Bob Schwartz

Category: Music

A Chilly Breeze of Hate, a Hungarian Conductor and the Prospects for American Anti-Semitism

Ivan Fischer
Those of us who grew up Jewish in late 20th century America had a pretty good experience of tolerance, certainly compared to even our parents’ generation. The Holocaust had an immunizing effect, not so much because people saw where such ugly expressions of hatred might lead, but because it was harder to hold those views—at least publicly. There was not an immediate spillover effect, so common prejudices against blacks, women, gays, and other intolerance “classics” continued, while new groups such as Muslims were added all the time. Hate takes no holiday.

The news was not without stories of anti-Semitism. And if we lived in certain parts of the country, we might be more likely to feel like a stranger, and even to hear somebody we liked talk about bargaining as “Jewing” someone down. Oh well, that was ignorance talking, and overall those folks often had a good heart. Maybe the greatest deterrent to taking it too seriously was the Jewish cohort who daily found an anti-Semite around every corner. It wasn’t that there weren’t and aren’t anti-Semites everywhere, including some positions of high profile and power, it’s just that the progress Jews have made in acceptance and mainstreaming made these anomalies. There were other groups still having a much tougher time.

A story from this weekend’s New York Times prodded that complacency, just a little. It comes not from America at all. It is from Hungary. There, anti-Semitism and nationalism are on the rise, to the point where the country’s most celebrated conductor, Ivan Fischer, has written and staged an opera about it. Called The Red Heifer, it is about a 19th century incident in which Jews were blamed for the murder of a peasant girl. But contemporary elements make clear that this is not a story about historical artifacts. The whole world context of the opera is not just Hungary; much of Europe, particularly but not entirely those in the former Soviet empire, are trying to establish new identities in these trying times. That insurgent identity frequently involves a broad menu of nationalistic intolerance. See, for example, the treatment of gays in Russia and the rise of neo-Francoism in Spain. And where there’s a list, Jews are on it. That doesn’t make sense, but not making sense is precisely the hallmark of all this.

It is no secret that certain kinds of intolerance are a little more obviously a part of American life today. There can, for example, be argument about whether the unprecedented disrespect and vitriol for the President is purely political. It isn’t, and most know, or should, that race is near the heart of the hate. Americans too are having hard times that may continue for a while. Even if the current crop of demagogues seems penny-ante compared to “real” American demagogues of the 20th century—the Huey Longs, the Father Coughlins, the Joe McCarthys, the George Wallaces—demagoguery it is. And if we hope and do transcend history, it may be that some things don’t or can’t change: where there’s a list, Jews are on it.

One of the saddest phenomena of recent years is the ultra-ironic sight of a Jewish vigilance about anti-Semitism bizarrely combining with near-paranoid anti-Islamism. E-mails have circulated praising Dutch nationalist politician Geert Wilders, who advocates keeping Muslims out of the Netherlands and out of all (supposedly) white and Western Europe, lest those white and Western values be despoiled, or worse. Why this appeals to some Jews may not be a mystery, but it is moral madness.

And yet. These are stressful times around the world; outside of war, the most stressful in generations. Distrust and fear of “the other” is bred in the human bone. We must work to rise above and to mutate it out. If you have any sense of history—and all of us should study to be amateur historians—you may at certain moments get a little instinct, a buzz, a foreboding that you hope is way off, one that might be as much about you as about the state of things, and thus should be shaken off. On the other hand, there is the cliché: just because you’re paranoid doesn’t mean that somebody isn’t out to get you.

Two truths co-exist in America. Public anti-Semitism has never been at a lower ebb, and will not return to earlier levels. Privately, the truth is that the vast majority of Americans have never met a Jew, and know little about Judaism except the occasional news story or that it is the primitive religious precursor to Christianity. That unknowing is not pernicious, even if it’s not ideal. But seeing what is going on in the rest of the world is a reminder that vacuums can be filled by suspicion, perplexing troubles need someone to blame, and this “other” or that “other” is just too convenient not to accuse.

