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Three Stooges marathon on AMC....
Many remember the six-month residency as a turning point when Coltrane became a legend. Sonny Rollins, whose star rose before Coltrane's, also remembered Monk as an incomparable teacher. Each of them attempted to play beyond the boundaries of what their instruments were made to do. They tried to re-create Monk's musical sense on an instrument that could only play one note at a time. Nevertheless, they honked where Monk banged, countering his cascades and circuitous phrases with their own runs, with their own personalities, in their own complementary vocabulary. They played with such speed, dexterity and obsession that each set a bar for the tenor saxophone that has still not been superseded half a century later. The grunting seer with the beret at the keys lit the match...
The implications for poetry here are interesting. What does poetry look like if there’s no split between human word and world? What does a non-anthropocentric poetics look like? Is it a celebration of the democracy of all objects? Along the lines of: “Hello! tree” And what would a non-modern poetry look like? A poetry that would not privilege (the human realm nor) its own language.
...I've honestly never understood how anyone could think that Obama was going to bring about some sort of "new" political approach or governing method when, as Kilgore notes, what he practices -- politically and substantively -- is the Third Way, DLC, triangulating corporatism of the Clinton era, just re-packaged with some sleeker and more updated marketing. At its core, it seeks to use government power not to regulate, but to benefit and even merge with, large corporate interests, both for political power (those corporate interests, in return, then fund the Party and its campaigns) and for policy ends. It's devoted to empowering large corporations, letting them always get what they want from government, and extracting, at best, some very modest concessions in return...