://lllegs.bandcamp.com/

https://www.facebook.com/events/595166023874725/605833002808027

[Update: Here’s the video of their set at Burro Bar on the 29th–any video sloppiness is my fault entirely…]

Notes on recent podcasts…

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One of my goals this year, especially during the hiatus from print journalism earlier this year, was to put more time into electronic media–specifically, the wild world of podcasting. Like most of you, I’ve been listening to them avidly; for the record, my two favorites are both pro-wrestling related, of course: The Steve Austin Show, and The Art of Wrestling with Colt Cabana. Both shows have been highly entertaining, and I dare say, inspirational to my own efforts.

However, my output in the podcasting business has kinda sucked ass so far, in large part because I lack the discipline of Messers Austin and Cabana. My own podcast, “the HullCast“, has been sporadic; I’ve only done a few episodes on the existing platform over the years. I have no idea how to edit sound, and I’ve procrastinated on making the crucial hardware/software/bandwidth investments needed to get it all going at full-speed. (Also, I’ve not designed a logo yet; I had a very nice artist in mind, but I guess she thought I was kidding about the whole “commissioning a logo for my podcast” thing.) So, instead and supplementary to that stuff, I’ve spent a bit of time doing guest-shots on other people’s podcasts, and here are a couple quick notes on the ones I’ve been involved with recently.

The Side Hustle Podcast is the brainchild of my good friend Walter Gant; it spun off from “The List FM” podcast (currently on hiatus), which he was a regular on, and I an occasional guest. Walt’s day-job is taking to bigger and better places (namely, Orlando), and it appears that he’ll be passing the torch to me after his departure. So, preparatory to that, I did a guest shot on August 16. This episode also features regular panelists Cody Barksdale, Sarah Hatfield and Willis LeRoy.

The Pretend Radio podcast is run by my friend Devin Clark, and its focus tends to be on the world of stand-up comedy. I’ve been a guest on his show a couple times, which is interesting because I’m not a comedian (although I’ve been accused of it on occasion). Chris Buck is always there with me, as well, and the most recent episode (recorded August 4) also included the delightful Kris Niblock. (We are billed as “Kris Niblock and friends”, which is hilarious in many ways.)

The Ali B Variety show is hosted by Alicia Bertine, one of the most interesting and inspirational people I’ve ever had the opportunity to know. She touches on a variety of topics, including health and wellness, politics and affairs of the heart. She was kind enough to invite me on the show on August 13; we mainly discussed cancer and birth defects, and their relationship to the use of depleted uranium in Iraq, as well as our shared disdain for genetically-modified foods. It sounds really heavy, but it’s actually pretty funny–indeed, probably funnier than the stuff I did on the other two shows, which was supposed to be funny. That says something about me, but I don’t know what. Again, when I find the link to that show, I’ll put it here.

Random links to recent Folio Weekly stories…

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Folio Weekly logo

As you know, I took most of the first half of the year away from print journalism, for various reasons best saved for a podcast elsewhere (thanks, Meggybo!). But I’ve been back in the saddle this summer, returning to Folio Weekly, where I’ve been writing on a regular basis since summer 1997. Just wanted to take a quick moment to post links of the recent stuff I’ve done, for the benefit of all my little Hull-A-Maniacs who aren’t in Jacksonville and can’t read the print edition. So, here ya go…

*Canary In the Coalmine (june 26): http://folioweekly.com/Songbirds,5663

*“Bloody, Bloody Andrew Jackson” (July 10): http://folioweekly.com/There-Will-Be-Blood,5915

*Black Kids (August 14): http://folioweekly.com/Not-Just-Kids-Anymore,6544 

*Mick Foley (August 21): http://folioweekly.com/A-Hardcore-Humorist,6681

Notes on Scared Rabbits, PopNihil, etc.

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Track list and flyer…

Scared Rabbits/Burnt Hair/Vase/Cyril/Andy Borsz/Vile Wine

CoRK Arts District, 2689 Rosselle Street

Friday, August 9, 9pm

Artist Morrison Pierce has been performing and recording as “Scared Rabbits” for nearly a decade, but Darkness To Black marks the group’s first official full-length release. Although he’s already sold couple dozen copies of the album to friends and patrons, its formal debut occurs as part of an event being held at CORK on Friday, August 9 featuring five other bands. (They will also be doing a release party at Rain Dogs on the 22nd.) I met him there, a few days ago, to listen to the album and talk about its development.

While a number of talents have been involved in Scared Rabbits shows over the years (most notably Jay Peele and the late great Brian Hicks), the current incarnation as documented on the album features Pierce on vocals atop instrumental production by Chance Isbell, who’s been involved in the project for about a year. It’s just the latest multimedia collaboration between the two, both men are visual artists by trade, and both fixtures in the CORK scene from practically its inception.

Morrison Pierce, occupying his studio

The album was recorded entirely on four-track tape, and was culled together from hours of material, which will eventually spawn further albums. Tracks range from 2:21 to 12:44, and the overall noisy freak-out vibe is tempered (however briefly) by moments of genuine beauty. For me, highlights include the opening track, “America Loves You”, a tour-de-force running nearly 12 minutes, built around vocal samples of politicians’ overly sunny spin on what the artists view as a society in economic and moral decay. And then there’s the simultaneously  offensive-yet-funny “Lesbian Chicken”, which is the closest thing they have to a radio single—though really not that close.

Chance Isbell, setting that trap…

The evening also sees the release of new product by the local Popnihil label, whose founder Matthew Moyer will be performing as Burnt Hair with Trenton Tarpits. “The genesis of popnihil was really just a dissatisfaction with the creeping, all-consuming digitization of the parts of popular culture that I liked best (music, books, magazines),” writes Moyer, “and a realization that if I truly valued the physical artifact and truly wanted to stand against a sterile future of mp3s and ebooks, it was time to put my money where my mouth was and help make tangible, physical objects. popnihil began with Jason Brown and I making collaborative zines, and I started releasing cassettes soon after, just to get the music of Keith Ansel/Mon Cul out there. Since then, I’ve released a number of other tapes by Jacksonville-area musicians operating on the harsher fringes of sound. And zines, always zines.”

For Moyer, who spends his days toiling at the Jacksonville Public Library, and certain nights hosting “Lost In the Stacks” for WJCT, popnihil has been a labor of love for the music, and his friends who are involved in making it. The CORK show will function in part as a showcase for that whole scene, a scene whose potency has only increased over this long, hot summer. “The product being released this Friday includes the new cassette by Voids, ‘Burial In The Sky’,” he writes. “Voids is the project of noise prodigy Jon Thoreson, and it’s really his most fully realized work yet. Beautiful, spare soundscapes give way to discipline-and-punish grind. And he collaborated with members of NON, Swans, Chelsea Wolfe, and Tim and Eric’s Awesome Show. No foolin’. Then there’s the debut demo from local garage savages The Mold. They make a mighty, blown-out racket with just keyboard, bass, drums and snotty (oh so snotty) vocals. Fourteen minutes of pure juvenile delinquency on a snot-colored cassette, that repeats on the other side. Just like ‘Reign In Blood’ does. They’re not going to be a local secret much longer. And I need to give another mention to the new Game Show tape, which came out at the end of July. It’s Josh Touchton and Zach Ferguson’s severely damaged hip-hop project. It’s kinda the line in the sand between people who say they like weird music and people who REALLY like freaked out music. Also the new popnihil music zine is coming out, if I can get it together in time. And, of course, the last remaining copies of tapes by Encounters and Beach Party will be on offer.”

So, that’s up to a half-dozen new recordings available that night, not to mention whatever else the other bands bring with them; Moyer “handpicked all the bands for Friday’s lineup,” and is far better equipped to describe them than I: “There’s the aforementioned Voids for starters, as this is the their tape release party. Burnt Hair, my coldwave/goth project with Trenton Tarpits of 2416/MREOW, will play a set. Vase (formerly Mohr) is John Ross Tooke’s project, first show of 2013, and it will be full-on overcast industrial nightmarescapes. Andy Borsz from the noise juggernaut Slasher Risk (and new Jax resident) is going to play a rare solo set, and you never what to expect from him. I’m excited that some friends from Austin are going to play this show as a one-off: Cyril is the solo endeavor of Aaron from Weird Weeds, and it’s just evil electronic hypnosis, and Vile Wine is a collaboration between Aaron and Sheila from No Mas Bodas/Suspirians, and it’ll be total armageddon, for certain. Closing out the night will be cult volume abusers Scared Rabbits. What will they sound like? Who will be in the band for the night? One never knows….”

https://www.facebook.com/events/618494358185002

 

Show flyer

 

sheltonhull@gmail.com

August 9, 2013

Interview with Alessandra Altamura, author of “Music Club Toscana”

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Music Club Toscana: Music time stories, by Alessandra Altamura. Piombino, Italy: Edizioni IL FOGLIO. 192 pp. www.ilfoglioletterario.it

"Music Club Toscana" cover

It was mid-afternoon in late March when the postman’s knock interrupted my nap. (Being in journalistic exile leaves much room for napping, and other forms of self-reflection.) The package I signed for had ten stamps on it—five depicting the Terme Di Bonifacio VIII, and a row of five up top depicting the late singer Nino Reitano (1944-2009)—totaling 12.50 Euros, the equivalent of $16.07. Interesting: I hadn’t even opened the package yet, and I’d already learned something! That was to prove a useful omen.

Inside the envelope was a fresh new copy of the debut collection of 22 short-stories by Alessandra Altamura, an Italian-born literature teacher who turns 40 this November and graduated from the Liceo Classico Macchiavelli and the University of Pisa. The contents were pleasant, but of no surprise; I’d been waiting for it for a few days. Altamura, the author, had sent it off from her home in Lucca (near Pisa), in Tuscany in the great historic country of Italy on March 12. Two weeks days to travel across the Mediterranean, the European continent and the Atlantic Ocean seemed quite reasonable.

I was looking forward to seeing it for myself, and I was in no way disappointed. Music Club Toscana: Music time stories is a labor of love in the most literal sense; it combines her dual passions for music and her own native culture. Translated from the original Italian, the writing is vibrant and briskly-paced; the text moves fast over 192 pages. The book’s contents are like its packaging: smooth, compact and colorful. Speaking as someone who no longer makes regular practice of reading much fiction, I enjoyed the book immensely. After reading her book, I got the chance to briefly interview Ms. Altamura via email from New York City, where she arrived to begin her book tour last week.

SDH: How long did it take to write this book? Where did the idea come from?

AA: I wrote my book in a few months, less than one year, but I collected the material for these stories [over] my whole life. The idea comes from my love for music, especially live music. I have many friends who are musicians, also my brother plays the guitar. Other than that, music clubs are full of stories and characters.

SDH: Are your characters all real people, all fictional, or a combination?

AA: Some characters are real, with their real names, some are fictional and some are a mix of reality and fantasy.

SDH: What kind of music do you like?

AA: The first story was born in a club in Florence where my friends usually play, then came all the others. In the book there are many kinds of music, because each person needs a different kind of music. Personally I prefer jazz, the great songwriters and in general a music that makes people meet and think.

SDH: Which of the venues did you visit first?

AA: I visited first the places closest to my town. Lucca, Pisa, Florence. Then I went to the farest, like Siena, Arezzo or Grosseto, just to have a complete vision for my book.

SDH: Which venue in the book is your favorite?

AA: My favorite venue and also my favorite story is the one that takes place at Le Murate, that was the prison of Florence before becoming a club.

SDH: Tell me a bit about the lady who translated the book into English…

AA: Shayna Hobbs is a friend of a friend, who lived some time in Italy and taught me English. Now they live in Georgia and they will host me after Florida. oh, this is a funny thing, because each story is translated from a different friend. So in English there are really many characters and voices. Then a lady read it to see if there were mistakes. Maybe there are still some mistakes, because we did all quickly when I was leaving to London, but the English version is a proof that my friends love me…

SDH: Do you plan to write more books? Have you decided on the topic yet?

AA: I think to write another book, with stories that take place all over the world. In fact I’m trying to travel and know better other countries.

SDH: Who are your favorite Italian musicians?

AA: My favourite Italian musicians are the big songwriters, who are also poets: de Andrè, Fossati, Guccini, De Gregori and others. I went to the concerts of many of them and I liked much, but I’m sorry, because I never listened to a concert of de Andrè, before he died.

[She will be at Chamblin’s Uptown, in downtown Jacksonville, on Sunday, July 21 to sign copies and give a presentation on her work. If you’re into travel literature or jazz, it’s well-worth checking out.]

sheltonhull@gmail.com

July 19, 2013

Notes on Gene Krupa: “Dial M For Music”, 1967

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May 11, 1937: Krupa sweats through his suit as the Benny Goodman band challenges Chick Webb at the Savoy Ballroom in Harlem. Some estimates suggest that between 4,000 and 20,000 people went in, through and around the venue that night…

Multi-instrumentalist Eddie Shu did epic work with Gene Krupa in the mid-’50s, following up from Charlie Ventura in the ’40s. Parts of this were in the old DCI VHS on Krupa (which, like the whole series, never went digital); so was the session with Sid Catlett on “Boy, What A Girl!” For some reason, after 20 years, the full videos of both find their way online, entirely unrelated–in this case, thanks to Shu’s children. Here Krupa, a devout Catholic, lays it down for some teenagers in Chicago, and basically does a shoot interview; truly essential stuff. He’s 58 here. If Krupa were a wrestler, he’d be Lou Thesz

EAUF Presents Brotzmann/McPhee at the Karpeles, June 4

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Peter Brotzmann/Joe McPhee, presented by Experimental Arts Union of Florida Karpeles Manuscript Museum, 101 W. 1st St., Jacksonville Tuesday, June 4, 8pm Tickets: $20 (advance) $30 (at the door); brotzmannmcphee.eventbrite.com/ http://

Brotzmann/McPhee, at the Karpeles…

Free-jazz is a niche market within a niche market, so all of those involved in making, marketing and presenting such music are engaged in a labor of love—as are the fans, of course. Literally so, in the case of Jamison Williams: The saxophonist, who helped found the Experimental Arts Union of Florida (EAUF) late last year, took a financial leap to bring the pioneering saxophonist Peter Brotzmann to town for a duet concert with Joe McPhee on Tuesday, June 4. Williams spent much of the two months prior to the performance working random jobs to cover his ass in case the ticket-buying public flaked on him the way local media often does with such material. (Although my colleague Nick McGregor did write an excellent article and inteview with Brotzmann/McPhee previewing the show for Folio Weekly.) Thankfully, Williams is used to thankless work on behalf of the cause. This writer has heard him sing the praises of Brotzmann since we were both teenagers in the Clinton Years, building our out-jazz skill-sets via retailers like Stripmine Records, Coconuts, CD Warehouse, and public assets like the Jacksonville Public Library and the one at UNF, both of which maintain boss jazz collections; and one can’t forget the libraries in Gainesville and Orlando—studded with out-of-print titles like precious jewels in brass knuckles, glorious. Trade notes, trade fours, trade mix-tapes, building archives. Being a jazz fan is fun, first and foremost, but it’s also the hardest work in fandom, and Williams embodies that spirit. A former punk-rock drummer, Williams abruptly shifted into jazz over a decade ago, becoming largely self-taught on alto and soprano while founding his own Vantage Bulletin Publishing label to market the music being made within his circles. After years of performing in random bars, clubs and coffee-shops (often as part of the region’s burgeoning “noise” scene), Williams made the jump into opening his own place. +SoLo Gallery opened on Bay St. in 2012, right by Underbelly, and it was a hub for improvised music of all kinds prior to its premature demise that same year.

Photo by Anna Funk…

The EAUF emerged from those experiences, as Williams and his colleagues wanted to devise a more formalized mode of streamlining their collaborative efforts. It may well be that, the less structured the music is, the more necessary it is to organize the musicians, so as to make the most of what is ultimately a limited audience. Williams has shown infinitely more patience in that regard that most could muster, and it is for that reason only that Brotzmann, 72, is coming here from Germany for what may be his only performances in the state of Florida ever. There was no other alternative, no second choice. Williams has gone 180 degrees, and then 360, and then another 180, coming back around to the place he began with Brotzmann: as a fan. “I used to go to the Jacksonville library three times a week, checking out stacks of discs,” he says. “I wound up picking up an album with a great cover, simple, clean, and resonated with me, called ‘Machine Gun’ by Peter Brotzmann.” Recorded in May, 1968, “Machine Gun” is the seminal document of the European free-jazz scene, a commercial tipping-point in both the LP and (later) CD formats. Brotzmann’s sidemen include other heavyweights of that scene like saxophonist Evan Parker, bassist Peter Kowald and ace drummer Han Bennink; the music burns with an intensity appropriate for what was, at that very moment, the height of disorder, discord and discontent in the post-war western world, and small wonder that resonated so quickly. Its re-release in 1971 helped put the Free Music Productions (FMP) label on the map, helping to spawn an explosion of this type of material in the 1970 and ‘80s through labels like ESP-Disk, Soul Note, Hat Hut, etc., running parallel to stuff like the AACM in Chicago. The album was first issued on CD in 1990, and ended up at the Jacksonville Public Library soon after; I listened to the same copy Williams did, but it not leave as profound an impression. Today, there is a global network of improvised musicians and labels and venues catering to that stuff, including hundreds of musicians and fans just here in Florida (for whom the EAUF was created), and Peter Brotzmann’s contributions are a very big reason why. “Black Flag is ultimately my rooted source of musical passion, [and] everything Brotzmann said just seemed like a perfect and natural communicated message for my ears. I could listen to ‘Machine Gun’ all day, and I did. ‘Machine Gun’ reminded me of Black Flag, only with horns, and much much bigger. I could understand it. I can appreciate that sound, brute power, acoustically; he makes a non-amplified instrument instantly electric. Listen to his tone, the power, his musical constitution; that is singularly the most powerful projection a horn has ever made; I mean, people talk about [Pharoah] Sanders’ sound, [Albert] Ayler’s and [Ornette] Coleman’s, [but] Brotzmann is a living sonic beast: he is hardcore punk gone jazz.” The Karpeles is a really interesting choice for hosting Brotzmann/McPhee. It’s got a very scenic exterior, sitting just a couple blocks back from downtown—well within walking distance of the jazz festival action. Imposing columns and high stairs lead into big wooden doors; the place was built as a church in 1921 and reborn as the Karpeles in 1992. The building is part of an organization comprising a dozen privately-owned museums working together to house and present key documents and manuscripts from history. With over a million items in the collection already, a steady stream of new materials are rotated freshly through the buildings; other nearby branches can be found in Charleston and Shreveport. The acoustics are great, as you’d expect from an old-school church; voices from the stage can be heard in the balcony, without amplification, and there’s an an in-house piano, which usually sits on the stage and may well come into play—or, shall we say, interplay. The Karpeles has hosted all kinds of events over the years; there was an exhibit of Alan Justiss memorabilia last year, and I helped judge an oratory contest there for the American Legion just a few weeks ago. For years, it was obvious that the Karpeles was an ideal spot in which to present chamber music or jazz, but as far as I know it’s not really happened before; it was the vision of Jamison Williams and the EAUF that finally put that notion into motion. Joining Brotzmann will be Joe McPhee:“He’s a powerhouse, a tentet contributor, and an American asset,” says Williams; “his direct involvement with outstanding historic free jazz figures since the 80’s is unsurpassed: Borah Bergman, Rashied Ali, Evan Parker, [Ken] Vandermark, and Brotzmann.” To call him an “instrumentalist” would be putting it lightly. Born in Miami in1939, McPhee trained on trumpet and flugelhorn, then self-taught himself on a variety of saxophones, as well as valve trombone; Williams cites Ornette Coleman as a rare example of someone proficient on brass and reeds, and I’d add UNF’s Bill Prince to that list. HatHut has released over 300 recordings since 1975—featuring artists like Ayler, Cecil Taylor, Steve Lacy, Sun Ra, Matthew Shipp, Lee Konitz, Max Roach, Mary Halvorson, Taylor Ho Bynum, Clusone 3, John Zorn and Braxton [whose “Eight (+1) Tristano Compositions 1989, for Warne Marsh” is my favorite; bought it at Stripmine Records]—and has now spun off into five distinct labels under a 15-year sponsorship deal with UBS (who’ve also helped underwrite Art Basel operations in Switzerland, Spain and Miami Beach) but the Swiss label was founded specifically to document the music of Joe McPhee. Brotzmann/McPhee are working nine cities in 13 days, from May 31-June 12: Austin; Chicago; Orlando; Jacksonville; Philadelphia; Peterborough NH (a stacked bill with Lee Ranaldo, Steve Shelley and saxophonist Paul Flaherty); Washington DC; Montreal; and Buffalo. In terms of the cities, and the organizations involved in booking all nine of those events, that’s really good company for Duval. It’s worth noting, also, that Florida and New York are the only states hosting Brotzmann/McPhee twice, and both shows were put together essentially by artist-run collectives. (The Civic Minded 5, in Orlando, is also hosting a free show by the Mary Halvorson Septet on Monday, July 1; more about that elsewhere.)

Poster for Brotzmann/McPhee’s Orlando show…

These two masters of modern music will work duets that night, their highly individual sounds contrasting each other, unadorned by sidemen. Coming just days after the yet another successful Jacksonville Jazz Festival (where Williams led EAUF members in a tribute to Ayler at Burro Bar), this show further cements this city as a hub for free and improvised music, which is proving an increasingly lucrative market. Tickets start at $20 for advance tickets, with some prices at $30 on the day of the show. To say it’s a once-in-a-lifetime musical opportunity puts it mildly; most American jazz fans won’t have the chance to see this even once in their lives.