For American Jews, it is overstatement to call this a chilly breeze. There is not much in the air at the moment. But intolerance is a funny thing. It has a life of its own, and it doesn’t always take the same course. Over-vigilance and paranoia can be counter-constructive and debilitating. This doesn’t mean that closing your eyes works either. What’s happening thousands of miles away is not happening here. But who’s to say who’s next, once the dogs of hate are let loose.

There are never enough occasions to repeat the famous words of Martin Niemöller, the Protestant pastor who was a public foe of Adolf Hitler and who spent years in concentration camps. In a sense it is his translation of Christian (and Buddhist) non-judgmentalism and non-dualism. If you think you are not different but/or are “the right kind” of different, you are mistaken.

First they came for the Socialists, and I did not speak out—
Because I was not a Socialist.

Then they came for the Trade Unionists, and I did not speak out—
Because I was not a Trade Unionist.

Then they came for the Jews, and I did not speak out—
Because I was not a Jew.

Then they came for me—and there was no one left to speak for me.

Good Gadgets Cheap: Logitech S120 Speakers

Logitech S120
Thousand dollar computers. Five hundred dollar smartphones. Ten dollar speakers.

Sitting on the counter, framing the food processor, mixer, blender and coffee grinder, are a pair of Logitech S120 speakers. Ten bucks, more or less; these come off the shelf from Walmart. They fill the kitchen with decent sounding symphonies, and the sound isn’t too bad overheard in adjacent rooms either.

You could splurge and go for the Z130 and get 5 watts instead of 2.3 watts, at about twice the price. You may already have a more powerful audio setup, one that really offers mind-numbing volume and fidelity to satisfy the most discerning listener. Good. But in that space where you just want to plug your phone into something and happily listen, this can’t be beat.

The bigger point may be that happiness and satisfaction come in lots of packages, and they are not all precious and expensive. Just because it cost only ten dollars doesn’t mean it won’t turn making breakfast—and maybe your whole day—into something special.

Another Fleetwood Mac Presidency?

Fleetwood Mac - Rumours
That’s not Bill and Hillary Clinton on the cover of the Rumours album.

Pandora popped this album up and three things came to mind. The music is still pretty good, as well-crafted as any pop of its day, but it does sound  a bit dated. The second thought is about this now-iconic photo of Mick Fleetwood and Stevie Nicks. What in the name of artsy pretentiousness is going on, and why does Mick have two balls hanging near his crotch?

The final thought was of the Clintons. If you were there, you will never, ever get the identity between Bill and the campaign theme song Don’t Stop out of your head, hard as you try.

Hillary’s presidential candidacy is a big topic that has to be dealt with in bite-size chunks. Among the sub-topics is whether she will run, whether she will win the nomination, whether she will win the presidency, and whether any of it is a good idea for the party or the country. All that is stuff for another day.

The subject here is what it means in terms of Fleetwood Mac. Does Hillary still like and listen to them, or did she never, instead just giving in to another of Bill’s peccadilloes? Did she think of herself more as a Stevie Nicks or as a Christine McVie? Did she think more of Stevie or Christine? Did Bill think more about Stevie or Christine?

(As a bonus, consider that the songs on Rumours are famously confessional about broken relationships and secret infidelities among band members. That’s why it’s called Rumours. Ironic, yes?)

The big question is whether a Hillary candidacy is a hark back to Mac, essentially a call for the better days of the mid-1970s or early-1990s, the decades that frame the Clinton Years. If it is, the question then is what kind of place, if any, there is for Fleetwood Mac in 2016. It’ll soon be here.

Music: Royals by Lorde

Lorde

When you’re a young pop music fanatic, you spend half your time listening. Music is life, life is music. When you get older, you still love it, but it takes its place among so many other occupiers. Which is why some of us who really do care and appreciate end up as “middle of the day” discoverers instead of early adopters.

I nearly had to pull off the road when I first heard Royals by Lorde on the radio this week. I was transported, transfixed, whatever transcendent pop music word you want to use. I am about the five millionth person to find out about this phenomenon, but I don’t care.

