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The compelling music of Sarah Jarosz

Red Wing Festival Sarah Jarosz 07 12 14
Sarah Jarosz at the 2014 Red Wing Roots Music Festival

Sarah Jarosz is one-third of the trio I’m With Her, which I featured in last week’s edition of Saturday Music. In addition to their work with the band, each of these very talented young women has a robust solo career. Saturday Music will focus on their music as individuals over the next three weeks, beginning with the gifted singer, songwriter, and multi-instrumentalist Sarah Jarosz.

I began hearing Jarosz at venues such as the Red Wing Roots Music Festival when she was in her early twenties and already an established artist. The bio from her website captures Jarosz’s amazing rise from her teenage debut:

“With her captivating voice and richly detailed songwriting, Sarah Jarosz has emerged as one of the most compelling musicians of her generation. A three-time Grammy Award-winner at the age of 28, the Texas native started singing as a young girl and became an accomplished multi-instrumentalist by her early teens. After releasing her full-length debut Song Up in Her Head at 18-years-old, she went on to deliver such critically lauded albums as Follow Me Down, Build Me Up From Bones, and 2016’s Undercurrent, in addition to joining forces with Sara Watkins and Aoife O’Donovan to form the acclaimed Grammy winning folk trio I’m With Her.”

Jarosz’s songwriting is very lyrical, often with a chamber music quality as seen in the title song from Build Me Up From BonesFrom her album Undercurrent, the intense House of Mercy is about an abusive relationship, with the emotion pouring through both the vocal and instrumentation. Jaroz is also a wonderful song interpreter, as seen in her version of Bob Dylan’s Ring Them Bells.

An accomplished multi-instrumentalist, her most distinctive instrument is an octave mandolin, which is similar in size to a mandocello but tuned differently. Her octave — built by Northfield Mandolins —is tuned just like a regular mandolin, but an octave lower. She uses is to great effect on many of her songs, giving them a deeper and darker sound.

Jarosz’s most recent video is part of a special project developed by Chris Thile, the host of NPR’s Live From Here. With the coronavirus shutting down live versions of the show, Thile asked some of his regular guests to post Live From Home videos. Jarosz was one of the first asked, and she plays a beautiful version of James McMurty’s Childish Things, on what appears to be an old Kay guitar.

World On The Ground, her newest album, is set for release on June 5th, with Johnny as the first single from that album. It is anyone’s guess if the festival will take place, but Sarah Jarosz is slated to appear on July 11th at the Red Wing Roots Music Festival in Virginia’s Shenandoah Valley. I certainly hope we will all have a chance to see her in live performance soon.

Enjoy!

More to come…

DJB

No Baseball

No baseball today

Today was to be Opening Day 2020 for the World Series Champion Washington Nationals. Alas, the Covid-19 virus had other plans for the world.

But I have a suggestion for you.

Last week the Washington Post asked their writers to name their top sports movies to watch during the coronavirus crisis. They really only needed to have included one.

Watch Bull Durham. The best baseball movie ever. Its not even close.

I’ve written many times — most recently earlier this month — about my personal spring training regimen of reading a baseball book and watching Bull Durham. I watched the movie again earlier this week, and it didn’t disappoint. Regular readers know how I feel. But don’t just take my word for it.

I’ve recently been reading a number of columns about culture and politics by the Post opinion writer Alyssa Rosenberg. She’s smart and a very good writer. So no surprise to learn that she thinks Bull Durham is a great movie, and well deserving of the moniker of a film classic. As her Post colleague Tom Boswell once said a long time ago, “Marianne Moore loved Christy Mathewson. No woman of quality has ever preferred football to baseball.”

I’m going to pull a few quotes from her review to whet your appetite, but you should go read her full piece. Then find the movie online and watch it.

Here’s Rosenberg’s beginning of the 2018 Bull Durham review:

“Try to define what counts as a classic work of art, and you’re virtually guaranteed an argument. But in film, one potential measure is whether a movie makes it into the Criterion Collection, a series of carefully preserved and presented home-viewing editions of “the defining moments of cinema.” So it was with total delight that I learned this week that Ron Shelton’s “Bull Durham,” one of the greatest movies ever made about baseball, a brilliant romantic comedy and a film that stands as a rebuke to many of the false choices the entertainment industry now seems to take for granted, is getting a Criterion Collection release in July.”

She’s exactly right in noting that the film reminds us that we don’t have to accept the false choices given these days by the entertainment industry. For example:

“Bull Durham” makes no apology for being a romance movie; it takes for granted the idea that two grown-up people finding their way to each other, and finding new places for themselves in the world, is a subject of interest. The film is also comfortable assuming that its audience is literate and intelligent, that they know what quantum mechanics are and who Walt Whitman is, or at least that they’re not going to feel insulted when those terms get thrown around in conversation. This is not a movie weighed down by the need to make sure that members of a certain demographic are lured into theaters. In 1988, “Bull Durham” pulled in almost $51 million at the box office, making it the 18th-highest grossing movie of the year.”

And one final quote:

“One of the central insights of “Bull Durham” is that baseball and sex and romance are of equal interest to men and women. This is not a movie where a woman blithely wanders into a male realm she knows nothing about and finds love, nor one where a hard-bitten professional man finds himself distracted by a woman who reminds him that domestic life has its charms. Instead, Annie and Crash are both deeply knowledgeable about baseball history and the technical aspects of the game, even if they disagree about the best way to improve Nuke’s performance.* “Bull Durham” is a love triangle, with Nuke and Crash competing for Annie’s attention, but it’s also a triangle built around mentorship, with Crash and Annie jostling for preeminence in Nuke’s journey to the big leagues.”

