On curation
While we were all confined to our homes, we sensed that the world outside was transforming. I've been a remote worker even before the pandemic hit, and the passing days seemed to blur together in ways that were hard to articulate. The rhythm of the week, underpinned by workdays and weekends, still prevailed. However, stripped of the routines outside the home and faced with the grim reality of a pandemic, it was challenging to fathom what we were losing and how life would reshape itself.
Twenty long months passed before I found myself at a concert again. The first few felt surreal - a strange mix of intimate familiarity and stark alienation. It often feels as if we're all role-playing in a reality that's shifted beneath our feet, trying to go back to normal as if nothing happened.
I frequently tell my barber that his job is immune to AI and automation, that no one would pay for a robot barber. This may not hold in the traditional sense, but I firmly believe that we will continue to cherish crafted experiences. The farm-to-table movement, the fascination with craft cocktails, the quest for live music — they're all interconnected. Anthropologist and author David Graeber once said:
"Art, music... isn't a luxury, a frivolous addition to life consumed in moments of leisure; rather, it is a way of engaging with the world that offers unique insights and evokes our inherent creativity. Each artisanal note crafted in a symphony is like a silent language speaking of time, dedication, and the human spirit, ultimately underscoring the truly democratic nature of creativity."
Over the past few years, my tastes have evolved, and my appreciation for music has deepened, particularly towards its craftsmanship. I mourn the imbalance we've created with our singular focus on STEM, while undermining the arts, especially music education. There's tremendous value in exposing people to disciplines they may "never use" again, especially within the cultural domain.
An old New York Times op-ed from Tim Wu titled "In Praise of Mediocrity" resonates with me. It challenges the notion that we should strive for excellence in every endeavor or not bother at all. While it's exhilarating to witness those who excel, adjusting our expectations of excellence based on context brings its own joy.
A brilliant karaoke singer may not be Grammy-worthy, but that doesn't lessen my admiration for their craft. It reinforces the difficulty and commitment required to consistently perform at a high level. As we navigate a world where the "cultural value exchange rate" is in constant flux, it becomes even more crucial to acknowledge the background singers and those hidden behind the limelight.
Stuff I’ve heard lately
I can’t say enough good things about Gabriels, who not surprisingly are blowing up in Europe (a place that’s always had a soft spot for soul music) but everything they put out is craftsmanship.
Here are a few other albums I’m still listening to right now. There’s lots of other stuff, but I just want to send this out:
Marxist Love Disco Ensemble (Post-Disco 80s lounge pop)
Midwife - Orbweaving (Haunting chamber rock)
Big Brave - Nature Morte (Metal, but like…not at all.)
Tony Allen & Adrian Younge - JID0018 (Jazz)
You might be confused by the addition of a gospel track on this playlist, but this song was sampled on a newly releases B-sides EP by JPEGMafia & Danny Brown called No! No! No! and like any good sample, I immediately needed to know where they got it. JPEGMafia inhabits a very polarizing space in rap, I’ve always been drawn to him because he’s very weird and he’s an Air Force veteran. (Maybe I missed my calling…)
Anyway, that sample isn’t available anywhere streaming. I found the vinyl on eBay for $7 dollars, which saved me from having to buy it from an Austrian dude on Discogs for at least $40.
On Festivals, Seeing & Being Seen…
Community radio is a breed of public radio, brought to life entirely by local volunteers. It's a notch above pirate radio or internet stations, primarily because you must abide by FCC rules — no on-air swearing, for instance. There's a proper studio setup, but the operation remains largely DIY with a small paid staff. In essence, it evokes the spirit of college radio, except the participants are now tax-paying adults, often expressing a more palpable sense of worldly dissatisfaction.
Upon my move westward, I intended to join KBOO, our local community radio station in Portland. The pandemic put that on hold for a while. I never host music shows — yes, surprising — I prefer delivering the news. It's time-bound, and it's interesting to channel my long-standing penchant for voracious news consumption into being a newsreader.
KBOO has a robust presence at public events, allowing me to live-anchor a few festivals over the past weeks. Although I'm an avid concert-goer, I've outgrown my enthusiasm for festivals. I appreciate most music genres, and usually won't turn down an invitation to a show. Festivals, however, are marathons. I prefer them when they feature multiple acts I enjoy.
Anchoring involves spending 3-6 hours at the festival. Sometimes I interview talent, but in between sets, it's mostly downtime. The people-watching is fun, but these events have provided eye-opening opportunities to engage with communities in ways I hadn't before, especially compared to pre-pandemic times.
I've found myself contemplating how we deliberately shape our communities, how we collaborate and unite. Nothing brings this into sharper focus than observing people at events.
The crowd at the free-admission Cathedral Park Jazz Festival was certainly more diverse than that of the Portland Waterfront Blues Festival. I could launch into an analysis of the origins of these art forms, their present state, and how music evolves within popular culture — but that's a discussion for another day.
In a world where local newspapers are becoming extinct, this niche radio space, which amplifies the voices of the community, feels incredibly vital. There's a unique thrill people get when they're on the radio. In a world where anyone can broadcast globally from their phone, there's still something charming about being recognized on a local platform.