Two Halves

Was mostly about the beautiful game. Now about music, or soccer, or whatever. For better or worse, I guess.

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Photo credit: Laura El-Tantawy. 

A FEW THOUGHTS ABOUT “72 Hours Until Kickoff’

A couple of people asked me on Twitter (well, ONE did) to shed a bit more light on this project, so here we are.

The concept began in the summer of 2016. We batted around this “Day in the Life” idea editorially and quickly found that Premier League teams would never agree to letting us see their inner workings. It’s expected; they all have their own vast, fast-moving media wings that deliver a polished experience. I get it.

And then I realized what a blessing that was. Ultimately, the Premier League may as well be Mars or Jupiter compared to genuine football. It exists in a bubble within which 17 teams get to nestle, quite comfortably, from year to year. The three that drop down are already best placed to spring right back up, barring acts of managerial or boardroom stupidity. (Venky’s, anyone?) And everyone else is simply grabbing whatever bits of sunlight and nutrition happen to fall from that proverbial top table. 

Even with access and avenues through which to all the game’s stars, leagues and top teams, we still get a very limited and narrow view of football. It’s not a fault or a flaw; it’s just something about the vulnerability of a professional athlete and also the lock-tight nature of controlling the message.

And then, one of Mick McCarthy’s quotes about how sensitive players are would resonate deeply with me: they’re just people, after all. And when we get another lobbed-off, half-formed tabloid headline criticizing a player for how they live their lives, or spend their money, or react to defeats, the ability to understand them diminishes a little. They’re less willing to open up, because why should they? If the point of view is one of expecting a moral code from them -- how dare that player have drinks after a defeat! How dare they buy a flashy car! -- then the conversation’s over.

So the opportunity to pull back the curtain and get a deeper understanding of how these ordinary people with extraordinary jobs go about doing them was a real treat. It was great to get a more intimate sense of how the sport works: the emotional toll but the urgency to stand back up and do it again. The mind games, the routines, the personal preference. (I didn’t include a whole chunk about player superstitions because it felt a little too far inside their work.)

And a club like Ipswich, with a proud history and Premier League experience, was a perfect fit. They understand the struggle of existing in that limbo beneath the top tier. They’ve been working tirelessly, like all the other clubs around them, to try and get back there. And the margins for error are unforgiving and razor-thin.

The insights they shared and the truths they revealed were a blessing. I came away with a much greater appreciation for something I’ve loved all my life (soccer) yet only ever understood in bits and pieces. 

BTW, Laura has a stunning Tumblr: http://lauraeltantawy.tumblr.com/

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FIFA NEWS, LINKS, JOURNALISTS

Quite a day for FIFA. As such, I’ve tried to compile a few helpful and handy links explaining both today’s developments and some background reading that might also be interesting.

TODAY’S NEWS

- The New York Times broke the story with an engaging, fast-moving narrative that tracked events at a ritzy Zurich hotel. (LINK) What followed were wonderful live tweets of executives gently ushered into economy cars (LINK), rich men protected by white sheets (LINK), and bewildered concierge staff greeted by JC Penney-wearing police. (LINK)

The U.S. Department of Justice unsealed a 47-count indictment charging 14 defendants with “racketeering, wire fraud and money laundering conspiracies, among other offenses, in connection with the defendants’ participation in a 24-year scheme to enrich themselves through the corruption of international soccer.” This is superb reading for your morning coffee. Seriously. (LINK)

- Of those 14, NINE are currently employed by FIFA, including CONCACAF president Jeffrey Webb. Here’s who they are. (LINK)

- The Swiss DoJ confirmed their actions on behalf of a joint investigation with the U.S. DoJ. (LINK)

GOOD READS/THINGS TO WATCH ON FIFA

“Mr. Ten Percent: The man who built -- and bilked -- American soccer” (June 6, 2014) Ken Bensinger drills deep for Buzzfeed News on Chuck Blazer, the former high-ranking soccer official and integral architect of CONCACAF as we know it. It’s widely believed that his help was fundamental in the on-going investigations.