Jamison Williams at work. Photo by Anna Funk…

sheltonhull@gmail.com

Morrison Pierce and Chance Isbell: “March Dies”/”Pandora’s Box”

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Morrison Pierce and Chance Isbell at CORK

Individually, Morrison Pierce and Chance Isbell have crafted two of the more unique brands in this region’s art scene, spanning a range of media in various parts of the country—Pierce as an a painter, musician and maker of short-films, and Isbell as an illustrator and one of the area’s most in-demand tattoo artists. Collectively, they are working together on a new project centered in and around the One Spark event running April 17-21 in downtown Jacksonville. I spoke with them at the CORK Arts District building in Riverside, a place where both men are fixtures and facilitators of the facility’s functions. Each man maintains their own studio spaces in the building.

CORK plays host to their “March Dies” show, which opens on Friday night, March 29. Both men will be displaying some of their newest work for sale, while also offering a variety of items for a silent auction. Live music during and after the show will be provided by Creep City, Burnt Hair (aka Matthew Moyer) and Pierce’s own group, Scared Rabbits. A $10 donation is requested, but not required. All proceeds raised will go to fund the installation project Pierce and Isbell are planning for the epic One Spark crowdfunding event in April. “Pandora’s Box” (# 598) will consist of a large wooden frame with plexiglass panels, creating a large box for attendees to walk through. The artists will use paints to give the box the feel of a stained-glass window, but rendered in their own inimitable style.

I sat down with Pierce in his studio on the 27th; video of the session can be found on YouTube. He explained that a lot of his motivation/inspiration for doing the piece relates to challenging the sociopolitical status quo, the quiet complacency that has led Americans to embrace extremism while handing over their own civil liberties, all for the sake of fighting an enemy that is spectral at best, and illusory at worse. Having witnessed, first-hand, the chance in people’s attitudes over just the past decade since our disastrous drive into war, Pierce feels obliged to help spur activism through his art.

Interview: Luiz Palhares and the Gracie Jiu Jitsu legacy

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Passing the Torch: Luiz Palhares and the Gracie Jiu Jitsu legacy

Luiz Palhares, in-studio.

Fight fans will remember that day, two decades ago, as if it were yesterday: November 12, 1993. Denver hosted the inaugural Ultimate Fighting Championship that day, and Americans were introduced to the dominant martial-art of the last 20 years. Brazilian Jiu Jitsu was already 50 years old by that point, yet fighters tasked with countering it got played like cheap fiddles, over and over. What began in a little facility in Southern California has now become a global industry as big as anything of its type, ever, and Duval is helping to lead the way.

Brazilian Jiu Jitsu is, along with kickboxing and amateur-style wrestling, the foundation of MMA as a sport and as a distinct, uniquely American art-form with real, inestimable value. Its practical applications are obvious, in an increasingly unstable world; close-quarters combat is what civilians face on the streets, and if you’re ever in a situation where escape is not an option, BJJ will save your life. It’s being taught to police officers, football players, pro-wrestlers; even the US Military has sought to integrate BJJ into methods that are already pretty gosh-darned effective. The Gracies have started teaching it to kids as part of their anti-bullying stance, and women are embracing it in unprecedented numbers, to the point that women’s MMA is itself a multi-million-dollar business.

The State of Florida has one of the country’s biggest and best BJJ scenes, with Northeast Florida right out in-front. Most of the major cities (Orlando, Tampa, Miami) have good schools now, and smaller cadres are training everywhere else, especially at college campuses, YMCAs and such. Many people consider Luiz Palhares one of the very best Jiu jitsu teachers in the US today, and his skills will be on display when his Jacksonville Gracie Jiu Jitsu studio in Mandarin (founded 2007) hosts the 5th Annual Jax BJJ Open on Saturday, March 24.

A native of Rio de Janeiro, Palhares began training under the late Rolls Gracie from 1976-82, then continued his studies under his brothers Carlson and, since 1982, Rickson, widely viewed as the most dominant professional fighter of his generation. Palhares, 53, is currently a 7th Degree Black Belt; he’s taught in the US and Canada, as well as Paris, London and Belfast, and his students have included US Army Rangers, Green Berets and Navy SEALs. He was the multi-time champ of Rio, the 1998 Brazilian National Champion and the Pan American Champion for 2000, 2003 and 2004, all in the super-heavyweight senior division. In the big, wide world of BJJ, it doesn’t get any more authentic than Luiz Palhares. He’s worn the black belt for almost 30 years, and he earned it from the absolute best. His presence speaks directly to Northeast Florida’s growing international appeal.

SDH: What’s it like to learn the art-form in such an intense environment as Rio in the 1970s and ‘80s? Was it as tough as we’ve heard from legend (and the “Gracie In-Action” tapes)?

LP: The 1970s where a lot of fun even though they were intense, and I was fortunate to be present when the Gracie family challenged Karate, Tai Kwan Do and other martial arts styles to prove as Rolls did in the first 2 UFCs that jiu jitsu is the best martial arts to defend yourself. Also it was the same time that Brazilian women started to wear the teeny bikini, so it was tough to dedicate the hours we did. It was a very intense and dangerous environment.

 

SDH: Most fans never got to see Rolls Gracie, and even those of us who know a bit about the Gracie legacy know very little about him, but he was your first teacher. What was he like? How would he feel to see how far Gracie Jiu Jitsu has come over the past 30 years?

LP: Rolls was very important for the development of jiu jitsu because he was studying different martial arts such as wrestling, Sambo etc. and started to use the best techniques from these martial arts to mix with jiu jitsu. Besides this, he was one of the best competitors and one of the best coaches I saw in my life. He would be very proud to see jiu jitsu spread on all five continents. I’m sure he would be happy to know that all his students are traveling and teaching jiu jitsu all over the world.

 

SDH: What brought you to Florida, specifically Jacksonville? How long have you been here?

LP: I came to Florida for the warn weather, escaping from Virginia Beach where I was teaching the Navy SEALs and at a few schools. Since I was born and raised on the beach, I really missed that environment. I have now been living in Jacksonvlle for 5 years, opened two schools, one in Mandarin and the other one in Orange Park. Also, for more than four years I have been teaching at the JSO on a regular basis.

When the toughest men in the world want to get even tougher, they train in Gracie Jiu Jitsu...

SDH: What are your favorite and least-favorite things about living here?

LP: What I like most about Jacksonville are the people and the beach. What I hate is the traffic.

SDH: Could you explain to readers the differences, if any, between the Jiu jitsu associated with the Gracies and the style you teach? How much variety exists among the approaches taken by the trainers you’ve encountered?

LP: I have been teaching the jiu jitsu lifestyle, the same way I was taught by the Gracies. Jiu jitsu is a type of martial arts that continues to develop and I keep up to date on these new techniques for my students. This doesn’t mean that I left the roots of self-defense and I always explain to my students that martial arts is also about friendship and loyalty. There is a lot variety among the trainers, but a big concern is the large number of inexperienced instructors teaching jiu jitsu.

SDH: Who are some of your favorite students?

LP: It’s difficult to answer who my favorite students are, because I am teaching my two sons and most of my students are friends including the kids. If I start naming some of them I’m sure to forget others. Some of my students have gone on to start their own schools all over the US and Europe.

SDH: How would you assess the Jiu jitsu scene in Florida, relative to other parts of the country? How many schools/students would you estimate there are right now?

LP: The jiu jitsu scene in Florida is over-crowded, which speaks to the success of the true jiu jitsu lifestyle. There are hundreds of jiu jitsu schools across Florida with tens of thousands of students.

SDH: If someone reading this wanted to begin training in Jiu jitsu, what can they do to prepare themselves before calling you? Does one need to be at a particular level of conditioning first, or can someone out-of-shape start immediately?

LP: Jiu jitsu was made for the weak, out of shape or regular people who do not have enough time to work out to defend themselves on the street. Remember jiu jitsu is not about strength, it’s about leverage and technique. Anyone who brings a copy of this article to either one of my two locations, or the JSO, can have one free week.

SDH: Who would you consider the top-five best Brazilian Jiu jitsu practitioners active today, and/or of all-time?

LP: I consider Carson, Royler, Rolls, Rickson and Helio Gracie all-time best jiu jitsu practitioners. Active today among my top best are Roger Gracie, Michae lLanghi, Lucas Lepri, and Rodolfo Vieira.

http://www.luizpalharesjiujitsu.com/

http://www.facebook.com/jacksonvillegraciejiujitsu

http://www.facebook.com/pages/Luiz-Palhares-Jiu jitsu/160973310596945

http://en.wikipedia.org/wiki/Luiz_Palhares

http://www.bjjgrandprix.com

sheltonhull@gmail.com; March 12, 2012

100 Homes of Jacksonville: Rational Exuberance

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Since exploding into the public debate in the 1980s, America’s homeless problem has remained front-and-center, and never more so than at the present. It took way too long, but policymakers on all levels of government and the private sector have finally begun to recognize the severity of the problem. And just in time. The economic collapse has had predictable results: the numbers of homeless have spiked, while resources allocated to help them have diminished. Nonprofits of all kinds are getting less from individuals and institutions alike, forcing rapid adaptation of their methods.

The most recent statistics, compiled in 2010, offer a sobering picture of an epidemic entirely unconstrained within demographic boundaries. Officially, over 400,000 people are without regular housing in the US; as with official figures on unemployment, the real number is likely much higher.

According to stats compiled by the Emergency Services and Homelessness Coalition of Jacksonville in January 2011, Northeast Florida has about 4,564 homeless, according to the definition provided by the US Department of Housing and Urban Development: “[A] person sleeping in a place not meant for human habitation or in an emergency shelter, and a person in transitional housing for homeless persons who originally come from the street or an emergency shelter.” 4,284 live in Duval County with another 280 spread across Clay (113), Nassau (165) and Baker (2) counties. 1,500 of those are “permanent homeless”; they have no shelter of any kind.

(It’s worth noting at this point the vast disparity in how homelessness is formally defined at the state and federal levels. The state definition basically doesn’t count anyone who has access to any type of legal sleeping arrangement, such as: staying with a relative or friend; staying at a hotel, motel, trailer park or campground; “living at an emergency or transitional shelter”; “is living in a car, park, public space, abandoned building, bus or train station, or similar setting”; “is a migratory individual”. The best qualifier: “Has a primary nighttime residence that is a public or private space not designed for or ordinarily used as a regular sleeping accommodation for human beings”. Not surprisingly, by this definition, there are only 1,903 homeless—59% fewer than by the state definition. This helps explain why the individual homeless people and those private citizens and organizations out there trying to help them have had such a hard time achieving their goals. Simply compiling workable statistics on the homeless population is a great accomplishment in this area of study.)

Some 90% (4,123) are adults, aged 18-60. There are 230 homeless seniors (60+, 5%), and 189 homeless children (18 and under, 4%); they are the generations most adversely affected by the recession. 3,109 are men, and 1,443 are women; there are two male-to-female transgendered homeless, and 10 who refused to answer the question. Homelessness here is almost evenly divided by race: 2,005 white and 2,373 black. Of course, that represents a much larger percentage of the black community, which is one reason why the leaders of that community are so active on the issue. Also, the Hispanic members of that community need to be better-defined in the numbers.

At least 12% of Northeast Florida’s military population is comprised of veterans—570 of them. Given that another 823 respondents refused to answer the question, for unknown reasons, one may presume that proportion to be as high as 31%, or 1,393. That should put a chill into the heart of every Patriot. But it would, sadly, be consistent with the classic (pre-recession) talking point holding that half of America’s homeless men are vets. Back then, Vietnam vets swelled the homeless population after the 1970s recession, while the vets of Korea and WWII entered their old age, and the VA system was overwhelmed, creating the crisis that continues today.

Health disparities are rife, and exert a brutal toll on emergency services. The primary impact of homelessness is on the person’s health. Overall, premature death rates among the homeless are nearly quadruple those of the general population; their lifespan runs, on average, some 25 years shorter than non-homeless Americans.

They die from starvation, malnutrition, illness from living conditions, or eating tainted food, or not seeking general preventive care. In winter, many homeless up north die of frostbite, gangrene or exposure. Homeless people are often subject to violence, be it from each other or random bullies; this author helped the Southern Poverty Law Center document a number of disturbing incidents in Florida a few years ago.

29% of area respondents (1,316) reported some kind of physical or mental disability; another 1,673 refused to answer the question, so the real percentage may run as high as 66%. Only 10% reported any kind of alcoholism or drug addiction, which may be individual self-delusion or evidence that the usual stereotypes of the homeless are not applicable. Indeed, if there is one factor that can be pinpointed as a root cause of local homeless cases, based on the data, it is economics.

Among the 4,564 respondents to the ESHCJ survey, 41% (1,875) cited “financial problems related to job loss”. 1,270 (28%) cited various forced relocation or family, such as fleeing abusive relationships, while 623 (14%) cited disability issues. (At least one person was rendered homeless due to “Natural/other disasters; surely there’s a story in that.) Also, 3% (121) were once caught up in the foster-care system, which points to how the disruptions of families by whatever means can have a negative effect that reverberates through time. And here’s the most important stat of them all: 54% (2,471) have been homeless for less than a year.

The statistics indicate that, far from being lazy, stupid or crazy, the average homeless person is someone who simply had too many bad things happen at once. We already know the leading causes of both home foreclosure and personal bankruptcy is medical bills, and we know the difficulties that people with preexisting conditions faced get stable jobs with health care before the economy tanked. Now, even decorated combat vets and good-looking young people with advanced degrees are struggling to find work, so where does that leave those at the bottom?

A non-profit organization called Community Solutions has emerged with a bold new vision for tacking the topic head-on and changing the overall debate on homelessness. 100,000 Homes is a national campaign begun in July, 2010 that seeks to place the most vulnerable of America’s long-term homeless into housing by July 2013. If successful, they will have managed to reduce America’s official homeless population by 25%—an unprecedented feat. The idea is to give people a second chance at life, and to show what wonders can happen when those chances are given.

100,000 Homes has already partnered with major non-profits like the National Alliance to End Homelessness, Catholic Charities USA, the United Conference of Mayors, the Iraq and Afghanistan Veterans of America (IAVA), the Center for Social Innovation, the Conrad Hilton Foundation and the United Way. They’ve even received corporate support from Travel Channel and Bank of America, which could use the good press after a brutal autumn tangling with the Occupy crowd. (They were the primary target of Bank Transfer Day, in which $.6.5 billion in deposits was moved from banks to credit unions, largely to protest BOA’s aborted plan for monthly ATM fees.)

Their one-year anniversary report is loaded with impressive and uplifting stories and statistics from communities as diverse as Denver, Atlanta, San Francisco, Santa Barbara, Chicago, New Orleans (which leads the country by averaging 62 placements per month), Washington DC (which is second, with 39, and has the highest one-year housing retention rate—94%), Omaha, Phoenix, Philadelphia, Detroit and, of course, Hollywood. Led by Campaign Director Becky Kanis, 100,000 Homes now has more than 2,000 volunteers working in over 80 communities around the country; they expect to be in over 300 communities by 2013. So far, over 10,000 people have already been taken off the streets, but they’re just getting started.

Statistics can be misleading, of course, but early reports suggest that the group’s key talking-point is correct: Housing the homeless saves cities money. The most detailed study yet was conducted by Denver’s “Housing First Collaborative” project, which has already placed 150 people in homes and has already identified another 513 who could be served once additional funding comes in. Based on initial results for the 150, that money won’t be far behind. The Denver study is a must-see.

The cost of housing people, and counseling them to help them retain their housing, costs them only $13,800 each, or a total of about $2.1 million. Overall, placing 150 homeless into quality low-cost housing saved the taxpayers of Denver a total of $4.7 million; extending the project to the other 513 would generate a savings in excess of $16 million. By breaking those savings down into the constituent categories, they’ve helped spotlight the key costs of homelessness, which are surprising.

Of the 150 studied, 30 (20%) had been incarcerated at some point, twice on average, each spending an average of 26 days in jail at a cost of $1,798 to the city. After being put into housing, only 12 were incarcerated (a 60% decrease); they spent only six days in jail (a 77% decrease), costing taxpayers $427 each. Under their program, the cost of incarcerating participants plummeted by 76%, and Denver saved $26,000.

Health-care costs associated with the participants fell by 45%, with the biggest decrease—65%—occurring in the category on “Inpatient Care”. That’s because the sick people had actual homes to be released to, so doctors didn’t have to worry about the risk of releasing someone back onto the streets, where whatever illness they had would surely get worse. Note that, while “Outpatient Care” costs increased by 51% (because outpatient care is not really possible if one has no home), the actual dollar amount of the increase ($894) pales compared to the $6,845 saved on inpatient care.

The number of Emergency Room visits, and the costs of those visits, decreased by 34%. Total “Emergency Costs” decreased by 77%, or $31,545 per person. These statistics prove that the act of housing the homeless has an immediate, and financially measurable, effect to the benefit of their health, and the taxpayers’ bottom line. Every community is different, so it would be incorrect to just assume that what works in Denver will work in, say, Jacksonville. But between the hard numbers out of Denver, and the mountains of anecdotal evidence coming in from other areas, there is plenty of reason for optimism: If these trends held nationwide, homelessness could be eradicated pretty quickly.

Most of the placements done in the first year have been in communities with 1,000 or fewer chronic unemployed. To achieve their long-term goal, 100,000 Homes will need to step up activities all over the country, but especially in those parts of the country with larger homeless populations. As such, Florida is a priority. Our temperate climate and mild winters, like those of southern California, attract all kinds of people, including disproportionate numbers of homeless people. So, any serious fight against homelessness in America must focus on Florida. And where does Florida begin? Exactly.

100 Homes Jacksonville, the local affiliate of 100,000 Homes, is helping set the pace for the peninsula by networking aggressively among the many organizations already working to uplift the local homeless population. They’ve already lined up some of the region’s heaviest hitters, including the Clara White Mission, City Rescue Mission, Department of Veterans Affairs, Downtown Vision Inc., the Duval County School Board, Eldersource, Habitat For Humanity, the IM Sulzbacher Center, the Jacksonville Chamber of Commerce, the Jacksonville Housing Authority, Lutheran Social Services, the Red Cross, Salvation Army, St. Vincent’s Hospital, Trinity Rescue Mission, UNF, the United Way of Northeast Florida and Worksource.

The VA is providing assistance by giving housing vouchers to vets, while 100 Homes works to acquire quality, low-cost housing for them and others.. As seen in other cities, when veterans are able to turn a corner in their own lives, they tend to channel their energies into helping their fellow vets do the same. The mutual respect and love they show for each other is almost evangelical in nature, and offers a regular reminder that the oaths they all took to protect our country were not forgotten when they came home. The wars fought overseas in recent years are only a prelude to the real battle to preserve the American Dream in our own streets.

The diversity of affiliated groups reflects the diversity of the community and its homeless population. Jacksonville is one of six communities already enrolled in the project around the state; others include Gainesville, Monroe County, West Palm Beach/Palm Beach County, Pasco County and Panama City. Between their own stats and other data, it’s safe to say that Florida has a minimum of 31,000 homeless people; the real number could easily exceed 50,000, so there’s plenty of work to do.

A project of this scale could not succeed without the right organization. Locally, Dawn Gilman, Executive Director of the Emergency Services and Homeless Coalition, is helping lead the way, along with Shawn Liu, from the VA’s Healthcare for Homeless Veterans. Technically, 100 Homes is managed by the VA. Publicly, the project is being pushed most aggressively by Marti Johnson, whose passion for the homeless is visceral. “We’re not only saving lives; we’re also saving the city money,” says Johnson, who estimates (based on the Denver study, and others) that 100 Homes could save the city up to $2 million in emergency services.

A graduate of Belmont University, Johnson spent a year coordinating for nonprofits in Uganda before returning home to Florida. She helped run an orphanage for children of Uganda’s war dead, sandwiched between a weak central government and the notoriously brutal misogynists of the so-called “Lord’s Resistance Army”. Subsequent work with AmeriCorps Vista brought her back to Jacksonville, as Communications Coordinator with the Emergency Services and Homeless Coalition of Jacksonville, where a big part of her job is getting the word out about 100 Homes.

Johnson lives in Green Cove Springs, to be closer to her family, and so chooses to drive an hour each way, each day, to and from her office at ESHC on the city’s Westside. It’s safe to say the lady has a passion for her business—which is a good thing, because it’s the kind of work that cannot be done without passion.

The next step for 100 Homes is Registry Week, which runs from November 14-19. Volunteers will be out canvassing the streets and collection information from participating organizations city-wide, in hopes of fleshing-out the existing data on our homeless population. Their goals are 1) to update the existing data on the city’s homeless community; 2) promoting the project to those potential allies and advocates who aren’t already aware of its existence; and 3) to begin identifying those homeless who are most in need, and who can make the most of the opportunity.

Besides the veteran outreach (which is probably the easiest part of this project, since there is already an infrastructure in place to identify them and at least try to address their problems), the 76 local homeless families with children are, of course, a priority, as well as the seriously ill.

100 Homes is conducting a “Community Conversation” delineating the data, and where the project is doing next, from 1-3 pm on Thursday, November 18 at the AT&T Auditorium downtown. For the record, 100 Homes has no intention of stopping at just 100; indeed, the room for growth in a city like this is immense, and it has the potential to be another one of those remarkable stories 100,000 Homes is generating nationwide.

http://www.100khomes.org

http://www.100homesjax.org

http://twitter.com/#!/100HomesJAX

http://www.facebook.com/100HomesJax

sheltonhull@gmail.com; November 10, 2011

Notes on Occupy Orlando

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Raising the Bar: Occupy Orlando sets the regional standard.

This reporter, who lives in Jacksonville, recently spent a couple of days visiting Occupy Orlando, which was then in its third week. The Occupy movement began in New York City, then quickly went national as graphic evidence of police misconduct inspired others to start their own local offshoots in solidarity. As such, while each Occupy location does have certain features common to all, they mostly reflect the distinctive character of the cities and towns they are situated in.

