Tino Romero is an open mic institution in NYC. We sat in a park and talked about his experiences growing up Panamanian and black, his adventures in squatting following a Craigslist housing scam, a racial roast battle controversy that spun out of control on social media, and his experiences growing up as a weed smoker in the 80s in NYC. Tino is a good dude and one of the first people who put me up. The mic he ran at Bar 82, will be spoken of at length many years from now during the documentary the make about us.
The rise of the right wing is evident with the stunning upset results of the referendum on Britain's membership in the EU. The right wing uses tactics based on the fear-centered lizard brain, and it's the same old song whether you're talking about the present climate, WWII, or even California during the Gold Rush. History has a linear path, and the roots of the current rise of fascist dialogue can be seen in the colonial mentality of post-WWI Britain and France. Some might even say that the refugee crisis are chickens coming home to roost. Chickens that date back to as fas a Alexander the Great. I wonder if Alexander the Great was into chicken wings.
It's Black History Month and what better way to celebrate it then to take a look at one of the greatest contributions to American culture by black people- Jazz.
Ok, to be honest, I know nothing about it. I hardly listen to it. All I did was watch Ken Burns's Jazz, and it blew my mind. Ok, I didn't actually watch all of it, there's a lot of episodes, but I highly recommend everybody at least watch the first episode in order to get a rundown on the roots of jazz and it's affect on our culture.
I was particularly struck by the philosophy of jazz as a form of individual expression. Jazz comes out of a truth-telling emotionality, freedom of expression inside the boundaries of musical structure. Similarly, comedy has evolved from a superficial punch-setup form to one of raw truth. In this podcast, I ramble on about the connections that I intuited between the two, all stemming from Wynton Marsalis's breakdown of the downbeat in jazz.