Enough. Go read the full review. Then go watch the movie. You may even forget, for a while, that there’s no baseball today.

More to come…

DJB

UPDATE: Truth be told, I ended up watching the Nationals World Series Game 7 win this afternoon as part of MLB TV’s special “Opening Day” presentation. That 7th inning was just as incredible again as it was back in October of 2019.

*Okay, one other quote to give you the lay of the land on the characters:

“Bull Durham” takes place over a single summer, or more precisely, over a season for the Durham Bulls minor league baseball team. It concerns a love triangle among the team’s biggest fan and part-time English professor Annie Savoy (Susan Sarandon), rookie pitcher Ebby Calvin LaLoosh (Tim Robbins) and aging catcher Crash Davis (Kevin Costner), assigned to prepare LaLoosh for the majors. Annie, who takes a new player as a lover each summer, identifies the two as “the most promising prospects of the season so far.” And though she ends up with LaLoosh, whom she nicknames “Nuke,” when Crash explains that “after 12 years in the minor leagues, I don’t try out,” she can’t get the older man out of her head — not least because he sees baseball the same way she does: as the encapsulation of a certain American idea and a particular approach to life.

Flowers from Pomona Family Weekend

Reflect. Reconsider. Reset.

Navigating through difficult times is both a personal and communal journey. As we each  chart our course through this particular crisis, it is important to concentrate on the ways we can show love and live with hope.

Inspiration for my journey comes from a cross section of writers, historians, thinkers, theologians, poets, activists, and friends. One of my personal favorites is Rebecca Solnit.  “When all the ordinary divides and patterns are shattered, people step up to become their brothers’ keepers,” Solnit writes. “And that purposefulness and connectedness brings joy even amidst death, chaos, fear, and loss.”

In a 2016 interview with The On Being Project’s Krista Tippett — posted on the project’s website as one of the “conversations we’re longing to hear again and finding useful right now” — Solnit speaks of how the world wants to categorize and pigeonhole love. But coming from a place of abundance, where there is room for everyone, Solnit said, “There’s so much other work love has to do in the world.” That resonated with me.

I had returned to Solnit at this time because her book A Paradise Built in Hell focuses on how people respond to disasters. In that 2016 interview, she asserts that trashy Hollywood movies and news accounts show that “humans are fragile, disasters are terrible, and we’re either terrified, because we’re fragile, or our morality is fragile,” causing us to revert to our “savage, social, Darwinist, Hobbesian nature.” But based on her investigations of the moments of altruism, resourcefulness, and generosity that arise amid disaster’s grief and disruption, Solnit makes the case that the common story we’re told is misguided and one-sided.

For Solnit, the important questions coming out of crises are, “How do you stay awake? How do you stay in that deeper consciousness of that present-mindedness, that sense of non-separation, and compassion, and engagement, and courage…and generosity?”

How do we show love and live with hope?

This period of self-isolation and social distancing is a good time for us to reflect, reconsider our priorities, and reset our approach to life and to each other. We have the opportunity to find out what really matters. This is our time to make a difference, just as those who came before us made decisions to get us to where we are today.

“These are the times that try men’s souls,” Thomas Paine famously wrote in the opening to The Crisis But we often forget that he added that while crises are not easily overcome, “that the harder the conflict, the more glorious the triumph. What we obtain too cheap, we esteem too lightly.” Abigail Adams, writing to her son (and future president) John Quincy Adams in 1780, said something similar: “The habits of a vigorous mind are formed in contending with difficulties. Great necessities call out great virtues.”

We are in a time of great necessities. In my experience, I have found the following five pathways helpful. Perhaps they will be useful as you consider changes in your personal and communal journeys.

Build in Times of Silence

Some of us are alone. Others are focused on the health and isolation of older parents. Many are coping with young children facing long changes in their daily routine. Whatever the circumstance, we have the opportunity to discover the blessing of silence. A 2017 Harvard Business Review article entitled The Busier You Are, the More You Need Quiet Time, suggests that it may be time to get off Twitter in order to “get beyond the noise.” Researchers have found that “taking time for silence restores the nervous system, helps sustain energy, and conditions our mind to be more adaptive and responsive to the complex environments in which so many of us live, work, and lead.”

Think Downstream

Business leader and writer Robert Glazer has encouraged his readers to focus downstream to support the people who depend on us. Out of an example included in his recent post, I thought of the yoga studio where we attend classes. They have had to suspend regular on-site sessions, but the good folks at Grace have set up live-streaming options so that we can continue to connect with our favorite teachers. Perhaps Grace will find a new business model out of this experience. Read Glazer’s Friday Forward post to see other ways to move your focus beyond yourself.

Rely on the Knowledge of Others

It is easy to become isolated mentally as well as physically. For those in the work force, many are facing the need to work off-site and on-line for the first time. Leaders are being asked to manage organizations without the advantage of physical proximity. Consultants are unable to hold on-site meetings which may be key to a project’s success. In these instances, look to those who have successfully navigated this field in the past. If, on the other hand, you are trying to figure out new ways to engage your children as daytime care-giver and home schooling teacher gets added to your job description, consider these crowdsourced Ideas for Social Distancing.

