Hey kids. Only 5 months since the last post. Mea culpa.

I been busy with many things, not the least of them being a novel that is currently at around 50,000 words and may in fact be an unprecedented work of confounding genius. Or maybe a load of shite. YMMV

Also, too, I got to spend a long afternoon with the one true Dr. Funkenstein, George Clinton, for a feature article in ‘s Arts and Culture issue.<fn>On newsstands now!</fn> Don’t believe me? Ha! I got evidence.

That steak was big as your face.

As you might imagine, several hours in the Mothership orbit is pretty heady business. The man can tell stories.

I submitted my first draft, full of piss and vinegar and with dreams of Pulitzer dancing in my head. Three days later, an email arrived from the Editor to the effect that my article was “wildly creative” and “very conceptual.”

This is the editorial equivalent of “Bless your heart.”

So I rewrote. And in the end, I think the  turned out great, especially after the editor asked for more detail about George’s kind of fiercely incredible wife, Carlon. All’s well &c.

Tonight, I was part of a Flamingo Magazine panel at our most excellent local bookstore, Midtown Reader. I was asked to read something. So I went back and re-read my first draft and found some things I still really like about it. So for my reading, I read the parts that were “wildly creative” and so forth. And I promised the crowd (SRO, packed to the rafters, riots on par with Sacre du Printemps) that I would post the full first draft here.

Compare and contrast the warty version with the published piece (which, I must say, looks better in print, due in large part to the fine photography of Mark Wallheiser). Bonus points for your exegesis of the transformative effects of the writer/editor grapplings.

Funkentelechy & the Trickster Principle

By Rob Rushin

Every culture across (inter)planetary time and space recognizes The Trickster. This mischievous demigod roams the world in many guises, joking, provoking – maybe even smoking – mere mortals into confusion and creative discord. Dynamos of misdirection and sleight of hand trickeration, they may appear as different entities simultaneously, your perception/reaction crosswise with your neighbor. Did you find a glide in your step and a dip in your hip, or do you remain utterly devoid of funk? Do you see the Star Child or Sir Nose, or do you only have eyes for Dr. Funkenstein?

Costumes, personae, masks, altered voices: The Trickster’s repertoire of contrivance is deep and wide, wielded to disrupt habitual thinking and lead you to synthesis, amalgamation, and integration. To freedom. To the Mothership.

When the disruptive paradigm shakers of the trans-Atlantic slave trade chained their cargo in the bowels of their Middle Passage transports, they shipped more than saleable human capital. The myths of Africa – especially from the Slave Coast – came with them. In the 20^th Century, the Trickster lineage from Eshu through Br’er Rabbit and Signifyin(g) Monkey found outlet in the bodies of such characters as Little Richard, Sun Ra, Richard Pryor, and, of course, our illuminatorial visitating interlocutor of the moment, George Edward Clinton.

Born July 22, 1941, in Kannapolis, North Carolina, Clinton was raised on the doo wop streets of Plainfield, New Jersey. Variously resident of Philadelphia, Detroit, Toronto, and Los Angeles, the one true Doctor Funkenstein – shape shifting Trickster Supreme – has for 20 years worn the mask of Florida Man. A living bridge across seven decades – from Jersey corner singer to staff writer for the pop music machines of the Brill Building to Godfather of funk and hip hop – he remains among the most influential figures in American popular music. In 1997, the Parliament Funkadelic gang was inducted into the Rock and Roll Hall of Fame. In 2014, a replica of the Mothership, central to funkentelechal performance and cosmology, went on display at the Smithsonian National Museum of African American History and Culture, bearing the label “A Gift of Love to the Planet.”

Clinton, age 77, remains a vital force, his imprint on rock, funk, soul, hip hop, and certain gauzy corners of jazz as extensive as any musician of his time. Aside from being the most sampled musician on the planet – hip hop and its variants are literally unimaginable without Clinton’s influence – the P Funk mélange spawned a cosmology that more or less established the recognizable tenets of Afrofuturism and a philosophical ethos that boils down to a bold declaration of psycho-physical liberation: “Free your mind, and your ass will follow.”

Last Spring, Clinton announced a global farewell tour ahead of a 2019 retirement. Then he set the internet on fire with the surprise release of Medicaid Fraud Dogg, the first Parliament album in 38 years. He might be retiring, but the old Atomic Dog can still bark. And bite.

There’s nothing that the proper attitude won’t render…funkable

Do you promise the funk, the whole funk,
and nothin’ but the funk?

How the founding father of One Nation Under a Groove came to live under the oak trees in a remote and superficially unfunky outpost in the Florida Panhandle is a rags-to-riches-to-rags-to-redemption tale. Clinton tells all in his 2014 memoir, Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard On You?, a raucous fable of grittier detail than we can manage in a family-style magazine. Suffice to say that customary depredations of devious management, drug use, and a somewhat devil-may-care lifestyle had left George with limited options when he arrived for a 1996 date at The Moon in Tallahassee.

“It was a mess, but I’m not gonna boo hoo about it because nobody wants to hear that shit.”