Having already spent hundreds of hours researching the subject in general, including communications with insiders, observers and other journalists at Occupations around this country, the chance to sprint south and check out the scene in Orange County was welcomed eagerly. It certainly helps that Orlando is a beautiful city with great food, from eateries like Dandelion Community Cafe and Ethos Vegan Café, multi-media madness at Rock and Roll Heaven and Park Avenue CDs, which is the best record store in all of Florida. Right around the corner, Stardust Video and Coffee makes epic soups and sandwiches and a massive selection of DVDs for rental. Each Monday evening, their parking lot hosts the Audubon Park Community Market, while the Homegrown Local Food Cooperative (HomegrownCoop.org) provides sustainable fruits, vegetables and dairy to homes and restaurants throughout Central Florida.

The city’s impressive development in the half-century since Disney’s arrival makes it an ideal location in which to weigh the costs and benefits of the corporatized society the Occupiers stand opposed to. The fact that so many of them (the students, in particular) are beneficiaries of this system does not invalidate their position; rather, it reinforces their responsibility to get involved.

After putting the word out via social media (the author maintains the greatest Facebook page ever, full disclosure), about two hours elapsed before receiving a phone call from Brook Hines, part of their Media Relations team. At 45, her experience in the media and public relations world was put to good use. This type of rapid response and vigor in regard to outreach efforts has been crucial to their rapid success in a state that is generally almost devoid of large-scale progressive activism of any kind. As she puts it, “We want to work with the city, rather than crash it.”

There were veterans of the Iraq, Afghanistan and Vietnam wars. Some got their first taste of politics via the Obama 2000 campaign. Others are veterans of older movements, including the assorted presidential campaigns of Ralph Nader, Ross Perot and Dennis Kucinich. A smaller segment comprised folks old enough to have participated in the seminal protest movements of the 1960s; for many old-school activists, these may be the final act in their political lives.

As Hines wrote in one of the group’s press releases: “Like Occupy Wall Street, Occupy Orlando is a leaderless movement, but it is far from disorganized. Coordination takes place online and at daily General Assemblies where … participants present ideas and dialogue until reaching consensus. Then, we take action to accomplish out collectively approved goals. The formation of multiple committees, including media, medical, peacekeeping, legal, transportation, food, event facilitation and materials preparation, enables all participants to contribute to the movement.”

The actual Occupation of Orlando commenced on Saturday, October 15, but planning began two weeks earlier, including two General Assemblies held at the Orange County Regional History Center. The date was announced in advance, a website was set up, Facebook pages and Twitter feeds built, supplies gathered, responsibilities designated and promotional materials (flyers, buttons, posters, etc.) prepared. They even sent out a letter soliciting the support of local businesses. The work paid off. The first event was arguably the biggest political protest ever held in Orlando, drawing between several hundred and a couple thousand participants, depending on who you ask.

Beth Johnson Park is just a quarter-mile or so down the street from Boom Art Gallery, a shop showcasing the brilliant hand-crafted work of Glenn and Sandy Rogers, which they describe as “the fusion of functional furniture and nostalgic art”. Their client list is awesome, and includes Ann-Margaret, Jay Leno, Paul Shaffer, Jeff Foxworthy, Mandy Moore, Robert Plant, Carrot Top and Shaquille O’Neal.

The art is must-see, and the artists are two of the most interesting people I’ve ever met. Glenn’s dual backgrounds in fine art and as an International Flooring and Home Furnishings Designer led to a diverse career that included technical work on Broadway, shows, art exhibits in SOHO, storyboarding the “Mr. Whipple” commercials for Charmin, acting credits in Hollywood and the New York stage; he also helped create the Yellow brick Road used in The Wiz. The Rogers met and married during their 15 years spent touring together as clowns in the Ringling Bros. and Barnum & Bailey Circus. Sandy was, for seven years, Director of it Clown College, in which capacity she helped train Steve-O. Unsurprisingly, they offered full support for Occupy Orlando.

“This is redress of grievances, not a wedge-issue protest,” said Matthew, a 23 year-old student and musician part of a group of young people sitting on blankets in the park one day. His group included several people who’d been part of the OWS group, but were reticent about sharing further details with a journalist.

Over 2,000 people had taken part in the occupation, over 200 of whom spoke at the General Assemblies; and another 10,000 people had expressed support online in just the first five days, and those numbers spiked in subsequent weeks as Occupy caught steam nationally and Occupy Orlando started getting mainstream attention.

Like many of their fellow Occupy operations, the Orlando group maintained a camera streaming content directly to UStream.tv. Depending on the size of the crowd and the amount of activity in a given city at any given time, most full-time occupations run live video 24/7, while others fill the “dead” time with video of earlier activity; some cities have more than one feed, in addition to whatever is being done by individuals. This type of instant connectivity isn’t just great for outsiders (advocates and critics alike) to watch what’s going on directly and interpret for themselves. It is crucial for the actual occupiers in each of those cities, who can now learn from each other in real-time, share knowledge, adjust their methods, streamline tactics and goals, as well as networking.

Maybe no other city in Florida has brought in as much money from multinational corporations than Orlando, but there are many ways to quantify it. But its public image is tied-in with Disney and Universal Studios in a way no other city is with the many large companies doing business in them. Theme-park money spurred tremendous growth, and the landscape reflects it, especially compared to the relative bleakness and desolation of the outlying areas like Winter Park, Casselberry, Maitland and Ocoee. (The blank-yet-knowing looks on the faces of the kids working at the Walgreens and Steak and Shake in Apopka made me want to adopt them all, or at least write them recommendation letters to the UNF.) Mass-transit out there sucks, putting the lower-income families living out there at a persistent competitive disadvantage for jobs and schooling, the youth in particular.

The reader has probably seen the video(s) from Zucotti Park, where those three wee lasses felt the hot stuff (which really hurts, by the way). Note that at least one officer was already conducting a discussion with the ladies related to their refusal to get up and leave. While not exactly cordial, it was civil until his colleague imposed his own will upon the proceedings. The original cop’s agitated response, directed toward the one who deployed the burning, stinging mist into a group of civilians and fellow NYPD officers, presaged later confirmation of prior complains against the same guy at political events.

The nefarious action of one cop means little compared to the historic reputation of a department that saves and improves the lives of people every day, nor does it mean that the women sprayed that day were necessarily right. But the incident was recorded from a number of angles, and the targets were highly intelligent, well-connected members of a well-organized protest operation that was already ongoing in New York, with affiliated groups already starting elsewhere. The hardest part of civil disobedience is to not fight back when violence is used; that’s why most people generally want no part of it.

NYPD handed Occupy an image to, for lack of a better word, brand their movement, and like all good brands, it has staying power: young people being pushed around for engaging in political protest. Thanks to cell-phone cameras, YouTube and streaming video sites, a huge portion of the thousands of Occupy-related arrests have been documented, replete with scores of clear-cut incidents of abuse. The situation in Oakland alone could fill a book; surely a number of student protesters will apply their field experience directly to the classroom.

It only took a few good squirts of poorly-aimed pepper-spray to transform Occupy Wall Street into a national movement, and Florida is doing its part

 Beth Johnson Park sits at 57 S. Ivanhoe Blvd. It curves off the I-4. Whether approaching from any angle, the first thing one will see is the American Flag. Currently, Beth Johnson Park closes at 11pm. All citizens must vacate by then, but the sidewalk is not subject to those rules. As such, Occupy Orlando adopted what’s called “Sidewalk Solidarity” by standing on the sidewalk in shifts, 24/7. However, the law does prohibit sleeping on the sidewalk, sitting down on it, or sitting in a chair (all activities that are allowed in the actual park when it’s open). Sleepyheads make use of a privately-owned parking lot across the street, 20 feet away. Although trespassing charges was raised by police, they did not occur because the lot’s owner either refused to make a complain, or was otherwise not present.

This is just among the many examples of how, despite the anti-capitalist talking points and the alarmist rhetoric of commercial media, sizeable portions of the business community around the country are exerting subtle forms of support for Occupy activities. Another is that the nearby Doubletree Hotel offers its bathroom facilities for the occupiers. (Note also that Zucotti Park, the epicenter of Occupy Wall Street, is itself owned by a billion-dollar corporation that clearly has no issue with their presence, as long as they clean up after themselves.)

Most occupiers have chosen to heed those rules, but as expected others forced the point. Occupy Orlando took a huge, risky step forward on the night of October 22, when a small group of activists chose to openly defy city rules and remain in the park after 11. They, as individuals, chose to stage their own independent action without the approval of the General Assembly; some 200 people were doing Sidewalk Solidarity at the time. Some allege it was a blatant publicity stunt, others that it was an attempt to be more aggressive in the face of political power.

This civil disobedience resulted in Trespassing arrests for 19 people, including two women and a juvenile. By all accounts, the police were entirely professional in doing their job. (It’s always worth noting that law-enforcement has very little actual influence on the crafting and implementation of our nation’s laws, and citizens are worse off for it.) If it was a publicity stunt, it worked perfectly by forcing the occupation into commercial media, thus helping to grow the numbers. Another 13 arrests were made a few days later, as activists refused to vacate the park following the teach-ins on November 5—Guy Fawkes Day, incidentally, and also a day after the epochal success of Bank Transfer Day.

 

Among those 19 arrested that night was a wheelchair­-bound young man who had been doing unpaid volunteer work for President Obama’s national reelection campaign, similar to his activities in 2008. His disability leaves him unable to do most types of work, so he lives at home with his family, on a fixed income, while he pursues his studies. Like many people in his position, he’s felt the heat of price increases and the pressures exerted on many Americans as state legislatures around the country clip strategic holes in the social safety net; those concerns manifest as political action.

His involvement with Occupy Orlando was as a private citizen, not as any type of representative for an Obama campaign that many critics allege the Occupy movement is designed to help, much as the Tea Party ultimately served Republican interests. However, after the news of his arrest became public, he was dismissed from his official duties and rendered persona non grata, on the pretense that his arrest brought negative publicity to a campaign that hasn’t even been officially declared yet.

Further, the fellowship that made the delicate balancing act of his student life possible was immediately pulled, throwing his educational future into some doubt. The crushing news was delivered by telephone, by a supervisor who was either unwilling or unable to say exactly who made the decision, or to delineate the process by which his life was ruined. He was still emotionally wrecked, visibly and palpably so, as I spoke to him ten days later; the police who arrested him were downright kind, compared to the allies who shafted him, over a petty charge that will most be dropped.

Yet, despite this life-altering humiliation, the young man was insistent that his name not be used here, because that’s how strongly he feels about reelecting Obama. That, in a nutshell, in what the Occupy movement is about: Young (and not-so-young people doing what they think is right, despite the extreme consequences that may result. His plan now is to hit the road, visiting and collaborating with other Occupy operations in places like New York, DC and Chicago, culminating with the ongoing actions in the city of his birth, Philadelphia.

Many activists on the scene gave vocal credit to students from the University of Central Florida. Many of those UCF “Knights” have lived up to the moniker, in terms of their contributions to the effort, from logistics to publicity.

           

            October 25 saw 15 Occupy Orlando activists expanding outreach efforts even further by sitting in to show support for the Amalgamated Transit Union Local 1596, which was negotiating with the Board of Directors for LYNX, Orlando’s bus system. According to a press release, “Drivers have not seen wage increase in three years and are being offered only a 0.5 percent wage increase at a time when inflation for food is forecast to rise as much as 4.5 percent.” They had no obvious effect on negotiations, which remain calcified, but it made for valuable experience.

            Such action has become a worthwhile habit.      The day before, Occupy Orlando sent  27 people in business clothes to the Orange County Legislative Delegation meeting, where they had meetings with state representatives from both parties. Occupy has also become a regular presence at meetings of the Orange County School Board and the Orlando City Council.

November 1 was Day 18 of the occupation, and coincided with the “Awake the State” rally. The day’s most popular whipping boy was the local Chamber of Commerce. It operates out of a large multi-story building adjacent to the park, yet reportedly pays only $1 in property taxes per year. Spicing the brew, Mayor Buddy Dyer had apparently, a couple days prior, made the astoundingly absurd claim that there was no corporate money at all in Orlando. 

A low makeshift stage was laid out near the entrance to the park, placing the Chamber building (and the sunset) behind the speakers. Their modest PA was sufficient. Speakers included an older activist whose rights to vote had been forfeited via felony; he copped to his mistakes, and urged everyone else to cast the votes he could not. The owner of Dandelion talked about the wildly disproportionate environmental impact fees that undermined profitability and her ability to hire new workers. A member of the teachers’ union noted that Florida teachers haven’t received a cost-of-living wage increase in three years; “Education cuts don’t heal”, she said. The delightful Sundrop Carter brought glad tidings from the United Auto Workers, who are stepping up organizing efforts in Florida, a state basically built around the automobile.

Although no elected officials made their presence felt on Day 18, the crowd did include a number of veteran political insiders, as well as a couple of candidates. Mike Cantone, 28, is seeking to unseat mayor Buddy Dyer in next year’s elections (scheduled for April 4, 2012). He comes off as a smart, earnest young man who’s quickly developing a certain facility with the lingo of leadership. Having myself run for Jacksonville City Council in Jacksonville earlier this year, I was curious about how his new-reality based, grass-roots approach would fare against an entrenched incumbent like Dyer.

 He began smartly, with a streamlined and systematic approach to his platform. He broke it down into seven key components; for each he created quick, one-line synopses of his vision, then identified a number of forward-thinking proposals he would implement in order to methodically each component of the larger agenda. Listed alphabetically, they are: Clean Energy (4), Coordination (3), Education (4), Innovation (10), Public Safety (7), Quality of Life (6). As a Jacksonville resident, I appreciate the catchphrase “A Bold new Vision for Orlando” even more than his slogan, “I Like Mike!”

As one might expect, he’s fully-synchronous with social media, and his promo materials are well-done; they’re also union-made. The aesthetic centers on soothing blues and greens, reminiscent of the city’s waters and lush plant-life. The candidate’s picture is good, with a nice sunset background, but it can be improved upon.

We both agreed that the non-partisan, “unitary”-style elections held at local levels offer the best chance to get new progressive talent into office, as opposed to the standard process, which allows Democratic gatekeepers to freeze out any dissenting voices. As we have both noted repeatedly, the great efforts made by Occupy so far will be wasted unless they translate to serious political gains in that epochal year of 2012.

Occupy Orlando has a lot of electoral activity they can exert potential influence on. Senator Bill Nelson is up for reelection, and the popular Democrat will have several marginal Republicans chasing his rear bumper; a strong progressive turnout helps bolster what looks so far to be an fairly easy win, and be crucial if conditions change. All seats in the US House are up for grabs next year, and those are always volatile; Occupy’s exact place amidst is impossible to guess..

Locally, besides Dyer’s seat, four of the seven School Board seats in Orange County are up for grabs, as well as three of six seats on the Board of County Commissioners and three of five seats on the Soil and Water Board. The offices of Sheriff, State Attorney, Public Defender, Clerk of Courts, Comptroller, Property Appraiser, Tax Collector and Supervisor of Elections are all on the ballot in 2012, so the stakes are huge. This election will decide the future of their city.

In real terms, a guy or gal like Cantone would need a massive groundswell of progressive activity statewide, the rising tide to lift all boats. He (or any other, similarly-inclined candidates elsewhere next year) can probably build a formidable street team, but to keep them all activated at full efficiency, it takes money. 2012 will be the most expensive election cycle in history; to win in that environment does not necessarily require more money, but it does require a substantial amount of ready cash. My campaign, for example, did not result in victory because I was not an effective fundraiser, and could not find anyone who was. Cantone and his ilk must be a lot better, a lot faster, and it’s quite possible.

I also met a fella named Curtis Southerland, also from Jacksonville. His path into the realm of political activism was neither planned nor voluntary. His obscure, outsider campaign to unseat Jacksonville Sheriff John Rutherford as a write-in candidate in 2011 was motivated by his desire for redress after his brother Mark[?] was killed in a one of those “police-involved shootings” that have now become an unfortunate trademark of the Jacksonville Sheriffs Office. He lost, of course, but that’s fine because the fix was in from the start; former JSO Public Information Officer Ken Jefferson had an excellent chance to win, but regional Democrats stymied his fundraising, for unknown reasons. Southerland’s campaign was more of a protest against the system and a means of telling people about the tragic death of his brother.

Local media coverage was generally fair, though laced with the same snarky cynicism typical of Occupy reporting in general. Leading the pack, surprising, was the nominally liberal Orlando Weekly, which functions in the case as a gatekeeper for an Establishment Left that has been uncomfortable with Occupy from the get-go. In its October 27 issue, staff writers Billy Manes and Jeff Gore flog the standard commercial media talking points: That Occupy has no “list of demands, a chief goal or an overarching political philosophy”. While conceding their sidewalk strategy to be “brilliant”, they repeatedly note the “(ostensibly) leaderless nature of their organization” and keep the focus squarely on the negative aspects, like arrests and shady characters.

Granted, this was published only 12 days into the Occupation, and surely there is more left for them to say on the subject. But as a visitor to the city, I was disappointed to see its leading liberal publication projecting a generally dismissive attitude toward young people whose political views are basically consistent with the values of alt-media in general. It’s the sort of reductionist thinking that has essentially tanked political-based print media in general, in particular an alt-weekly market that has become aggressively corporatized and unresponsive to the needs of their audience.

Ironically, that issue’s cover features a snarling, broken-toothed Tea Party caricature as part of a series of poorly-done humorous Halloween masks. Occupy gets a nod, too, with a cut-out version of the now-ubiquitous Guy Fawkes mask adopted from “V” For Vendetta, which is now a universally-recognized symbol of Occupy and the larger (and more amorphous) Anonymous movement. “Initially dismissed as iPad-wielding hippies, the occupiers leered and groaned in the face of authority, anxiously anticipating police brutality and pepper spray,” writes Manes.

“The very notion that this leaderless movement had come to life as a pseudo-political monster is enough to cause apoplexy and anxiety among those in power [including, apparently, OW itself]. ‘Give us your list of demands!’ they screamed at the occupiers in a panic, only to realize that there really wasn’t a list of demands.” Imagine, two completely contradictory ideas coming from the same writer, in the same publication, just nine pages apart. This kind of cognitive dissonance certainly helps explain why the mainstream media still struggles to comprehend the depth and complexity of Occupy.

http://www.occupyorlando.org

http://www.occupythehood.org;

othorlando@gmail.com 

http://www.mikecantone.com

http://www.ocelections.com

http://www.HomegrownCoop.org

http://www.stores.ebay.com/boomart

sheltonhull@gmail.com; November 7, 2011

Interview: Kathleen Hanna

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[The piece below is for Folio–runs Tuesday. But, since Ms. Hanna’s birthday is today, it made sense to preview it now, for the one-half of one-millionth of the world who actually checks this thing out–and thanks, by the way. I should also note that the section of downtown Jacksonville with MOCA and the newest Main Branch library are the best investments made in local public infrastructure in the past decade, a decade with many nice moves made.

The library’s music section is probably the best in Florida, in part because the collection is old, and in part because their acquisitions game is tighter than the Carlyle Group. The record collection alone was worth perhaps $100,000 before it was sold off piecemeal; WJCT did the same thing, and the cognoscenti worldwide sez “Thanks!” The zine collection is the most recent addition, and it touches on an aspect of regional culture crucial to its current leviathan status.

And next time you’re in Gainesville, make sure your visit includes a) the Butterfly Museum, b) Hear Again Music, and c) the legendary Civic Media Center, of which I could never say enough. Etc. and so forth, here ya go.]

Leader of the Pack
Kathleen Hanna on zines and scenes and feminist things.2011 Zine Symposium
“Zines: The Personal Is Political”
Jacksonville Public Library, Hicks Auditorium
Panel Discussion, 11am; Keynote Presentation, noon
Back when people wrote actual letters, I sent one to Kathleen Hanna, former singer for Bikini Kill, whose three imperfectly perfect albums in the ’90s set a sonic standard whose emulators have dominated the 21st century. Between her sound and their fury, Hanna (who turns 42 on the 12th) helped establish the continuity that ensured “girl singers” could do what they want, however they want to do it. What was next? I wondered. She sent back a package with some of the zines she was doing then; soon, Julie Ruin emerged, followed by Le Tigre. The original Rebel Girl is now an established veteran of all aspects of media, and one of the most influential women of her generation. She’s recorded eight albums since 1991, three EPs, seven singles featured on nine different compilation albums and, most tellingly, appeared on 17 different albums by other artists. She’s also the subject of two documentary features: The Punk Singer and Who Took the Bomp? Le Tigre On Tour. (And, of course, her cameo in the video for “Bull In the Heather”!)

Hanna’s first visit here comes this Saturday, November 19, by invitation of the Jacksonville Public Library, where she’ll sit on a panel convened by curators of the library’s game-changing zine collection. Panelists include author, musician and FSCJ art professor Mark Creegan; artist/author Adee Roberson (http://www.pineappleblack.blogspot.com–very nice!); zine writer Travis Fristoe (whose credits include Maximum RocknRoll, Library Journal and Gainesville’s legendary Civic Media Center); and myself, a big fan of all their work. Hanna will then deliver the keynote address for the 2011 Zine Symposium. For adepts and adherents of the art form, this cannot be missed. Folio caught up with the ever-busy Hanna via Internets:

FW: Did the Internet kill the ‘zine trade, or somehow make it better?
KH: I think the internet gave certain obscure zines a place in the modern landscape they never would’ve had without it. Having said that, it is annoying to me when people buy older zines and then scan them and put some pages up on the internet without the author’s permission. They lose their original context that way, and often zines that were written in a specific time and place come off as overarching and ahistorical when, really, they were responding to specific things that were going on in local scenes at the time. Zines kind of were our blogs before blogs existed; they were meant to be quick and rough and
local and not overworked.If we wanted to write books, that were more permanent, we would’ve, but we didn’t. They were meant to be ephemeral and function in a specific time period.

FW: Have you ever worked with the Future of Music Coalition(futureofmusic.org)?
KH: I know Jenny and Kristin but I’ve never worked with FMC. [Note: Jenny Toomey and Kristin Thomson co-founded the band Tsunami.] They were, I believe both at the first Riot Grrrl meeting and were verysupportive and involved early on. I went to Junior High with Jenny Toomey.