Straighten Out Your Mental House

“Most of the choices we make each day may feel like the products of well-considered decision making, but they’re not. They’re habits.” That’s according to Charles Duhigg, author of The Power of Habit: Why We Do What We Do in Life and Business. A period of enforced isolation is a good time to consider what we do, why we do it, and how we can change those things we wish to stop doing. I had an epiphany when the annual NCAA basketball tournament — marketed as March Madness — was abruptly cancelled earlier this month. In other years I would have camped out on the couch, watching basketball games for hours on end. But upon reflection I realized that I couldn’t pick out five players from any current college basketball team if my life depended on it. I haven’t been engaged and would be watching simply out of habit. Thankfully, habits and routines can be changed, and I’ve turned to other, more productive ways, to fill my time. The larger issue is how to do that without being prompted by a crisis. At their most basic, habits include “cues, routines, and rewards.” Once we recognize the cycle — and understand that we can change the routine to override a bad habit — we can make the conscious decision to change.

Live a Generous, Grateful, and Loving Life

It is too easy to allow home confinement to change who we are at our core, drowning us in negativity or perhaps in escapes into the digital world. I was surprised, recently, when I came across an article on the science of empathy that noted that, “The impulse to help others isn’t simply the result of a good upbringing, a strong moral compass or adherence to a faith-based code of conduct. The drive to assist is born in empathy — that ability to feel and understand what others are feeling.” According to recent neuroscience, empathy is hardwired into all mammals. Peggy Mason, a neuroscientist and professor at the University of Chicago, adds, “At a fundamental level, the default is to help — in order not to help you have to actively suppress that urge.”

We’re hardwired to care, but we have to nurture that impulse. It is easy, as we are isolated, to supress that urge toward empathy in order to focus on our own selves and those closest to us. But getting through this crisis is going to require resilience and innovation. We still need human connections and we should cultivate a long-term orientation. Successful passage is also going to require a generous mindset.

There are many things we can do while quarantined to show love and generosity: call our friends more frequently; write thank you notes; set up a daily video chat with someone who is alone; offer to pick up groceries for a neighbor who is housebound. The possibilities are limited not by our physical confinement, but by our lack of imagination.

Dorothy Day was eight years old and living in Oakland when the 1906 San Francisco earthquake hit. She saw that in disaster there’s this falling together that we don’t acknowledge. People were capable, all along, of doing what is right. And the formative question of her life became, “Why can’t we live this way all the time?”

Why indeed?

More to come…

DJB

Installment #25 of The Gap Year Chronicles.

I’m With Her: Lyrical songwriting, sterling instrumental chops, and ethereal harmonies

Watkins, Jarosz, and O'Donovan
I’m With Her – Sara Watkins, Sarah Jarosz, and Aoife O’Donovan – at July 2015 Red Wing Roots Music Festival

“When you go to heaven and hear singing, it will sound like these three women.”

Those were the words of mandolinist Chris Thile at a Kennedy Center concert in 2016. He was describing I’m With Herthe Grammy-award winning roots music trio composed of Sarah Jarosz, Aoife O’Donovan, and Sara Watkins. These three women bring together lyrical songwriting, sterling instrumental chops, and ethereal harmonies to make beautiful — some would say heavenly — music. We’ll take a look at their work in this Saturday Soundtrack.

The group of singer-songwriters came together in 2014 and have been steadily building a catalog of mesmerizing songs and a loyal following. Yes, that loyal fan base includes me, as they were also involved in my first and only case of celebrity stalking, but that’s another story. I first saw the group live in 2015. Having seen each of them with earlier bands and in solo appearances, I knew that they could forge a distinct and memorable musical partnership.

I was not disappointed.

There’s so much to highlight here. Nina Simone’s acapella Be My Husband was one of the first songs of the band that captured my attention, especially the weaving of sound between the unison and three-part harmony vocals. John Hiatt’s Crossing Muddy Waters is a 2015 recording that showcases the bluegrass and roots origins of their work, especially with Jarosz’s clawhammer banjo, played off against Watkins fiddle in support of O’Donovan’s beautiful lead vocal. On Thile’s Live From Here radio show, they go full-on bluegrass with a medley of Toy Heart / Marry Me / Jerusalem. Sarah Jarosz has a great time with Dolly Parton’s He’s Gonna Marry Me, and Watkins’s shivering vocal and the band’s round in Don’t You Hear Jerusalem Moan is, simply put, bone-chilling. The tune Little Lies comes from the band’s 2017 EP. It is a good display of the interplay of instruments and voices that makes the band so appealing.

This is a band that isn’t afraid to go out on a limb. Anyone playing Joni Mitchell is taking a chance of looking pale by comparison, but in their live version of Carey, they nail it and have fun in the process. (Check out the harmonies at the 2:25 mark, and then the great unison line at the end.

See You Around IWH

Call My Name was awarded the Grammy for 2020’s Best American Roots Song, and their performance on Thile’s Live from Here show is a great example of the beautiful harmonies that are integral to their work. Their website notes that the sonic textures and urgent beat result in “a song both stark and luminous, perfectly capturing the potent tension within even the most loving relationship.”

If you want to go all the way down the rabbit hole, look at the music videos on their web site, check out their full NPR Tiny Desk Concert, or their one hour and 20 minute set at Boston’s House of BluesYou won’t be disappointed.

Tour dates are all up in the air with the coronavirus outbreak, so I won’t even try and highlight where they will be appearing. For now, we’ll have to be content with the work that’s already posted online and in their CDs.

Over the next three weeks, I’ll look at each artist individually. But for now, enjoy I’m With Her.

More to come…

DJB

An ongoing conversation with the past

At the very beginning of 2018’s American Dialogue: The Founders and Ushistorian Joseph J. Ellis lays out his personal self-evident truth. This guide star that leads his work is simple yet important: “The study of history is an ongoing conversation between past and present from which we all have much to learn.”

I couldn’t agree more. Especially in times of crisis such as we face now.