Clinton set up shop in Tallahassee in 1997, finally settling five years ago on an 8-acre countryside spread a few miles from his private recording studio.

“I used to think I had to be up and out, all the time,” Clinton mused beneath his personal oak tree canopy. “But when I got here, I realized I could just sit down and be. I used to stay up til dawn. Now I like to go to bed at 8 o’clock and get up at dawn to listen to the birds singing.”

Clinton has countless children and grandchildren, many of them hard at work in the P-Funk empire – some playing and singing, some running media relations and office functions, some keeping a steady stream of treats coming off the grill. The situation clearly suits him.

In 2014, he dropped the first Funkadelic album in 33 years, the 33-song first ya gotta SHAKE THE GATE. This year brought Medicaid Fraud Dogg, a 23-song epic about the disastrous state of health care in an over-prescribed society. This fall, Clinton promises another couple dozen tracks under the P Funk All-Stars banner, tentatively titled One Nation Under Sedation. All this while taking a planetary victory lap. The well has not run dry.

Tallahassee also gives Clinton access to talent from the local universities. Florida State University ethnomusicology Professor Michael Bakan got to know Clinton after featuring him as guest artist at FSU’s annual Rainbow Concert showcasing the school’s world music program. That collaboration – peaking with a wild version of “Atomic Dog” arranged for Gamelan ensemble – led to Bakan cutting tracks for Fraud Dogg. It was a session to remember.

“It seemed like he wasn’t really paying attention, so I figured I’ll just try some things out. It was like he’s looking off in space, or doesn’t seem like he knows I’m doing anything, and suddenly he says, ‘That.’ So I started again and he says, ‘No, no, no. Wait. Now. Now stop. Now keep going. Stop.’ As the day unfolded, I realized that essentially when you’re in the studio with George, you’re his hands. He’s not a percussionist so he doesn’t have the chops, but he knows exactly what he wants. Once he hears the sound, it’s like he immediately has an entire roadmap of where that sound is going to be.”

Bakan laughs and says, “I’ve worked with John Cage, and the strange thing is that you would think there couldn’t be two more different kinds of musical artists than John Cage and George Clinton. But that’s the closest I’ve ever experienced.”

Along with the local talent, Clinton holds long-term P Funk family close, guys like bassist Lige Curry and Dewayne “Blackbyrd” McKnight – a genuine guitar hero in the mold of predecessor legends Eddie Hazel and Michael Hampton – who keep the original Mothership Connection alive and vital. Drummer Benzel Cowan, son of original and current P Funk trumpeter Bennie Cowan, was dandled on the knee of Bootsy Collins as an infant; the man was born to funk. People who come into George’s orbit tend to stay there.

Case in point: As we wandered the property surveying the garden and dozens of birdhouses, George pointed at the house.

“See that apartment there? Overton lives there. He’s still living with us.”

Overton Loyd created the comic book insert for the Funkentelechy vs. the Placebo Syndrome album. It depicts the epic battle between Sir Nose D’Voidoffunk and Starchild. (If you find an original copy for sale, you can’t afford it.) He also designed the cover for the Motor Booty Affair album, the Atomic Dog video, and the artwork for Fraud Dogg.

“P Funk is a family thing,” Clinton says, not for the first or last time during our afternoon together.

Clinton’s recent collaborations with Sly Stone and his ongoing association with ex-James Brown horn players Maceo Parker, Fred Wesley, and Pee Wee Ellis connect current P Funk to its deeper historic roots. Common wisdom holds that James Brown, Sly Stone, and George Clinton deserve credit as the creators of modern funk. Too simple to be the whole story, sure. But also: inarguably true.

Combine all this history with grandchildren keeping George attuned to a new generation’s eyes and ears and you have a recipe for authentic multigenerational funkentelechy, a concept derivative of Aristotle’s entelechy that means, roughly, the ongoing actualization of the true funk.

Then there is Camp Clinton’s secret weapon, George’s wife Carlon, a savvy administrator, promoter, and self-taught legal eagle who hovers above the overall organization. She also manages the endless requests for interviews and favors that stalk Clinton like Atomic Dog chasing the cat.

Today, that dog was me. All for you, dear reader. All for you.

“…I’m still hard as steel.”

Friends, inquisitive friends
Are asking what’s come over me

The opening lines from The Parliaments first hit, 1968’s “(I Wanna) Testify”, about a man transformed by love, resonate in George Clinton, c. 2018. For all the wild stage antics and ferocious mountains of sound he has delivered, the man we visited is at peace with himself and his legacy, surrounded by family and proudly unburdened by any medication beyond doctor-prescribed marijuana. Even as Clinton prepares to leave touring to the younger P Funk generation – “I am setting it up for the kids to take it over.” – he still plans to work the studio “hard as steel. Started hard as steel and I’m still hard as steel.”

And still sharp as a razor. He is a mesmerizing storyteller with an astonishing recall of detail, though with the Trickster one never knows where the line between factoration and trickeration falls. For example: shortly after “Testify” hit the charts, it became clear that the music world – hell, the whole damned world – was changing. George knew he needed to change with it. But how?