FW: What are your thoughts on Occupy Wall Street? [Note: OccupyJax has
been in Hemming Plaza since Nov. 5]

KH: I think it’s great. I am pretty inspired by what young people do in general (not like it’s all young people, but it seems like quite a few young people were the instigators). It is interesting to me when people criticized it in the beginning, claiming it was all young, middle class people, and I was like “They are the ones who can manage to physically be down there sleeping on the bricks, and so they are, and that’s awesome, not a bummer!”FW: How do you feel about the “SlutWalk” trend?
KH: I am always happy when women are taking it to the streets and starting discussions.FW: What are your thoughts on the late Slits singer Ari Up?
KH: She was an innovator and I can’t believe she is gone. We lost her and Poly [Styrene] in a 2 year time period [note: both to cancer] and I think many of us are still reeling from this.

FW: Tell me about Lydia Lunch?
KH: LOOOVE HER. There are many spots on the album I am working on with my new band The Julie Ruin where my vocals are totally influenced by her style. She has influenced culture on such a deep level and never really been given her due.

FW: Is it possible for women to take positions that contradict the larger feminist community, while retaining feminist credentials? What must she say or do to be “expelled” from the movement?
KH: There are so many different ways to enact one’s own feminist ideas that it is pretty hard to come up with a unified list of feminist do’s and don’ts, and I personally hate that way of thinking. I am way more into allowing women to define feminism for themselves and keep on stretching its meanings. More arguments, more questions, more disagreements, this is what leads to a vital movement, not lists and rules.

FW: What’s it like seeing yourself on film?
KH: Um. Weird and embarrassing pretty much sums it up, but I have a distance from it now. After Who Took the Bomp? came out, I started being filmed for an upcoming documentary called The Punk Singer and my main thing is that I don’t really care if I come off like a jerk. I just want the movie to be engaging so people will go off on their own and check out my work and the stuff me and my bandmates made together.  I mean, on one hand I have a huge ego and love attention and all that, that’s why I’m a performer, but on the other hand I don’t take any of it too seriously, cuz I really am just an ant on anthill like everyone
else and my time here on earth is finite.

FW: Which of your recordings stands out as most representative of your aesthetic?
KH: I am most proud of the Rebel Girl 7″ Bikini Kill did and the first Le Tigre album. The song “Hot Topic” on that album is very much indicative of my aesthetic. Poppy yet still DIY with a big nod to the past.

FW: Who are the “Riot Grrrls” of today?
KH: Brontez Purnell of The Younger Lovers is my favorite modern riot girl. Also the women who run the website http://www.girlgangunderground.org/.

FW: Why have you never appeared in Jacksonville before?
KH: I don’t really know why, it was always hard to book stuff in Florida for some reason. Le Tigre played in Gainesville and Miami, but BK never played Florida at all.

Imported Goods: Candy Lee follows her bliss to Jacksonville

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Candy Lee Long and her husband David moved here from Fayetteville, Arkansas at the beginning of the summer, to study and be closer to their friends; she has quickly gotten established herself in a scene already swollen with skilled singer-songwriters. She notes Tobacco Pat, Robin Rutenberg, Gospel Music and Sunbears! among those she’s enjoyed so far, when not herself working spots like Burro Bar,European Street, Dog Star Tavern, Speckled Hen Tavern, New Orleans Café and the Riverside Arts Market. She hosts the open mic nights at the Wine Bar and has featured at Creekside Songwriters Showcase. A strong start, but any standard.

She’s new to this scene, but not to Florida, or the business. Born in Ft. Myers 27 years ago, Candy Lee lived briefly inVermont but spent the last three years studying and performing in her adopted hometown of Fayetteville, which is where her artistry really caught stride as leader of a group (which included Dan Dean, Warren Dietzel, Jennifer Graham and Emily Jenkins) aptly dubbed “Candy Lee and the Sweets”. It was there where she found the confidence to really begin to define herself as a creative individual, performing as a solo act and putting the emphasis on her own songs. And feedback was positive: she was named Best Female Singer/Songwriter and Best Female in a Band by the Northwest Arkansas Music Awards.

Lee has been singing since childhood, and performing in school bands and various other groups for almost as long, but only started on guitar four years ago. “I used to play clarinet, but haven’t since high school. Now the only instrument I play proficiently is my voice. My knowledge of music theory is minimal. I can read music, but when it comes to what I do as a singer/songwriter, I mostly play by ear.” With diligent practice she’s evolved on the instrument to effectively support her songwriting. These skills are ably displayed on her debut solo recording, The Gate, which comes in a package entirely designed by her. (It’s worth noting here that Candy Lee is also a skilled artist and graphic designer.) Not many musicians are as intimately involved in every aspect of their recording.

According to her website, “The Gate is a project of music, art, and philosophy. It explores the evolution of human thought, as experienced by Candy Lee. It is the story of the hero’s journey to Self-realization and enlightenment.” Recorded inFayetteville last year, the album features her own artwork and her own compositions, which display a melodic sense of unusual potency. It captures a musician of ferocious self-assurance, one unafraid to go full speed ahead and miles away in pursuit of her artistic objectives.           

Candy Lee’s voice changes tone and pitch from song to song; the voice services the song, rather than the other way around. Hers is the only voice heard on the album, frequently overdubbed for harmonic purposes; this comes out in places like the choruses on “Worst Enemy”, one of the album’s best tracks. In practice, her voice sounds very much like the Casady sisters, aka Coco Rosie; this comes through on the opening track, “Blues Skies”. At others, like on “Experiences”, it’s more reminiscent of Cranberries singer Delores O’Riordan. It doesn’t sound derivative, but more like a set of certain sonic tools employed in service of the songs.         

Following the album itself, a few minutes of silence yield to a bonus track that shows off yet another aspect to Candy Lee’s artistry: electronic music, rendered by her group “Metasapien”, whose debut disc, Art Or Die, was released a couple years ago. Candy Lee sings the hooks while husband David Long raps over beats they crafted together. The two met shortly after she graduated high school, playing together briefly in an acoustic duo called 50 Cent Trade. Long also records as “I Am”; his third album, Spiral Dynamics, was released in February, and all can be had via his Bandcamp site.

From a newcomer’s perspective, what are her initial impressions of our scene? “I like the indie folk scene and the fans who attentively listen at shows,” she says. “I didn’t really know what to expect when I got here, as far as the music scene goes. I had heard that there were plenty of places to play, but nothing in detail about the other bands in the scene. My initial impressions of the music scene in Jacksonville were positive. I am happy the music scene here is so diverse.

“What I dislike about Jacksonville is that it seems very commercial, like most of Florida. I miss the small town, environmentally conscious vibe of Fayetteville, with its independent businesses, bike trails, community gardens, and kid friendly events. The environment there gave rise to a certain level of introspection” in the resulting cultural products. Of course, many people here are working to change both that perception and the underlying realities; the fact that the city still attracts her type, even in this ridiculous recession, is certainly cause for optimism.

Long earned her BA in Environmental Studies at Florida Gulf Coast University, and picked UNF to pursue a Master’s in Environmental Engineering. Having made the successful transition into a new phase of her life and career, her immediate goals are simple: keep moving forward. She’s building contacts and booking gigs in new (to her) venues, while planning to tour in November. The home studio she used to record The Gate will be used to record her follow-up, with release slated for sometime in 2012.

@the Green Door, 2008. Photo by "Noir33"

www.candyleemusic.com

http://www.facebook.com/CandyLeeMusic

http://twitter.com/CandyLeeMusic

http://iamdavidlong.bandcamp.com/

sheltonhull@gmail.com; September 19, 2011

Review: “Coltrane On Coltrane”

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Coltrane On Coltrane: the John Coltrane Interviews, by Chris DeVito. Chicago: A Capella Books (an imprint of Chicago Review Press ). 379 pp., illustrated.

The life and legacy of John Coltrane embodies the spirit of Teddy Roosevelt’s battle-tested axiom “Speak softly and carry a big stick”. Coltrane recorded extensively in all types of musical settings, but he didn’t seem to make a big deal about it. He just worked and worked, always pushing forward for the next step along what was arguably the most unique path of musical progress ever walked.

“Coltrane On Coltrane” features some 55 articles, essays and interviews related to Coltrane, authored by some of the best jazz writers of that era, including Stanley Dance, Leonard Feather, Ira Gitler, Ralph J. Gleason, Nat Hentoff, Frank Kofsky and Gene Lees. The appendix features interviews with people who knew the subject from his roots in North Carolina and his musical matriculation in the smoking-hot Philadelphia jazz scene of the 1940s and ‘50s.

Coltrane’s status as a tireless student of the game is on full display as he nearly aces one of Downbeat’s famous “Blindfold Tests”. (Incidentally, some day it would be really nice to have all of the blindfold tests collected in an anthology; it’s truly one of the most unique gimmicks ever conceived in the journalism business, and it’s surprising that more media in other genres, especially hip-hop, haven’t made fuller use of it.) One also reads a lot of his love for artists like Ravi Shankar and Ornette Coleman, as well as his perpetual struggle to find the perfect reed. We learn that Coltrane’s rapid mastery of the soprano sax was not nearly so effortless as it might have seemed; the embrochure was very different, and for years he expected to reach an eventual crossroads, forced to choose between horns.

We also learn more than ever before about his early years, and the long, winding road he took to immortality, thanks in part to old interviews with a former childhood friend and one of his first music teachers. A key thing to remember about Coltrane, a fact reiterated over and over through the text, is that he was never particularly satisfied with any of his recorded work. He viewed everything in terms of evolution and exploration; the records were often months or years behind the pace of his restless spirit, and he viewed the records more as souvenirs from his journey.

The text ends around 1965, just as the tumult surrounding “A Love Supreme” gave way to the overt controversy of his last few years, as Coltrane became the crown jewel of the avant-garde movement, with multiple drummers and large horn sections; the transition from McCoy Tyner to Alice Coltrane, and Elvin Jones to Rashied Ali, were not just symbolic of his shift, but vital aspects of it. There’s not much record of how Coltrane felt about himself or his music toward the end; all we know is that he did not stop until he was physically unable to work any more. One has always suspected that the diagnosis of liver cancer that he apparently received around that time may have spurred him to speed up his musical experiments, thus making the schism between past and future even more profound. The critics did what they always do when confronted with art that defies their ability to explain: they either attacked his music or ignored it. To think that John Coltrane was denied coverage in Downbeat for years is unthinkable today, yet that is how strongly his music affected people.

This book is such a well-executed labor of love that offering any criticism at all feels almost bitchy, but there are minor flaws that can be easily corrected in later editions or the paperback version. The painting of Coltrane on the cover is nice, but I’d rather see one of the many iconic images instead, to reinforce the seminal nature of the text; DeVito found several unpublished photos that could be used for this purpose.

Also, a discography and partial bibliography would be nice; since everyone who reads this book will likely be a serious Coltrane buff, such information would make it even easier to follow-up his words with his actions. Granted, Coltrane’s did a massive amount of work in his short life, and the subsequent 45 years have seen countless reissues and a flood of new material being released. Putting together comprehensive backmatter of this sort would have been a full-time job in itself, and one can easily imagine how exhausting DeVito’s job already was. Still, such material would have pushed the text beyond 500 pages and made this book truly indispensable. But, as it is, Coltrane On Coltrane is a must-read for all fans of the artist and the times he lived in. DeVito has done yeoman work, and the results are recommended without hesitation.

sheltonhull@gmail.com; July 1, 2011

 

 

To Swing, Wildly: Notes on The Flail

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[Note: Like the piece following it, this was written for  the current Arbus, but tightness of space precluded its publication. This is more biographical, touching on their backstory and the dynamics of the festival gig this weekend; their excellent  “Live At Smalls” CD itself is reviewed below.]

The word “flail” commonly refers to a European device used alternately for threshing grain or thrashing people. Two lengths of wood or metal, joined with chain or rope, measured and made to suit specific tasks. We may recognize it most readily in the form of nunchaku, which have a variety of applications. In its verb form “flail” means “to swing wildly”, and it’s in that sense that The Flail can be regarded. The Flail: Live at Smalls (SmallsLIVE) is their fourth album, and it captures them at their very best.

The Flail play what could be called “mainstream” or “traditional” jazz: straight-ahead, build around a defined melody played by a frontline of trumpet and saxophone, with a consistently swinging rhythm section. But words can’t do justice to their attack, which is informed by the broad diversity of the members’ experiences. There is no leader, per se; it is a group of individuals working toward a common purpose.

Dennis Cook, of JamBase.com, notes: “Despite a name that suggests spastic movement this is measured, gorgeously executed and warm. … [They] move with seamless, telepathic grace.” Jazz great Kenny Barron (best-known for his work with Stan Getz) wouldn’t have to pay a dime to gain entry to any jazz gig anywhere, so when he says “I’d pay good money to see these guys play,” it carries extra weight.

Most of their songs are their own compositions, though they’ve done excellent interpretations of Monk’s “Trinkle Tinkle”, Duke Ellington’s “Oclupaca”, “Remember” by Irving Berlin and “The Chooch” by George Garzone (who has employed several of the band members). The new album is entirely original, with three of the eight tunes written by bassist (and Jacksonville native) Reid Taylor, including the lead burner “Mr. Potato Bass” and the closing “Under the Influence of Stereolab”.

They specialize in loping mid-tempo grooves, evoking a mood of smoothness and sophistication—think luxury car commercial—but prove adept at any pace. Note “Better Watch What You Wish For” or “Light At the End of the Tunnel” (both by pianist Brian Marsella), which phase through entire moods so quick you barely notice it. “We’re Not Out of the Woods Yet” sees a New Orleans second-line beat give way to soul-jazz harmonies Roland Kirk would savor. The overall picture is of a very mature, forward-thinking group of jazzmen rooted in the tradition.

They have infused the word “flail” with fresh new meaning, just as they have the concept of jazz quintet, which was once revolutionary but was long since so leaden from the baggage of a previous era that modern musicians often avoided it on purpose. With a frontline of tenor and trumpet, and piano-bass-drums rhythm, the challenge is to define a signature sound within a format where the listener has preconceptions based on what they have heard before. It’s the same challenge faced by a rock quartet of guitar-bass-drums-charismatic front-man or, for that matter, a symphony orchestra.

Reid Taylor, whose 80 year-old French bass anchors the rhythm section, made an interesting point about their dynamic. Speaking via phone from New York, while preparing for a gig at Fat Cat later that day, he noted that all the members of the band maintain full schedules working in all kinds of groups besides The Flail, and that’s true for their colleagues. The critical and commercial emphasis has shifted from the bands themselves to the individual—there are fewer “sidemen”, as such. This, ironically, strengthens the unit, as each member brings a lot of diverse experiences to the table. The same could be said for the jazz scene in Northeast Florida.

Born in Jacksonville in 1973, Taylorwas first drawn to music as a profession by the extremely influential electric bassist Mike Watt, formerly of a seminal punk band called the Minutemen. It was just a few years later that the influence of Charles Mingus inspired a shift toward the acoustic upright; he currently plays a French model built in the 1920s and uses gut-strings, as opposed to the newer steel strings used by some 80-90% of jazz bassists today. Taylorwas first trained by Steve Novosel while attending American University in Washington, DC; he later studied under the great Butch Warren for four years before he moved to NYC to train under Steve Irwin.

After graduating, Taylor dove deeper into the deep pool of opportunity for a skilled bassist in the New Yorkscene, working for artists as diverse as bop baritonist Cecil Payne to avant-garde standard-bearer Charles Gayle. Besides his work in the Flail, he also does a weekly gig at the WestVillage’s Fat Cat Jazz Club with Ned Goold and plays in a noise-rock band called Gunnar; he also recorded an album of his own pop music under the nom-de-bass “Balk”. All in a day’s work.

It was while attending the New School for Jazz and Contemporary Music (founded 1986), that the members of the Flail first met and began working together in 2001. Trumpeter Dan Blankinship is fromRichmond,VA, and counts Wynton Marsalis and Lee Morgan as inspirations; he was classically-trained at the prestigious Peabody Conservatory before turning to jazz full-time. Tenor saxophonist Stephan Moutot moved toNew Yorkafter building a career in his nativeFrance. Pianist Brian Marsella hails fromPhiladelphia, which has produced countless jazz greats. Drummer Brian Zebroski was raised inPittsburghbefore training under masters like Billy Hart and Charlie Persip at New School; he’s also a member of the acclaimed Alex Skolnick Trio. (Hipster alert: he also played with Bonnie Tyler, of “Total Eclipse of the Heart” fame.)    

Over the years, the Flail has burnished their international appeal, starting inFrance. Moutot’s connections in his homeland’s music scene enabled him to open the door into one of the most passionate jazz markets in the world. Quoting their bio: “Over the course of several tours in France they have played to packed houses in Paris, Lyon, Grenoble, Renne, Ardeche, and Marseille; highlights include Jazz a Vienne (2002, 2004), the Marseille Festival du Jazz des Cinq Continents (2002, 2005), and the College d’Espagne at the Cite Universitaire Internationale de Paris (2009).” They’ve even played with rappers and b-boys in Villefontaine, recalling Max Roach’s work with Fab 5 Freddy and the New York City Breakers some 30 years ago. 2007 saw their debut in Madrid, where they hope to return this year.

This aspect of their aesthetic has evolved during the group’s decade together, dating back to the very onset of their output. Their first album, Live In France, was recorded during a concert in Grenoble (birthplace of Andre the Giant) in 2002; the second, Never Fear (2006), was recorded at Paris’ Acousti studios. Their self-titled third album was, like the newest one, recorded live at the venerable Smalls Jazz Club inNew York, which has hosted nearly every big name of the past 40 years at one time or another.

Much like the Village Vanguard, which is arguably the all-time greatest setting for jazz recording (with all due respect to the Columbia Records studios on 5th Street, and Rudy Van Gelder’s living room in Hackensack, NJ), the character of Smalls comes through in the sound; a skilled listener could probably discern the location just by listening.

Over time, the band has come to prefer recording live, as it better captures the immediacy of their sound, from the nuances of improvisation to crowd response and the ambient noises that, in proper amounts, adds a texture to the music that no studio can. “There’s a lot of clinking glasses,” notes Taylor with a laugh.

And other musicians agree: The Flail’s is just one among many jazz albums recorded there in just the last few years. It’s a brilliant business model that other venues for live music could utilize to bring in extra revenue and get their name around to new customers. (The Knitting Factory had great success using this model in the ‘90s, in the process helping undergird the scene as it exists today.) Among those who appear on albums released by the club: Cyrille Aimee, Spike Wilner, Omer Avital, Bruce Barth, Ben Wolfe, Ari Hoenig, Jimmy Greene, Ryan Kisor, Kevin Haynes, Ethan Iverson, Jason Linder. That’s just a drop in the bucket, but it’s a very well-documented drop.

With the new album already generating strong critical buzz in pre-release, and shows already booked in three countries 2011 is looking to be the Flail’s biggest and busiest yet. Their performance at the Jazz Festival comes at the start of a summer that will take them well outside their NYC base to other hotspots like Baltimore, Boston, Chicago, Philadelphia and WashingtonDC. They are also building toward their first West Coast tour, which runs from Los Angeles up to Vancouver via Portland, Seattle, San Francisco, etc. And, of course, they will be returning toEurope.

It was a special thrill for Taylor to bring his group down to his former hometown for last year’s Jazz Festival, where they were booked in the 2pm opening slot on Sunday. This time, expect a more central spot, where audiences can see one of the rising young jazz bands in the country at a key point in their musical development. The fact that they view our festival as being as important as all this other stuff speaks to the role it plays—and can continue to play—in the jazz world. Hopefully they will make a regular practice of appearing here.

“Revolution Girl Style Now: A Look at Kristin Noelle Hinga” (1997)

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“I’m going to say exactly what I want to say, I don’t care if it’s flowery or pretty….” A pretty girl with bright red lipstick, smoking, keeping track of how many cigarettes she’s had, not for any health reason, but simply because she likes to write things down. She goes through a notebook a month this way, and anyone who’s read her writing knows it’s worth it.

Kristin Noelle Hinga is on a couch in a now-defunct coffee house, sharing the secrets of her “thing,” which is the kind of all-encompassing cop-out term that exasperated hacks with too much irony in their bloodstream would apply to Hinga’s multimedia endeavors. Given Hinga’s disputatious nature and her propensity to let you know exactly what’s on her mind (if only all women were more like her, then maybe I wouldn’t have missed my deadline from stressing out over a girl), you’d be well advised to avoid all smarmy generalizations, because all generalizations are bad. A better perspective can be had of what she does by watching her do it, oh, say, November 11, when she will be doing her one-woman show, “Motion Pictures.” Another view can be taken on the 22nd, when she will be having a public opening of her artwork on St. Augustine’s Artwalk. And of course, you, the reader, having demonstrated your enthusiasm for fine literature by reading this, just have to go get her collection of poetry, Typewriter Ribbon.

In the end, it doesn’t really matter how one characterizes her work, because the resounding fact is that it’s good. She may be the only well-known writer in Jacksonvillethat no one ever really sees. Not that she’s reclusive; she’s merely busy, and she tries to keep herself as busy as possible. She’s the publisher, editor, and owner of Brown Booth Publishing, geographically based inSt. Augustine, though its real center is the brain of its 23 [?]-year-old creator. She started Brown Booth in an effort to control the ways in which her writing would be produced and presented to the masses. She’d always been influenced by writers who at least appeared to be self-contained, free of corporate polish and shine, like Anais Nin, Jim Carroll and Henry Rollins. She says that Sonic Youth guitarist Lee Ranaldo (who, by the way, will be performing at Beep Caffeine on Nov. 15 with bandmate Thurston Moore and veteran jazz drummer William Hooker) “is the reason” why she chose to do her own “thing.”