Over the book’s 200+ pages, Ellis demonstrates how just such a dialogue takes place in the hands of a talented historian, biographer, writer, and thinker immersed in the study of our nation’s founding. Focusing on key issues of our day, he carries on a rich, thoughtful, and challenging conversation with four founders that helps us go back to the beginning and understand some of their controversial decisions, and how that differs from choices we are making today.

The questions are well chosen given our highly polarized times. Ellis notes that we are “currently incapable of sustained argument” as our creedal convictions — formed during the revolutionary era — bump up against “the emergence of a truly multiracial society; the inherent inequalities of a globalized economy; the sclerotic blockages of an aging political architecture; and the impossible obligations facing any world power once the moral certainties provided by the Cold War vanished.” This attempt to take these questions back to the founders to see what we can learn is smart in its conception and — while not without flaws — nonetheless illuminating in its execution.

As it should, the conversation begins with our original sin of slavery and race. Ellis chooses Thomas Jefferson as the founder who “lived a life thoroughly embedded in the twin American dilemmas of slavery and racism.” When Jefferson made a census of his “family” at Monticello in 1800, “he counted eleven ‘free whites’ and ninety-three slaves, two of whom were his own children.” Ellis, who is one of Jefferson’s most astute biographers, shows how this founder’s views on race changed significantly from 1776 to his death fifty years later in 1826. While assuming in the early days of the revolution that slavery would end like other barbaric practices, later he presented a multi-layered defense of his inaction on emancipation that cast him in the role of helpless victim.

Andrew Levy’s study of Robert Carter III, The First Emancipatoris just one of many works that shows Jefferson’s defense to be a lie. Carter’s actions to emancipate 450 enslaved individuals shortly after the country was formed — and similar emancipations by other well-known figures such as Edward Coles, and Richard Randolph (Jefferson’s cousin) as well as hundreds of property owners forgotten to history — shows that Jefferson was really not looking for an answer to the question of what happens once the slaves are freed.

In bringing the conversation to today’s troubled times, Ellis takes the reader through the failings of the First Reconstruction (1865-1877) and into the promises and shortcomings of the civil rights movement and what has been called the Second Reconstruction. Even with the acquisition of basic rights such as voting, Ellis notes that we too often equate ending segregation with ending racism. That false equivalence should be clear to all by now. He also notes the lack of a real economic component to either era of reconstruction and the overlap between issues of race and class. In predicting another major backlash near the middle of this century as America moves to a minority-majority country, Ellis quotes James Baldwin who wrote,

“In the context of the Negro problem, neither whites nor blacks, for excellent reasons of their own, have the faintest desire to look back; but I think the past is all that makes the present coherent, and further that the past will remain horrible for exactly so long as we refuse to assess it honestly….Appearances to the contrary, no one in America escapes its effects and everyone in American bears some responsibility for it.”

The second dialogue focuses on questions of equality, and engages with the work of John Adams. Ellis shows in multiple ways how the pragmatism of Adams contrasted with the idealism of Jefferson. Adams felt that humans are not controlled by reason, but instead are driven by their emotions. Leadership, in Adams’ view, “entailed not listening to the voice of ‘the people’ when it ran counter to the abiding interest of ‘the public.'” Out of this world view, Adams thought it was inevitable that oligarchs would arise in America, just as they had throughout history. According to Ellis, Adams had “two rock-ribbed convictions: the new financial aristocracy, like all aristocracies throughout history, could not be killed but must be controlled; and the invisible hand of the marketplace required the visible hand of government to regulate its inevitable excesses.”  In other words, America was not exceptional, except for the fact that it would attempt to look out for the greater public good against the over-reach of the financial oligarchy.

Ellis’s rather short dialogue on our second Gilded Age shows how the federal government during the presidency of Ronald Reagan worked to repudiate the underlying assumptions of the New Deal. This was the result of a well-funded and explicit campaign to undermine the regulations and protections put in place under FDR and supported by both parties through the next 50 years. We are at a point now where the top ten hedge fund managers make more than all the kindergarten teachers in the United States precisely because “one side enjoys the advantages of a very large and expensive megaphone that amplifies its message.”

The final two sections of Ellis’s book look at the law and foreign policy. James Madison is the founder chosen for his work to shape our Constitution and how we interpret that work today. Madison’s greatest achievement was recognizing that the Constitution presented a “framework for debate” and that “argument itself became the abiding solution.” The Constitution is an inherently “‘living document’ that successive generations interpret in light of changing historical circumstances.” That understanding — supported strongly by Thomas Jefferson —provides the springboard for Ellis’s strong and sustained attack against the misconception of “originalism” as most proudly practiced by Antonin Scalia. In a scathing critique, Ellis takes apart Scalia’s one-sided opinions, and those of his conservative colleagues on the Supreme Court, as essentially a weapon to overturn liberal precedents. Ellis quotes Justice William Brennan’s description of originalism as “arrogance cloaked as humility.” Noting that at one point in time it is useful for new nations to have mythical heroes, “…over the past half century the scholarship on the founders and the blatantly political character of the Supreme Court” makes such illusions untenable.

“To repeat, the American founding, most especially the drafting and ratification of the Constitution, was always a messy moment populated by mere mortals, whose chief task was to fashion a series of artful political compromises. And the Supreme Court has never floated above the American political landscape like a disembodied cloud of heavenly wisdom. It always was a political institution comprised of human beings with no special connection to the devine. Both illusions were now exposed as childish fables.”