“A League of His Own: How Sepp Blatter controls soccer” (April 30, 2015) Tariq Panja, Andrew Martin and Vernon Silver put together an exhaustive profile of the FIFA president for Bloomberg, and how the avuncular Swiss businessman runs his domain.

Key quote (from Prince Ali, a man who is trying to challenge Blatter): “It’s a controlled environment, but that’s typical of the way FIFA is run.”

“Corruption, Murder and the Beautiful Game” (August 23, 2011) Brian Phillips looked at Blatter and FIFA for Grantland. It covers some older history of scandal and corruption, much of which has kept the spotlight on football’s ruling body and arguably led to Swiss police knocking on hotel rooms.

Sepp Blatter and FIFA: E:60 reports with Jeremy Schaap (May 14, 2015) ESPN’s investigative wing reveals a lot about Sepp’s background and rise to the top of the beautiful game.

“Sepp Blatter: how FIFA’s great survivor has stayed on top” (May 30, 2013) Owen Gibson writes for the Guardian on Blatter’s methodology as allies become enemies when they get too close to the throne.

“Foul! The Secret World of FIFA” (Amazon LINK) Andrew Jennings’ book spanning four years of digging deep into FIFA functions and making some wide-ranging allegations as to the buying and selling of World Cups and presidential votes. Seemed too incredible to believe at the time; not so anymore.

“How Jack Warner built his empire” (April 14, 2013) The former CONCACAF president’s impropriety has been a thriving meme over the years given his role (and his family members’ roles) in various allegations of corruption and bribery.

WHO TO FOLLOW ON TWITTER FOR MORE

The New York Times reporters who broke the story: - Sam Borden - Michael S. Schmidt - Matt Apuzzo - William K. Rashbaum - Their editor, Andrew Das

Other top journalists on the beat:

- Gab Marcotti, who is usually spot-on with his FIFA writing - Heidi Blake, Times of London - Jonathan Calvert - Dan Roan, BBC - Richard Conway - Owen Gibson, The Guardian - Tariq Panja - Paul Kelso

Longtime FIFA critics/investigative journalists:

- Martyn Ziegler - Andrew Jennings

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supermarket blues, eugene mcdaniels

Strolled up to the counter Slammed my hand down on the cashier And said, "Cuse me, please But I bought this can of pineapple The other day When I got it home It was a can of peas, Goddamn If I'd wanted those I'd picked my nose And thrown 'em in the back To the vegetable freeze, uh huh" Just then the supermarket manager Hit me from behind Brought me to my knees, y'all

https://www.youtube.com/watch?v=ztSEmr2BF-Q

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David Squires on … the year ahead for Manuel Neuer

In the latest in our series of illustrations, David Squires ponders what 2015 might have in store for the Bayern sweeper keeper

A bitingly funny look at the year ahead for Manuel Neuer. Obviously it's beyond the realm of possibility (or is it?) but there's something glorious about the fact that no matter what the terrifying goalkeeper does, he'll never quite get the kind of glory he might deserve.

It's noble and depressing all at once.

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Jason Segal talks to author Kelly Corrigan about his career, some new projects, usual stuff. But I found his thoughts on creativity and persistence oddly instructive. At least, they were a fresh dose of energy.

I've been working hard over the past month to cultivate myself away from the things I'm naturally good at. This is the kernel of Segal's perspective; the boredom of continuing to excel in expected patterns needs a counterpoint. 

Brewing beer and now/soon, building furniture couldn't be further from my natural aptitude but I find the potential for failure to be exhilarating. And that excitement will naturally channel back into my well-worn skill sets. The lessons I'm learning in entirely non-soccer/non-writing practice are exciting.

Here ends a dose of weird and unexpected extroversion about my creative process.

[toddbarry]

PUT SOME LIPSTICK ON THOSE MASHED POTATERS!

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"Garvey's Ghost" Max Roach Percussion Bitter Sweet (Impulse, 1961)

To close out the day, some punchy hard-bop from the legend, Max Roach. Never one for simple beats, this polyrhythmic epic should become your new heartbeat.