“I’m just thinking about this today. I went and saw Fantasia and 2001 on the same show. 1968. You know, you’re talking about Disney’s animated visual concepts showing primordial ooze with classical music, and then you got 2001, Arthur C Clarke you know, past the primordial and out the other end into that star baby.”

So that’s where Star Child comes from?

“I got a whole bunch of stuff too, you know, I must have just got loaded with all the information to whatever was going on through that period of time.”

Clinton has always been a cultural omnivore. Our conversation covered Smokey Robinson, Hendrix, Iron Butterfly, Blade Runner and Chariot of the Gods, King Crimson, Zappa, and the Art Ensemble of Chicago, who he calls “the P Funk of jazz.”

Even Kanye West. Asked whether Kanye might be turning into Sir Nose, Clinton laughs, a beautiful deep chortle up from the belly.

“That’s the best way to say it. Sir Nose, yeah. His nose is definitely kind of growing. He gonna have to watch his nose, gonna have to check his nose out.”

We talked about Clinton’s fellow astral traveler Sun Ra, legendary leader of the Solar Myth Arkestra. When they met in the 80s, Clinton realized they were basically up to the same thing.

“They were doing what we do – the costumes, the space travel – just doing it in jazz. It’s beautiful.”

Reminded of their shared background in doo wop, Clinton demonstrates the encyclopedic mind that informs his musical imagination.

“Yeah, he was in Chicago then. Those harmonies he was after were deep, that five-part shit. Nobody was doing that kind of thing except maybe Smokey. We were all singing unisons and octaves, nothing like that.”

Younger Clintons keep him hip to new trends and talent, leading him to collaborations with the likes of Scarface, Thundercat, and recently-minted Pulitzer winner Kendrick Lamar.

“I was telling Kendrick jazz was going to be the next thing in hip hop, not knowing that his record was all in that. I don’t know if he already had it like that, but there’s lots of jazz in his ammo. I use a lot of that flavor on this Medicaid Fraud Dogg.”

“You know that kind of music gives it an elevation. It’s still hip hop, still storytelling, but he actually had some arrangement. You can’t just call it making beats, you know, just making a beat on the computer. That shit had to be written. Somebody went to school for a lot of that stuff he’s putting down. You didn’t get that from no Casio.”

Other talent on his radar includes Cardi B, Flying Lotus, and Childish Gambino.

“Gambino, he’s really got it. Lots of information, and clever. That video? Man, that’s some shit!”

It was time for a photo shoot. Carlon live-streamed the proceedings on Periscope, so you can verify: Clinton styling a stunning, gold sequin ensemble while singing along with Sinatra.

That’s the beginning, just one of the clues
You’ve had your first lesson, in learnin’ the blues.

Funky Ba Da Bing, sweetheart.

Dropping Beats, Dropping Knowledge

Music is designed to free your funky mind
We have come to help you cope

Clinton agrees he fits the Trickster mold, but insists he does not really think about it all that much.

“See, I got so much history, so many things I know, that I just go ahead and do it. I’m responding to things around me, things that are happening. That’s why Medicaid Fraud Dogg gets to what it’s about. It’s the thing happening now.”

Thus does Florida Man concoct Medicaid Fraud Dogg with no consideration of the fact that our sitting governor was CEO of a company dinged for the largest Medicare fraud penalty in history. Informed that Spotify was running ads for the governor’s U.S. Senate campaign during the Fraud Dogg stream, he rumbled that deep laugh while denying any funkentelechal trickeration.

“Ain’t that some shit? Somebody having some fun.”

A happy accident? Maybe so, but hearing “I’m Rick Scott, and I approve this message” hard on the heels of “Medicated Creep” or “I’m Gon Make U Sick O’me” will never be anything but comedy gold.

I’m gon make u sick
I’m gon make u sick o’me
Then I’m gonna give you the antidote
Somethin’ to make ya feel better

For all the humor, Clinton is dead serious about the themes behind the new album. Looking at addiction through the lens of someone who has been there, he compares Big Pharma to street dealers.

“Drugs are really more dangerous now. I quit, but I can still see all the people my age walking around, you know, that same dazed look like it was street drugs. And most of them got prescriptions. Now it’s legal. So the pharmaceutical companies, same as though it was still street drugs, they get people hooked on stuff, but now they got a legal way of doing it with prescriptions and stuff, people don’t have a chance. If you stop taking them, you’re in trouble. So they get a captive audience and they can advertise that shit on the radio and TV and internet. They give you the cure for the pill they gave you for something else and that happens three or four times before you realize you taking meds for other meds.”

No need to read the label warning
Just take two of me

“I’m glad when I got out of it I still had enough energy and inspiration to write all this. That was my energy for fighting harder again, along with my life, you know, family and everything. It was fun just building up the energy to get going again.”

It’s George doing what he has done for 60 years: absorbing the culture around him and refracting it through his unique sensibility.

Is There Life After Funk?