This is from the Billboard 21 Under 21 list, where Lorde comes in at Number 6, just a few spots below Justin Bieber and Miley Cyrus:

Why She’s Hot: At this time last year, Ella Yelich-O’Connor was an unknown 15-year-old in New Zealand, still two months away from releasing her debut EP for free on the Internet. Fast forward one calendar frame, and one of the songs on that EP, “Royals,” is a record-setting hit on Billboard’s Alternative chart and a Top 5 single on the U.S. Hot 100. Its creator, now known as Lorde, is one of the most fascinating new talents in pop music, with sold-out shows, a beguiling debut album titled “Pure Heroine,” and an astoundingly level head about her heightened profile. The head of Lorde’s record label says that she could be “the artist of her generation,” and thousands agree. It’s time to hail Lorde with a spot in this year’s Top 10.

And if everything else about Royals isn’t already plus-perfect, the song itself, written by Lorde and Joel Little, offers a message about rich pop stars from the common people perspective: “we’ll never be royals.”

I’ve never seen a diamond in the flesh
I cut my teeth on wedding rings in the movies
And I’m not proud of my address
In the torn up town, no post code envy

But every song’s like:
Gold teeth
Grey Goose
Tripping in the bathroom
Bloodstains
Ball gowns
Trashing the hotel room

We don’t care, we’re driving Cadillacs in our dreams

But everybody’s like:
Crystal
Maybach
Diamonds on your timepiece
Jet planes
Islands
Tigers on a gold leash

We don’t care, we aren’t caught up in your love affair

And we’ll never be royals
It don’t run in our blood
That kind of lux just ain’t for us, we crave a different kind of buzz
Let me be your ruler
You can call me queen bee
And baby I’ll rule, I’ll rule, I’ll rule, I’ll rule
Let me live that fantasy

My friends and I we’ve cracked the code
We count our dollars on the train to the party
And everyone who knows us knows
That we’re fine with this, we didn’t come from money

This is the dream for every artist and producer, and for music fans too: something so familiar yet different, something so infinitely listenable and desirable that it is a musical drug. Will Lorde go on to be, as her label says, “the artist of her generation”? They have to say that, there’s a long way to go, and one great track doesn’t make a career. But what a great track and what a great way to start.

Masters of War

Freewheelin' Bob Dylan
There may be a few too many Bob Dylan albums, depending on whether you are a completist/fanatic. The number of albums, somewhere north of infinity, is supplemented this week by the release of The Bootleg Series, Vol. 10 – Another Self Portrait (1969-1971). On the other hand, this is what you would expect, and some would hope for, from a continuingly productive artist with a long and storied career.

Bob Dylan may be old school—maybe ancient school—but there are at least two things to note. For a time, he was one of the two most significant pop music artists in the world, matched only by The Beatles. And while his free form musical poetry combining the personal and the social may have owed something to folk music and beatnik coffee houses, it was something new, and is strangely part of the soil in which rap grew.

Masters of War is a track from The Freewheelin’ Bob Dylan in 1963. As a recording, it couldn’t be farther from current slick production values. It is a young guy strumming a guitar, singing in a way that then and now is pretty idiosyncratic. But like a lot of the great Dylan works, it grabs you and won’t let you go.

It is a song about war, but it isn’t an anti-war song; listening to it reveals that, and Dylan later confirmed it. It is about the people behind the curtain, the people on the battlefield, the people caught in the crossfire. War is a serious business, but it appears we are chronically not taking it seriously enough. Maybe we have to fight sometimes, maybe we don’t, but for God’s sake, let’s put our motives on the table for everyone to see, and let’s act, if we have to, from the deepest reaches of heart and mind. Elsewise, Dylan says, even Jesus would never forgive what you do.

Come you masters of war
You that build all the guns
You that build the death planes
You that build the big bombs
You that hide behind walls
You that hide behind desks
I just want you to know
I can see through your masks

You that never done nothin’
But build to destroy
You play with my world
Like it’s your little toy
You put a gun in my hand
And you hide from my eyes
And you turn and run farther
When the fast bullets fly

Like Judas of old
You lie and deceive
A world war can be won
You want me to believe
But I see through your eyes
And I see through your brain
Like I see through the water
That runs down my drain

You fasten the triggers
For the others to fire
Then you set back and watch
When the death count gets higher
You hide in your mansion
As young people’s blood
Flows out of their bodies
And is buried in the mud