Roach was the spine for a whole Jazz Titan Hall of Fame -- Dizzy Gillespie, Charlie Parker, Charles Mingus, Duke Ellington, Thelonious Monk, Sonny Rollins, Bud Powell to name just a few -- and this opening track from Percussion Bitter Sweet is superb.

It's a political album, overall, and a transformative one. Coming at the turn of the 1960s, it signals the end of so many traditions and the beginning of so many more. Roach reflects the power of the civil rights movement: urgent, loud, aggressive, and full of soul.

This track is a celebration, its title echoing the Harlem Renaissance, and every detail fits, from the shuffling rhythms to the simple vocals of a young Abbey Lincoln. A 6/8 groove, a relentless array of solos from round the room and a vibe that reflected what jazz would go on to become.

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"Playing the Game" Gentle Giant The Power and the Glory (Capitol, 1974)

British prog rock band Gentle Giant formed in 1970 and kept things interesting throughout the decade. As many of their prog brethren the music is full of self-referential nonsense, half-baked theology and extended riffs on ancient Greek mythology. Not much of their material that really talks to me, but this cut is funky enough to make you forget it runs to almost SEVEN minutes.

I'm pretty sure this song crept into a Madlib compilation somewhere along the way, although I do remember that the GG track "Funny Ways" ended up getting sampled on Madvillain's "Strange Ways" so I guess the circle of cognitive recognition is complete.

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"Som Sangue E Raca" Dom Salvador e Aboliçao Som Sangue E Raca (CBS, 1971)

Something less obscure next up! Legendary Brazilian jazz pianist, Dom Salvador. He's recorded with the best Brazil has to offer (Jorge Ben, Rubens Bassini, Edson Lobo) and his music never fails to get you.

This LP is my favourite of his, mixing his bossa nova and jazz sensibilities with the R&B aggression of his bandmates; the title track is especially scorching. Listen long enough to get back the dirge-like singing, when Salvador's piano explodes out of nowhere. Funky, a little weird, and unforgettable.

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"Dance Girl" Rimshots Dance Girl/Who's Got the Monster 12" (Astroscope, 1974)

Rimshots (not to be confused with "The Rimshots," a rockabilly act trading under the same name) were a solid little R&B outfit responsible for some quality tracks in the 70s.

As the house band for the All-Platinum/Stang record label -- run by Joe and Sylvia Robinson... yes, that Sylvia Robinson -- they recorded several albums and a few non-album singles that got them a little more recognition. This track, recorded between '72 and '75, is perhaps the pick in my eyes.

After '75, they moved into smoother disco territory, but this track had it all -- rolling drum beat and bass line -- check out The Roots' track "Web" from The Tipping Point, which employs an almost identical beat and simpler bass line -- hold court over scratchy, sassy vocals. A cover of a Fatback Band tune, it just plain fizzes along; highly-danceable, yet another vast improvement over the original.

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Slight follow up: live version of "To Be Young, Gifted and Black" from Nina Simone herself. Harlem Cultural Festival, 1969. Raw and beautiful.

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"Jealous Guy" Donny Hathaway Live (ATCO Records, 1972)

Donny Hathaway had one of the best voices.

His range was fair, but the emotion and sparing, editorial use of vocal force nudged him a level or two above the competition. When he climbed for the top end of his register, you caught perfection.

His catalog was short, but sweet -- highlights include his cover of Nina Simone's "To Be Young, Gifted, and Black" on his debut LP Everything is Everything (ATCO, 1970), the utterly superb "Someday We'll All Be Free" from Extensions of a Man (Rhino, 1973), and his duet with Roberta Flack "Where is the Love?" -- and despite only recording three solo albums, his position as one of the most influential soul musicians was secure. He committed suicide on January 13, 1979.

Here, covering the John Lennon track in his remarkable style. A simple, stripped-down instrumentation -- the piano licks a rare flourish to match the vocal -- plays heavy on the downbeats while Hathaway's voice grips the words and makes them his own.

It's mesmeric and an improvement over the original, especially with the shuddering breakdowns as he sings the title lyric. 

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"The Worst Band In The World" 10cc Sheet Music (UK Records, 1974)

Another song worth knowing because J-Dilla sampled it in "Workinonit" -- the exact cuts are easy to spot for once.