Once upon a time called Now
Somebody say, “Is there funk after death?”

The indisputable creative peak for Parliament Funkadelic remains their string of 70s masterpieces, but the new music coming out of Camp Clinton is lighting up a new, international generation of listeners. Just as important, the organization is healthier than ever. With extended family handling both creative and administrative duties, this framework can keep funking after George is gone, much like the Ellington, Basie, and Sun Ra organizations have kept those torches burning. If we – and they – are lucky, our kid’s grandkids will be shouting “Make my funk the P Funk” while fourth- and fifth-generation Clintons navigate the Mothership.

Then again: King Lear had only three daughters, and we know how that turned out. Over 60 years, George Clinton emerged as Keeper of the Funk and one of the most recognizable front men in pop music. So what about succession? Who will fill the Dr. Funkenstein shoes?

“They all know they’re doing it as a group and the group has been set up to function as a group. They’ll find the focal point. They can figure out how they want to keep it going forward because the group is the group. Long as they don’t get it twisted and think it is them individually, don’t let those trivial things that usually get in the way of groups…some of those excuses be good as hell, but you ain’t really thinking about the big picture.”

Clinton passes the baton with a clear mandate to keep eyes on the prize: Maintain the funk, the whole funk, and nothing but the funk. It’s an awesome task with and immense payoff.

“Ain’t nothing better than when that music is coming together on stage. There is comradery you developed, whether you know it or not. Despite the bullshit, that tightness you got supersedes everything.”

But what will George do when he hangs up his road shoes?

“Man, I’ma go fishing, like every day. And I’m gonna write another book. I’m thinking about calling it Stupid Shit I Did On Drugs. I’ll get all my friends to tell me about all the stupid stuff we did and collect it all in a book.”

He laughs again, that same up-from-the-roots-of-his-soul laugh we have been digging all afternoon. He might be serious. Maybe. With this Trickster, you never know until the funk comes down.

Fantasy is reality in the world today
I’ll keep hanging in there
That’s the only way

 

I posted this on the Twitter machine last night and took a little bit of grief for it. De mortuis nil nisi bonum goes the ancient admonition – Of the dead, speak nothing but good – and it was suggested that my comment was disrespectful and in poor taste.

On the other hand, I also got a ton of likes and retweets, with several commenters taking things farther and offering some truly savage comments about the late Mrs. Bush.<fn>Though none as toxic as the that offered by the odious Roger Stone. You’ll have to search for it if you’re interested.He gets no link from this bloggy vineyard.</fn>   <fn>I also received numerous requests to define the word encomia, the plural of encomium, with one wag suggesting that I must keep a Word of the Day calendar on my desk. Peccant whereas criminated.</fn>

Respectfully, both reactions miss the point. I come neither to praise or bury Barbara Bush. In many ways, her passing is but a blip in the larger landscape of our rippling human drama. To her family and friends, certainly, this is a sad moment, a time for reflection and remembrance and mutual support. They deserve the space and respect to handle this however they see fit within their own circle.

But the lionization of Barbara Bush, a woman who is, at best, a footnote in history, does nobody any good. All the misty-eyed reminiscences have thoroughly ignored the complexity of this flesh and blood creature. It doesn’t take much googling to discover that Barbara Bush was prone to say things that were, if not downright nasty and cruel, at the very least oblivious and callous towards real human suffering.

Her thoughts after her wastrel son launched an unnecessary and illegal war in Iraq:

But why should we hear about body bags, and deaths, and how many, what day it’s going to happen, and how many this and what do you suppose? Or, I mean, it’s, it’s not relevant. So why should I waste my beautiful mind on something like that?

And here, in the wake of Dubya’s incompetent response to Katrina:

What I’m hearing, which is sort of scary, is they all want to stay in Texas. Everyone is so overwhelmed by the hospitality. And so many of the people in the arena here, you know, were underprivileged anyway, so this is working very well for them.

Oh, those lucky poors. They never had it so good.

Again, not to pick on Babs: we are all of us, at times, oblivious and cruel, some of us more than others, some of us more intentionally than inadvertent. On this score we are all certainly guilty to one extent or another.

But our society’s penchant for painting rosy pictures of the dead is part and parcel of our unwillingness to face squarely the prevailing assumptions and privileges that are hurtling our nation headlong into third world debasement. Nobody wants to point out the Snicker bar floating in the swimming pool might not actually be a piece of candy. Nobody wants to be thought callous or unkind at someone’s passing.

But we are a nation asleep, and telling comforting bedtime stories about a person, living or dead, does nothing to rouse our dulled sense of engagement. At my passing, I hope to be remembered fondly for things I have done that are worthy of endearment. I also hope that I can count on my closest friends to speak some hard truths about what went along with that. The story only partially told does the listener – and the storyteller – a grave disservice. I have some exceptional warts that are well worth the telling.