You’ve thrown the worst fear
That can ever be hurled
Fear to bring children
Into the world
For threatening my baby
Unborn and unnamed
You ain’t worth the blood
That runs in your veins

How much do I know
To talk out of turn
You might say that I’m young
You might say I’m unlearned
But there’s one thing I know
Though I’m younger than you
Even Jesus would never
Forgive what you do

Let me ask you one question
Is your money that good
Will it buy you forgiveness
Do you think that it could
I think you will find
When your death takes its toll
All the money you made
Will never buy back your soul

And I hope that you die
And your death’ll come soon
I will follow your casket
In the pale afternoon
And I’ll watch while you’re lowered
Down to your deathbed
And I’ll stand o’er your grave
’Til I’m sure that you’re dead

One Direction of A Hard Day’s Night

This Is Us - A Hard Day's Night
This summer marks the anniversary of A Hard Day’s Night, released in July 1964. That isn’t exactly a round-numbered anniversary, but the upcoming release of One Direction’s This Is Us movie brings it to mind. According to the film’s producers:

ONE DIRECTION: THIS IS US is a captivating and intimate all-access look at life on the road for the global music phenomenon. Weaved with stunning live concert footage, this inspiring feature film tells the remarkable story of Niall, Zayn, Liam, Harry and Louis’ meteoric rise to fame, from their humble hometown beginnings and competing on the X-Factor, to conquering the world and performing at London’s famed O2 Arena. Hear it from the boys themselves and see through their own eyes what it’s really like to be One Direction.

The Beatles weren’t the first pop stars to create a movie to exploit and enhance their popularity and to satisfy the insatiable appetite of fans. Elvis had been doing if for years, with some decent creative results. But A Hard Day’s Night turned out to be something new and completely else. It combined great writing and direction with four young men who were personable, lovable, witty, and who were also the most artistically successful performer/songwriters of the 20th century (which wasn’t yet proven in 1964). In some ways, it couldn’t help but be at least okay (as for okay, see Help, the Beatles’ second movie). Instead it was outstanding, considered a great movie in it’s own right, and an inspiration for pop movies to come.

A Hard Day’s Night is not a documentary; it’s a non-documentary fictionalized chronicle of a television appearance. If you’re a movie fan, a pop music fan, or both, see it, even if you’re neutral on the Beatles. And if you’re a 1D fan, here are some of the critics’ takes on four British lads who’d never been in a movie before, but had knocked around in front of audiences for years, in some of the sleaziest dives in Europe. All these years later, A Hard Day’s Night is still on all-time lists (99% critics rating on Rotten Tomatoes)—as, of course, is the music.

“Not only has this film not dated, it may even look fresher than it did in 1964; the zigzag cutting and camera moves, the jaunty ironies and pop-celebrity playfulness, are all standard issue now on MTV and its offspring.”

“It’s a fine conglomeration of madcap clowning in the old Marx Brothers’ style, and it is done with such a dazzling use of camera that it tickles the intellect and electrifies the nerves.”

“To watch the final concert segment is to look back decades and realize, as you do seeing vintage footage of Duke Ellington or Frank Sinatra or John Coltrane, that it’s never really gotten any better.”

“The music video by which all other music videos must be judged. And none top it.”

“No previous rocksploitation film had ever done so splendid a job of selling its performers.”

“An hour and a half of pure, chaotic bliss.”

One Direction’s This Is Us opens on August 30. Your turn, lads.

Lee and Nancy: Summer Wine and Some Velvet Morning

Phedre - Alexandre Cabanel
When Lee Hazlewood and Nancy Sinatra got together in the 1960s to create pop music (he to write and produce, she to perform and record), who could know that this very day, music fan, you would discover one of those tracks and go “pretty cool”, while the other would elicit “what the heck is that?”

Nancy Sinatra was firstly famous as Frank Sinatra’s daughter, and then as the singer of a string of big hits, most notably These Boots Are Made for Walking. She was never a great singer, but her voice did have an appealing quality (genes count for something), and the material and production were often irresistible.

Lee Hazlewood was the source of many of those hit songs. And then he began performing and recording some of his songs as duets with Nancy Sinatra. If you think that Boots or Sugar Town are all there is to Nancy Sinatra, a couple of these duets just have to be heard.

