Thursday, August 15, 2013

Book Review: "Who Stole the American Dream?" by Hedrick Smith (2012)




"Who Stole the American Dream?" by Hedrick Smith, 2012.

Hedrick Smith
Hedrick Smith’s 2012 book “Who Stole the American Dream?” is a powerful look at the way things have shifted against the middle class over the last 40 years in America. It’s an important book that everyone interested in American politics or economics should read. 

Hedrick Smith is a veteran journalist who worked for The New York Times for 26 years. While he was with the Times Smith was a part of the team that broke the Pentagon Papers story and won a Pulitzer Prize in 1971. In 1974 Smith won the Pulitzer Prize for International Reporting for his stories reporting from the Soviet Union and Eastern Europe. His work in the Soviet Union was the basis for his 1976 best-seller “The Russians.” Smith’s other books include “The Power Game,” his seminal study of political power in Washington, D.C., “The New Russians,” and “Rethinking America.” Since retiring from The New York Times, Smith has produced many documentaries for PBS. 

I was an intern in Hedrick Smith’s office during the fall of 2001. While I was there I helped work on Smith’s documentary “Rediscovering Dave Brubeck,” which I would highly recommend to any jazz fan. While I interned at Hedrick Smith Productions, I saw first-hand Smith’s tireless work ethic and his dedication to journalism. He’s won two Pulitzer Prizes, but he’s not just resting on his laurels.

Smith’s reporting for “Who Stole the American Dream?” is deep and incisive. He weaves the threads of his story together very well, writing in clear prose that is easy to understand. The book covers a lot of ground, but Smith excels in presenting the reader with the most relevant points in each chapter. The book is separated into short sections that make for quick reading.

Smith does a great job of showing how many government policies over the last 40 years have favored the rich at the expense of the middle class and the poor. As Smith writes in the Prologue:

“This book sets out to describe how, over the past four decades, we came to this point-how we became two such polarized and dissimilar Americas, how the great economic and political divide affects the lives of individual Americans, and how we might, through changed policies and a revival of citizen action, restore our unity and reclaim the American Dream for average people.” (Prologue, p. xix) 

In the first chapter, Smith stresses the influence of the Powell Memorandum, which was a call by lawyer Lewis Powell in 1971 for increased activism of business to strength their position and influence within government. At the time, Powell was a corporate lawyer, but a few months later he would be named to the Supreme Court by President Richard Nixon. The Powell Memorandum was written to the U.S. Chamber of Commerce, and it was not meant for public consumption at the time. The memorandum said, in part, “Business must learn the lesson…that political power is necessary.” (P.7) During the 1970’s business interests would take Powell’s message to heart as they began to lobby Congress in much greater numbers than ever before. 

Smith then chronicles how the middle class grew and flourished in the decades following World War II, and how the middle class’s earnings have stagnated over the last 30 years. As he writes, “…while productivity was rising close to 3 percent a year, hourly wages of the average worker, adjusted for inflation, were essentially flat, the same in 2011 as in 1978. Three decades of getting nowhere.” (P.73)

But while the middle class has been treading water for 30 years, the wealthy have been getting richer and richer, as compensation for CEOs of companies has skyrocketed over the last 40 years. Smith writes, “In the 1970s, the Federal Reserve reported that chief executives at 102 major companies were paid $1.2 million on average, adjusted for inflation, or roughly 40 times an average full-time worker’s pay. But by the early 2000s, CEOs at big companies had enjoyed such a meteoric rise that their average compensation topped $9 million a year, or 367 times the pay of the average worker.” (P.59) CEOs certainly have a right to be well compensated for their work, but the way their pay has skyrocketed is outrageous. CEO stock options have also skyrocketed in the last few decades. The thought is that CEOs will do a better job of leading the company if they have more of a stake in that company. Which is rather ridiculous, as pure self-interest will keep a CEO doing their job as best they can. The suggestion that CEOs need the extra incentive provided by stock options to do the best for their company is absurd. 

Smith also writes about Congress, and how politicians are more beholden to special interests than actual voters. The reality of politics today is that money buys you access to a politician, and access gets you influence. And since special interests are contributing more to PACs than middle class and lower class voters, the special interests have more influence than ordinary voters. Gun control is a recent example of an issue where the majority of people want action, but Congress was unable and unwilling to do anything substantive on the issue. The will of a majority was thwarted by a powerful minority. 