“He taught me that it’s not about the money,” she says of Renaldo. What it is about to her is changing other people’s perceptions. Or not. In fact, she’d rather that you did it yourself. She has founded her own literary/art movement called Sarcasm, which is based on her infamous Sarcasm Manifesto. “Sarcasm is not a movement of all the people together, it’s more each person on their own.”

Money Jungle Classic: “Infinite Justiss” (2001)

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Alan Justiss: the name brings forth a multitude of divergent opinion from as many different people as you ask, most of whom are probably right. He is a near-deity to some, a near-devil to others; an extreme man for extreme times whose personal habits and proclivities challenge the dainty drudgery of daily life. He is a major figure in the burgeoning local spoken-word scene, and could’ve been a national or international Celebrity Poet had he the stomach to shill his own work. I interviewed him behind the Czigan-Rummel gallery, downtown, during an ad hoc press junket for his reading at the Karpeles on October 6. Church bells and sirens outside. Looking into those small black pupils set into blue irises was like viewing a solar eclipse–much easier to find than people like Justiss, and more so everyday.

Alan Justiss is the product of an age of fresh post-war liberation, a time when the young and idealistic were more empowered to follow their muse, for better or worse, by the sudden realization that, with the introduction of nuclear weapons, “humanity” was a much more impermanent concept than in the days of single-shot muskets, bayonets and trench warfare. “I was born in Dayton, Ohio, 1943. At the age of four days old I moved to FL, grew up in Yukon . . . by the time I was six or seven I had read everything that Mark Twain had ever written, and from that point on I was always fascinated by stories and imagination, and the importance it could have on people’s solitude.” And what is the value of solitude? “Self-discovery. Because when you get around people, they don’t let you know anything about yourself but their own preconceived ideas.” His solitary nature is captured brilliantly in a recent painting by Mr. Jonathan Lux: coffee, cigarettes, a radio that seems to never stop and his manual typewriter.

He has four children–Christopher, Damon, Suzanne and Monet–produced during five marriages ended by his lust for that next poem. Each woman proposed to him–“if they think I’m worthwhile, I better tell them yes.” He attributes his uniform failure within the “family man” motif to his work, which long ago ceased being simply an obsession and became perhaps the raison d’etre we all need to get ourselves out of bed and into the sunlight each day. As for the ladies, well . . . maybe number six is out there, but Alan hasn’t been with a woman in 12 years, and “I Am Waiting,” he says. “I know what love is. I have a lot saved up.”

Alan did journalism for the Mayport Mirror and, later, the Jacksonville Journal in the mid-1960s. “Six weekends I spent at the Astor Hotel and the various fleabag places, talking with winos and people on social security–I had my typewriter and I was looking down on Bay street, Laura street, Forsyth street, Duval–that was where I found true life was, in these small enclaves of humanity.” He expressed no real desire to write prose anymore, unfortunately. The question of influences (a word that, in the context of journalism, comes off so blatantly fanboy I try not to use it while working) brings a flood of names spanning a glorious century of and for American literature: “From Mark Twain and O. Henry, it was Carl Sandburg, Jack London, and then Hemingway, Steinbeck, Henry Miller, the poets–Rimbaud, Verlaine, Baudelaire–and then onward through H.L. Mencken, John Fante, Charles Bukowski, Alan Justiss–a major influence on me. . . .” And why not? He knows his demographic.

Of them all, Bukowski (1920-1994; author of 50 books, my favorite being Shakespeare Never Did This) is probably his favorite, maybe because they met in 1973. The details depend on what source one goes to, but this is AJ’s story: “I had originally gone over to see his girlfriend, Linda King, and I’d just come back from San Francisco . . . Bukowski hid in the bathroom for about the first 30 minutes after I arrived. I’d come over to praise her work, and then I started talking about her boyfriend. Hank came lumbering out of the bathroom and realized that I was interested in his work also. We got thrown in the drunk tank; he wrote that he’d busted out all these panes, but what actually happened was I was razzing him. ‘Come on, old man, you didn’t duke it out with Hemingway.’

“He said ‘Yes, I did,’ and he rammed his fist through a small pane of glass in a French door. We were really fucked up, and I ran my left fist through eight panes of glass, which severed all kinds of things in my wrist [and caused a near-fatal case of gangrene]. Ah, what a fiasco it all became.” The end result is that Alan has the ironic distinction of being called a “drunken swine” by Charles Bukowski in the poems “We All Knew Him” and “With the Other Woman,” from 1981’s Dancing in the Tournefortia.

A unifying trait in the writing he loves is insistence, a confidence born of repetition. Young writers are invariably frustrated, and his advice to them hinges on the idea of detaching from one’s personal stake in their work. “Don’t try to write–write. Don’t be self-critical of yourself because you haven’t reached some perfection. Give yourself credit for the fact that you are vulnerable and that you do things in creation that perhaps have no value, but it is a constant rehearsal for the time that you’ll be able to dance across the page and people will be able to feel the wind in the words. So, discipline . . . discipline . . . discipline.”

The work available from Alan Justiss is hardly commensurate with what he’s done. Most of his work prior to 1990 is unavailable at present. He was in the Peeling Potatoes anthology, also Solidarity; he’s published chapbooks like Freedom At its Worst Angle bootlegs from readings and radio exist; but the thick volume I think is needed to really get a real sense of his art–which should include older stuff and analyses by colleagues like Nestor Gil, Jr. and Robert Eskew–remains uncompiled. That will change at some point, surely. He recorded You’ll Laugh in the Coming Years with Jay Cole and G. Jerome Jones in 2001, performed at the New School last year. (These and other items can be had in some form via Mr. Justiss.)

“I spent most of my life, from the age of seven, running away from home, and when I was finally able to con my way into the military at the age of 16, my parents gladly signed the papers for me to go in. I have since spent most of my life outside of Jacksonville, because there was always such a cultural devastation constantly occurring. Anytime something raised its head, it was put back down into the swamp. But when I turned 50, after my fifth divorce, I came to a conclusion: I knew that I was a writer, but I also came to a conclusion: this is my home town, and this is where I feel I should die. And that’s why I haven’t left this place in ten years. That’s the bottom line. This is where I’m going to die. This is where I will die . . . maybe. [laughs] Hell, I don’t know about that. I ain’t no prophet.” But by voicing it, he makes it so . . . maybe.

There is a saying: “Buy the ticket, take the ride,” and it’s a saying embodied–and emboldened–by the life of Alan Justiss. Justiss lives like a man who knows that compromise, like so much of what passes for “normal” in this abnormal world, is a scam, a short ticket to slow death that much be avoided whenever possible. A lesson worth learning, I think. The ride he’s taken has been interesting, if not always fun. The road he leaves behind him is cracked, mottled, laced with intermittent fires and congested with debris, screaming women, men stumbling through the smoke in dazed delirium, like the Autobahn if they never cleared the wreckage. Of course, his road is great fun to look at from the sky, if you can deal with it. Speed kills, indeed–but everything kills, eventually.

sheltonhull@gmail.com; September 21, 2001

 [Note: Alan Justiss died February 14, 2011]

Ed Austin interview transcript (2006)

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Interview Transcript: Ed Austin—Recorded February 13, 2006

Ed Austin was the 61st mayor of Jacksonville, Florida, but only the fourth to hold office since the city and county were officially consolidated in 1968. Hans Tanzler was mayor at the time (1967-79), followed by Jake Godbold (’79-‘87) and Tommy Hazouri. Austin won the Democratic primary of 1991, unseating incumbent Hazouri, and would be succeeded by John Delaney in 1995 and John Peyton in 2003. Austin later changed his affiliation to Republican, and is currently the last Democrat to occupy City Hall.

Even without that new emerald-green BMW with its “Go Jags” license plate, Ed Austin would be hard to miss. He’s approaching 80, but looks at least 15 years younger; this is mostly a testament toAustin’s commitment to good health and vigor in his golden years.Austinworks out almost every day, alternating from cardio to circuit-training at YMCAs inRiversideor Ponte Vedra. What really keeps him going, though, is his family. A father of three, Austin has nine grandchildren, five of whom live in the area.

Having lived in Avondale for 40 years, most of which time he was bound-in to his work at the Courthouse and City Hall, and after recovering from a bad car accident a decade ago, he now travels with a passion, spending more time out of the country than most Congressmen or Senators. His itinerary is the stuff of dreams:London,Paris,Venice, salmon-fishing inAlaska, white-water rafting along the Snake River.

SDH: What have you been up to since your days in City Hall?

EA: Well, that’s a long time ago. I’ve been around and covering some ground. I guess I stopped doing any kind of consulting work about four years ago; I’ve really fully retired, and fully enjoy it. I’ve had no problems being with filling up my day.

SDH: Do you live far from here?

EA: I live in a condo down onSt. Johns Avenue, by [the old] Cedar River.

SDH: Have you always been out there?

EA: No. My wife and I moved out there when all our kids got out of high school, went to college, and moved from a house into an easier-to-manage condo. We’d lived in a two-story house down the road [before that].

SDH: What makes this part of Jacksonville so special to you?

EA: Well, you know, I came intoJacksonville back in the ‘50s, over a half-century ago — well over, actually — and I moved into the Westside, and I’ve lived over in the Avondale/Riverside section since 1959. We’d gotten familiar with it, and we know where everything is, everything’s convenient, close-in. When I was in City Hall and the Courthouse, it was a short commute to be down there—ten minutes, no problem. And it’s still a nice neighborhood. I enjoy this area. When I moved, I told my wife I’d move anywhere she wanted, as long as it was closer to the Courthouse.

SDH: What’s fun for a guy like you?

EA: Now, well—I married a lovely lady about two years ago [Austin’s first wife died in an auto accident in which he was seriously injured in the 1990s], and we have a good relationship, we enjoy doing things together. We’ll do some traveling. We’ve had a couple trips toLondon,Paris, and a great trip toItaly last spring; did a whitewater rafting trip down theSnake River in July. And I fish when I can. I planned my trip this summer forAlaska, to fish for silver salmon, and I did a trip for a weekend up in centralCanada, for walleye. The traveling is fun—I enjoy that. We’ll be taking another trip shortly.

I read a lot. I get a lot of good magazines, or what I think are good magazines—

SDH: Like what?

EA: The American Enterprise, National Review, Weekly Standard. Mostly conservative, but they’re good. I get the Wall Street Journal every morning, because they deliver it to your door now. The first hour of my day is taken up with the newspapers.

I have friends. We get together. I have a group that meets at my condo on Wednesday mornings—faith-sharing. There’s about nine of us, and we’ve been doing that for ten years. It’s a good mental-heath exercise. Also, five of my nine grandchildren live here inJacksonville. They range in ages from eight to 15, and I’m going through the things I did as a parent, as a grandparent—going to basketball games and ballets and whatever you do. My son and I are heading out to the Keys; we’re going to take his boys down to the Islamorada for some fishing. My grandkids right now are just the absolute joy of my life; they light me up. I’ve got them all over the place.

SDH: How is running a family like running an organization like government?

EA: In any man’s life, it’s got to be the number-one priority. Family has got to be the number-one priority. I just had a rule: I had to be home for dinner. I upset a lot of nerves at dinner-time. You take the calls when they call in, and you keep your family up there as your top priority. But it’s not—no, you can’t run it like [business], because you’ve got your wife, and that changes the formula. It’s a partnership, not an executive position for the male, if it’s a good relationship.

SDH: As someone who played a part in helping make the city what it is–

EA: My real career was as a prosecutor. I was a State Attorney—

SDH: How long?

EA: I was State Attorney over 20 years, elected. And then I was only there [City Hall] for four years, but you get recognized more as the mayor, not what you really were. Before that, I was an assistant prosecutor, so I had about 25 years as a prosecutor, and that was what I really did, professionally, but I had that four years as mayor, and it was a great experience. This city—we woke it up a little.

We had a little self-esteem problem with this city, and I think we helped turn that around. We got to rebuilding some things, and building some new things. That’s what we set out to do, and I think we accomplished that.

We also fixed HUD over there—HUD was terrible, and we got to straighten it out and turn it around. That and creating the Children’s Commission, which I was real proud of. We had a good four years—you always brag about it, you never cut yourself down.

SDH: You’re held in generally high esteem by all the politicians I’ve talked to—

EA: Well, you’re very kind. I’ve worked hard and tried to be fair. You know, the key to this business is, whenever you’re in any office, is the quality of the people you surround yourself with. And I had such good people working with me—John Delaney, Rick Mullaney, Audrey Moran, John Jolly [sp?], Mike Weinstein—I could go on and on.

SDH: I’ve noticed that, in recent years, some of the top politicians around the country have been former prosecutors [for example, Rudy Giuliani and John Kerry; several are seeking governorships in 2006, including Charlie Crist in FL and, Eliot Spitzer in NY].

EA: You see them come out, they’re in administrative jobs, and it lends itself to staying in an administrative, executive-type of function. You have to make your own decisions over there, and it’s a good decision-making training ground, even for your assistant, because you’re making important decisions all the time. And usually there’s some notoriety and press involved with it, so you get your name recognition out, and it’s a logical step to run for something else. Some of them don’t make it; we’ve had some try, and shoot themselves in the foot with it. You can’t use the office to—I’ve never ran the State Attorney’s Office thinking I was going to use it to run for office—that was never in my mind. The best way to get promoted to another job is to do [the one you have] well and not worry about it.

SDH: Who was the best prosecutor you ever saw?

EA: Oh, I had so many good assistants. I must have had 350, 400 people down there in the State Attorney’s Office. I could make one friend, and lose 350!

SDH: Are there particular skills that come into play to be an effective prosecutor, as opposed to an effective defense attorney? Can the same person do both well?

EA: Yeah—well, I did. I was the first public defender in this community, back in ’63. I got appointed, and I was public defender for five years, and then the State Attorney job opened up, and I simply changed sides. I went from defending hundreds and hundreds of people to prosecuting thousands, so yeah, you can do both. It’s just a transition in state of mind. And this State Attorney’s office is supposed to be about administering justice, not just convicting; you’re running a system.

SDH: Some people say that criminal justice system doesn’t have the resources to do all the tasks it set out for itself. Is that true?

EA: It’s about like it’s always been. I don’t see any lesser emphasis on it. You go to the legislature every year, and they set priorities. I’ve never had any problem getting adequate funding, you always want more, but you do what you can, and if you organize it well and utilize your resources to make your people fully productive, you can do on the money. The funding seems to me to be fair, for both the defense and the State Attorney. You can always use more, but there has to be a limit. They split it up inTallahassee; they emphasize one thing and take it away from something else.

SDH: Who is your favorite mayor ofJacksonville, other than yourself?

EA: I really can’t name one. I was General Counsel for Hans Tanzler. Hans was our first consolidated mayor, and he was the perfect man for that job. I don’t know if “perfect” is the right word, but he was the best man for that job at that time. He did a masterful job. And, of course, I’m so close to John Delaney, who just did an outstanding job for the city. Now that doesn’t mean I don’t like and respect the others, but those two, I thought, really did very well for the city.

SDH: Is there anything aboutJacksonville, from a city government perspective, that makes it harder to run than other, similar, cities?

EA: No—it’s the exact opposite. [Before Consolidation], we had a small central city and big county area. When we consolidated it all into one, we created the most efficient form of city government there is, anywhere. So if you don’t run it properly, it’s your fault, and not the city’s fault. It is the best form of local government in theUnited States, so when you go in there you can’t complain that it’s a mish-mash. They got rid of a lot of the problems of—you know, you go down toPinellasCounty, and they’ve got 28 city governments with 28 mayors. Up here, we have the Beaches community, but we’ve have one government, fundamentally. The police functions, the fire functions, the water and sewer functions, the recreation functions, it’s all consolidated into one 841 square-mile area with one set of controls, and it’s just much more efficient.

SDH: That said, why is it that in the post-Consolidation years we haven’t really seen many people contending for statewide office from this part of the state?

EA: Well, I guess that’s cyclical. For a while there, we had President of the State Senate more than out share. We had Brantley and Jack Mathews; Fred Schultz was Speaker of the State House at about the same time as Mathews was President of the Senate. Jim King was President of the Senate. I suspect that if you check that, over a representative period of 30-40 years, you’ll see we get our fair share.

SDH: Burns was Governor, right?

EA: Yeah, Haydon Burns was our last governor from here. That was in the 1960s. [Burns was mayor 1949-65, followed by Lou Ritter, 1965-67.] We’ve had some run. Jack Mathews tried it, Hans tried it.

SDH: Have you ever had to get snappy with people, in the course of doing business?

EA: Oh sure. You have people who will try to get you to do the wrong thing; your friends will try to get you to do the wrong thing. The most difficult part of the job is saying no, but if you don’t say no to people who want you to violate your oath of taking care of people’s affairs, you’ve failed. You’ve got to be able to stand up, even to your friends, and say “This is not the way we do it; we’re going to do it in the way that’s the best interests of the public.” You stay that course, and they understand.

SDH: I sometimes wonder how discipline issues work out in a city, like this, where it seems like everyone knows each other—

EA: I think you get a better government, on the whole. I think the further you get away from home, you get more of the good ol’ politicking and the favoritism. I think you get better hands-on decision-making at the local level. I think it’s better than at the state level, and light-years better than at the national level, because at the national level they’re elected to represent the whole country. It’s not healthy, the way we run the Congress, with everyone fighting over one little piece instead of looking at the best interests of the whole country. I don’t know why they can’t get that, but they don’t seem to get it.

SDH: It seems like a whole different political culture now.

EA: Oh yeah, and it’s not good for the country. But at the city level, you’re running a municipal corporation. It’s really more like running a business. It’s not a business, it’s a government, but the municipal corporation is really doing a lot of the services—water/sewer, roads, parks and playgrounds. You take some tax money and you get the best of those things that you can give them for that tax money. Now, there’s not much excuse for being politicized all the time. The closer you are to down here, the less you are being politicized—not that it’s free of politics, obviously not.

SDH: We’ve had certain situations in recent years, which I won’t get into, that raise the question of, What is the proper role of local government, or state government, in regard to the federal government? How much should ordinary citizens expect of government?

EA: The balance between the states and the power of the federal government has been an amazing concern since our Founding Fathers put it all together. That’s Madison and Jefferson and Newt Gingrich and Harry Reid. It’s an ever-running thing that stays under reassessment. The Supreme Court is taking some cases recently about that balance, when the federal government starts doing things that are normally left to the states.

I don’t think that’s a real problem at the municipal level. We have some revenue-sharing, which is helpful, from the state down to the city, but I never saw any problems in the relationship of the city to the state. We sometimes think they should take care of an area they want us to take care of, but it isn’t a big problem.

The fight, the political science things is how much the federal people do in relation to how much the state government can do—I’ll just use abortion as an example, where it used to be that the states controlled that, and then the Supreme Court handed down Roe v. Wade, and that’s a running debate, who should have those powers. That’s philosophical and way up there—it’s more than philosophical, it’s election stuff.

SDH: There will probably be more openings soon, unfortunately.

EA: Well, I don’t know who’ll gets it, but obviously when they start to get 85 or so, I know about that. I know about age!

SDH: How old are you?

EA: Almost 80. I’ll be 80 in July. If you don’t fight it, it’s not a problem. My senior status has been a joy. I am not going to fight it. I work out at the YMCA either inRiverside, or down in Ponte Vedra, wherever I happen to be. My wife has a place out inNeptuneBeach, and I kept my condo, so we live in-town some and out at the beach some. I work out 20 times a month-plus, to keep myself in fairly good shape.

SDH: What’s your regimen like?

EA: I’ll walk one day for about 45 minutes—warm up, walk for about 30 minutes at the pace I want, cool down. The next day I do about 18 of those machines, Cybex equipment, with light weights and high repetitions. I do it every other day—I don’t do the same thing every day, it makes you decay. You have to take a day off every once in a while, to let your body heal, rest. You can’t be a fanatic about it. You have to be sensible.

SDH: What’s your diet like?

EA: I enjoy good food. My wife and I eat out a lot. My routine at breakfast is I just do the same thing almost every morning, pick up lunch. I had a melon and a muffin this morning; that’s about five days a week with me.

SDH: When important people are in town, where do you take them? Do you have a favorite restaurant?

EA: Oh yes, there are some very good restaurants. There’s a place out at the beach called Medure’s; we like Giovanni’s,Sterling’s out in Avondale. I remember 30 years ago, when you couldn’t find a good restaurant in Jacksonville, but now we’ve got two Ruth’s Chris, which I like very much.

SDH: What is the first thing a visitor or a new resident should know aboutJacksonville?

EA: Well, if they’re a family, [just] to put their children in quality schools. To make sure their kids are getting a quality education, however they have to do it. Parents have got to fight that system. That’s always the first thing. Then, I it’s just a question of learning where the action is—how the government functions, the different departments.

SDH: Okay, word association: Charlie Bennett?

EA: Integrity.

SDH: John Delaney?

EA: Effective. Capable. Compassionate. Of course, I knew John better than I knew Charlie Bennett. John worked with me as prosecutors for ten years before we worked together as mayors. I had him right out of law school; he’s an outstanding man. He’s a great President, out there at UNF [University of NorthFlorida].

SDH: Have you been out there since he’s been president?

EA: Oh yeah. I went out and had lunch with John last week. He’s doing a great job, and he’ll grow that university, do some of that “upgrading” we talked about earlier.

SDH: Do you guys still talk about political stuff, or is it more “gentlemen talk”?

EA: Not really a whole lot. You know, you second-guess other people—it’s fun. They’re friends—you don’t do anything about it, you just talk about it. But I’m watching one or two coming along. I’ll still have them out to my condo, do some things with the people I like when they run. I’m still involved, some. You know, a lot of senior citizens vote. I have some breakfast groups that I go to, and sometimes politicians will stop in, so you stay abreast of it. You complain some—everybody does it, but we don’t beat anybody up—not bad.

SDH: What should Jacksonville look for as it moves ahead in the next few years, next few decades? What’s the step?