A few weeks back, writing about the JC Superstar production, I noted that depictions of the Christ as a flawed, deeply human character “do more to imbue the myth with the kind of layered meanings that encourage considered reflection and exploration than do the Sunday school bromides of my youth.” I admit that the Barbara Bush story has some elements to it that are pretty admirable, amazing even. But presenting her as just this side of saintly only sets up the inevitable tension between discovering the heel of clay or turning ourselves inside out to maintain illusion. The first encourages cynicism; the latter, dishonesty. Both are corrosive.

The full Didion quote I reference in the tweet is “We tell ourselves stories in order to live.” It’s the opening line in her legendary essay The White Album. It is one of my favorite lines in all of literature: When I feel like not writing, I think of that quote. It emphasizes our need to craft a narrative, to strive to make sense of our world and ourselves. It is – like the first line in this blog’s manifesto – a continual source of inspiration and strength for me. But it’s worth noting that as The White Album essay unfolds we discover that Didion is exploring whether the utility we find in telling ourselves stories may be more to do with our ability to fool ourselves about what is really going on.

The Didion of The White Album is in serious psychic distress about a society that was every bit as fractious and self-destructive as is our current civis. In the final sentence, she laments that “writing has not yet helped me to see what it means”. Perhaps as 40 years have passed, as she has grappled with telling herself (and us) these stories, grappled with – and wherever possible, resisted – the temptation to sugar coat the harder truths, she has glimpsed more accurately “what it means”. I like to think so, but that may be just another comforting bedtime tale. Only she knows for sure.

Didion’s is an exemplary path, a hard path. Her striving to understand “what it means” is a beacon for me. At the same time, I would be a fool to ignore the aspects of Didion that are less than admirable.<fn>I’ve got my own little list. You make your own.</fn> Ignoring the blemishes of our heroes – and ignoring the positive attributes of our nemeses –  constitutes an error certain to keep my own “what it means” epiphany well out of reach. That epiphany is a destination that, for both the individual and the collective, is ill served by putting a false face on whom/whatever we choose as the subject of our stories.

So enough with the fairy tales about Barbara Bush. She was by all accounts a tough cookie. She can stand the harsh light of decent honesty.

I don’t really know where to begin to talk about this year’s Word of South Festival. I could begin at the beginning, that moment when I had my photo taken with legendary Muscle Shoals bassist David Hood, creator of what is arguably the coolest bass part in the history of pop music.

Go on and check that endless groove behind Mavis Staples. Set it on repeat. Mercy.

Alright. Ain’t nobody crying. Come on now, David. Little David.

Or I could begin at the end, when David’s son Patterson, founder of the Drive By Truckers, laid us all flat with his invocation of Patti Smith during his solo performance of “What It Means”, his no-holds barred response to the ongoing series of assassinations of Black men by law enforcement.

It was all I could do to not dissolve in tears, but there’s no sobbing on a bar stool, motherfuckers, so I did what everybody else did and damn near yelled myself hoarse in assent.

Either beginning works, so I’ll go ahead and start in the middle of last year’s festival.

Anybody who knows me knows that I love The Bitter Southerner. And you also know I pretty much love my now-and-future hometown of Tallahassee – especially the Word of South festival, our yearly mashup of music and literature. About a year ago, over breakfast with BS editor Chuck Reece and WoS founder Mark Mustian, I watched an agreement take shape that made Bitter Southerner the host for a stage at the 2018 shindig. A full weekend of whatever Chuck and his crew could cook up. I had no idea what was coming.

A year later, the Bitter Southerner Stage was the center of gravity at a festival that had no shortage of crackerjack talent. Whether it was sax killer Darius Jones trading verses with novelist Catherine Lacey, or novelist (and Lacey’s husband) Jesse Ball reading his austere prose from his latest novel, Census; or maybe a two-hour presentation from Guggenheim Fellow filmmaker Bill Morrison, or John T. Edge holding forth on the social and political implications of Southern Foodways, or civil rights activist and lawyer Ben Crump laying out harsh reality for the (lamentably) mostly white audience.

Maybe your high point came when 80s pop star Suzanne Vega lit up the night with her radiant voice and presence on the big stage. I sat down with a pal to “watch for one song” and move on, and one song became one more, and one more again until I had watched the whole show, amazed at the sheer beauty of Vega’s language and sound.

It would be ridiculous to try and pin down my favorite moment, much less the best moment of the festival. Because like any good fest, I missed more than I could possibly fit in, and you just know that FOMO feeling you have is justified.

But still, I’ll give center of gravity status to the Bitter stage, and not just because I love that crew like I love breathing. It’s because Chuck and team put together the kind of cogently thematic program that makes a festival more than just a collection of cool events. It’s the kind of thing that makes a statement, delivers a manifesto. BS teamed up with friend-of-the-publication Patterson Hood<fn>Himself the originator of the “duality of the Southern thing” concept that drives BS.</fn>, who hooked in his own pals – including the angel-voiced John Paul White, ex of the band Civil Wars – who each extended the network one by one until the program took shape.

