I can't write a Philosophy Weekend blog post this weekend. I've been working too hard on some tech changes to the site that will finally launch on Tuesday or Wednesday ... and I'm also too broken up about the final show of the final season of my favorite TV show, "The Office".
So, instead of a thoughtful existential blog post, here's one of my old favorite scenes from that show, the Nobody But Me lib dub that opened season 7.
I'll really miss this show -- having worked in offices most of my life, I found it a very accurate snapshot of real life. Not that this has anything specifically to do with philosophy. We'll get started with an all-new ethical inquiry next weekend.
Droopy eyes under the hat. An old, creepy looking man leaning on the bar, crouching like a frail spider among a few smarmy-dressed women. The 50-ish ladies sneered at me when I wandered in off Bleecker and Houston streets on a Tuesday afternoon, but the spider just squiggled his mouth in a thoughtful glance toward me. He then screeched something inaudible to my ears, and his ladies cackled in response like obscene muppets.
I was hungry. That's what I remember most about that day. I had just started a new job in furniture sales and was sending every penny I made back home (which was still nowhere near enough). I had lost weight, but I felt good and desperate. A stranger.
The Bowery Poetry Club was one of my stops, along with Cornelia Street Cafe in Greenwich Village, the Nuyorican Cafe and the Yippie Museum. By the end of the night I would be in front of a bunch of veteran NYC poets at Big Mike Logan's demand (he pushed me to the stage at the Yippie Museum) reciting my own complaints/poetry after seven drinks on an empty stomach, but I hadn't gotten there just yet. It was only 3 pm as I sifted through all the flyers in the dark, beer-musked Bowery with the screeching spider and his smarmy muppets.
The Nigerian author Chinua Achebe has died. We've written about Achebe on Litkicks before: Juliana Harris wrote a brief biography, and I had a chance to hear him read at a PEN World Voices festival in 2006.
The last time I saw Yoko Ono in concert, which was just a year ago, I was handed a small blue plastic puzzle piece in a small fabric bag as I entered the club. It was a very Yoko Ono gesture, and I'm sure the piece symbolized a lot of things: the sky, world peace, an artist's anxiety in facing an audience.
Yoko Ono is a brave performer, but her anxiety and shyness is often evident when she stands on stage. It must be this shyness that drives her exhibitionism and displays of aggression; as a young experimental artist (before she met John Lennon), she created her famous "Cut Piece" (it's described in Ellen Pearlman's recent book Nothing and Everything) in which she invited viewers to cut off pieces of her clothes while she sat still. This gesture wouldn't have been as moving as it was if her anxiety were not so palpable on her face as she sat.
An old Litkicks friend, Clay "Lightning Rod" January of Texas, died of cancer this week. If you hung around this website during our message board years, there's no doubt that you remember Clay. He was one of the best writers on the website, the owner of a sly and subversive voice.
I interacted often with Clay, especially on the Action Poetry boards, where I would often yell at him to stop posting too often, but he had such a good sense of humor about it that I could never be mad at him long. We met in person several times for poetry readings in Virginia, Washington DC, Maryland and New York, and he was awesome and fun to hang out with. He was an old and very skinny man with long graying hair, and it was clear from his poems that he had done some hard travelling in his years, and had carried a few monkeys on his back.
He liked to call himself Lightning Rod (as a poet and a musician) but insisted to me that Clay January was his real name. I never believed him, but I always believed the truths behind the tall tales he told. He carried himself with a youthful, pixie-ish energy, he never let go of his wide smile, and he gathered friends easily wherever he went. I'm happy to have been one of the friends he gathered.
There are few reading experiences more heavy than this. After hearing about the shocking suicide of 26-year-old techie activist Aaron Swartz, who spent his last two years fending off a Javert-like criminal pursuit for a trivial copyright violation, I read a seven-part "self-improvement" blog series he wrote on his blog five months ago, titled Raw Nerve. Here's the series landing page:
I once had a chance to play a sitar for a few minutes. To a guitar player, a sitar feels like a crazy contraption, a transformed beast. There are strings and frets, but the frets are curved, arching up high from the neck so that the strings can be bent not up or down, as with a guitar, but in and out, leading to a warped, spacy effect. Then there is a second set of strings under the raised strings, which are never touched at all. These are the sympathetic strings, which drone in sympathy with the melody. There is no such thing on a guitar. No wonder sitar masters like Ravi Shankar inspired so much awe when they entered the popular music scene in the 1960s.
Ravi Shankar has died at the age of 92. During one peak of his amazing long career, he collaborated on several projects and concerts with George Harrison of the Beatles, who saw in the subtle, spidery complexity of the sitar's sound a new way to advance the art of pop/rock lead guitar. Promoted to sudden celebrity status by Harrison and others, Ravi Shankar used his fame in the west to serve as as a cultural ambassador for India, for Bengali culture, and for Hindu traditions. He was invited to perform at the most epic rock concerts of his age, including Monterey Pop in 1967 and Woodstock in 1969. In 1971, Shankar and Harrison created together the Concert for Bangladesh, the first large-scale charity rock concert, which featured Leon Russell, Bob Dylan and Eric Clapton. Here's his opening number from that concert (as always, when playing for western audiences, Shankar would have to begin by explaining that the sounds the band just played had not been the first song; it is customary for classical Indian musicians to tune up onstage, often producing a hypnotic cacaphony that sounds like strange music).
Jazz pianist Dave Brubeck has died. Recordings of his snappy number Take Five have been flying around the Internet in the past two days, but I like this video even better. Brubeck is playing a small concert in Moscow, and obliges when asked to improvise on a Russian theme. But watch what happens -- especially the surprised (and instantly delighted) look on Dave Brubeck's face when he discovers that a member of the audience has begun playing along on violin. A joyful moment.
"I'm looking to see if there's a guy who looks like Lew Welch in this audience," says poet Gary Snyder at a San Francisco tribute to Welch, the complex Beat poet who was represented as the soulful, restless Dave Wain in Jack Kerouac's novel Big Sur.
It's a cutting thought, because Gary Snyder was among the last to see Lew Welch alive before the troubled poet wandered into the forest surrounding Gary Snyder's home to kill himself. Welch left a suicide note, but his body was never found.
City Lights has recently published Ring of Bone, the most comprehensive collection of Welch's life's work (we recently reviewed the book, and you can read more about it at HTMLGiant). Many notable old friends of Welch gathered last month to celebrate the book. Videos of short tributes by Gary Snyder, Joanne Kyger, Peter Coyote and others can be found at the City Lights blog.
Nguyen Chi Thien was born in Hanoi, Vietnam, and struggled for decades to be an honest poet in a totalitarian state. He finally settled in Santa Ana, California, where he died this week at the age of 73. The New York Times tells his stirring story.