Summer Wine – Hazlewood’s songs leaned toward country pop, and Summer Wine was a duet in the vein of Jackson from Johnny Cash and June Carter, and scores of other such duets. His pop sensibilities make this work, as does the contrast between his gruff baritone and Sinatra’s sweet not quite innocence. How good is the song? Good enough for it to be well covered even now, including a 2010 collaboration between Andrea Coors and Bono.

Some Velvet Morning – If Summer Wine is cool pop, Some Velvet Morning is something else. Hazlewood is sometimes identified as Cowboy Psychedelic, and the accent here is on psychedelic—in the best possible way. To this day, people argue about whether the song means something or nothing. As usual, reading lyrics don’t do songs justice. But if you want to think about it and listen, consider this:

Lee:
Some velvet morning when I’m straight
I’m gonna open up your gate
And maybe tell you ’bout Phaedra
and how she gave me life
and how she made it in
Some velvet morning when I’m straight

Nancy:
Flowers growing on the hill
Dragonflies and daffodils
Learn from us very much
Look at us but do not touch
Phaedra is my name

Lee:
Some velvet morning when I’m straight
I’m gonna open up your gate
And maybe tell you ’bout Phaedra
and how she gave me life
and how she made it in
Some velvet morning when I’m straight

Nancy:
Flowers are the things we knew
Secrets are the things we grew
Learn from us very much
Look at us but do not touch
Phaedra is my name

Lee:
Some velvet morning when I’m straight
Nancy:
Flowers growing on the hill
Lee:
I’m gonna open up your gate
Nancy:
Dragonflies and daffodils
Lee:
And maybe tell you ’bout Phaedra
Nancy:
Learn from us very much
Lee:
And how she gave me life
Nancy:
Look at us but do not touch
Lee:
and how she made it in

(Phaedra, by the way, is a tragic figure of Greek mythology, in love with her husband’s son—which probably has nothing to do with the song. Or does it? Who can tell with a highly educated psychedelic cowboy?)

In 2003 The Telegraph named this the best pop duet ever:

1. Lee Hazlewood and Nancy Sinatra
Some Velvet Morning, 1968

Most pop music is quickly forgotten. All too rare are the songs that endure, whose sheer otherness takes your breath away, even 30-odd years after they were conceived. Some Velvet Morning belongs in that company. Around the time that Frank Sinatra sang Somethin’ Stupid with his daughter Nancy, she was making other duets which brought a hipper, bolder edge to the format, and which would influence countless subsequent pairings. Nancy conducted these with Lee Hazlewood, a laconic Oklahoman who had masterminded her kitsch anthem of women’s liberation, These Boots Are Made for Walkin’.

In 1967, he recorded songs with her for possible inclusion in her first TV Special, Movin’ With Nancy. One, incredibly, was Some Velvet Morning – one of the strangest, druggiest, most darkly sexual songs ever written. Somehow, perhaps as a sop to the new demographic opening up during the Summer of Love, it made it on to the show. There are “flowers” and “daffodils”, but it’s hardly Sonny and Cher. Hazlewood’s sonorous, old-manly tones tell of “Phaedra, and how she gave me life, and how she made it end”, the reverberating bass sounds surrounding his echoey voice like storm clouds.

The music changes to a skipping, childish rhythm, and Nancy chimes in as Phaedra, innocent but ever more menacing as the verses are intercut more regularly. It’s a song whose mysteries have occasioned numerous covers, most recently by Primal Scream, with Kate Moss “doing” Nancy. None, though, can rival the macabre atmosphere of the original – ambitious, beautiful and unforgettable.

As always, those are just words. The music is in the tracks. Please listen.

Bowie and Gaga: The Shoulders of Giants

Bowie Gaga
If I have seen further, it is by standing on the shoulders of giants.
Isaac Newton

Scroll below today’s news about Egypt or the NSA or dozens of other significant stories and you will come to the contest between the new singles from Katy Perry (Roar) and Lady Gaga (Applause). Which is Number 1? Which is better? Listen if you want, or don’t. Life goes on either way. But music and excellence matter, so a related note.