EA: I think we’re poised. I think we’re situated very, very well, with the way Delaney dedicated resources to transportation, the river, good airport, beaches. What we have to do is manage it so that it will grow in a way that enhances our quality of life, rather than making it miserable because it’s too thickly populated. I think to grow soundly, which we are doing—I don’t think there’s any city poised to grow better than we are. And that consolidated government is a big piece of it. In a light wind, I could pass an ordinance in an afternoon if I needed to.

I think the piece that we need to work on is education—keep on trying to upgrade to get graduate schools so we can get research in here, teaching and training. You need to work the sciences, the math, and you have to have the research engines to attract the right kind of businesses and the right kind of industry. I’d say that the education piece, taking care of the workforce and upgrading the workforce, is the most critical piece of an otherwise fantastic thing, a desirable place to build and grow in.

You’ve got enough there to write a book.

SDH: I know—maybe I will, as an educational tool.

EA: Well, we can get into it. Old geezers like me can give you a lot of history. Even if we didn’t do much, we can tell you what happened. You know, the reason we passed Consolidation is we had such a corrupt government. We had so many public officials indicted that people got into the frame of mind to throw everybody out, in the form of a new government. It really helped pass it; I think it would have passed anyway, but that was a big piece. It really got corrupt in the 1950s and ‘60s.

SDH: What factors made that corruption happen?

EA: It was out of control. It was a machine-political thing. The same people kept getting reelected, and they knew that they’d get reelected. You had the core city, which was one government, the county was another government, and they stayed in power. You know that story: absolute power corrupts absolutely, and they got corrupt, and we prosecuted them. I didn’t indict them; I inherited most of these cases.

SDH: In your travels, do you ever see things that remind you of here?

EA: Yeah. You look at a city differently when you’ve been a mayor. You assess it, you size it up when you go into it. You wonder what their problems are; sometimes you can tell. I think you can tell a lot by how they maintain public buildings, how they maintain the waters and stuff. You can almost tell how a city feels about itself by how its public sector assets are maintained.

SDH: What advice would you give to future mayors?

EA: I think you have to look at what you have. You have to assess what you’ve got, and then make a decision on where you want to take it in the time you have. “Where do you think the people want it to go,” might be a better way to say it. And then you have to select some goals to get it there. You can’t be all over the place; you can’t do all things at all times. You pick the things that you really want to work on, and you concentrate on them to make it happen. The key to all of that is persistence: when you see what you really need in your city, you just stay with it and get it done, even though it’s sometimes difficult, sometimes even unpleasant. But if you know that’s where you need to go, you stay with it. Always try to do it for the right reasons—you always know what’s right. It might be a close call, but you always know what’s right.

[Note: Ed Austin died on April 23, 2011.]

sheltonhull@gmail.com

“More Coming. Stay Tuned: In Search of Sherman Skolnick” (2002)

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[Sherman Skolnick died quietly in 2006, but his Skolnicks Report website remains as the single greatest repository of what the marks call “conspiracy theory” yet compiled online. A fellowship in Chicago in 2002 offered a unique opportunity to write about a bunch of “third-rail” concepts and personalities while getting paid for it. But I ran across the text while looking for something else today, and so I figured I’d post it now for posterity. What follows is the Skolnick thing, followed by short bits of variable relevance. Of course, none of it never found its way into print anywhere, and was maybe not intended to.]

I’ve never been fond of airplanes. Their appeal defies my understanding. Whenever I fly, my sinuses get congested, my ears get stuffy and the pressure is painful. The nasty specter of plane crashes only reinforces my fear of flying, and this was true long before last fall. Many people have stopped flying because of 9/11—the turbulent drop of airline revenues makes that clear—but, for my money, no one has done more to keep me on the ground that Sherman Skolnick. Almost all of the death that befalls the noted figures in his body of work is the result of plane crashes, some of which happen in Chicago. I was actually half-expecting to die on the plane coming up here, just because of whom I was coming here to meet. (Imagine dying en route to interview someone who would have stiffed me had I survived—that would really suck!)

Just as the most reactionary and militaristic elements of societies around the world have made great strides in credibility because of the War (according to Chomsky, who holds that model true for all wars), so too have others within the old political spectrum, which seems now completely artificial. No one qualifies more, perhaps, to be considered the epitome of this reconfiguration than Sherman H. Skolnick of Chicago, who’s been patrolling the most remote fringes of acceptable opinion since before Osama bin Laden had facial hair. I wouldn’t vouch for anything he’s written (or anyone else’s, for that matter, but my own), but he seems not to care what anyone thinks of his work. The work is its own reward. Something drives Skolnick to almost revel in his persona non grata status among even the most extreme members of the press. What that something is remains unidentified because he won’t consent to be interviewed, being too busy detailing “The Overthrow of the American Republic” to handle individual requests.

Skolnick describes himself as simply a “reporter.” Reporter of what, exactly? This is where things become complicated, which suits a man like him just fine, complication being his millieu. Whereas most reporters prefer to take an otherwise complex and convoluted combination of events and reduce them to the simplest possible ideas, Skolnick tends to move in the opposite direction. He starts with stories whose essential “truth” has allegedly already been established by the establishment press and builds from there, constructing complex lattice-works of unlikely associations between purported political rivals. The America of Skolnick’s conception is a minefield of supposition, and nothing is what it’s said to be by the “liars and whores” of the “oil-soaked, spy-ridden monopoly press.”

Skolnick has lived his entire life in Chicago, in the home his parents bought at 9800 South Oglesby Avenue. After being stricken with polio as a boy, his parents appealed to then-President Franklin D. Roosevelt (who also suffered from the disease), resulting in his direct intervention to place Skolnick in an experimental program that he credits with his survival. One could speculate as to how much assistance FDR would have provided if he’d been able to see into the future, where Skolnick cites FDR’s abolition of the gold standard as a major episode in the establishment of our present financial structure, based on floating exchange-rates resulting from the demise of Bretton Woods, a system of fixed rates that Chomsky and LaRouche have denoted as a key aspect of post-war economic stability and “real” growth worldwide.

Skolnick founded the Citizens’ Committee to Clean Up the Courts in 1963. He’s hosted the show “Broadsides,” which airs on Chicago channel 21, since 1995. The fact that it’s a cable access show is hardly surprising, given the nature of its content, but he claims a viewership as high as 400,000 people, not counting those who watch clips on the internet, clips with names like “Bankruptcy Court Rackets,” “Bush Fraud and Bin Laden,” “Corruption, Chicago to the White House” and “Russian Mysteries.” His hotline—773-731-1100—has been up since 1971. With the website, the show and the hotline, one could say that Skolnick is a multimedia mini-mogul, a renaissance man of the pre-apocalyptic age, an Ironside of sorts for those of us who miss Raymond Burr. Sadly, one of the funniest men in American media has no national contract.

 “Mr. Skolnick is full of righteous indignation and careless with his charges. Most often what he says has been ignored over the years,” wrote former Clinton civil attorney Robert Bennett in a 2001 review of Kenneth Manaster’s Illinois Justice: The Scandal of 1969 and the Rise of John Paul Stevens, which chronicles not only the case that helped propel a then-unknown Stevens to the Us Supreme Court within seven years, but also the start of Skolnick’s public career.

Skolnick filed a motion in alleging that members of the state Supreme Court had traded the dismissal of an indictment against a former Department of Revenue director for Illinois, Theodore J. Isaacs, for stock in a bank connected to Isaacs. Skolnick’s site spins it thus: “Facing jail and on appeal to their court, the banker, the, Theodore J. Isaacs, won his criminal appeal by bribing most of the high court judges with stock in his nearby bank.” Having failed to disclose his sources, he was imprisoned for contempt of court, and “The imprisoning of Skolnick touched off a public commotion and the chief justice and an associate justice of the high court resigned . . . a third accused high court judge suddenly died in the ruckus and Skolnick was vindicated.” Skolnick’ proclaims the resulting probe “the biggest judicial bribery scandal in US history.” Bennett writes that “The commission was to complete its investigation and report in about six weeks, and, incredibly, it did so. The report found that two Justices of the court had improperly engaged in conduct carrying the appearance of impropriety,” though adding that “It was more clearly hubris than venality that brought them down.” It was clearly more Skolnick than anything, he and his gift for finessing minutia.

Skolnick later accused former Illinois governor Otto Kerner, Jr. (at that point a federal appeals judge based in Chicago) of having taken bribes from the same bank; Kerner, along with Isaacs, was later convicted, “the highest level sitting federal judge sent to prison in U.S. history.” On these occasions the work of Skolnick was validated by “the process”—he claims partial credit for the 20 judges and 40 lawyers who were jailed for bribery between 1983 and 1993. But his writings pertaining to the national and international scene are what have earned him a place in the heart of those who intuit great and lethal chicanery on the highest levels of power.

On those rare occasions when he’s mentioned at all, Sherman Skolnick’s name is usually lumped in with those of other notables in the “conspiracy theory” scene. A Montreal Gazette article from July of 1995, “A Long List of Conspiracy Feeders,” places Skolnick atop a list that also includes Richard Mellon Scaife, Jerry Falwell, Lyndon LaRouche, several British tabloid reporters and the American Spectator, all linked by their disdain for Bill Clinton. Most of these people, given their nature, don’t trust anyone, including each other, and rightfully resist depiction as part of any group, especially one that is by the standard definition irrelevant to “real” news.

The concept of “conspiracy theory” is rooted in the operative norms of traditional media on both ends of the spectrum. Professional journalists trade on their own credibility as individuals and institutions; they must be careful not to report anything as fact that can’t be verified as such, especially in regard to politics. For a given proposition to be presumed true, the proof of its truth must exist outside the reporter, who must find and disseminate that proof to justify the story. The cost of doing otherwise can often be the ruination of a career. But sometimes the needed proof does not exist—maybe it was obscured deliberately to conceal the truth, or maybe it never existed at all. Notions, concepts and theories that cannot be proven explicitly through documentation of some form or another are more or less off-limits in the mainstream press, as well as most of the alternative press. Even a paid pundit (opinion-giver) tries to avoid giving the impression that he is a “crackpot,” an amateur, a liar or otherwise biased against the reality of a given situation. That sort of thing does not work—not for long, anyway. The fringes of America’s intellectual scene are densely populated with people who have exposed their ideological business in a way that could not be undone when the inevitable “blowback” occurred, and now they go unrecognized, unquoted and unengaged by serious people.

September 11 shifted the paradigm to the extent that we are now in the grip of events that went largely unforeseen—or at least unreported—before that day. Although the rise of “Islamic fundamentalism” was easily forecast, given the various fatwas and open declarations of jihad of recent years, the idea that such tendencies in the relatively obscure Arabic world would lead holistically to a massive terrorist strike in the broadly daylit skies of a major American city was something that many Americans first gave thought to on “Black Tuesday.” The writers whose works served to illuminate the dynamics of our new war were suddenly prescient; the truth of their assertions mattered less at first than the existence of any information pertaining to “the new reality.”

Using the phrase “conspiracy theory” in Skolnick’s presence, especially in relation to him, evokes a reaction chock-full of righteous indignation. He reacts as if called, say, a “self-hating Jew,” which he has because of his stance in opposition to Israel military policy. (So, too has Chomsky—both septuagenarian Jews place the Oslo process, Yitzhak Rabin’s subsequent assassination and the second Intifada in the context of a steady rightward drift in Israeli policy for most of its existence, accelerated in the ‘90s leading to the reign of Ariel Sharon. More about that later.) I don’t blame him; the phrase is a maximum slur. Its application to any journalist all but disqualifies him from respectability.

The ideological clique organized around the Z Magazine website (www.zmag.org) is about as close as one gets to a central repository of leftist thought in America’s intellectual scene. Their energies are typically spent wholly on the US government and its various policy failures. Recently, however, these arch-leftists (who are themselves often counted among conspiracists) have put significant time into their attempts at dispelling the myths propagated in the conspiracy scene, with a great bit of venom reserved for Skolnick specifically in writings that have since been removed from the site. ZNet founders Michael Albert and Steven Shalom (who tout their socialist leanings) co-authored a paper that seeks to make clear the distinction between “conspiracy theorists” like Skolnick and “institutional theorists” like themselves.

“The difference is between . . . trying to understand some broad claim about society by understanding its institutional dynamics and . . . trying to understand some singular event by understanding the activities of the direct actors in it,” they write in “Conspiracies Or Institutions: 9-11 and Beyond.” (http://www.zmag.org/content/Instructionals/shalalbcon.cfm.)

While conceding early on that “Any particular conspiracy theory may or may not be true,” they add that “a conspiracy theorist is not someone who simply accepts the truth of some specific conspiracies. Rather, a conspiracy theorist is someone with a certain general methodological approach and set of priorities,” as opposed to the institutionalist, for whom “the behavior of rogue elements is far less important than the ways in which the defining political, social, and economic forms lead to particular behaviors.”

While the majority of the text is devoted to debunking some of the numerous theories of 9/11, the authors pause for reflection. Broader points are made concerning the psychological harm posed by indulging in conspiracism in times, such as these, when the full engagement of citizens would be preferred: “For social activists, it makes sense to develop institutional theories because they uncover lasting features with ubiquitous recurring implications. . . . With conspiracy theories, regardless of the type of conspiracy identified, the balance of attention is inverted. The specific deceptive actions of rogue or at least greatly duplicitous and deceptive actors are highlighted.”

The piece concludes by outlining six ways in which conspiracy theories undermine the left’s political goals: 1) They “often lead Leftists to establish connections to or tolerate alliances with right-wing crazies.” 2) They “often lead to the foolish glorification of people who were supposedly not in on the conspiracy, but whom Leftists ought not to be glorifying.” 3) They “lead us to counterproductive and wrong priorities.” 4) They “cause the Left not to be taken seriously.” 5) “Not only is it a way to rationalize horrible injustices and suffering without calling basic institutions into account, it is part and parcel of thinking that injustice is an inevitable part of the human equation.” [Isn’t it?] 6) “Finally, conspiracy theories lead to bizarre judgments of who one’s enemies are. . . . Such confusions don’t help the struggle for social justice.”

Skolnick paints his home, Chicago, as being almost the epicenter of high-level dirty tricks in post-war American politics, more so than even what could be called “conventional wisdom.” Chicago was the city that swung the balance of the 1960 Presidential election to Jack Kennedy and was also, according to Skolnick, slated to be the original site of Kennedy’s murder, which he claims was “a public execution” perpetrated using “military-style triangulation fire.” Who did it? Although the larger forces at work are (like everything) a matter of conjecture—maybe the CIA/FBI, maybe the Vatican, maybe the mafia—he seems pretty sure that the fatal shooter was future Louisiana congressman Hale Boggs, father of ABC’s Cokie Roberts. (Boggs later died in—yes!—a plane crash in Alaska.) He counts Dan Rather, who was near the manhole cover that Boggs fired from, and Robert MacNeil, formerly of the NacNeil/Lehrer report, who was in the Texas Schoolbook Depository, among those journalists whose silence on the matter was rewarded with high-level media positions.

(While we’re on the subject of media, here’s Skolnick’s take on how one obtains such a position in the traditional way: “In most of the bigger markets, such as Chicago, New York, and Los Angeles, you have to buy the job through the local, handful of celebrity lawyers. The terms are as follows: in a three-year contract, paying a big buck, you have to agree to pay under the table, a minimum of 15 per cent, in front, in cash, of the total amount you would receive in the first year of the contract. Of that, it is to be divided up as follows: one third to the union business agent, one third to the celebrity lawyer, and one third to the news director or station manager.” Dark-skinned blacks and ugly women need not apply.)

Like LaRouche, Skolnick believes that the primary division among domestic elites is loyalty: their framework is based on degree of loyalty to the United States, as opposed to the British monarchy, which they feel is secretly trying to undermine American sovereignty as part of a takeover plot. Whereas Skolnick tars the Bushes as agents of British rule (claiming that George HW Bush shares a joint account with the Queen at her “personal” bank, Earl’s Courtts), LaRouche considers them a crucial defense against more sinister foes, including Jimmy Carter, John McCain and Joe Lieberman (whom LaRouche claims was put in his position by William Buckley and the Bronfman “crime” family, also responsible for McCain’s father’s fortune).

In lieu of direct quotes, I quote his website. Having always regarded politics as analogous to professional wrestling (what with its “fake” rivalries and sycophantic press corps), I’m almost unfairly well-disposed to deal with his work, which requires a total suspension of belief in order to not be simply horrified at the nefarious doings detailed on Skolnick’s Report. Once that belief is properly suspended (alcohol works), the site as a whole emerges as perhaps the finest piece of political satire in modern history. Of course, if even a fifth of this stuff is true then—well, then the rest is probably true, too.

Among the “highlights”:

*His 1991 article in Spotlight magazine (which the ADL considers a front for anti-Semitic interests) claimed that the Bank of Commerce and Credit International (BCCI) had bribed over one-fourth of the US Congress, though Skolnick’s list of 108 congressmen and 28 senators has never seen the light of day.

* He suggests that the death of former mayor Richard J. Daley on December 20, 1976 (of “a purported ‘heart attack’”) may have been caused by a swine flu shot given the day before, as part of a longstanding political feud between Daley and local rival “Big Jim Thompson.”

*He charges that such presumed bastions of liberalism as The Nation, NPR, PBS and Pacifica radio are fronts for the CIA and affiliated parties.

* Former President Bill Clinton is (by way of former Arkansas governor Winthrop Rockefeller) an illegitimate great-grandson of John D. Rockefeller. His sexual appetites make him ideal for high office since he can be reliably blackmailed to stay in line. His mentor is George HW Bush, “head of the secret political police” (a reference to Bush’s stint as CIA director), who used the Perot factor to cover his desire to lose the 1992 election to his “protégé,” who kept the seat of symbolic power warm for Bush Jr. Also, Bill and Hillary Clinton were both trained from their youth to work for the CIA, before they ever met each other; Bill is sterile and Chelsea’s father is Webster Hubbell, who chose prison over betrayal of a man who didn’t issue him a pardon until his last week in office.

*His book, The Secret History of Airplane Sabotage, has long been out of print—in fact, it never was in print—because his publisher was owned by the Rockefellers, who stopped it at the presses. It “detailed” the deaths of a planeload of minor players in the Watergate scandal, including E. Howard Hunt’s wife Dorothy, who had allegedly just finished successfully blackmailing then-President Nixon with knowledge of his “complicity” in the JFK assassination. A United Air Lines plane carrying Hunt and 11 others crashed during landing in Chicago in December, 1972. Skolnick obtained 1,300 pages of documents and photos from the National Transportation Safety Board, which he claimed in a later lawsuit provided proof of sabotage. He testified at the NTSB’s hearing, suggesting that the investigators disqualify themselves because of their connection to UAL’s “owners,” the Rockefellers, who also “owned” the major news outlets through their “ownership” of the media’s parent companies. (Such is the Rockefeller genius, what makes their name near-Divine in the conspiracy scene, I guess: having shifted their holdings from oil to banking, they now probably do have some tangential ownership stake in almost every major, publicly-traded company.)

*He’s also written of a “secret plot to assassinate Vice-President Gore” that occurred in the skies over Chicago in 1999, when three commercial airliners were steered into the flight path of Air Force Two; he blames “the Bush crime family,” which was trying to neutralize potential Democratic competition in the 2000 race, including JFK, Jr., whose death Skolnick attributes to a bomb placed in the tail section of his Piper Saratoga aircraft.

Given Skolnick’s tendency to define himself as virtually the lone voice of reason in American media, the only one untainted by nefarious connections to the mob or the Bilderbergs or the Rothschilds or the Mossad or the military-industrial complex (what Chomsky calls “the Pentagon system”), his reluctance to engage in public discourse is a little confusing. The dialogues on “Broadsides” are just as one-sided as those on Fox News, the guests every bit as sketchy in terms of reputation and affiliation as those on “Nightline” or “Meet the Press.” Like those he criticizes, Skolnick fancies himself omniscient, so far ahead of the pack that the “proof” of his theories often comes from his own work. Only LaRouche is that openly referential of and reverential to himself; as opposed to Chomsky’s dense, Times-heavy footnotes, their “facts” pass without even the vaguest reinforcement. I’m willing to accept that as necessary to function efficiently, given his utterly unconventional worldview; after all, everyone in the media is corrupt, or corrupted—even me, apparently, according to Skolnick:

“I HONESTLY DO NOT KNOW WHAT YOU ARE GETTING AT OR WHAT [IT] IS THAT YOU ARE TRYING TO INTERVIEW ME ABOUT. Your insults, however, are typical of the monopoly press fakers. Are you hoping to work among them?”

His use of capitalization in his response to my third e-mail (the first two went unanswered, until I baited him with thanks for “exposing the truth about the weird and wacky world of conspiracy theories”) is intriguing because the capitalized portion is blatantly borrowed from the rhetorical tool-kit of Defense secretary Rumsfeld, who often responds to questions he doesn’t like by feigning obliviousness. This fact has been widely reported on, and Skolnick would know that. He should know my intentions quite well, because we spoke for over an hour prior to my leaving Florida. I told him what I was doing and why I was doing it, and he pledged his full cooperation, albeit reluctantly since he believes the Chicago Reader (which co-sponsored my trip) was and is funded by mafia pornography revenue, and thus is not predisposed to covering a vigorous anti-mob crusader like himself. All this was forgotten once I arrived and called his office—completely forgotten. It soon became apparent that, like too many women I’ve known, being respectful and honest were not in my interests as a journalist, and that insults were needed.