Smith details how Congress used to work in the 1950’s and 1960’s, as politicians from both parties would frequently work together to craft legislation. Compromise was essential, and there were more moderate politicians in both parties. In contrast, Congress now is extremely dysfunctional, and is barely able to pass any kind of legislation. Compromise has become a dirty word. Filibusters, and the threat of them, have become much more common. Thomas Mann of the Brookings Institution says of the Senate: “In the 1960s, about 8 percent of significant legislation was subject to delaying tactics like filibusters or holds. It is now about 70 percent. Obstructionism is now the hallmark of the Senate.” (P. 322) 

 While it’s true that Democrats have become slightly more liberal, it’s also very true that the Republican Party has shifted steadily to the right since the 1960’s. Moderate Republicans are now an endangered species. One of the key moments in the Republican Party’s shift to the right was the 1964 nomination of Barry Goldwater as the Republican candidate for President. Smith and other authors have highlighted this turning point as the moment when the right wing started to take over the party. Even though Goldwater lost to Lyndon Johnson in a landslide, it was the moment when the right wing first asserted itself. When moderate Republican Nelson Rockefeller was booed by Goldwater supporters at the 1964 convention, it marked the beginning of a huge change in the Republican Party. 

In Part 4 of the book, Smith discusses many of the things that have caused the middle class to lose their wealth, from the subprime mortgage crisis, to Wal-Mart and other companies moving good jobs overseas. There was a time when companies were actually concerned about the welfare of their employees. Now the focus is often only on the bottom line of the balance sheet.

“Who Stole the American Dream?” is a book that should make you angry. It should make you think about what’s happened in the country over the last 40 years, and how the wealth disparity in this country is growing larger and larger. You should get indignant about the status quo as you read this book. My high school Social Studies teacher Mr. Anderson would always say to us “Be indignant!” He wanted us to have a reaction to current events, and Hedrick Smith wants us to have a similar reaction to his book.

In the final section of “Who Stole the American Dream?” Smith focuses on possible solutions to the problem and how we can rebuild the middle class. None of the solutions he proposes are easy, and none of them will be a quick fix. Some of them require direct citizen action. It might not be easy, but there are ways that we can change things in this country and take action to help rebuild the middle class. 

Personally, I think that Hedrick Smith hit the nail on the head with “Who Stole the American Dream?” He accurately diagnoses many of the maladies that plague our country today. He describes how we’ve gotten there over the last 40 years, and what can be done to change it. We would all do well to listen to him.

Monday, July 29, 2013

Concert Review: Paul McCartney at Miller Park



Paul McCartney

Two weeks ago my wife and I made the road trip from Saint Paul to Milwaukee to see Paul McCartney at Miller Park on July 16th. Paul put on an amazing show, as always. I’ve been lucky enough to see Paul live twice before, once at the Metrodome in 1993, and once at the Xcel Center in 2005. All of his shows that I’ve seen have been outstanding; he’s a great live performer. At the concert in Miller Park Paul played for close to 3 hours, singing 36 hits spanning his entire career. I’m blown away by McCartney’s energy and passion for performing. It’s very clear that he’s still giving 100% on every single song he sings, even if it’s a song like “Hey Jude” that he’s sung many, many times. McCartney’s stamina is incredible, especially considering that he’s 71, and the fact that it was close to 90 degrees when he started the show. 

McCartney’s band is pretty great-they’ve all been with him for more than 10 years, and it’s definitely the best band he’s had since, well, The Beatles. Keyboardist Paul “Wix” Wickens has been with Paul the longest, since 1989. Guitarists Rusty Anderson and Brian Ray and drummer Abe Laboriel, Jr., have all been with Paul since 2002. All of the members of the band do a great job making Paul’s music come alive night after night. McCartney usually performs the songs in a manner that very closely replicates their original studio versions, which keeps the fans happy. I wouldn’t mind if Paul took a few more chances by rearranging some of the songs now and then, but why tamper with perfection? 