Depending on whether you want to go back centuries or decades, we are now in the nth generation of popular music. Individual songs or entire genres, music and the styles that go with it are invented, perfected, synthesized, inspired by, borrowed; there is some balance between the entirely new and the entirely old.

The question is whether a listener can take a current artist at face value, without reference to what came before, without knowing (in Newtonian terms) what giant shoulders are stood on, or whether a listener should be aware of the influences, precursors, originators. This becomes particularly important when the earlier or original version was, once it is experienced by comparison, simply better art.

David Bowie’s extraordinary artistry can be summed up in two points.

He has six albums among the Rolling Stone 500 Greatest Albums of All Time. And each of these is created in a different style than the others.

Which brings us to the second point. Aside from creating superb music, Bowie devised the process of total artistic reinvention in pop—not only in musical style, but in performing personality. Up to that time, the assumption was that fans wanted a degree of continuity in their stars. The Beatles had broken through this assumption with a few changes during their short career, but Bowie smashed artistic continuity entirely: Ziggy Stardust, The Thin White Duke, etc. A review of his album covers is a roster of these personas.

Above is an image of Bowie as Ziggy Stardust. Next to it is an image of Lady Gaga from her current ARTPOP album period (all caps from her; it’s that important).

All artistically painted faces are not related, of course. But Gaga acknowledges David Bowie as an artistic influence. This presumably explains the various Gagas during her brief career: the artist dressed in meat, the artist emerging from a plastic womb, etc. Change all the clothes and makeup you want, and say all the right things that make you seem like an artist (Bowie, by the way, let his style do his talking), and it still comes down to music.

So, Gaga fans, if you are reading this, listen up, literally. While she may be copying only his approach to style and not his music, nothing she has done measures up artistically to Bowie. This isn’t a song-by-song, style-by-style comparison. It is a reminder, not just about Gaga but about music new and old, that tastes vary, but excellence doesn’t. With the release of the rest of ARTPOP, maybe there will be some artistic gems. Gaga is actually a talented singer and performer, so it is possible.

But for the moment, and pending further developments: Gaga, we’ve seen David Bowie, we’ve heard David Bowie, and you are no David Bowie. Or Isaac Newton.

(For fans of Isaac Newton, who may be wondering why his picture isn’t included, below is something from his CALCULUS period.)

newton

Bandon by the Sea and Living Forever

Continuum Center
This is about a beach town and the possibility of living forever.

Bandon is a small beach town (about 3,000 people) on the southern coast of Oregon. It is special because of its beauty and spirit, including extraordinary rock outcroppings and stacks of bleached drift logs that hover in the sun and occasional fog. It is also special because few know about it. It is far enough from anywhere—248 miles south of Portland, 465 north of San Francisco—that there are other tourist stops better known and, to some, more exciting.

Bandon 4

The New Age is an ignored topic that deserves more than this brief discussion. In the 1970s, the movement toward a new consciousness coalesced around the concept of a New Age, a new era of human enlightenment and evolution that would move us forward, leaving some of the darkest aspects of our sometimes-sorry history behind. This included not only spirituality and religion, but psychology, art, music, mythology, earth, food, sex—anything that could help transform us and the way we live. By name, “New Age” has fallen into disuse; but as a matter of fact, many of the ideas and expressions are now part of our cultural fabric.

In 1979, philanthropist Hugh Harrison visited the Continuum Exhibit at JFK University in California. The exhibit showcased the Immortality Principle, the possibility of consciousness continuing after death. He was impressed and put the exhibit on tour, and also established a home for it in Bandon, in a building on Main Street called the Continuum Center. It was a splendid multimedia exhibit, state of the art for its time.

Continuum Book
One of faces of the New Age movement that is powerful though sometimes mocked is its music. New Age music was once a common category, though it has fallen into disuse. No good cultural development goes untortured. New Age music at its start and at its best is an attempt to coax, drag, push, pull and otherwise move your consciousness by the ear. In less talented hands it has been oversimplified and underpowered, but no different than with any other musical genre.

When I walked into the Continuum Center in Bandon years ago, I saw the oversized graphics and read about a vision of consciousness. But the very first thing I noticed was the music playing. It was, it turned out, the sublime Angel’s Flight by Shadowfax, and it was the first New Age music I had ever heard. The pictures and text of that visit are a little indistinct in memory, but that song isn’t, maybe because I’ve listened to it a few hundred times since.