The festival began with White, Hood pere and fils, and another Muscle Shoals legend, Funky Donnie Fritts in a panel discussion with editor Reece. Tales of how it all began, what it was like to hang and play with folks like Aretha and Percy Sledge and Wilson Pickett and Mick and Rhymin Simon and, and. And how the tiny towns of the Shoals somehow became one of the most prized places to make a record (remember those) in the 60s and 70s.

And then came guitarist Cedric Burnside, grandson of the legendary RL Burnside, with a set of deep in the groove blues from the Mississippi hill country. Serious roots.

Then it was set by John Paul White and a tribute to the great Muscle Shoals songwriter Arthur Alexander, and I had to miss them both and endure the looks on friends’ faces when they said, “Dude, how did you miss that? It was amazing.”, which it most surely was, and which would have crushed me had I not been getting my gob smacked by Jesse Ball, or Jeff and Ann VanderMeer and their trusty bird sidekicks. And that led to Vega, which led to a kind of amazing after-party event featuring Charlie Crockett playing some ass-kick Texas roadhouse music.

The threat of overnight storms – the same line of storms that flat out shut down the French Quarter Fest in NOLA – led organizers to scramble to find indoor spaces for Sunday. Word of South has had its share of weather woes, and the danger of losing the energy of a festival by dispersing around town is very real. Our Sunday began with the Morrison film program – well attended despite the rain – an absolutely captivating overview of his career that led me to immediately subscribe to the FilmStruck streaming service so I can watch his stuff over and over again. You can get a 14-day free trial. Go ahead and sign up and watch Morrison’s Decasia. You can thank me later.

Then it was time to get back to the Bitter South, which had moved indoors to 5th & Thomas, a fine listening room that was just barely big enough to hold the crowd. I missed the all-star tribute to guitarist/songwriter Eddie Hinton, who wrote the second sexiest song of all time, “Breakfast in Bed”<fn>Marvin’s “Let’s Get It On” will never be beat.</fn>, and again I had to endure the “Dude, how could you?”, and I arrived too late for Allison Moorer’s set that had everybody buzzing.

But I was in place for Patterson’s solo set. Now here’s where I drop a mea culpa and admit that I have never, not even once, listened to the Drive by Truckers before.<fn>This is where most of you are thinking, “Dude, what the hell?” I know, right?</fn> No reason, it just never happened.<fn>This gap, along w my ignorance of John Paul and Civil Wars, is going to change, and fast. Is there anything as wonderful as finding music you did not know about?</fn> So I was completely unprepared for the way Hood got inside my head and heart, heedless of the passion and social consciousness this guy has going on. His evocation of the shared complexities of human existence – and the particularities of the Southern thing – literally had me shaking and in tears. And then all the Muscle Shoals-grown talent took the stage, and Little David struck up the bass line to “Respect Yourself”, and nah-nah-nah, the place damn near exploded, y’all, we were in the presence of The Spirit, that thing that undergirds everything there is, whatever the hell that might mean to anyone, much less this heathen scribbler trying to make some kind of sense of all this.

I was fortunate to be able to share this thought with Patterson later: He had taken my heart and shown me what was inside, a direct challenge delivered with love and compassion. And when he invoked Patti with “Love each other, motherfuckers”, I was rendered paralyzed with hope and fear and resolve to maintain my own small engagement with the larger world in vain hope that I can change something, even if it is only my own limited understanding of how we thrive and suffer together.

And that has been the mission of Bitter South from the jump: to show us where we connect, where we are all the same even while we honor and embrace our (and your) difference. The programming of the Muscle Shoals crew – hell, of Muscle Shoals as an ideal to live up to – delivers the kind of thematic resonance that can take a good festival and move it towards greatness.

Most of these musicians could have made a much better paycheck doing another gig elsewhere, but they chose this weekend to make a statement and take a stand. They made the world a better place for the several hundreds of people in their orbit, and their work went to support my pal Chuck and my hometown – and Word of South itself. I love all these things fiercely, and as such, I love my new friends Patterson and David, John Paul and Reed and Adam and Ben. Thank you gentlemen.

Word of South stands at a hinge point. Four years down, it faces the question of “what are we going to be when we grow up?” From the first time I heard about Mustian’s idea, well before the first festival took place, I had a sense that this was the kind of event that could put Tallahassee on the cultural map, an event that would make people say, “We have got to go to Word of South this year”. It has been a very good festival, with year after year improvement. And I take nothing away from the rest of the talent at the 2018 fest: it was loaded and fabulous. I elevate the Bitter South contribution because it has the internal logic and structure that, as I said before, can make a good festival great.

There is rumor of BS returning next year. Let’s hope so. There is rumor of other collaborations of this sort. Bravo! As WoS celebrates its fifth birthday next Spring, I want my friends from Atlanta and NOLA and Knoxville, from Seattle and London and New York to look at the lineup, mark the dates and say, “Wild horses wouldn’t keep me away”.

The challenge is drawn, WoS. It won’t be easy, but I’m with you 100 percent.

“We tell ourselves stories in order to live” – Joan Didion

“We tell each other stories in order to live together” – i2b

People accuse the i2b team of elitist snobbery, of being blind and deaf to the kinds of entertainment that “real people” might enjoy. P’tah, saith the team: The i2b brow covers the full range, from low to high and all points in between.

In that spirit: NBC’s Jesus Christ Superstar Live in Concert was just about perfect in every way.

The sets and staging, the costuming, the direction: all of this was as good as it gets. The cast was superb, especially the Broadway pros. Better: the cast was determinedly multi-culti and scruffy as hell, all angular haircuts and tattoos.<fn>America’s grumpy pervert uncle Bill O’Reilly took to Twitter to decry this last bit. Get off his lawn.</fn> In this production, Jesus is a Black man, his “companion” a White woman. You better believe Black Jesus Matters.

The expected troll backlash from the religious right never really materialized. A fair number of theologically inclined folks complained that JCS does not include the actual stone-rolling-aside episode, a resurrection<fn>See what I did there?</fn> of a now 48-year old gripe, but it is hard to see that anyone thinks this production short-shrifted the Christ’s ascension. Not to blow the suspense with spoilers, but there has never been a more effective evocation of the Crucifixion than this.

Of note: as Jesus ascended, every member of the cast Took. A. Knee.

The Christ myth may indeed be the Greatest Story Ever Told. I write this as a fully convinced atheist, but that really isn’t germane, any more than are my thoughts about the reality of Hogwarts or Mordor. This is strictly about the narrative, and this story has it all: rebellion, romance, social justice, and brutal oppression. It’s about class division and capital punishment and the mechanics of social movements. And crucially, it is about betrayal.

When the original JCS album came out in 1970, I damn near wore the grooves flat. Raised in church, indentured as an altar boy until such time as I could effectively object, I was taken by the representation of Jesus as a man, a mortal product of time and circumstance. Divine? Maybe, maybe not.

Die if you want to, you innocent puppet.
– Pontius Pilate to Jesus

And what about Judas? History’s greatest villain, condemned by Dante to the 9th Circle, he remains by far the most complex and interesting character in the myth. But I, like many others, was raised with a black and white conception of Jesus-good-Judas-bad, a stance that pointedly ignores the fact that without Judas, there is no arrest, crucifixion, and resurrection. No Judas? No Christianity. This was one of our earliest lessons in ambiguity, and it remains perhaps the most prevalent.

Through many a dark hour
I’ve been thinkin’ about this
That Jesus Christ was
Betrayed by a kiss
But I can’t think for you
You’ll have to decide
Whether Judas Iscariot
Had God on his side.
– Bob Dylan, “With God On Our Side”

As good as Legend was as Jesus, Brandon Victor Dixon’s Judas stole the show. Already a Broadway giant, most recently as Aaron Burr in Hamilton, Dixon can write his ticket to any destination as of last night.<fn>The fact that Dixon was the actor who gave VP Mike Pence a public dressing down after a Hamilton performance only makes him all the more spectacular. And then the man offers the Wakanda Forever gesture during the curtain call?!?! FTW!</fn>

One of the great feats of JCS is the representation of Judas as something more than a cardboard villain, more nuanced than Palatine or Voldemort.<fn>The bad guy=pure evil equation has never offered much dramatic possibility.</fn> Judas had insight into the perils of personality cult. In the first song, he warns “all the good you’ve done will soon get swept away / You’ve begun to matter more than the things you say”, a timely caution for our favorites in current social movements as they navigate that assembly line of hero creation and defenestration that remains popular 2000 years on.

You’d have managed better if you’d had it planned.
Why’d you choose such a backward time in such a strange land?
If you’d come today you could have reached a whole nation.
Israel in 4 BC had no mass communication.

The depiction of the crowd as a gaggle of media hounds after the arrest of Jesus was a clever twist (as was the wide use of cellphones among the cast) that framed the events in relation to current movements like #NeverAgain and #BlackLivesMatter. The production may not have been conceived with these in mind, but you would have to deliberately choose to not see the echoes.

Every word you say today.
Gets twisted ’round some other way.
And they’ll hurt you if they think you‘ve lied.

Judas, famously, betrays Jesus with a kiss. In the JCS depiction, Jesus gathers Judas in a tight embrace, a clear display of affection for his old friend who, like himself, finds himself a pawn of forces beyond their reckoning. Is Judas, the universal symbol for betrayal and damnation, forgiven here by Jesus, the singular emblem of mercy and redemption in our canon? God, I hope so. Dante be damned.

I’ll go toe-to-toe with anyone to defend the premise that re-tellings like JCS – and Scorsese’s Last Temptation of Christ – do more to imbue the myth with the kind of layered meanings that encourage considered reflection and exploration than do the Sunday school bromides of my youth. Is Judas a man beyond redemption? Perhaps, although it’s hard to imagine a more vibrant redemption than Judas returning from the grave in a sequined tank top to tear the roof off the joint with the anthemic title song.