10 c.c. were nothing special -- an art-rock band from northern England who swung wildly between listenable and self-indulgent or as COMPLEX called them, a "British version of Steely Dan" -- but again, the sign of high accomplishment was making into a J. Dilla track.

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"Ain't Got Time" Roy Ayers' Ubiquity He's Coming (Polydor, 1972)

Beautiful, uplifting, soulful. "A state of being everywhere at the same time" was what jazz/funk/soul producer Roy Ayers found in his music. This quick cut from his sixth album (Wikipedia lists fifty-eight over a near five-decade spell) was a beautiful tune that received the highest honor: it was chopped and redone for Black Star single "Little Brother" in 1999.

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"All I Need" Daniel Avery Drone Logic (Phantasy Sound, 2013)

Not much to say about this. Just chug through the rest of this piece-of-shit rain with this on your ears. Probably what you listen to before walking a tightrope, or meeting a crime boss in the back of a nightclub while working as a double agent. Or something.

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FZ COUNTDOWN, No. 19

"Cheepnis" Frank Zappa & The Mothers of Invention Roxy & Elsewhere (Discreet, 1975)

For all Zappa's in-studio wizardry, it's indisputable that FZ's true nature came out in full on stage. This LP is neck-and-neck for my favourite FZ album and after a few listens, it becomes obvious as to why.

Modern-day bands recognized for their live performances, like Phish (doesn't matter if you don't like 'em), owe everything to FZ's charisma. Aside from technically-difficult music to play, he put on a show, appealing to every sense and emotion of his audiences. Quirky conversation/call-and-response, intricate changes, extravagant instrumentation and personnel on stage; going to a concert was more than just the sounds.

In the decades since, super-groups like U2 and the Rolling Stones pushed the envelope to truly embarrassing heights and although FZ came close, he maintained his sense of humour and self-awareness.

After a brief story, the band launches into a fantastic, hyperactive song lampooning low-budget sci-fi and horror movies and their primitive, laughable special effects. As is customary, FZ's backed by a superb live group: the indefatigable Chester Thompson on drums, George Duke on keys and vocals, and Napoleon Murphy Brock on flutes and sax.

His backing groups rotated steadily since the beginning of the Mothers -- or the Mothers of Invention, if you prefer accuracy -- but they all held a respect and passion for FZ's music. Not only that, but they had the energy to keep up.

Originally written by FZ for his never-produced musical Hunchentoot, a tribute to b-movies, "Cheepnis" is classic FZ through and through: enthralling music, vivid storytelling, and manic energy.

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FZ COUNTDOWN, No. 20

"Night School" Frank Zappa Jazz from Hell (Barking Pumpkin Records, 1986)

To kick off the countdown, something deliberately and willfully odd. Zappa covered virtually every genre in the book over nearly three decades of recording -- this track is definitely approaching the outer reaches of his influence.

Released in 1986 while electronic instruments were running wild over the pop landscape, Zappa recorded the entire album (except for one electric guitar solo on the track "St. Etienne") using only a synclavier, one of the earliest digital synthesizers and samplers. His compositions were densely-layered and strange, yet sounded so perfect for the chosen machine.

As one of the first to use the instrument -- others included Peter Gabriel and Pete Townsend -- he enjoyed the fact that he could control every single element and dimension of his sound. Known for his obtuse and thick compositions, things he would spend months strictly and rigorously teaching to his various bands, those ideas were translatable with ease via his new computerized plaything.

The LP itself won FZ his first Grammy in 1998 for "Best Rock Instrumental Performance" (uhh, yeah) and despite the SERIOUSLY dated sensation when you press play, there's no turning back.

"Night School" is the album's opening song, allegedly named after a late-night show FZ pitched to ABC (they passed on it), and it is worth repeated listens. Every sound, every note, every bizarre percussion effect is mesmerizing; optimistic, warm, and bright synth tones fuse and shine over an earnest and aggressive beat.

As for trying to figure out why I love it so much, it's like figuring out which M&M is best. As Rolling Stone put it in 1987, JAZZ FROM HELL carries a "deviant playfulness" that is good once you get into it.