A common feature of Skolnick’s work is his designation of certain parties as being operatives for Mossad, Israel’s version of the CIA. Monica Lewinsky and Chandra Levy were Mossad agents, in his view, part of a scheme to compromise members of the American political hierarchy who were known for their sexual proclivities, like Bill Clinton, who “turned” Lewinsky into a double agent in charge of slurping her way into the Pentagon, where some 24 military brass were planning a coup before they were systematically snuffed through a series of weird suicides and plane crashes. (In the view of Skolnick, no one dies by accident in Washington.) Clinton’s former Chief of Staff, current Illinois congressional candidate Rahm Emanuel, is allegedly the North American Bureau Chief for Mossad a charge denied by Emanuel’s press secretary, Becky Carroll, who had no real comment but then added: “Mr. Emanuel is too busy running a campaign for Congress to be working for the Mossad at this time.” (Italics mine.) It would make sense if he refused my requests for time if he wanted to conceal his own status as a Mossad operative, so my next question was obvious, since he clearly feels it’s something that public officials should have to answer for: “Are you now, or have you ever been, Mossad?”

It worked: “OVER THE LAST FORTY YEARS, I have been interviewed repeatedly by mass media types. I found out, that to please their editors and continue working, they simply wanted to somehow bad-mouth me. I am weary of personal interviews. My philosophy is not the point. Judge by the work of our group, of which I am the founder and head. My policy is to NOT grant anymore [sic] personal interviews. My background is on my website. Click on my name in the upper left hand corner. IF YOU HAVE A SPECIFIC QUESTION about one or more of my stories, I would make the time to answer on the phone. NO I AM NOT WITH MOSSAD. Depending on my day to day circumstances, YES I AM SOMETIMES ABRUPT. Best, Skolnick.”

This was something of a breakthrough. His comments were downright mellifluous compared to previous statements, and had me thinking that maybe he would cooperate. But subsequent e-mails went sans response, and my prospects for publication foundered for lack of a central character. The idea of my summer’s work being consigned to the “noble but failed experiment” pile of an editor’s desk made me angry in a way familiar to disgruntled craftsmen the world over. It was like watching two of my queries disintegrate in the collapsing World Trade Center. My highly-developed sense of self-importance leads me to consider all elements blocking my professional advancement to be at least tacitly connected to the terrorist plot, since I find my work so vital to the long-term health of my country. Thus Skolnick, by denying me the opportunity to make money writing about the reconfiguration of the American intellectual scene, had cast his lot with the enemies of freedom and fundamentalists of all stripes. Building on the President’s admonition that “you’re either with us [the American government] or against us,” my next query was intended to further “clarify” the issue of his connections: Is Skolnick’s “Committee” a front for Al-Qaeda?

“IS THAT THE WORST COMMENT YOU CAN FIND AMONG THE “LIARS AND WHORES OF THE PRESS”? Most that will comment at all simply hate me for exposing several of them over the last four decades as linked to the secret political police, FBI, CIA, NSA, etc. Why bother me with THEIR opinions about me and my associates and our work? Some media assholes claim I am with ‘The Mossad.’ Others, that you talk to, say I am with the Arabs. I do not promise to answer any more of your damned fool questions. If you have something reasonable and sensible to ask, I may respond. Otherwise, when I see your e-mail I may just quickly click DELETE.”

That was the end of our correspondence. Later attempts to contact him failed. I was briefly tempted to stalk the guy—in retrospect, that’s probably what I should have done. It would have been fun to see just how obnoxious I could be in my pursuit of a septuagenarian cripple. But my heart just wasn’t in it.

American intellectual life for most of the past century has been based on what could be called the “spectrum of belief.” This spectrum defines not only the way in which the majority of intellectuals view each other but, significantly, how they view themselves in relation to the rest of the market. What has happened over the past year is nothing less than a reconfiguration of the national psyche, a new embracing of ideas that were once met with reflexive rejection. Many of these ideas are bizarre, outrageous, wrong, but they’re all much more open to consideration now than before the “mainstream” consensus of our country’s invulnerability was challenged as it was and is. Had someone predicted September 11 in advance (and perhaps someone did), they would have been gently ignored, like an Alzheimer’s patient, a supermarket tabloid or a conspiracy theorist. Such people may have spent some time in small rooms with big men wearing badges, just for the sake of clarity. The hip nature of the new paranoia that’s swept the states has led to the slight but imposing empowerment of people whose bodies of work once existed entirely off the radar of acceptable American mainstream ideas. But now, having seen that the “impossible” is very much possible, people are not so quick to dismiss the more fanciful areas of the intellectual arena. If it’s true that these are such strange times, then I guess it’s good that we have such strange people to explain it all to us. Unlike a lot of people, Sherman Skolnick’s had a pretty good year.

Intuition and Digression:  

The events of September 11, 2001 are ubiquitous in American history. They stand alone, predominant in the memories of everyone who hasn’t blocked out thoughts of it. It will likely be a long time, if ever again, before anything else occurs that takes its place as the single defining moment of the modern age, an age still very much in flux and wanting for definition, and one shudders to think of what the next big shock could be. The old phrase, “Accentuate the positive,” registers somewhere between a bad joke and a counter-productive delusion in wartime. The shock, grief and paranoia that has followed what was, in effect, a sucker-punch by the foes of freedom, has given way to a new and timely fascination with humanity’s negative potential. (This is probably true in many areas of the world—indeed the gestation of our new enemies can be seen as an expression of that—but especially in America, for whom such thoughts were rare.) Energy once spent dreaming of what can be done for the species rather than to it, those fantasies of innovation as solo and mass entities, have been rudely rebuked and replaced by speculation about what kind of horrible fate awaits the United States and other combatants in the new war—which is not a new war, according to Noam Chomsky of MIT, as well as Christopher Hitchens of Washington, DC, Lyndon LaRouche of Leesburg, VA, Sherman Skolnick of Chicago and Gore Vidal of Ravello, Italy, who all make this point in separate forums in unique ways, and who would never dream of being connected to anyone else I’ve just listed alongside them. And this, I think, is the problem when it comes to dissent in the 21st century: the advocates of state/corporate power in America pretty much have their shit together, but the citizens are generally content with being so fragmented that effective coalitions have virtually no chance of coalescing. The main instrument of this fragmentation in the past century has been the “left-center-right” spectrum, which forced everyone into convenient genre-types that made crossover difficult because of the spectrum’s intractability.

“LaRouche: the Nut that Cracks the Others”

As a boy in the south, I watched folks eat pecans. I did so rarely myself, due to allergies, but I was intrigued by how they were eaten. In the absence of a nutcracker available (often the case, since no one just carries nutcrackers around with them), the solution is to hold two pecans in your hand and squeeze. The denser nut would smash the softer one, and the process was repeated until you’d had your fill. Sometimes a single nut revealed itself to be of such profound density that it survived multiple rounds of cracking. I find this a metaphor of great utility in writing about Lyndon LaRouche of Leesburg, VA. I thought he was dead until I saw a couple of his “Crisis Bulletins” at the University of Chicago campus, at which point I was taken in by his persistence in existing. The very fact that LaRouche is still around and has any support at all strikes me as a major indication that madness has begun to prevail on the American intellectual scene—not that LL is necessarily nuts, but that everything is kind of nuts now, and it takes a harder nut to crack another.

If the standard view holds up as truth, then Lyndon LaRouche may be the only contemporary cult leader with his own section of the Washington Post’s website. It details his evolution from pseudo-Marxist to pseudo-traditionalist beliefs, driven by an obsessive need to “flank” his political rivals, elements among whom he blames for a 1989 conviction on charges of mail and tax fraud that kept him in prison until 1994, in particular Henry Kissinger.

I asked LaRouche the following question via e-mail:

“It seems to me that the traditional “left-center-right” spectrum of political thought and debate is nearing the end of its usefulness as a real expression of contemporary thought. The old coalitions (on both the left and the right) seem to be breaking down based on theories of who is responsible for the carnage and the efficacy of our response to it, and new coalitions are being formed in their place. Given that the “center” is typically depicted as the base of reason in politics, but is in fact a subjective and amorphous term based on the preexisting ideologies of whomever is using the term, please tell me: what is now happening in the country’s mass consciousness? And also, what is your role in this paradigm shift?”

LaRouche’s answer arrived the next day, complete with referential links:

“I have three respectively distinct responses to your question:

A. There are sometimes situations where one should associate with sane self-styled ‘leftists’ on civil rights and civil liberties issues, and in which one must oppose certain lunatic ‘leftist’ commotion.”

The spirit of tactical generosity is lost on Skolnick: “I do not wish to make public statements about the LaRouchies, which seem to be a cult. Some consider them more hazardous than the mafia,” according to Skolnick, for once in tune with, the mainstream consensus. Nevermind that he and LaRouche both agree as to the root causes of what LaRouche calls an “accelerated breakdown crisis” of the national economy. Such raging iconoclasts can’t be seen in the company of each other, even if it does benefit them.

LaRouche continues: “B.  I have long ridiculed what became the customary notions of ‘right, left, and center,’ by pointing out these terms originally referred to seating arrangements in the French legislature during the period from July 14, 1789 until Napoleon’s tyranny. C.  Since 1763, the only scientifically precise distinction between leading U.S. political philosophies has been that which you may find summarized in my Sao Paulo address on the occasion of the city’s inauguration of my honorary citizenship. You will find that on my campaign’s website, as both text and video actuality.

D.   I have a unique position in both the history of the U.S.A. and world, as reflected in the effects of the presently, crisis-wracked, onrushing phase-shift in U.S. and world politics. Ideas which correspond to the reality of an historic crisis of modern civilization as a whole, can not be denied for long.”

My next encounter with Team LaRouche occurred more or less by accident. I stumbled across a rally being held by his Chicago supporters, who were set up at the northeast corner of La Salle and Van Buren streets, strategically positioned across the street from the local branch of the Federal Reserve, which both LaRouche and Skolnick say is actually a private institution posing as part of the government, when in fact the Fed and its chairman, Alan Greenspan, are entirely immune to democratic pressures. The financial district area also includes the Chicago Board of Trade, Mercantile Exchange, Chicago Board of Options, Midwest Stock Exchange, Harris Bank, etc., all supposedly reeling from the recession (unless you believe Skolnick’s claims that such institutions actually profit from such crises by absorbing the investments of regular Americans). The LaRouchies had one of the more interesting gimmick tables I’d ever seen at a political event. I was handed the most recent LaRouche “Crisis Bulletin” by the only white female operative on the scene, who spoke with a clearly “urban” accent that reinforced the weird demographic dynamism of the “LaRouche in 2004” movement.

Now aged 83, LaRouche seeks the Democratic nomination, which seems utterly foolish, given who he is and what the Democrats are by every reasonable estimation, but he spins the notion as a last-ditch attempt at salvaging the tradition last viable in the administrations of Franklin Roosevelt and Jack Kennedy. (Chicago figures prominently in the histories of both, by the way, according to Skolnick: it was the “original” site for JFK’s assassination, and former mayor Anton Cermak was killed in an attempt on Roosevelt’s life in Florida.) News that the market had fallen another 238 points that day, part of a near-continuous slide from its late-‘90s peak that only slowed in late summer 2002, only made LaRouche’s “forecast” of a major economic meltdown (that can’t be stopped without emergency action of the type only he has suggested) look better than it did, say, in November 2000. Not that anyone in the financial district paid attention to his people, though none of them could provide solid reasons for the recession themselves.

“Jews versus Jews: a Kosher Conflict”

Each week, as Sunday morning builds to high noon near the Water Tower on State Street, a group of Jews amass to protest the Israeli government’s policies as directed by General Ariel Sharon. Sharon has led an aggressive campaign to ensure the security of Jews victimized by Palestinian suicide bombers. The group, Not In My Name, feels that Israel has been illegally occupying the West Bank, Gaza strip and Arab East Jerusalem since seizing control of those areas during the 1967 war. They hold up two large banners that read “Jews for a Just Peace with Palestine.” The banners are white with blue writing; the color scheme—which matches the Israeli flag—is not only soothing to the eyes, but can also be interpreted as a gesture of solidarity with the mother land. They are of the Left.

Each week, as Sunday morning builds to high noon near the Water Tower on State Street, a group of Jews amass to protest the protesters previously mentioned. They have no group name, because they consider themselves the “rational” Jews, the ones not hung up on a treason trip, the ones who seek not a peace with Palestinians who, in their view, want all Jews run out of the region or even killed, if need be. They have no banners, and their signs are terse, the slogans structured as mathematical equations: “Peace with Palestine=Israel in Pieces.” They are of the Right.

Every Sunday at high noon the internal conflict among God’s “chosen people” plays out in full view of tourists. (You can always tell a tourist by his or her need to view every square inch around them—lots of head turning and slow-motion steps.) Hundreds of them run—or rather, stroll—the gauntlet of gamines pushing flyers and older, nerdier males with multicolored signs that contradict each other. At least half the people who walk past the protesters are, or could be, Jewish, and their reactions say a lot about just how divisive this issue is among people whose fates are intertwined.

“Shame on you, shame on you,” shouts an older lady to the Left.

“You people are nuts,” says a man to the Right.

Invariably the two sides engage each other. The Left’s focus is on the passersby, alerting them to a situation that most of them—especially the kids—have never stopped to really think about; whereas the Right’s attention is on the Left, heckling, baiting, antagonizing them. They seem to be having more fun, because they know that all the external conditions, those conditions beyond the control of the population, reinforce their view: that the Palestinians need killing, badly, because nothing will temper their lust for the destruction of Israel. “What they need to do is, instead of bulldozing their homes [the houses of suicide bombers and other Palestinian militants], is kill their families,” says Warren, who leads the right, smiling.

“If you’re going to harass us, we’ll call the police,” says a mildly retarded Leftist whose sign shakes in his almost useless left hand. Jews, unlike other ethnic groups, don’t say things they don’t mean, and sure enough a cop soon arrives to partition the protesters. The Left complains that the Right is causing confusion with their contradictory message so close to them—presumably because all Jews look alike, though that goes unsaid. The Left has a permit, so they get the prime shady spot near the water tower, while the right is banished across the street, where their signs can only be seen by passing cars.

As the impartial observer, I find this scene rather metaphoric: the internecine squabble between two groups of more or less irrelevant protesters results in the pro-Sharonists (on the Right) side getting the same treatment that the anti-Sharonists (on the Left) receive on the only levels where any change in the situation can occur—politics and media. Splitting the camps robbed them all of the chance to demonstrate just how weird and complicated the Israeli-Palestinian situation is, in a way that cannot be understood without doing a lot more reading than the average American is willing to undertake. That their odyssey of consumption was not made more difficult (via a congested sidewalk) by this scaled-down ideological war, between two sides who share a common goal of saving their people from extermination, undermined the inroads both sides (especially the Left) sought to make with the tourists, most of whom were too busy looking for high-priced sweatshop goods to pay attention to anything that couldn’t be easily ignored.

“The Sublime Role of Christopher Hitchens”

The man responsible for starting me on this theoretical odyssey is Christopher Hitchens, a columnist for The Nation and Vanity Fair whose leftist leanings are legendary within the obsessively “objective” world of mainstream media. “Hitch,” who only recently ceased to define himself as a socialist, shocked many of his colleagues by expressing support for America’s “retaliatory” bombing of Afghanistan and, “worse” still, deriding his fellow leftists for not joining the fight against what he calls “fascism with an Islamic face.” The ensuing literary feud with his friend, the preeminent linguist and policy analyst Noam Chomsky, was the first evidence of serious schisms in the traditional ideological spectrum. For a man like Hitchens, who knows his stuff better than almost anyone in the Western intellectual sphere (except maybe Chomsky), to openly side with the very people whom he has ridiculed in print for 20 years, sends a clear message to savvy observers of international political dynamics: “Times are changing.”

From my vantage point, which is largely on the receiving end of mass media, I’ve come to believe that the pre-existing “left-center-right” spectrum that was the standard for classifying political affiliations in the West for at least the last 50-60 years is now breaking down, and new coalitions are forming, composed of rather unlikely “allies.” I could note several earlier examples of this trend–like the libertarian/conservative splits on drug policy and capital punishment, as well as the NATO bombing of Kosovo–but the terrorist attacks on America and the constituent aspects of our response provide, for me, the most clear-cut case of how traditional concepts in this regard are no longer applicable.

The ZNet crowd, once the epicenter of vigorous, insightful leftism, now spend only half their time engaged in their previous modes of public deliberation; one-quarter of their energy has been deflected to weighing in on the Hitchens/Chomsky debate, and another quarter has been used, for the first time, to attack the wave of “conspiracy theories” that have sprung up since September 11.

(Note: Jimmy Breslin, Pat Buchanan, Noam Chomsky, Stanley Crouch, Rahm Emanuel, Nat Hentoff, Christopher Hitchens and Sherman Skolnick were all contacted but refused to be interviewed for this article. My depiction of their views is based on published writings, in particular those produced after September 11.)

Rob Roy—King Warrior Magician Lover (review + 2006 reprint)

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Rob Roy—King Warrior Magician Lover

Rob Roy is without question one of the most uniquely talented and strangely compelling artists to ever emerge from the pressure cooker that is Northeast Florida’s music scene. He first came to prominence while fronting the seminal rap-rock combo Cue Estey, who recorded and toured throughout the region during the early part of the 21st century before scattering to the wind. After attaining virtual legend status in Florida, he modulated west to Los Angeles some years back, incubating his style in the ruthless aggression of Cali’s punishing, unforgiving music scene.

His 2005 debut, Dollar Out of Fifteen Cents LP, was an instant classic before the term was in circulation; it remains an undisputed masterpiece today, for those lucky few thousand who ever got to hear it. It was self-produced before the explosion of indie rap labels and the broader pro-musician changes to the industry facilitated by the Internet had really taken flight within Northeast Florida. Had it occurred five years later, someone would have surely ridden it to the bank, and it remains a minor mystery why his early brilliance went largely unexploited even in LA.

Odds are those days of being overlooked may be over. Rob Roy’s second album sounds almost completely different from the first; only his voice (which sounds kind of like a cross between Eminem and Kanye West) remains. The sense of humor that permeates everything he does comes through extra-clear here.

Rob Roy has always had a gift for self-promotion, and more than enough ego to maximize his obvious talent. It helps that he’s a longtime associate of Alyssa Key, auteur of the Love Brigade clothing brand, a legit master of the networking arts whose reign as Jacksonville’s Best Party Hostess was a key point for the synthesis and fusion of what were then still mostly disparate styles and personalities within those circles. Her later emergence as a tastemaker on the national level is no surprise at all.

I wrote about him for Folio in 2006 (see below), and even then he came across as an almost entirely polished talent. This serves him well in a business where ego is as fundamental to success as the music itself. He’s also smart enough to know what listeners want to hear. Rob Roy is, at heart, an entertainer. His chops are sharp, as one would expect from anyone with his pedigree, and so is his sense of rhythm and timing. His music is always perfect for parties, but it holds up just well to a solitary listen.

Roy Roy has always had one of the most unique flows in all of hip-hop, but he’s not placing as much emphasis on the speed and verbal dexterity that defined his debut. He is more about servicing the beats, which are certainly of an accessible, radio-friendly nature. His current work will invite comparisons to people like Drake, Lil’ Wayne and the Cool Kids. Well, there’s nothing wrong with that; hip-hop is a fundamentally self-referential music, which is why mashups and remixes are so popular. It would be fun to hear a Rob Roy mixtape, wherein he raps over some of those beats that have become the genre’s equivalent of jazz standards (“Grindin’”, “A Millie”, “Black Mags”, etc.).

 All that said, it feels like something is missing, but I have no idea what, and what there is deserves an intensive listen. With King Warrior Magician Lover, Rob Roy has succeeded in producing a strong follow-up to one of the finest albums of the decade.

 www.iamrobroy.com  

sdh666@hotmail.com; July 9, 2010

The Charismatic Enigma

One of the most impressive debut recordings of recent years is the product of former Cue Estey vocalist Rob Roy, who is among the artists opening for Ghostface at Fuel on April 5. Dollar Out of Fifteen Cents is a startlingly sophisticated work of distinct modernist appeal. If some albums are clearly the work of artists trying to fit into the boundaries of whatever musical genre(s) they’re into, Roy Roy’s rings through with the force of his own personality, and that’s what makes it so effective.

Soft-spoken but verbose, Rob Roy’s showmanship is only hinted at in person — in the tilt of a hat or the rhythm of a handshake. He was born in Livingston, New Jersey, but has lived here since he was a toddler, attending Stanton Prep and graduating UNF with a fine arts degree. He vividly recalls taping the old Bigga Rankin “Cool Runnings” radio show on his boombox as a kid, and his early years watching shows from the crowd. Cue Estey went over big with regional audiences, and while Rob was hardly the dominant member, he was the band’s public face more often than not.

“Four years is a magical number,” he says, noting that the three most profound transitions to this phase of his life — college, his relationship, the Cue Estey experience — all took about four years and ended around the same time in 2004. “It was like starting from scratch — ground zero. In my mind, I felt like I had nothing, because everything that was something to me was no longer there.” The album’s title reflects what Rob viewed as “taking a nothing situation and making something out of it”; it’s also something of a political statement, in that “cash rules everything, basically — it does.”

In addition to his musical influences, which range from Snoop Dogg, Tupac and Dr. Dre to Andre 3000, Jodeci and Luke Skyywalker, Rob Roy takes great pleasure from the world of stand-up comedy. “What draws me to it is that it has so many layers. Yeah, people get a rise out of it and they laugh, but also you peel back the layers of things, with wit. And that’s something missing from a lot of music today.” The influence is obvious in his live show, where his movements and behavior are more reminiscent of a Vaudeville villain than a baby-faced band-man. The result is well worth a look-see.

The album was almost entirely produced by Willie Evans, Jr. of Asamov [now known as the AB’s]. He’d known Evans for years through the scene, and lining up one of the nation’s rising young beat-smiths to helm his production was, in his words, “one of the biggest steps.” Evans’ laissez-faire style pushed Rob to step up his songwriting, a challenge he mostly rises to. “I probably scrapped three or four” of his first compositions for the project; the first one to click was “Ooooh!”, one of the album’s strongest tracks.

