Benj DeMott

The Ambassador (Redux)

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Ambassador Poole from the late great Golden State has been banished to a terrible team, The Washington Wizards. Since he was sucker-punched by an envious Draymond Green, JP has had a Jamesian education in a world of lies. Two days before he was traded, Golden State’s new GM, had assured journalists that Poole and Jonathan Kuminga would remain by the Bay: “We love having those guys here. Jordan, especially with his contract extension, we plan to have him here for 4 more years at least.” (That “at least” is priceless.) Poole is, per his own words, “a child of God.” As a Christian, he’s probably trying not to cultivate his vengeful side, but I’m under no effing obligation. Ca ira to NOT root for a team run by scum. And I’m not talking (chiefly) about the egotist who punched Jordan here. I’m talking about the pale scum, the thickest scum, the scummiest scum who never dared to stand up to Draymond Green.

What follows is the (anxious) tribute to JP I posted earlier this spring. May there be more Poole parties in his/our future!

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Boners, Interiors, Bourgeois Bonheur & “The Boxer”: Quick and Dirty Angles on Bonnard

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Pierre Bonnard, Nu (Nude, Yellow Screen) 1920

I missed this painting’s tumescent essence when I first saw it in the Bonnard show at the Aquavella gallery. The hard-on architectonics of its straight-up parallel lines didn’t come through to me until I was walking home around the Central Park reservoir. Thin phallic high-rises on the cityscape’s horizon had a Eureka effect. Suddenly I could sense the erection behind Bonnard’s construct.

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“Old Violin” & Hate Songs

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Anger is an energy. Per Johnny Rotten and Richard Meltzer, though I couldn’t recall where/when Meltzer mused on animus in rock ‘n’ roll attitude so I asked him for a steer…

I’m sure—I know—I’ve said it…and things much like it…in lots of places over the years, but I couldn’t give you a GPS on it…it’s just in multiple creases and cracks in the rock-roll road.

I’m sure I’ve said, specifically, that SECOND-PERSON HOSTILITY is an omnipresent aspect of rock all the way back to its Delta Blues origins, much deeper than anything as benign as “attitude”: I dislike, detest, abhor YOU.  Add gender hostility to the package (usually, but not always, as “misogyny”) and you got one throbbing heap of reliably functional HATESTUFF.

Anger isn’t quite the same…no…but…well…good luck in your search.

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Wound Up Wrong

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“What do you do?” asks the Russell Brandish/hipster-adman at a deadly L.A. party (full of workmates from a non-union shop). It’s this twit with a top hat’s follow-up question to the antihero of Emily the Criminal—played hard by Aubrey Plaza—who’d deflected his first prompt about her art-life. Emily/Aubrey gives it to him straight: “Credit-card fraud.” No doubt she’d’ve been better off quoting Jesus (the basis for my own once-and-future response to what-do-you-doers?): “Consider the lilies of the field, how they grow: they neither toil nor spin…” But Aubrey/Emily is no Lilly. (She’s no shrinking Violet either.)

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Dr. Hrabowski’s Higher Ed

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Freeman Hrabowski III grew up in Birmingham when it was known as the most segregated city in America, but he realized early he was born free to learn. (“Heaven for me was eating my grandmother’s blueberry pie and doing math problems.”) Hrabowski’s parents and grandparents passed down the idea that education might be an end-in-itself even if black people in the South didn’t have the luxury to conceive of “pure” learning at odds with economism. Hrabowski remains a realist when it comes to schooling. He knows culture don’t butter no bread. So, he’s become the foremost proponent of STEM education for black college students by building a scholarly vehicle for upward mobility—a research university that feels homey to kids in black communities who love learning math as much he did.

Hrabowski retired in 2022 after thirty years as president of the University of Maryland of Baltimore Country (UMBC)—a school with a less than toney pedigree that under his aegis has been the “baccalaureate-origin” institution for hundreds of black Ph.D.’s in natural sciences, math, and engineering. Scores more than have been formed by Ivies—or any other elite, predominantly white institution—in recent decades.

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Soul on Film

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European cinema “has still got it” per guest essayist Emilie Bickerton in last week’s Times.[1] Like her, I’m lifted by the prospect of new films by the Dardenne brothers and Mia Hansen-Love. Other films/directors she cites sound lively too. Yet Ms. Bickerton may have missed the most galvanizing French cinema of this moment. When a worldly friend heard I’d been to Paris last summer, he commended “wild” new movies based on life in banlieues on the edge of the city. (“You’ll want to head right back to see what you missed!”) The movies that moved him were made by filmmakers in Kourtrajmé (slang for “court métrage,” or “short film”)—a collective that includes Romain Gravas (son of Costa-Gravas) who has directed two fast and furiously French features, The World is Yours and Athena (both available now on Netflix). If you’re ready to catch Kourtrajmé’s New Wave, though, I’d start with Ladj Ly’s Les Miserables.

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“Folk Music” (Amplified)

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Greil Marcus’s new book on Bob Dylan opens with a Dylan quote—“I can see myself in others.”—from a loose press conference with journalists in Rome in 2001. I recall listening to audio of that same rap session on YouTube and noticing another line that’s not at odds with the one that jumped out at Marcus. Dylan responded to a convoluted question with his own humorous query: “Am I an idiot?” he asked. This wasn’t a mid-60s prickly (Neuwirthy?) tease. While Dylan was playing to the crowd and encouraging them to laugh with him, he wasn’t coming hard at his questioner (who seemed to take his soft goof well). What struck me was that Dylan, even though he was only acting as if he was clueless, seemed entirely alive to how it might feel to be hopelessly at sea mentally. After all, he’s known what it was to be an unworldly Midwesterner at a Village party with an older generation of haute-bohos. (“I was hungry and it was your world.”) And that, in turn, puts him a thousand thought-miles away from heads who act like they’ve been tenured since they were ten.