George Washington is the natural founder for a discussion on foreign policy, but Ellis doesn’t focus as much on the obvious warnings in his Farewell Address as he does on the first president’s work to reconcile the “Indian” question and western expansion and then on the Jay Treaty to avoid war with Great Britain. On both issues, Washington took stances that were wildly unpopular. He did not succeed in providing safe nations for Native Americans, but he was able to ensure that the Jay Treaty became law, buying the new nation time to develop before it would be forced to fight against a foreign government again. Underlying this work by Ellis is Washington’s very pragmatic (and very un-Jeffersonian) belief that America would not succeed in bringing democratic principles to faraway places. Ellis’s response to the current state of affairs is that our country has come to be “at peace” with the idea of continual war. He focuses on the fact that despite our overwhelming military superiority, the United States has not produced successful outcomes in our battles after the end of the Cold War and the fall of the Berlin Wall. There are many reasons that Ellis draws upon to reach his conclusions, but they often boil down to financial and accounting chicanery. Keeping the costs off the “books” reinforced the larger pattern of deception in the post-Cold War era, “making war almost painless: it is not declared, few have to fight, and no one has to pay.”

Ellis ends his work with an epilogue on leadership, and points to how extraordinary it was to have the collection of founders working in one place at one time as our nation was formed. And his focus on a virtually unknown founder, among the general public, speaks to his expertise on this era in our history.

The editorial task of writing the Constitution was undertaken by one man, Pennsylvania delegate Gouverneur Morris, who made the revisions to the draft of the Constitutional Convention in one four-day period. Madison said that “a better choice could not have been made, as the performance of the task proved.” Morris was the individual who changed, “We the people of New Hampshire, Massachusetts, Connecticut” then state-by-state down the seaboard as written in the original draft, to the simple and magisterial “We the people.”

“Morris’s words ‘We the people’ provide an answering echo on the other side of the American Dialogue, sounding the parallel truth that our rights and responsibilities coexist in a collective whole that is greater than the sum of its parts. Although Jefferson’s words are forever, Morris’s words enjoy a special relevance in our own troubled time, since they remind us that we rise or fall together, as a single people.”

Highly recommended.

More to come…
DJB

Competency. Credibility. Empathy.

A crisis can be illuminating. It can strip away the façade of what we say we believe and expose our true natures. We can use a crisis to step into being our best selves. Or we can take a different route, such as acting out of cold-hearted self-interest to stockpile more than 17,000 bottles of hand sanitizer and attempt to profit from a pandemic.

Along with illumination, a crisis can bring a moment of reckoning. In 2020, America is coming face-to-face with the dire consequences of a well-funded campaign that began in the 1950s to denigrate, hollow-out, and ultimately destroy good and competent government along with the maintenance of a strong and empathetic social contract. Our current crisis has brought those decisions front and center. That reckoning is at the heart of Anne Applebaum‘s recent article in The Atlantic magazine: The Coronavirus Called America’s Bluff

Moments of stark illumination and national reckoning also tell us a great deal about our leaders. When it comes to leadership in a crisis, it turns out — surprise, surprise — that competency, credibility and empathy matter. Proven incompetence, unprecedented lying, and a total lack of empathy are recipes for disaster. While he stands as the most inexperienced, uninformed, and divisive president in history — who is using this crisis to show the world that he is uniquely unqualified for this position and this moment — Donald Trump is, however, not an anomaly. He is, rather, the culmination of a massive campaign to put a prominent role for government on the defensive in deference to the worship of money, the market, entertainment, and unfettered capitalism. When corporations become equal to, or more important than, people, we no longer have a true, functioning democracy. Instead, we have a serious problem.

Historian Joseph J. Ellis has been clear in describing this challenge. “Without a role for government,” he writes, “the American Dream becomes a realistic prospect only for the favored few.” Our founding fathers have also pointed to what happens when the few amass power at the expense of the public. In a dialogue about our second Gilded Age, Ellis writes,

“John Adams tried to tell us that outcome [of favoring the few] was virtually inevitable over two centuries ago. The two Republican presidents enshrined on Mount Rushmore, Abraham Lincoln and Theodore Roosevelt, both insisted that the federal government was the ultimate arbiter of our common fate. Franklin Roosevelt, the greatest Democratic president, declared that the federal government was responsible for enforcing a social contract in which the right to pursue happiness included the right to a job. Something is not only missing but terribly wrong when these voices are absent from our national conversation.”

But it isn’t only historians and policy experts who recognize the dangers of poor, self-centered leadership. Marketing executive and author Robert Glazer has written about the need for steady hands in a crisis. Looking at the responses to the coronavirus in the business and political worlds, Glazer notes that the job of leaders requires a balancing act. “During a crisis,” he writes, “leaders have the difficult and opposing responsibilities of keeping their constituents and teams informed, while also compelling them to remain calm and focused on solutions.” In examining the leadership of New York Governor Andrew Cuomo* in recent weeks, Glazer was especially taken with Cuomo’s characterization of the three main causes of fear:

“Not receiving information: When people don’t have the information they want or need in an evolving crisis, they worry about what they don’t know and what is being kept from them….When leaders don’t communicate early, people will inevitably fill in the blanks themselves with rumors and fear.

People don’t trust the information they are receiving: Once a leader or organization loses credibility, almost anything they say will be questioned. It’s critical during a crisis to speak truthfully and carefully, and it’s potentially harmful to say something in the spirit of providing comfort that may be disproven later as the situation changes….

The information received is frightening: Sometimes leaders must give people information that will scare or upset them. In these cases, leaders must be factual and empathetic, and explain the why behind the information.”

In dealing with this moment in time, I believe we have two huge tasks ahead of us as a country.