Paul opened with the 1964 classic “Eight Days a Week,” followed by one of my favorite Wings songs, the 1974 single-only “Junior’s Farm.” Paul then played “All My Loving,” which is nearly 50 years old! And he can still hit all those notes 50 years later! “All My Loving” is also the first song the Beatles sang on the Ed Sullivan show. Paul then went back to the Wings years for great versions of “Listen to What the Man Said,” and the rocking “Let Me Roll It,” on which Macca showed off his guitar chops. Paul also pulled out the Epiphone Casino guitar that he used on the original recording of “Paperback Writer.” Paul played some funky piano on the Wings song “Nineteen Hundred and Eighty-Five,” which was very rocking. I realize that I’m talking about just about all of the songs he sang, but when all 36 songs are some of the best rock songs ever written, it’s hard not to say something about them all. Paul also played “The Long and Winding Road” and “Maybe I’m Amazed” at the piano. He did some songs that he hasn’t performed much before, like “We Can Work It Out,” and the lovely “Another Day,” those were a treat to hear. Paul performed solo on “Blackbird” and the moving “Here Today,” his tribute to John Lennon. I don’t know how Paul can sing “Here Today” every night of the tour without choking up. It’s a wonderful song, and it’s great that he sings it for his friend John. Paul then returned to the piano to play a song he’s never performed live before this tour, “Your Mother Should Know,” from the “Magical Mystery Tour” film and album. And while “Your Mother Should Know” might be a lesser entry in the entire McCartney catalogue, I have a soft spot for it. And it’s so cool to hear a Beatles song that I never thought I would get to hear a Beatle sing live. Paul also sang “All Together Now” and “Lovely Rita” for the first time on this tour, and it was great fun to hear these wonderful songs come to life. Macca returned to the Wings era with the amazingly catchy “Mrs. Vandebilt,” with its simple chorus of “Ho, hey ho.” (This was a very popular song in the Ukraine, according to Paul.) Paul then sang a lovely version of the moving “Eleanor Rigby” before turning to a song from “Sgt. Pepper” more closely associated with John Lennon, “Being for the Benefit of Mr. Kite!” I had heard Paul sing “Mr. Kite” on “The Colbert Report” in June, and I was really surprised that he was singing a song of John’s. But he has periodically sung a couple of John’s songs in concert before, and I think that if anyone can sing those songs well, it’s Paul McCartney. I also just read in “Rolling Stone” that “Mr. Kite” was a song that he co-wrote with John, which I didn’t realize. The next song was Paul’s tribute to his other late band mate, George Harrison, “Something,” played on the ukulele. It’s a great way to remember George, and I think that George would have enjoyed it. Up next was another song that Paul’s playing for the first time on this tour, the White Album favorite “Ob-La-Di, Ob-La-Da.” (Paul sang the correct lyrics this time, so Desmond wasn’t “doing his pretty face,” unlike the studio version.) The ending of the concert featured rocking versions of “Band on the Run,” “Back in the U.S.S.R.,” and “Live and Let Die,” complete with fireworks, as usual. Paul also played the anthems “Let It Be” and “Hey Jude.” The first encore featured the Wings song “Hi, Hi, Hi,” one of my favorite Wings rockers. Paul ended the concert by playing the closing medley from “Abbey Road,” which is probably the coolest way you could close a concert. The trading guitar solos part of “The End” was quite a bit longer in concert, and you could see the joy on the faces of Paul, Rusty, and Brian as they played. 

Paul McCartney is my favorite musician, and it was an amazing and wonderful experience to see him in concert again. The feeling in the air during the concert was one of love and good vibes. Everyone at the concert was having a great time, and Paul seemed very thrilled by the warm welcome he got. Hopefully he’ll play Target Field in Minneapolis next summer. I’ve got my fingers crossed for that!

Here’s the set list from Paul’s show at Miller Park:

  • Eight Days A Week
  • Junior's Farm
  • All My Loving
  • Listen To What The Man Said
  • Let Me Roll It
  • Paperback Writer
  • My Valentine
  • Nineteen Hundred And Eighty Five
  • The Long And Winding Road
  • Maybe I'm Amazed
  • I've Just Seen A Face
  • We Can Work It Out
  • Another Day
  • And I Love Her
  • Blackbird
  • Here Today
  • Your Mother Should Know
  • Lady Madonna
  • All Together Now
  • Lovely Rita
  • Mrs. Vandebilt
  • Eleanor Rigby
  • Being for the Benefit of Mr. Kite!
  • Something
  • Ob-La-Di, Ob-La-Da
  • Band on the Run
  • Back in the U.S.S.R.
  • Let It Be
  • Live And Let Die
  • Hey Jude
Encore:
  • Day Tripper
  • Hi, Hi, Hi
  • Get Back
Second Encore:
  • Yesterday
  • Helter Skelter
  • Golden Slumbers / Carry That Weight / The End

