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Race and the Politics of Joy
Kamala’s sudden transformation from a — let’s admit it — somewhat disappointing vice president to a presidential candidate fully self-possessed displays all the marks of her African heritage. It is perfectly in tune with the Black Joy movement.
Of course the transition would look effortless, a sign of its deep authenticity. Like 8-year-old Louis at the Iroquois Theater, like Robert Johnson at the crossroads, Kamala has been touched by Eshu. With a laugh at once warm and cool — blessed by itutu — she rebuilds the Obama and Biden coalitions, and then some. Kamala’s community puts aside Trump’s fear mongering, embracing generosity and joy.
Advice from New Orleans’s Great Drummer Johnny Vidacovich
There’s a story in the New Orleans music world about one of our great drummers, Johnny Vidacovich. The story goes, a student comes for his first lesson. Johnny listens. He says, hey man, you’re a very proficient drummer. My job is going to be to slop you up … To slop you up. That verb captures improvisation’s appeal: while much of the world values craft and virtuosity, there is also a value in apparent artlessness.
Jon Batiste’s Call and Response at NYC’s Beacon
In Winging It, I quote New Orleans Jon Batiste’s reflections on the central role of “call and response” in the arts (and in comic improv’s “Yes, and…”). In speaking with Terry Gross on NPR’s Fresh Air, Jon remarked of a Bach Two-Part Invention: