Blueprint for Charitable Giving

Over the years I’ve devoted two blogs to the topic of charitable giving and how much of our time and money should be spent helping those in need, a concept I often wrestle with.  (One could argue that if I spent as much time giving as I do wrestling with the question of how much I should give, I’d be a much better person!)   In my writings I referred to the Jewish concept of tithing, the “upper limit” concept of the Babylonian Talmud and the New Testament reading of the Good Samaritan, but I’ve never walked away from these investigations with a clear-cut sense of what I should be doing to help others – only that I should be doing more.

Well, leave it to a pastor to help clarify things.  As I’ve discussed in previous posts, I get a double dose of religion as I occasionally attend Friday night services at synagogue and regularly attend Sunday morning services at a Presbyterian church where I play piano.  Once again, I’ve concluded that the applicable teachings of Sundays often trump the intellectual teachings of Fridays.  At Elmhurst Presbyterian last Sunday, Pastor Lyda offered a concept of giving so obvious that I had a hard time not uttering the words “well, duh!” out loud.  Ready?  Here it is:

Give to others as much as you spend on entertainment for yourself.

How simple is that?  

On the surface, it’s straightforward.  If you spend $30 on a movie, allocate $30 to a charity or other cause that’s in need of money.  

Ah, but what do we consider entertainment?  If you think about it, much of what we spend could fall into this category: electronics, cable, Netflix, internet, sports events, concerts, amusement parts, going out to eat, hobbies, junk food, parties, presents, timeshares or second homes, alcohol, coffee, cigarettes.  Last year, my family did what it had never done before: spent a great deal of money (for us) on an all-inclusive vacation to Mexico.  Clearly, this falls under the category of entertainment, but a vacation of this magnitude would have to be looked at twice if the cost suddenly doubled to include an equal amount for charity.

Still, I think it makes sense.

The hard-core rationalist might find a way to avoid matching the cost of most of the aforementioned categories.  A cycling hobby could be placed under a health category instead of entertainment, or an internet bill could be listed as a necessity. But look at what you spend your money on, and I think you’ll conclude that much of it is inessential.

As we head toward the holiday season, spend some time taking a close look at what you spend on yourself and your family, and consider matching it for those in need.  It might do two things: raise your awareness for just how blessed you are, and offer some assistance to make the world a better place. 

Joe Jackson in Chicago

In 2012 when I last saw Joe Jackson perform, he led a 7-piece band that showcased interpretations of Duke Ellington originals.  Last night at the sold-out Thalia Hall in Chicago, it was back to the basics.  Only four musicians graced the stage, including Jackson’s long-time bassist Graham Maby and two fabulous session musicians: guitarist Teddy Kumpel and drummer Doug Yowell (whose crack of the snare is still ringing in my ears).  Together they blazed through a set that included Jackson’s usual fare, a couple of surprises and several new songs that held up very well against the older material.

Jackson – sporting an olive suit, white shirt and black shoes – began the evening as a solo artist, playing familiar versions of “It’s Different for Girls,” “Hometown” (a sentimental song about “a place that’s hard to be sentimental about”) and “Be My Number Two” before covering The Beatles’ song “Girl” (yawn).  He then played the first of seven songs off of what was supposed to have been four EPs but instead became the full-length Fast Forward due to record company pressure.  It was during the complex title track that it became abundantly clear that Jackson was reading his own lyrics – he even pressed the button on his tablet to “fast forward” to the next page of lyrics (and/or chord changes?).  Unfortunately, he spent the rest of the evening squinting in what I can only deduce was mock emotion as a way to conceal his reading of the written word.  Embarrassing?  Well, if he’s suffering from memory loss, then I’ll give him a free pass.  Otherwise it comes off as sheer laziness, as he even appeared to be reading lyrics that he’s played live for over thirty years.

After “Fast Forward” the band came up one by one during “Is She Really Going Out With Him” (an act that would be reversed in the closing encore of “A Slow Song”) before kicking it in for “Real Men” – with Kumpel’s lead guitar effectively taking place of Jackson’s original “Oh ohhhh” chorus – and “You Can’t Get What You Want.”  The new album then took center stage.

I don’t own Jackson’s first album of original material in seven years (yet), but if last night’s performance is any indication, Fast Forward is a collection of strong, complex songs that – when in the capable hands of last night’s supporting cast – are urgent, energetic and poignant. The album was recorded in four sessions (hence the original idea of releasing four EPs) from four different cities with four different groups of musicians, and last evening’s selections showcased what has become Jackson’s greatest skill – weaving memorable, tuneful melodies against unpredictable chord changes.  You won’t hear any three chord songs here, and I’m impressed with how Joe continues to find new ways to compose what are essentially pop songs.

Aside from Jackson’s personal teleprompter, the only other criticism I have of the show is his tendency to lean too heavily on familiar territory.  I get why he plays the hits, and sure, “Hometown” and “Be My Number Two” are great songs, but why not “Shanghai Sky” or “The Best I Can Do” as substitutes?  Instead of “It’s Different for Girls” why not “One to One”?  The only surprises of the evening were “On the Radio,” “China Town” and “Love at First Light” from Volume 4.   All sounded superb, and I wish there had been a few others.  As for the cover songs, “Peter Gunn” – with lyrics! – was a terrific example of one of only two reasons a band should ever play a cover song:  to offer a completely different interpretation than the original or to play a song people don’t already know by heart.  As for The Beatles’ “Girl” – what’s the point?

When Aspirations Fall Short

I’ve never met author Hannah Goodman, but I’m fortunate for having made a long-distance connection with her back in 2011 that led to the publication of two of my short stories.  Earlier this year, Ms. Goodman announced that the young adult periodical she founded, Sucker Literary Magazine, was on hiatus, which was a bummer, but more of a concern was the reason for the hiatus, which Hannah has bravely blogged about at www.writerwomyn.com.  For the past year or so she’s shared her journey with depression, anxiety and overcoming feelings of low self-worth in the midst of trying to find a publishing deal for her YA fiction.

In her most recent entry, she describes how the nurturing environment she experienced while obtaining her MFA took a sharp turn upon graduation, when she began to encounter "a serious problem with envy and comparing." Social media played a significant role in her struggles as she immersed herself in Facebook and Twitter to help bolster her career, and over time, as she sunk into a hole of constantly comparing herself to others' achievements, her self-esteem took a big hit.

Hannah had gone “all-in.”  She’d made huge sacrifices to obtaining her dream, but a few years after graduation she was in a therapist’s office, concluding that she was “a complete and utter failure and sham of a writer.”  Her perceived failures as a writer were projected on her roles in life, most notably those of wife and mother.  Fortunately, she is in much better place today. 

Hannah certainly isn't the only one to be adversely affected by social media. Several studies have shown a link between Facebook use and depressive symptoms, and as rough as social media can be for any of us, I think it can be especially cruel to the aspiring artist who’s sacrificed so much to follow a dream.   

Of course, following one’s dream doesn’t mean that you’ll earn a living at it, but society sometimes pushes us into thinking that we will.  I wrote about this last year after watching the marvelous film Twenty Feet from Stardom, in which the amazing Mary Clayton laments her failed attempts to achieve her own stardom.  In this blog I asked the question, “Are we entitled to earn a living doing what we love?”  I argued no.  It reminds me of a story a friend of mine told me about his son who decided to pursue jazz guitar performance a number of years ago.  During his first jazz ensemble rehearsal the instructor said, “All of you who are here to make a living playing music need to leave right now.  Those of you who can’t fathom living without playing jazz can stay.”

This is tough advice, but it’s good advice.  I don’t know if Ms. Goodman received a similar message while pursuing her MFA, and I don’t know if she would have stayed if she had, but she is now taking a break from pursuing a book deal (but not a break from writing) and is studying to become a licensed therapist.

We do what we love because we love to do it.  If we can make a living at it, even better, but we should never stop doing what we love.  Hannah certainly hasn’t.  She’s continues to write, and goodness, if there’s ever any doubt about whether she’s capable, read her marvelous entry, “We Need to Talk.”  It's amazing.

Um...now I’m making an envious comparison.  I better get off-line and start writing!

Stevie Wonder in Chicago

@@If Stevie Wonder ever begins to look his age and lose some of his ridiculous vocal range, take heed: the end is nigh.@@  Fortunately, neither has come to pass, as witnessed by a huge crowd at the United Center in Chicago on Friday night.  I was expecting to enjoy the show but ended up loving it, partially for the Man himself and for his amazing ensemble of backing musicians, but also because of the diverse and enthusiastic fans that left me leaving the arena feeling positive about the status of American racial relations.  Music can indeed bring people from different backgrounds together, something I learned back in 1987 when I attended Paul Simon’s Graceland tour, but in light of recent events and seen through eyes that are almost three decades older, Friday night’s concert was even more special to me.

Wonder came on stage first to talk to the audience – something I am not a fan of as it detracts from the thrill of the opening number – but quickly charmed the audience with what was for me a surprising sense of humor along with his well-known appeals for peace and love.  When he introduced the first song of his magnum opus Songs in the Key of Life, one certainly couldn’t argue that “More than ever, love’s in need of love.”  Six vocalists began the haunting opening phrase of the 1976 release, and Stevie followed with the familiar opening line, “Good morn or evening friends…” 

I thought Arcade Fire crammed a lot of musicians on stage last year, but Wonder put that band to shame, as six horns, six backup singers, two drummers, two percussionists, two guitarists, two keyboardists and a bass player graced the stage.  During peak numbers such as “Pastime Paradise,” an eight-piece string ensemble and approximately ten-piece choir joined the crew, and along with a harmonica player and conductor the total number of musicians exceeded forty.  Wonder highlighted just how thrilling it is to play with “real musicians” and allowed each to shine at various points throughout the evening, most notably a playful competition with his backup singers at the conclusion of “Knocks me off my Feet.”  While all the backup singers naturally held their own, I was amazed at how Wonder’s range continues to defy human physiology; he sounds as strong at sixty-five as he did at twenty-six when he recorded Songs in the Key of Life.

Stevie’s mastery of keyboards and the chromatic harmonica is well known, but during the second set he displayed his chops on an instrument that I thought was a stick but have learned since is actually a newer tapping instrument called a harpejji.  A cross between keyboards and guitar, it offered a terrific accompaniment to several songs, including what appeared to be the only off-the-cuff track, a Buddy Guy tribute of “Hi-Heel Sneaker.”

I always thought Songs in the Key of Life had some filler tracks on the second two sides, or at the very least some filler minutes of some otherwise decent tracks, and I stand by my conclusions after hearing the album in its entirety, but when you have kick-ass musicians on stage performing for a full three hours, it hardly seems to matter.  After the album's completion, Wonder’s alter-ego DJ Chick Chick Boom took over, playing snippets from a series of songs including the crowd-pleasing “My Cherie Amour” and “Superstition.”  Had he been able to find room for “You Haven’t Done Nothin’” I would have been beside myself.

Wonder’s creative output since 1976 has been sporadic, and – at times – embarrassing, but no one can deny that from 1972 to 1976 he was one of the best, if not the best, composers.  Forty years later, there’s no denying that he remains one of the best performers, and one of the few who can attract an audience of equal parts black and white, a special ability in a culture that so often separates itself along racial lines whether by circumstances or by choice.  It felt good to buck this trend, if only for evening.

A special thank you to my kids who bought me and my wife the tickets for our twentieth anniversary!

Taking the Plunge

It turns out that good things can happen as soon as you commit to them happening.

After dilly dallying for the past several months, on Sunday I began to work in earnest on my next album, a forthcoming effort to be entitled The Palisades. For me I always have to overcome a bit of reluctance to start one of these things, as I know that saying yes to recording an album means saying no to a host of other things that interest me, and I know it’ll take the better part of the next nine months or so to complete the project.

There’s also the fact that of the eleven proposed tracks for the album, only four have been written in their entirety.  Most require another verse or two or a bridge or a better chorus, so the songs I’ve committed to recording might ultimately fall by the wayside in a few months. But for now I’ve chosen eleven out of approximately twenty-five (largely uncompleted) compositions that will provide an overarching theme: mainly that of relationships, something I’ve largely avoided in most of my past efforts.

What’s cool is that once you truly delve into completing something, good things happen.  On Day One of my pursuit, I noodled around on the keyboard downstairs on a track called “Why Can’t You Be More Like They Are” – a song I started well over a decade ago – and determined that it needed an interesting intro.  After about a half an hour I came up with a solid chord progression that will serve quite nicely, and lo and behold, after playing it several times I decided it would also do well as a bridge to the song.  Sure enough, about ten minutes later I had a brand new bridge for a song that heretofore had none.  I’ll have to let it percolate for a few weeks before I determine if the new material makes the cut, but if asked today I’d put money on it staying.

Which only goes to show that @@once you set your mind to DO something, you do in fact begin to DO it.@@

There’s a pile of paper on my ping-pong table that includes countless ideas for a novel I’d like to begin writing, but lately the prospect of actually sifting through the material and beginning to write has been such daunting one that I’ve pursued almost anything else I can think of: vacuuming, dusting, walking the dog, cleaning out the litter box – you name it.  All are preferable to delving into the creative work that needs to be done.

Which explains why I’m recording a new CD.  It’s basically a way to avoid writing the book!  But hey, at least I’ll end up with something more fulfilling than a temporarily clean house.  Once the CD is complete, I will – I WILL – tackle the novel.  And I’ve no doubt that once I commit to doing so, it’ll all fall into place in a more effortless way than I might now imagine.

After I complete the book, I might even commit to painting the family room. Even writing a book seems preferable to that.