Another factor was Luke Walker (of the band The Summer Obsession), who did all of the recording and mixing. Under his tutelage “I came to enjoy recording, rather than dreading it as I had previously.” He also added tons of miscellaneous sounds. Backing vocals were provided by Brandeis Bing (“Hey Buddy”), Alice Fletcher (“R.O.B.R.O.Y.”) and Clare Marshall (“Oh, F*** My Brain”). Bing, along with Cherub Stewart, comprise “The Last Minutes,” Rob’s back-up singers. Aaron Abraham (of Whole Wheat Bread) turns up in two of the spoken interludes, too.

The album’s last track, “Sadly to Say”, was built around a track provided by DJ Winks, aka former bandmate Sela. It’s quite different from the rest of the material, offering a glimpse of Rob Roy’s immediate future. “I’d like to do this as a career,” says Rob, who defines that as “not having any side hustles. … Everyone that does this stuff, they don’t do it just so the walls of their bedroom can hear it. I’d think that everybody would like a huge audience to be able to hear what they do one day. I guess I’d like to know that the sacrifices I’ve made to this point weren’t in vain.” He is soon to follow up with an R&B project cheekily titled The R.N.B.R.O.Y. EP. If Rob Roy can succeed in getting Dollar Out of Fifteen Cents into the right hands this year, he will be well on his way to realizing his own immense potential.

www.myspace.com/robroy

sdh666@hotmail.com; March 20, 2006

Jazz Fest Preview: Christina Langston Interview

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[Christina Langston is the Public Relations Director at the City of Jacksonville’s Office of Special Events. In recent years, the OSE has taken up the task of running the Jacksonville Jazz Festival, which is being held May 27-30, 2010 in the “Heart of Downtown”. As part of my usual routine of covering the festival, I traded some questions with Langston, whose answers help illuminate the logistics of what has long been (with all due respect to Harvest of Hope and the Florida-Georgia Game) Northeast Florida’s leading cultural attraction.]

1) First, who’s involved in organizing the festival through the City? You, Tiffany [Valla], Teresa [O’Donnell]–who else contributes via SOE? And what role does Mayor [John] Peyton play in the process?

This festival is produced by the City of Jacksonville with sponsorships from community partners.  The entire office works on pieces of the festival and other city departments are involved as well such as Public Works, Recreation and Community Services, Volunteers, and Public Safety.

 

2) Logistically, the festival looks very similar to last year’s, as far as the focus on downtown. What lessons did you take away from seeing the plans take shape?

Moving the festival to the heart of downtown created a street festival which was extremely appealing and accessible to those attending.  Last year the festival realized more than 50,000 people in attendance, many of whom were visiting from all over the world. 

 

3) What changes were made to this year’s festival after the experience last year? Is there anything that stands out as simply not having worked?

Some changes have been made to this year’s festival to accommodate the construction on the Laura Street Corridor and we have added more venues.  As a result of the festival incorporating additional venues, we have added trolleys for this year. Additional VIP components have been added this year as well. 

4) How intensely has the national jazz press (Downbeat, Jazz Times, NYT, Village Voice, etc.) been lobbied to cover the festival? Have any of these outlets made any comment on plans for this year?

They receive information and updates throughout the year and we keep their calendar listings updated.  Jazz Times does not have the budget to come to Jacksonville, however they will be previewing the festival in their online version.  Still waiting to hear back from Downbeat and New York Times has the info.  I appreciate the info on Village Voice, and I have forwarded the release to them as well. 

5) What role have budget issues played in planning the festival? How much does COJ spend on it?

We have been extremely diligent in our ability to attract quality talent to this festival.  Certainly the help of sponsors and partners enable us to fund portions of the festival, but to give an overall figure at this point would be very premature.  There will be revenue coming in from merchandise and beverage sales, food vendor booths, sponsors, art in the heart participants, Experience Jazz package sales, day passes, wine down tasting tickets, etc.

 

6) Even though you adjusted to the rain well last year, are you worried about the weather?

Not at this point.  There are numerous options for festival attendees.

 

7) Who, specifically, is in charge of selecting the musicians who play the festival? Elaborate a bit on that process.

The Office of Special Events works with numerous promoters and entertainers.  We receive packages from entertainers throughout the year, and work to procure different types of jazz genres which appeal to even the most finicky jazz enthusiast. 

 

8.) [As always, with every festival, it’s hard to please all tastes. Some people over the years have criticized the festival’s booking, saying there’s too much of a focus on certain styles, with less attention paid to others (particularly young, hip artists). Jazz is an extremely diverse art form, though.] What can musicians, fans, customers, etc. do to “lobby” for the inclusion of favored artists? Who should they contact, and on what grounds should one make their case?

Information should be sent to our office.  We catalogue all entertainers, and go through every package. 

9) Is the City open to having other venues, that maybe aren’t directly affiliated with the festival directly, promoted alongside the official events? How important have groups like Downtown Vision, the Chamber of Commerce and JEDC been for all this? We are very aggressive with outreach efforts to downtown businesses or those that might benefit from being involved with the festival. 

There are many partners and supporters of the festival including Downtown Vision, Visit Jacksonville, Cummer Museum of Art and Gardens, MOCA, The Jacksonville Landing, Riverside Arts Market, Jacksonville Symphony Orchestra, St. Johns River City Band, Farah & Farah, JAA, and more.

10) Finally, and generally, I’d appreciate having as much info as can be provided about the festival’s economic impact. I was struck by the fact that the festival drew money to the city, even during a recession. I’ve always felt that the community’s investment in its jazz scene has been a decisive factor in growing the city and its reputation, so any numbers or anecdotes I could use to reiterate such points would be great.

The economic impact of the jazz festival was $20 million.  Hotels were at capacity and downtown businesses and restaurants were thriving.  If you would like to talk to someone about his experience as a hotelier downtown, I would suggest calling the General Manager at the Omni, Paul Eckert.  I have pasted numerous comments which can also be found on our website www.jaxjazzfest.com below:

My wife and I spent Friday and Saturday savoring the wonderful offering at this year’s Jazz Festival. We’ve often attended jazz festival in Breckenridge, Colorado and found your event first-class. Thanks for all the time, effort and energy you put into making this an exceptional event. – Phyllis and Tom, Gainesville, Florida

Thank you to the city of Jacksonville for organizing and hosting the Jacksonville Jazz Festival. Congratulations, it was great! I was so proud to live in Jacksonville. Downtown was welcoming, interesting, beautiful, easy to access and well-organized. The vendors, albeit disappointed with the weather, were kind and generous. And, of course, the music was fabulous. For those of you who missed it this year, you missed a fun and special event for the whole family. We had a ball! I hope the city plans to hold the festival downtown again next year. -Letter to the editor, Florida Times-Union

On behalf of the St. Johns River City Band staff, musicians, and volunteers, kudos to the city of Jacksonville and Theresa O’Donnell Price and her staff for their unbelievable efforts to keep the Jazz Festival going throughout the rain and wind.It is the 25th anniversary of the St. Johns River City Band, and it was an honor and pleasure for us to perform with Dave Brubeck and his son, Chris, and the Dave Brubeck Quartet. We’ve performed with many great artists, but this will probably be one of the most memorable.A big thank you to the people in attendance Friday night for their admiration and respect for this legendary man.I think he was truly humbled and appreciated the audience’s response. And thank you for your appreciation of our wonderful band. As a non-profit organization with the same struggles as everyone else in this economy, we savor every chance we get to represent Jacksonville and to meet our mission of keeping jazz and American music alive.Things may not have been perfect, but the venue changes and hustling behind the scenes were incredible.The show went on and it seemed like most people were going with the flow and having a great time. Most importantly, I know that the city staff will take lessons learned and make next year’s event even better. Make a Scene Downtown! -DIANTHA GRANT, Executive Director, St. Johns River City Band

This year’s festival was fantastic. My friends and I are still talking about it. Thanks to everyone is the S.E. dept. for putting together a great lineup, as well as coming up with new location…this was a great opportunity to forget your worries and enjoy the pleasures of the beautiful music by such wonderful artists.
-Regards, TanyaOur city has a wonderful tradition in The Jacksonville Jazz Festival. For three days, the city hosted some of the most celebrated jazz musicians, showcased downtown and came together as a community and left with our spirits lifted. I applaud Mayor John Peyton and the city’s Special Events Office for their tireless efforts to make this event extra special this year. Staging the Jazz Festival in the streets of downtown not only provided opportunities to host music on multiple stages, but also catered to the jazz aficionados who enjoy small venues. Downtown is rich in history, and opening the Snyder Memorial Church was wonderful for all to appreciate. Many restaurants and retailers reported terrific business and had the opportunity to engage the festival attendees as new customers. It was exciting to see so many people experience downtown for what it is – the vibrant cultural and entertainment center of the region. -TERRY LORINCE, executive director, Downtown Vision Inc.

I just wanted to take this opportunity to say how much I truly enjoyed myself at this year’s Jazz Festival. In the 30 yrs I’ve been living in Jacksonville, this is the first time I’ve gone. This year I could not pass up free. I took my granddaughter to the Suns baseball game Saturday, when we left I found a parking space on the street, and we walked to the Swingin’ Stage, to see Roberta Flack. Fantabulous!!!  Sunday we went back; walked to the Landing to the Jazz for the Juniors. Then we went back to the Swingin’ Stage and caught the last 30 minutes of Preservation Jazz Hall, they were great.  I really wanted to see Chris Botti, after seeing him on PBS; even my 9 yrs old grand enjoyed it. The camaraderie was awesome and everyone was enjoying each other. I appreciated the different vendors and variety.  I hope this is the beginning of something new. I’m going to convenience my out-of-town family to come to Jax next Memorial weekend for this great event. All I can say is Well done!!!! Well done!!!! Thank you for a great weekend. -Rosalin

The Jacksonville Jazz Festival 2009 was awesome! The convenient layout, the location and the venues were all superb. I showed up on Friday evening, Saturday and Sunday. I enjoyed everything thoroughly. To see the Hall of Fame Band performing together was Super! They were electrifying. It would be great to see the Hall of Fame Band become an integral part of The Jacksonville Jazz Festival in the future. -Yours truly, Mary

Whooh! I’m still recovering from one of the best Jacksonville Jazz Festival’s ever, in spite of the rain. I have been going since the first one, “Mayport and All That Jazz”. So, when I say this was a great one, in my opinion, it was a great one. What a lineup! Two things stood out this year. I thoroughly enjoyed the downtown venue. It added a “feel” to the festival that was missing. It sort of felt like being back at Mayport again. Secondly, the Jacksonville Jazz Festival Hall of Fame Band. Whew! Those cats had the joint jumping. Thanks to Von Barlow for the vision and Theresa O’Donnell for making it happen. There was a third highlight (besides Noel and Renee, “So What” Band featuring Jimmy Cobb [love Miles Davis music], New Orleans Preservation Hall Band, Joe Sample and Patti Austin, Roberta Flack, Chris Botti, etc.) and that was the induction of my friend, Joyce Hellman Bizot, into the Jacksonville Jazz Festival Hall of Fame. It is an honor beyond well-deserved. See you next year! -Frances

On behalf of Chieli, Karen and the Lao Tizer band, I just want to say THANKS for allowing us the opportunity to perform at this years festival… Everyone really enjoyed it and in spite of the iffy weather, it seems all came together really well and the sun even made an appearance!  I hope that everyone was pleased with the outcome and this will be the beginning of a new tradition with the new downtown venues…  For those of us who were there on Fri night we really enjoyed the diverse programming too!  That’s what I think a ‘jazz’ festival should be all about, with many flavors, all of them great…  So thanks again and I hope we’ll all have opportunity to work together again in the future…  Kudos on a very cool event! -Lao Tizer

This was by far one of the best events hosted by the City of Jacksonville.  Please continue to schedule events like this in the downtown area. The area surpasses Metro Park in terms of its expanse, ease of access and general feel. Thanks so much for a fantastic weekend! -SheilaWe just wanted you to know that we thought the Jazz Festival was fabulous. It could not have been better……great seats, great talent and nice people everywhere. Thanks! We hope you keep this venue as it allows you to go to all stages and enjoy everything. -KathyOn behalf of the Jacksonville Aviation Authority, I  applaud the City of Jacksonville’s sensational Jacksonville Jazz Festival this past weekend.  One can’t help but admire the planning it took to move this year’s event  to downtown from its long-standing venue at Metropolitan Park. The new  location worked well for introducing – or reintroducing – thousands of festival goers to downtown Jacksonville. The event is a model that  hopefully will be built upon in the future. In addition to bringing thousands of people downtown, the city brought us an impressive line-up of jazz talents. With world-class musical acts, art exhibits and the surroundings of historic downtown, the Jacksonville Jazz Festival was a full-blown cultural experience. Of course, like many of us, the city paid close attention to this past weekend’s weather forecast and weighed the potential effects of rain on the mostly outdoor event. Festival planners took all the proper “Plan B” precautions and made necessary adjustments in a timely fashion, including keeping the public well-informed. The City of Jacksonville continues to move in the right direction when it comes to marketing downtown and providing residents and tourists with rich entertaining experiences. This type of foresight brings enthusiasm to the people and a vibrant energy to downtown. I was thrilled to attend this year’s festival, and I’m eagerly looking forward to the 2010 event. Following this year’s notable change in venue and phenomenal talent line-up, I’m confident the Jacksonville Jazz Festival will just keep getting better. – Michael Stewart, Jacksonville Aviation Authority

Thank you for making Chops a feature of the Jacksonville Jazz Festival and for all you did to make the screening and the events surrounding it such a success.  We all had a great time and I thought the audience did too… I couldn’t have asked for more. The kids all played great and were clearly appreciated by the audience. Even the Jazz Talk elicited lively reactions. In spite of the rain, downtown Jacksonville looked, tasted and sounded fantastic. Bruce Broder, Chops directorIt was our first <Jazz Festival> (new to FL) and it was fantastic. We were at events every days except the Thursday opening. We loved the downtown setting and felt so excited and honored that our city would lead or facilitate the way for this to happen. We hope it remains downtown and continues to “pack the stage” with such rich and diverse talent as this year’s line-up.  We have even purchased lounge-chairs for next year! -Phillip

Good afternoon! I just wanted to take a moment to say what a wonderful event the Jacksonville Jazz Festival was this year. I am a native of Jacksonville and was visiting from the San Francisco Bay Area after many years and was pleasantly surprised to see such a happening event.  In speaking with some of the people at the event, it seems to be getting better and better every year. I also want to comment on the great lineup of talent, there was something for everyone. I especially the Jacksonville Jazz Festival Hall of Fame Band! AWSOME!  The venue was perfect for band, very intimate. It was simply stunning.-Veronica

Just a note to say how much I enjoyed the festival this year. I think moving it downtown was a good idea, even though I liked the venue at Metro Park, it supports the city and helps business grow for the downtown area. The line up was first-class and through the years I have attended many jazz festivals all over the country: Monterey, Newport, Chicago, Clearwater, etc. When I moved to Jacksonville six years ago I was very impressed with your festival, it is one of my favorites. I love living in Jacksonville and have retired here so I will be rooting for you and your staff till the end. The highlights for me were Dave Brubeck, Marcus Roberts, Dave Valentin, Jimmy Cobb and the Jacksonville Jazz Hall of Famers. Through my travels finding jazz in Jacksonville, I have met most of the members. They are a great group of guys. -Keep up the great work, Wayne

“Don’t Count On It”: an Interview with Magic 8-Ball

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From our earliest days, humans have sought means of prognostication, in hopes of getting an inside line on events of the future and, by extension, a greater mastery of the world around us. From psychics and soothsayers to oracles, witch doctors and sophisticated computer programs, mankind’s quest for the edge on fate has never ceased, with mixed results all around. In recent years, there have been two true constants: “Money Jungle” and the Magic 8-Ball. Combining the two, in one space, is guaranteed to be a major event—and now, at last, it has happened!

With so many serious (and not-so-serious) issues facing the country right now, the people have been hard-pressed for good answers and reliable information. Independent media has ably filled the void, despite extreme pressure from its corporatized competition to toe the establishment line, regardless of the typically disastrous consequences of doing so. Quite often, it seems like major decisions are being made almost at random; as such, the Magic 8-Ball has never been more relevant. It was invented in 1946, and millions have been sold by the Mattel Company, a testament to the great faith with which it is held by Americans.

This reporter sat down with the official Magic 8-Ball recently for the first installment of what is probably the most extensive and hard-hitting interview it has ever been subjected to. It was presented with some of the most serious questions of our time, as well as some questions about sports and pop culture to lighten the mood. In accordance with ground rules set in advance, all questions were phrased in such a way that Magic 8-Ball answered with variations on “yes” and “no”.

Magic 8-Ball (not to be confused with the apocryphal rapper of the same name) offered up incomplete or ambiguous answers here and there, forcing follow-ups; it was particularly evasive regarding the fate of TV pitchman Vince Offer, who’s been out of the public eye since getting arrested for fighting with a prostitute in late 2008.Generally, though, it was clear, direct and forthcoming in ways few public figures would be, even in the hyper-confessional culture of our times. Magic 8-Ball tends to reflect conventional wisdom on many topics, but its answers were downright shocking in regard to others.

SDH: Let’s begin with a test question, to establish the basic veracity of your views: Am I the finest free-agent acquisition in American media today?

Magic 8-Ball: It is decidedly so.

SDH: Good—let’s proceed. Will President Obama accede to Gen. McChrystal’s recommendation of sending 40,000 additional troops to Afghanistan?

M8B: It is decidedly so.

SDH: Will Osama bin Laden ever be killed or captured?

M8B: Don’t count on it.

SDH: Did Saddam Hussein have weapons of mass destruction?

M8B: Yes.

SDH: Was the Ft. Hood shooter acting alone?

M8B: Signs point to yes.

SDH: Has al-Qaeda infiltrated any aspect of the US military?

M8B: Ask again later.

SDH: Was the collapse of the American economy in any way the result of someone’s deliberate action? That is, was the collapse a desired result?

M8B: It is decidedly so.

SDH: Have we already passed through the worst of the recession?

M8B: Yes.

SDH: Is now the right time to get into real estate?

M8B: It is decidedly so.

SDH: Again: Has al-Qaeda infiltrated any aspect of the US military?

M8B: Signs point to yes.

SDH: Did Lee Harvey Oswald kill JFK by himself?

M8B: Yes.

SDH: Was he assisted, in any way, knowingly or unknowingly, by any member of the US government or the Mafia?

M8B: Yes.

SDH: Was 9/11 an inside job?

M8B: Yes.

SDH: Will Communism in Cuba die with the Castro brothers?

M8B: Don’t count on it.

SDH: Will marijuana ever be decriminalized on a national level in the US?

M8B: Ask again later.

SDH: Will the US government ever formally declare an end to the War on Terror?

M8B: Don’t count on it.

SDH: Can the H1N1 virus be contained?

M8B: Very doubtful.

SDH: Will universal health care pass this year?

M8B: Don’t count on it.

SDH: Will any other members of the Bush family ever be elected President?

M8B: Yes.

SDH: Will Sarah Palin ever be elected President?

M8B: It is decidedly so.

SDH: Will Charlie Crist be elected to the Senate in 2010?

M8B: Yes.

SDH: Will the new Duval County Courthouse be finished and open for business within five years of today?

M8B: My sources say no.

SDH: Will marijuana ever be decriminalized on a national level in the US?

M8B: Yes.

SDH: And now, sports. Will the Jaguars stay in Jacksonville?

M8B: Ask again later.

SDH: Will Tim Tebow become an NFL superstar?

M8B: It is decidedly so.

SDH: Will Tebow play for the Jacksonville Jaguars?

M8B: Very doubtful.

SDH: Again: Will the Jaguars stay in Jacksonville?

M8B: Very doubtful.

SDH: Really, is anyone better than Kanyon?

M8B: Reply hazy, try again.

SDH: Again: Is anyone better than Kanyon?

M8B: Very doubtful.

SDH: Will William Regal ever win a world title?

M8B: Ask again later.

SDH: Will Brock Lesnar be beaten in 2010?

M8B: Don’t count on it.

SDH: And will Regal win that world title?

M8B: My sources say no.

SDH: Is Michael Jackson really dead?

M8B: Signs point to yes.

SDH: Was Michael Jackson murdered?

M8B: Very doubtful.

SDH: Will the guy from the Shamwow and Slap Chop commercials do any further work?

M8B: Ask again later.

SDH: Is Lady Gaga a hermaphrodite?

M8B: Don’t count on it.

SDH: Is it possible that she’s crazy enough to willfully spread the rumor that she’s a hermaphrodite just for the publicity?

M8B: Ask again later.

SDH: Again: Will Vince Offer work again?

M8B: Ask again later.

SDH: Will Amy Winehouse ever record an album as good as her last one?

M8B: Yes.

SDH: Will Winehouse die of old age?

M8B: Signs point to yes.

SDH: Are the “Twilight” stars involved?

M8B: Very doubtful.

SDH: Will Kanye West and Taylor Swift ever work together?

M8B: Don’t count on it.

SDH: Will Vince Offer work again?

M8B: Reply hazy, try again.

SDH: Is there a God?

M8B: Yes.

SDH: Is the AntiChrist alive and somewhere on the Earth right now?

M8B: Yes.

SDH: Is it Obama?

M8B: It is decidedly so.

SDH: Are you sure?

M8B: Don’t count on it.

SDH: Is there a contradiction between your answer to the first question and the second?

M8B: It is decidedly so.

SDH: So I ask again, is Obama the antichrist?

M8B: Very doubtful.

SDH: Did the Republican Party pay you to say “yes” the first time?

M8B: Signs point to yes.

SDH: Wrapping up: Do you know the way to San Jose?

M8B: Signs point to yes.

SDH: Last time: Will Vince Offer work again?

M8B: It is decidedly so.

SDH: Is the “Magic 8 Ball” concept a bunch of bullshit?

M8B: Very doubtful.

sdh666@hotmail.com; November 13, 2009