A recent visit to Bandon, for the first time in a long time, revealed that not much had changed, a good thing. Maybe it was not a surprise that the Continuum Center as an exhibit is gone. But the building is still there, transformed into a small shopping plaza, but as you’ll see above, the name remains. Spirit abides.

So if any of this is interesting, here’s what to do. Listen to Angel’ Flight and other transportive music by Shadowfax and other worthy New Age artists. Learn a little more about the possibilities of consciousness and change, if you aren’t already doing so. Does consciousness survive death? Who knows, but what a beautiful question.

Last but not least, if your travels take you to the Pacific coast, visit Bandon. Unlike the Continuum Center exhibit, which lasted a few years, the beach and rocks and waves go on and on and on, waiting for you. They will wait forever.

Detroit: Motown and Corvettes and Tigers, Oh My!

Stingray 1963

Sometimes the best way to tell a story is not to tell it. The news about Detroit’s municipal bankruptcy, the biggest ever in America, is like that. Others will tell it at length. Sometimes the best way is to offer a few items that are interesting and related, and let readers and listeners make the connections, draw the lines, complete the picture.

Just in case your dot-connecting doesn’t make it clear, the story of Detroit’s bankruptcy is the biggest American story of the day, and possibly one of the biggest in many years. It is bigger than the story of Trayvon Martin and George Zimmerman, bigger than last fall’s story of the rich son of a former Michigan governor disastrously running for President (and loving those Michigan trees, though not Detroit), bigger than the continuing economic malaise, but related to all of them.

Fifty years ago, in July 1963, Motown Records, Hitsville U.S.A., released the single Heat Wave by Martha and the Vandellas. It reached #4 on the Billboard Top 100, but did top the R&B chart. Like so many Motown records, who cares about the numbers? Motown is some of the best pop music ever produced in America. Want proof? Just play Heat Wave, or other irresistible tracks by the Vandellas, the Temps, the Tops, or put on another Motown single from fifty years ago that did go to #1, the astonishing Fingertips (Part 2) by 11-year-old phenomenon Little Stevie Wonder. Motown founder Berry Gordy was not just a model of black entrepreneurship in a white country, at a time when black voting rights had still not been established, but was the model for some of the hugest entertainment moguls in the world, including Jay-Z. But that was fifty years ago in Detroit.

Fifty years ago, the Corvette Stingray was introduced. Edmunds not only rates it the best Corvette of all time; it says “A full half-century after its debut, the 1963 Corvette coupe remains one of the most alluring automotive designs ever conceived.” The ad above shows an airline pilot in Los Angeles (back when being a pilot was super-special manly, and LA was the city of the future) ogling the new Stingray. He was envying the Motor City vision. But that was fifty years ago.

This very day, as the second half of baseball season begins, the Detroit Tigers are one of the best teams in baseball, with maybe the best pitcher (Max Scherzer) and certainly the best hitter (Miguel Cabrera), who may be on his way to becoming the first player to win consecutive Triple Crowns. Detroit fans appreciate this, and have been showing up for home games at a solid pace, about 37,000 a game—equal to the attendance for the Los Angeles Angels and way more than the 17,000 fans per game that show up in “ultra cool” Miami.

Saying that Detroit will be back from beyond the brink isn’t just wishful thinking. The idea that Detroit can fail but that everybody else in America will be alright is all wrong. The 17th century poet John Donne said it:

No man is an Island, entire of itself; every man is a piece of the Continent, a part of the main; if a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friends or of thine own were; any man’s death diminishes me, because I am involved in Mankind; And therefore never send to know for whom the bell tolls; It tolls for thee.

And if you don’t go for old poetry that you hated in high school, and would rather forget the troubles of Detroit and the world, Motown has lots to offer, especially on a sweltering July day.

Whenever I’m with him
Something inside starts to burning
And I’m filled with desire
Could it be a devil in me
Or is this the way love’s supposed to be?

It’s like a heat wave, burning in my heart
I can’t keep from crying, it’s tearing me apart