The first task, of course, is to address the current coronavirus crisis in a way that doesn’t overwhelm our flawed and fractured health care system. That would be difficult even with competent hands at the wheel. Thankfully, the general public has responded to the pandemic with a sense of sacrifice and relative calm. As for leadership, we now have to count on elected officials and health experts at the state and local level to tie us over until the administration gets its act together. History can again be a guide. As was seen with the 1918 Spanish Flu epidemic, quick action by local authorities in St. Louis to close down public gatherings helped avert a spike in cases, where Philadelphia’s decision to hold a parade to honor returning war veterans exacerbated the rising case load and overwhelmed the local health care system. We need to address the current coronavirus crisis with competency, credibility, and empathy.

The second task, to return to Applebaum’s thesis, is to have a serious reckoning with the havoc the well-funded and long-standing attacks on competent government and support for unfettered capitalism have wrought. That reckoning will not be easy, and the parties, people, and businesses with power and money will fight any change to their privilege. In a country where our creedal convictions revolve around “we the people” and “all men are created equal,” it will be the people who have to show leadership. We will have to face the fear that, as Franklin Roosevelt so eloquently said, can be our greatest obstacle.

We have to vote as if our lives depend on it.

Because they do.

More to come…

DJB

*UPDATE: The section on Andrew Cuomo clearly did not age terribly well…which is one of the problems with blogs written in the moment using flawed individuals as exemplars of virtue. Many, in fact, knew of Cuomo’s flaws. As is often the case, those raising concerns were pushed aside in the rush to find examples of true leaders.

John Prine

The timeliness and timelessness of John Prine

(UPDATE:  John Prine passed away from COVID-19 on April 7, 2020, just three-and-a-half weeks after I wrote this post suggesting how much we needed his music and his outlook on life. My appreciation can be found here.)

This seems like a good weekend to recall the work of the man who wrote the classic line, “To believe in this living is just a hard way to go.”

John Prine has been in my life, and in my head, forever.

When the singing mailman was discovered in 1970 at The Fifth Peg in Chicago by a young journalist named Roger Ebert, he was already writing and playing such incredible songs as Sam Stone, Hello in There, and Paradise. In fact, those were the first three songs Prine ever played on stage. To hear a 1970-era country singer and songwriter tackling subjects such as the Vietnam War and drug use, old age and loneliness, and environmental degradation and rural depopulation in such a sensitive and thoughtful way was unheard of from the country music industry in nearby Nashville — or at least it was in my experience as a teenager in Tennessee. While John was writing Your Flag Decal Won’t Get You Into Heaven Anymore, Merle Haggard was winning praise from the right wing for “love it or leave it” songs like The Fightin’ Side of Me. It was a strange time.

So, who thought we’d be back there again so quickly?

Which is why we need this American treasure as much as ever. As one reviewer wrote,

“Nobody ever bought a John Prine album for the beauty of his voice. The Illinois native has the vocal range of a bass drum and the subtlety of Kentucky moonshine. Prine’s genius — displayed erratically over almost 30 years and nearly 20 albums’ worth of wholly novel songwriting — has always been his ability to blend the sublime and the goofy to illuminating effect.”

He can write laugh-out-loud songs like Jesus, The Missing Years, Dear Abby, and In Spite of Ourselves (sung as a duet with the incomparable Iris DeMent). He writes great kiss-off songs like All the Best with the wonderful line, “Your heart gets bored with your mind and it changes you.”

But he also  continues to write and sing about people and situations out of the mainstream, yet authentic to the core (see Caravan of Fools*), while featuring up-and-coming musicians as his companions in rhyme.

Prine was recognized with one of the Grammys’ Lifetime Achievement awards earlier this year. At the awards show, the great Bonnie Raitt performed an acoustic version of Prine’s classic Angel From Montgomery in homage.**

I am an old woman named after my mother
My old man is another child that’s grown old
If dreams were lightning and thunder was desire
This old house would have burnt down a long time ago

Make me an angel that flies from Montgomery
Make me a poster of an old rodeo
Just give me one thing that I can hold on to
To believe in this living is just a hard way to go

One of my favorite John Prine songs is Long Monday. In his typically off-beat way, he’s written an affectionate love song about a wonderful weekend and the aftermath of Monday morning.

You and me
Sittin’ in the back of my memory
Like a honey bee
Buzzin’ ’round a glass of sweet Chablis
Radio’s on
Windows rolled up
And my mind’s rolled down
Headlights shining
Like silver moons
Rollin’ on the ground

We made love
In everyway love can be made
And we made time
Look like time
Could never fade
Friday Night
We both made the guitar hum
Saturday made Sunday feel
Like it would never come

Gonna be a long Monday
Sittin’ all alone on a mountain
By a river that has no end
Gonna be a long Monday
Stuck like the tick of a clock
That’s come unwound – again…”

John has been touring overseas this winter, before returning to the mainland in time for Jazz Fest on May 3rd, New York City’s Apollo Theatre on June 20th, and Wolf Trap, in a show with Emmylou Harris, on June 26th. A cancer survivor, for which we are all fortunate, John is someone you should enjoy while you can.

More to come…
DJB

Image: Cover of Prine’s 1971 self-titled debut album

*In his live versions of Caravan of Fools Prine adds a disclaimer to the song saying, “any likeness to the current administration is purely accidental.”

**The version I’ve linked to is actually from the Bonnie Raitt + Ruthie Foster performance from the film Road to Austin. It is just sublime. Plus, Raitt begins by saying, “I’d like to sing this song for Molly Ivins, for Ann Richards!” Enough said.

Babe Ruth and the creation of the modern celebrity

In the coming weeks, if we are able as individuals to stay healthy, we may all be looking at books in our “to be read” pile to fill up this time of coronavirus. For very good reasons sports leagues and tournaments are shutting down. Opera houses and theatres are going dark. Schools are closing. Restaurants may be next on the list. Watching cable news is just too damn depressing (and not always very informative). As I was writing this, Major League Baseball cancelled the rest of spring training and has pushed back opening day at least two weeks.