I have not listened to JCS in more than 20 years, not since the Atlanta music community<fn>Spearheaded by multi-talented Michael Lorant as a gun control benefit vehicle following his own shooting during a botched holdup; some things never change.</fn> mounted a terrific production of JCS with the Indigo Girls in the two lead roles. Presenting the out and proud Amy Ray as Jesus – and she killed it, from the moment her disembodied voice blasted into the Variety Theater on opening night – and the out and proud Emily Saliers, as Jesus’ “companion” Mary, was a provocative and daring move, well beyond central casting’s White Jesus, and surely the most daring JCS casting ever sold. Until now.

The diversity of casting and the representation of the apostles as scruffy misfits alone made the NBC production a statement. The presentation of Jesus as a Black man, and his female companion a White woman, could fairly be interpreted as a poke in the eye of America’s conservative culture warriors. For centuries, Western culture has insisted on depicting Jesus as some kind of Nordic or Aryan icon. Not this night. I’ll say it again: Black Jesus Matters, and the fact that NBC presented a depiction of the Christ myth that leaned hard on inclusion and diversity, and on the holiest day of the Christian calendar no less, is no small incident in the current climate.

Or maybe I’m wrong, and this is all about nostalgia and the willingness of a corporate behemoth like NBC/Comcast to manipulate us all for profit. It is certainly possible. No doubt, nostalgia plays a large part in my emotional response to JCS. A big part of my childhood, I know the lyrics and music to this show inside and out. Judging from Twitter, I am one among many. It is as firmly imprinted as any cultural artifact can be.

But it has to be more than that. The score, not astonishing by any measure, is filled with earworms and memorable lyrics, and the libretto is filled with doses of sly humor. King Herod’s song is campishly funny, made even more so by the stunt casting of Alice Cooper. (How Legend managed to kneel in front of Alice Freaking Cooper through that piece without cracking up is beyond me.)

My favorite gibe comes during the Last Supper, when most of the apostles are drunk with wine and enthusiasm for a movement they do not fully comprehend.

Always hoped that I’d be an apostle
Knew that I would make it if I tried
Then when we retire we can write the gospels
So they’ll all talk about us when we die.

Perhaps the Gospels were the first tell-all memoirs, the Apostles the creators of the genre. Scores of ex-White House staffers offer their thanks.

There was a ton of energy surrounding the performance, and the decision to have a live audience served JCS well where other recent broadcast musicals fell short. There was an apparent emotional connection at work in the venue, and that spilled over to the broadcast, even where it created technical issues with sound balance and such. But quibbling over mix problems is as beside-the-point as griping about commercial interruptions. Success for such a production comes down to a central concern: can the viewer emotionally connect?

So?

I admit it. I spent most of the evening with my cheeks wet. Mary doesn’t know how to love him. Judas doesn’t either. Jesus has galvanized a movement that is spinning out of his control. He recognizes too late that his followers are not up to the tasks of the movement, aside from Judas, perhaps, a man who is destined to betray Jesus to death. Jesus confronts the money changers and runs them from the Temple. For his trouble, Jesus is swarmed by lepers and other afflicted supplicants; pulling and tearing at him, everybody wants a piece for themselves no matter the cost to their saviour. The devoted dozen fall asleep as Jesus fairly begs someone to stay awake with him in his last night of freedom. Then comes Peter’s betrayal, three times, and Magdalene’s comment, “You’ve gone and cut him dead.” Then there is the agonized death of Judas, the man who made Christianity possible, recognizing that he is, indeed, damned for all time.

And finally, most of all, the Crucifixion, Jesus ascending and drifting into the mist on his tiny cross – “My God, my God, why have you forgotten me?” – framed by a giant cross, backlit until he disappears into pure light? As powerful and moving as it gets. Michelangelo can only shake his head and say, “Damn, that was fine.”

Despite the insistence of the devout that Jesus is indeed a manifestation of the one, true God<fn>Setting aside Nicene confusions of a Trinity that is or is not in fact a single entity</fn>, the way we tell ourselves/each other stories all but guarantees that there is not a single iconic representation of Jesus that prevails universally, despite the best efforts of Renaissance artists and the various approved councils, papal conclaves, and authors like Dante and Milton.<fn>Always keep in mind that a great deal of myth that people assume is from the Bible is in fact addenda created centuries past the authoring of Revelations.</fn>

All of which means that when a major teevee network devotes millions of dollars to a star-studded presentation of the Christ myth – on Easter Sunday, no less – it is worth paying attention to how this story is being told. Which Jesus, or whose, is always a question worth asking. Is this the Jesus of Harriet Tubman or Robert E Lee? Is this blond and blue-eyed Jesus or Jesus with dark skin and napped hair? Is this Jesus divine or mortal?

JCS does unbelievers the service of offering a Jesus that can belong to anyone.<fn>This may in fact be the greatest objection conservative theologians have to the proceedings.</fn> Watching it, I am reminded that even the non-believing “I” can have a Jesus, just as I can have my Beowulf, my Hamlet, my Ulysses, my Jean Valjean. Interpret the myth as you will, in a way that enables and ennobles you.

If your slate is clean, then you can throw stones.
If your slate is not, then leave her alone.

These are stories we tell ourselves, in order to live. They belong to everyone.