oh another joyful evening in the hip and cool sex in the city west village and i find myself sleepless and chronic and dry and arising full of hate. at least it was raining, which serves to dampen the fucking eurotrash. can you imagine my misery children if i tell you that yesterday i began the process of thinking about teaching school? for near a quarter century i have fulminated against such cultural treachery and now i'll shall have to eat my words with my principles and my cut up heart ( a dark loathsome thing to be sure). but what other course is open to me? i have to get out of this fucking country and i can't see doing it waiting tables and my artistic career... oh let's pass silentty over the futility of that....
so now i shall have to begin laying out some sort of paper trail of academic writing (this is where matrimony, in my case, is useful; for if i lay out the argument and the citations why then beth can whip it into the mushy prose what passes for communication in teacherland.) and then i suppose i send it to journals... i guess that's how it still works.
went into the virgin store the day before yesterday and read some of the cornel west reader. i hate cornel west. i don't like preachers and i especially don't like preachers who dress like pimps.. but this morning i am guessing that i can go back and discover some passage the refutation of which i can hang an introductory paper on henry thomas on.
< background: henry ragtime texas thomas is usually given as the oldest recorded bluesman. he was born in 1874 in big sandy, texas. everything about thomas is sketchy (like as with robert johnson). he was a hobo and hobos tended to share and trade persona. there were likely several henry ragtime texas thomases. he was a brand. as with lightning hopkins his is a style which seems peripheral and of marginal interest in terms of blues - where electric chicago blues is the standard - or jazz. but when you listen to him with reference to hip hop, why everything changes. he is allusive and ambient. he played muzak for railway stations and bop for little kids. and his lyrics are absolutely t.s. eliot. poems made of the broken bits of other people's poems.>
the argument will go something like this : the intellectual traditions of african nationalism hijacked the concept of jazz. it wasn't the african oral heritage that gave us jazz.. it was pentecostalism gone satanic. we see something similar in the development of the native american peyote cults.
early blues historians didn't like thomas much because they thought he sounded white.
ain't racism a curious thing?
so now i shall have to begin laying out some sort of paper trail of academic writing (this is where matrimony, in my case, is useful; for if i lay out the argument and the citations why then beth can whip it into the mushy prose what passes for communication in teacherland.) and then i suppose i send it to journals... i guess that's how it still works.
went into the virgin store the day before yesterday and read some of the cornel west reader. i hate cornel west. i don't like preachers and i especially don't like preachers who dress like pimps.. but this morning i am guessing that i can go back and discover some passage the refutation of which i can hang an introductory paper on henry thomas on.
< background: henry ragtime texas thomas is usually given as the oldest recorded bluesman. he was born in 1874 in big sandy, texas. everything about thomas is sketchy (like as with robert johnson). he was a hobo and hobos tended to share and trade persona. there were likely several henry ragtime texas thomases. he was a brand. as with lightning hopkins his is a style which seems peripheral and of marginal interest in terms of blues - where electric chicago blues is the standard - or jazz. but when you listen to him with reference to hip hop, why everything changes. he is allusive and ambient. he played muzak for railway stations and bop for little kids. and his lyrics are absolutely t.s. eliot. poems made of the broken bits of other people's poems.>
the argument will go something like this : the intellectual traditions of african nationalism hijacked the concept of jazz. it wasn't the african oral heritage that gave us jazz.. it was pentecostalism gone satanic. we see something similar in the development of the native american peyote cults.
early blues historians didn't like thomas much because they thought he sounded white.
ain't racism a curious thing?