If you are looking for a good sports book to fill up your hours, I wish I could send you to Jane Leavy’s 2018 The Big Fella: Babe Ruth and the World He Created with more enthusiasm. Those who know my reading habits are aware that I always read a baseball book as part of my personal spring training. (The other part of the regimen is watching Bull Durham, the best baseball movie ever.) In 2020, The Big Fella was the book of choice.

While there are stories and sections to like in this hefty new biography, there is — as is often the case — too much of a good thing.

Leavy has gone all Ruthian on us with prodigious amounts of material. But, just like the Babe, she plows through almost 500 pages without a sense of discipline in deciding what’s worth keeping and what is best left untouched.

Leavy has structured her story around a three-week barnstorming tour that the Babe and fellow Yankee Lou Gehrig took following the 1927 season. It was during that historic year in baseball when Ruth broke the seasonal home run record with 60 blasts. “Let’s see some son of a bitch try to top that one,” he reportedly said at the time. Gehrig, who batted behind Ruth in the Yankees order, was the winner of the league’s Most Valuable Player award. After the season ended with a Yankee sweep in the World Series, the two players headed out across America, playing in games featuring local talent renamed the Bustin’ Babes and the Larrupin’ Lous for the day.

Their agent Christy Walsh is at the heart of this story, and much of what works well throughout the book involves the descriptions of how Babe and Walsh quickly understand and take advantage of the possibilities of synergy in building fame. Leavy is working to show how Ruth became our first modern celebrity, and she pulls together a number of disparate threads to make that argument.

I couldn’t help but think of the current occupant of the White House when reading Leavy’s description that “Ruth’s relationship with New York’s sporting press was cozy, complex, and complicit.” One sportswriter of the era said Ruth had more talent for staying on the front page than your average earthquake. Sound like anyone we know? But Ruth produced in his chosen field: on the baseball diamond. As he said in a different context, when asked about making a higher salary than the president, “I know, but I had a better year than Hoover.”

The structure of the book doesn’t always work, and I would get lost in the back and forth between the tour and the biographical information. Leavy can write a terrific sentence. But as they pile up one upon another, the reader often loses sight of those disparate threads. She can go on and on about the legal issues surrounding the naming of the Baby Ruth Candy Bar and lose our interest in the process. (Short story: Babe didn’t get a penny, although it was clearly named for him.)  And she often writes about specific and sometimes iconic pictures (the best example being Nat Fein’s Pulitzer Prize winning photo of the Babe’s final appearance at Yankee Stadium) without including them in the book’s collection of photos. It is frustrating to read her wonderful description of how Fein came to capture that moment, and then look for the well-known picture of Babe standing at the top of the dugout steps, leaning on a bat, taking in the adulation of a full house just months before he died, and finding it absent.

In Leavy’s portrait, Babe Ruth comes across as the man who helped shape many facets of modern America that we know today. His love for baseball, food, beer, women, and attention are at the forefront of this work. Unfortunately, the excesses of modern life in the new age of celebrity also come across in ways intended and unintended in The Big Fella. The end result — perhaps like an episode of The Apprentice* — is something less than fully satisfying.

More to come…

DJB

*Full disclosure: I never watched a single episode of The Apprentice. Even then I couldn’t see why anyone would waste any time on Donald Trump.

Servant leadership

“The first responsibility of a leader is to define reality. The last is to say thank you. In between, the leader is a servant.”

Max DePree, the long-time CEO of the furniture and design pacesetter Herman Miller, wrote those words in his small but influential book Leadership is an Art, and they’ve stuck with me through the years.

In the early 1980s, as I was preparing to take my first leadership post as the executive director of a nonprofit organization, I read Robert K. Greenleaf’s 1977 book Servant Leadership: A Journey into the Nature of Legitimate Power and Greatness. A humanities major without any background in management or business, I was looking for guidance on how to lead, motivate, and manage people.

Greenleaf’s words resonated with me, even if I didn’t come close to fully understanding their implications. “The servant-leader is servant first,” he wrote. “It begins with the natural feeling that one wants to serve, to serve first.”

I went on to study other management and leadership theories, attended a Harvard Business School executive leadership institute, and adapted what seemed to work best from each one for my particular situation. But it wasn’t until I joined the National Trust for Historic Preservation in 1996 and saw true servant leadership in action that I understood the philosophy and set of practices behind the concept “that enriches the lives of individuals, builds better organizations and ultimately creates a more just and caring world.”

This week, the National Trust is celebrating the career of John Hildreth, a true servant leader.

Nats Game John Hildreth
John Hildreth

John began his career as the Director of the Preservation Resource Center at the Preservation Society of Charleston in 1981. In his 34 years at the National Trust he rose through the ranks from Field Representative to serve as the Director of the Southern Regional Office, Vice President for Eastern Regional Field Services, and Vice President for Preservation Partnerships. Yet it is not in the titles, but through the scope and depth of his work, where the true nature of his servant leadership comes through.

When the Trust began talks a few years ago with the Lilly Endowment about what would become the $20 million National Fund for Sacred Places, I told our CEO that John was the right person to help conceptualize and lead this work. John is a man of faith who believes deeply in the importance of places of worship as community landmarks in all the meanings of that word. I knew well his empathy and concern for others, having watched it first hand through his work on providing housing and restoring communities in New Orleans following the devastation of Hurricane Katrina. I saw it first hand in Charleston with his work to help the parishioners of Mother Emanuel A.M.E. Church retain and preserve the physical manifestations of the outpouring of love and support received from around the world following the horrific shooting there in 2015. As the VP who built the National Fund, John has worked in a servant leadership arrangement alongside Partners for Sacred Places, congregations around the country, and his National Trust colleagues, helping preserve historic houses of worship and keeping them in active use.