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“New York: 1962-1964”

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“New York: 1962-1964 explores a pivotal three-year period in the history of art and culture in New York City, examining how artists living and working in New York responded to their rapidly changing world, through more than 180 works of art—all made or seen in New York between 1962-1964.”

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Common Sense: Meredith Tax’s “A Road Unforeseen: Women Fight the Islamic State”

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Meredith Tax died of breast cancer last month. Obituaries in the Times and Nation and Washington Post aimed to do justice to her spiky life as a class-conscious feminist organizer and author, but they may have slighted one of her larger achievements. Tax wrote the book on Rojava and the Kurds’ war against ISIS. Her A Road Unforeseen: Women Fight the Islamic State (2016) has picked up new resonance in this season of protest in Iran. I hope Tax was able to take in the current uprising before she died. It should’ve been an experience of confirmation for her.  Imperatives of Iran’s protestors — “Woman, Land, Freedom!” — echo those of Kurds in Rojava. (The martyred Mahsa Amini was a Kurdish Iranian.)  What follows is a review of Tax’s urgent report from Rojava that was first posted here in September, 2017.

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Having a Ball on Tiemann Place (the Tom DeMott Way)

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Pallie Greene – the kid from our hood who dunked at our block party (above) – began playing ball late just like my late brother Tom, who didn’t get into the game until Jr. High school. Might be a life-changer for Pallie though. It sure made a difference to Tom. When I think about how he came to make his life on Tiemann Place (as he worked at the 125th St. Post Office), aesthetics and politics of b-ball – along with people’s soul musics – are keys to his story.  Tom was out there with Pallie – a spirit, not a ghost! – as our hood re-upped on the tradition he invented (with the West Harlem Coalition). The 34th Annual Anti-Gentrification Street Fair jumped off on a proud Saturday in September.

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Arlo in Memphis (& Brooklyn)

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Arlo McKinley (AKA Timothy Dairl Carr) made his great new CD, This Mess We’re In, in Memphis and you sense the lights up the river even as he gives it to you straight about the state of the white working class in Ohiopioid. The sound of This Mess is Memphis’s. Perfect weaves of country/soul/gospel with an inner power. Organ-and-fiddle melting into one another with the beat behind it as Arlo rolls on, strong as death, sweet as love.

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Tactile Values

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LAST DAY TO SEE LARRY MADRIGAL’S EXHIBIT IN NYC!!!

Nicodim Gallery is tucked behind a temporary girder due to road work on Greene Street. It’s a little odd to open the door and walk right in on intimate scenes from Larry Madrigal’s marriage. Per the exhibition’s press release:

Over the course of creating Work / Life, the artist and his wife conceived their second child. He watched his wife’s body change while his pretty-much stayed the same. She is a mother, he is still Larry…

He’s out to make himself useful. Madrigal confessed somewhere — maybe on his instagram — that he wasn’t sure his massage below was doing any good, until his wife put her book down…

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Paris in the Present Tense

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I’m out to write something fresh about Paris after going there with my wife for four days in July to visit my son who’s doing a summer semester in the city. (If you hear a whoosh, it could be the sound of a fool rushing in.)

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Russian Shadows, Ukrainian Light (Arendt’s Lens, Babel’s Visions, “Come and See” & “The Brest Fortress”)

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“Beginning, before it becomes a historical event, is the supreme capacity of man; politically, it is identical with man’s freedom. Initium ut esset homo creatus est–‘that a beginning be made man was created’ said Augustine. This beginning is guaranteed by each new birth; it is indeed every man.” Origins of Totalitarianism

Hannah Arendt’s up ender to Origins nails what autocrats fear most about humankind. It speaks to why Putin went wilding in Crimea and the Donbas after stand-up Slavs made Ukraine new in 2014.

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Better than Heaven

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You could start with “Like Someone in Love” or “You Must Believe in Spring” but I’m pretty sure “Peace Piece” is Bill Evans’ summit. Forget me though. Just listen up now—those thrill-trills in the piano’s higher register might make you forget how hard it is to die.

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Late Prince (Black Lives Matter & A Month of Death)

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Prince’s Welcome 2 America, which was recorded in 2010 but only released in 2021, five years after his death, has a rep for being a politically aware CD that anticipated the BLM summer of 2020.  Prince limned his country as “land of the free, home of the slave.” Triplets on one lyric disclosed a low line of descent – “son of a son of a son of a…slave-master.” Ten years after, it’s still bracing to hear Prince cutting through the fantasy of a post-racial America.

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Putin’s Not So Willing Executioners

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Two anonymous “Russians with Attitude,” proud of “manoeuvring the globe-spanning American monoculture,” have been tweeting pro-Putin agit-prop about what they insist on calling the “special operation” in Ukraine. Their glorying in the power of Russian arms has been undercut by Ukrainians’ stalwart resistance. Not that RWA cop to the fact Russians have suffered thousands of casualties. Their triumphalism seems a paltry thing when they post odd snippets of video meant to wow their followers with wonders of Russian weaponry.

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