Alan Jacobs

Brad Mehldau: 

I began to learn that instrumentalists and singers often didn’t want or need … validation from the accompanist. Actually, most of the time, they preferred that you supply your steady support by staying clear of their path, not answering their every idea, but rather laying something down more locked into the bass and drums, even grid-like. If you are constantly trying to interact with every idea they present, you are not really accompanying, properly speaking — you are hijacking their ideas in a sense, and putting the focus on what you’re doing instead. It becomes more, “Look at me everyone, I’m so hip and adept at catching the soloist/singer’s ideas!” But what it’s really saying to the soloist/singer (and the audience) is: “Please like me!” It’s overbearing. It feels like one of those people you know who, when in a conversation with you, is constantly affirming what you’re saying — “Yeah … totally … exactly!” — before you’ve even finished your thought.

Mehldau started thinking back to his teenage years when he worked in a pizza joint in West Hartford, Connecticut:  

I remembered the guy Jeremy at Papa Gino’s who was flipping pies within a few short months while I struggled at the grill. He didn’t give a shit — it was 5:45 evening rush hour, the place was packed and customers were eyeing him impatiently. But he was as cool as a cucumber, getting the pizzas in and out of the big oven. Maybe the thing was to just not give a shit with comping as well — not to throw away your taste and sensibility, mind you, but to bring a little of that cavalier pie-flipping thing into it. I started watching this less sensitive kind of comping going on at jam sessions or on gigs, and I didn’t always dig it. But I also noticed that other people often did — most importantly, the soloists they were comping behind. So what did it matter what I thought? 

What a great analogy.

“Comping” is a universal term in jazz. It probably derives from “accompaniment,” maybe also from “complement,” but it has a distinctive valence: the good comper is the musician who can support the soloist in meaningful ways without becoming a rival for the audience’s attention. The best comper improves and strengthens the audience’s response to the soloist without anyone ever noticing. 

Albert Murray, whom I’ve been thinking about a lot — see this post, and I’ll have an essay on him in the next issue of Comment, which I will no doubt call your attention to when it appears — used to say that his role was to comp for other artists: his friend Ralph Ellison (who was a music major in college and played the trumpet) was a great soloist, but Murray’s job was so support that kind of high-flying virtuosity with an imaginative but also reliable groove. 

I love this idea of critical and essayistic writing as a kind of comping for the artists and thinkers I admire and learn from. I’d like to think that my best work exhibits some of the virtues of the quiet, cool, comping jazz pianist. 

… but he’s getting quite comfortable already.

Angus was a little nervous for the first few minutes here…

NYT: 

The misuse of A.I. tools will most likely not end, so some professors and universities said they planned to use detectors to root out that activity. The plagiarism detection service Turnitin said it would incorporate more features for identifying A.I., including ChatGPT, this year.

More than 6,000 teachers from Harvard University, Yale University, the University of Rhode Island and others have also signed up to use GPTZero, a program that promises to quickly detect A.I.-generated text, said Edward Tian, its creator and a senior at Princeton University.

Joel Coen:

As writers … long-form was never something we could get our heads around. It’s a different paradigm. Not to be shitty about it, but you can look at stories that they have a beginning, middle, and end. But so much of television has a beginning, a middle, a middle, a middle, a middle, until the whole thing dies of exhaustion. 

He’s not wrong. 

Giorgio Agamben, Idea of Prose:

Study, in effect, is per se interminable. Those who are acquainted with long hours spent roaming among books, when every fragment, every codex, every initial encountered seems to open a new path, immediately left aside at the next encounter, or who have experienced the labyrinthine allusiveness of that “law of good neighbors” whereby Warburg arranged his library, know that not only can study have no rightful end, but does not even desire one.

Here the etymology of the word studium becomes clear. It goes back to a st- or sp- root indicating a crash, the shock of impact. Studying and stupefying are in this sense akin: those who study are in the situation of people who have received a shock and are stupefied by what has struck them, unable to grasp it and at the same time powerless to leave hold. The scholar, that is, is always “stupid.” But if on the one hand he is astonished and absorbed, if study is thus essentially a suffering and an undergoing, the messianic legacy it contains drives him, on the other hand, incessantly toward closure. This festina lente, this shuttling between bewilderment and lucidity, discovery and loss, between agent and patient, is the rhythm of study. 

This should not annoy me as much as it does, but … here’s a sentence that I see sometimes in books or articles: “I tried unsuccessfully to reach him by email.” I always think, What, you couldn’t find the send button? Or you didn’t know how to get an email account? Of course, that’s never what they mean. But what do they mean? It seems to me that there are two possibilities: either they couldn’t find an email address for the person, or they emailed the person and didn’t get a reply. So why not just say which of those it was?

SO cool to see this from my friend (and former colleague) Shawn Okpebholo!

Richard Hanania:

I don’t like inconveniencing others, and for many parents the possibility that one day they could be a burden on their children scares them much more than death. I think this is a noble sentiment, and would gladly sacrifice myself when I’m old so that those I care about can live better and more fulfilling lives. If we’re going to talk about human dignity, I could think of nothing less dignified than ending a proud and successful life in diapers and with your brain rotting away, making your children miserable and preventing them from reaching their full potential. 

1. A “proud and successful life” is an independent life; 
2. Conversely, dependence on others is shameful; 
3. To care for a person who is dependent on you is only a source of misery. 

What if human dignity isn’t to be found in being proudly independent, but in loving and being loved, in caring-for and being-cared-for?