John also exhibits the characteristics of servant leadership through his eagerness to hold up and celebrate forgotten stories of sometimes marginalized communities. It was with John’s support that one of his staff members brought the Pauli Murray House project to our attention a few years ago. This National Treasure, which now houses the Pauli Murray Center for History and Social Justice, is very relevant; not just as a historic site where a major figure of the civil rights struggles spent her formative years, but because of the work that is accomplished there today. John led the Trust efforts in the work to identify, save, restore, and reuse segregation-era Rosenwald Schools throughout the South. His desire to serve brought him in touch with thousands of alumni, the descendants of Julius Rosenwald, and local groups throughout the country. He will retire knowing that the creation of an endowment at the National Trust will support the preservation of these simple, yet iconic treasures.

The best test of servant leadership is this: do those served grow as persons? The Greenleaf Center notes that, “A servant-leader focuses primarily on the growth and well-being of people and the communities to which they belong.” There is, simply, not a better description of John’s career. “While traditional leadership generally involves the accumulation and exercise of power…the servant-leader shares power, puts the needs of others first and helps people develop and perform as highly as possible.”

John is closing out a consequential professional career that has made a difference in communities and in the lives of people living in those cities and towns. I’ve been honored to serve with him for parts of that journey. While he often reported to me, in truth, I was the one who was learning from him about true leadership and what really matters. It has been a privilege to count him as a colleague and a friend.

So in the best tradition of Max DePree, I want to say thank you, John Hildreth, for the example of servant leadership you’ve given to so many of us during the past four decades.

With best wishes for what comes next to you and Barb.

Have a great week.

More to come…

DJB

Installment #24 of The Gap Year Chronicles

Image: John Hildreth speaking at the Cincinnati Icons National Treasures event

The lonesome sound of Tyler Childers

I’ve always loved the old Utah Phillips tune Rock, Salt, and NailsIt has such a lonesome sound that connects on so many levels. And surprisingly, for a song that sounds so ancient, no one sings it with greater feeling than the young country singer Tyler Childers, who is featured this week on Saturday Soundtrack.

“By the banks of the river, where the willows hang down,
Where the wild birds they warble with a low moaning sound,
Way down in the hollow where the water runs cold,
It was there I first listened to the lies that you told.

Now I lie on my back and I see your sweet face.
The past I remember, time can’t erase.
The letters you wrote me, they were written in shame,
And I know that your conscience still echoes my name.”

Childers is from Kentucky, having grown up in Lawrence County where his father worked in the coal industry and his mother worked as a nurse. Like many a country musician, he began singing in church—in his case the local Free Will Baptist congregation. His grandfather gave him a guitar, he absorbed the music of the 1980s, and began writing songs. At 15, when his grandfather died, Childers turned to bluegrass as a way to remember him.

“Now the nights are so long, my sorrow runs deep.
Nothing is worse than a night without sleep.
I walk out alone, I look at the sky,
Too empty to sing, too lonesome to cry.

Now if the ladies were blackbirds if the ladies were thrushes,
I’d lie there for hours in the chilly cold marshes.
And if the women were squirrels with them high bushy tails,
I’d fill up my shotgun with rock, salt and nails.”

Childers first major studio album was 2017’s Purgatory, produced by Sturgill Simpson and David Ferguson, and it earned him a 2018 Emerging Artist of the Year award from the Americana Music Association. He released a live album, Tyler Childers: Live on Red Barn Radio I & II, in 2018, and last year saw the release of Country Squirewhich has solidified his reputation as a major new player in the country music mix of artists like Simpson and Chris Stapleton.

All Your’n from Country Squire received a Grammy nomination as Best Country Solo Performance.

To my taste, Childer’s best work to date is the solo acoustic work you find on the Red Barn Radio sessions and on YouTube videos. Nose on the Grindstone, which hasn’t been included on one of his studio albums, is about a coal miner and addiction, and a poignant reminder of the pain of eastern Kentucky. That’s a recurring theme in his music. Childers is all about hard lives and hard loves, and his simple guitar playing and aching voice are a perfect match for these stories of pain and love. White House Road may be one of the best of these songs, as the singer from Paintsville, Kentucky—famous for its lawlessness, religion, and booze—puts his own spin on life in rural Appalachia.

When they lay me in the cold hard clay
Singing them hymns while the banjo plays
Tell those ladies that they ought not frown
Cause there ain’t been nothing ever held me down
Well the lawman, women or a shallow grave
Same old blues just a different day

On a brighter note, 22nd Winter is about the first time Childers was snowed in at his in-laws. As he explains in one performance, it isn’t a blues, but a love song. Childers has clearly made his mark, and with that voice and songwriting ability he has a great future ahead.

Tyler Childers opens for Sturgill Simpson at the Anthem in the Wharf in D.C. on March 15th (sold out) and the 16th.

Enjoy.
More to come…
DJB

UPDATE: Due to closings amid rational, well-intended and well-studied efforts to slow the spread of infection, the Sturgill Simpson + Tyler Childers shows at the Anthem have been rescheduled for May 17-18, 2020.*

*Emily Winthrop had this right when she tweeted, “Hey media friends. Can we please stop saying things are closing “amid fears of coronavirus” when it’s actually “amid rational, well-intended and well-studied efforts to slow the spread of infection?” The frame of fear is helping no one.