Sunday, June 16, 2013

Album Review: Tony Bennett and Dave Brubeck-"The White House Sessions, 1962"


Tony Bennett and Dave Brubeck, "The White House Sessions, 1962"


Dave Brubeck and Tony Bennett in 2009.
Who would think that nearly fifty-one years after it was recorded, a concert pairing Dave Brubeck and Tony Bennett would surface? But thankfully it has, and earlier this month, Columbia issued the live album “The White House Sessions, 1962,” a rare live collaboration between Tony Bennett and Dave Brubeck. The concert was held in Washington, D.C., on August 28, 1962, as a celebration for college students who had come to work in D.C. for the summer. 

The set captures both artists at a peak of their popularity. The Dave Brubeck Quartet issued their most popular album, the million-selling “Time Out,” in 1959 and they were selling out concerts all around the world. Tony Bennett had just recorded his most well-known song, “I Left My Heart in San Francisco,” and would record many of his signature songs in the next few years, like “I Wanna Be Around,” “The Good Life,” “Who Can I Turn To?” and “If I Ruled the World.” That being said, despite continuing changes in the musical tastes of the record-buying public, both Bennett and Brubeck would continue to perform at a peak level for many, many years to come. 

It’s surprising that Columbia didn’t encourage Bennett and Brubeck to record a full album together in 1962. Both artists were on Columbia Records, and with Bennett’s affinity for jazz and Brubeck’s sympathetic accompaniment of vocalists, it would have been a great album. It also would have sold a lot of records, considering how popular both artists were in the early 1960’s. Although Bennett never recorded an album with Brubeck, he did record two classic duet albums with another legendary jazz pianist, Bill Evans, in the mid-1970’s.

I’ve wanted to hear “The White House Sessions” for 10 years, since one song from the concert “That Old Black Magic” was issued on “The Essential Dave Brubeck” in 2003. I had no idea that Bennett and Brubeck recorded together, and I wanted to hear any other tracks they had recorded. I didn’t know where “That Old Black Magic” came from, and why it was the only track that surfaced. Now finally we can hear Brubeck and Bennett’s full sets, and all four songs that they played together. My only complaint with “The White House Sessions” is that the glimpse of Bennett and Brubeck together is too short, too tantalizingly brief. There are but four songs, lasting not even 12 minutes. Well, we just have to be thankful that it happened and that it was recorded. 

Bennett and Brubeck were exquisitely matched as personalities; they were both wonderfully humble and nice men who shared an optimistic outlook on life. They are wonderfully happy, extroverted personalities on record. This doesn’t mean that they couldn’t handle a ballad, because they both could squeeze all the tenderness out of a song. But when Bennett and Brubeck swing, there is an infectious joy in their performances. 

The Dave Brubeck Quartet opens their set with their signature song, “Take Five.” Written by alto saxophonist Paul Desmond, this version of “Take Five” features a lilting solo by Desmond, and oddly enough, features a piano solo from Brubeck, and no drum solo from Joe Morello. On the studio recording of “Take Five” there is no piano solo, as Brubeck keeps repeating the same vamp throughout the song. But sometimes during concerts Brubeck wanted to stretch out more on the song and would take a solo. His solo here is rhythmic and driving. It’s more unusual that Morello doesn’t get a drum solo, as his solo on “Take Five” was part of what made the song so famous. And of course, as always, Eugene Wright keeps a solid bass groove. This performance is typical of the Brubeck Quartet during this period. Absolutely great, swinging, each musician doing what he did best but also blending together so well. Paul Desmond was as smooth as silk, and I don’t think I’ve ever heard an awkward phrase from him. Desmond and Brubeck had a deep musical connection, and they have an easy rapport.

“Nomad” is a real swinger, with a great Desmond solo. Brubeck just keeps firing off great ideas during his solo. As usual during a swinging Brubeck solo, he keeps building the tension and intensity until he passes it off to Morello. Brubeck trades some phrases with Morello during his solo, which is fun to hear. Brubeck loved Morello’s drumming and he knew as soon as he heard him that Morello was the drummer who would be able to play the complex rhythms that Brubeck wanted to incorporate into the Quartet’s music. Desmond, on the other hand, preferred a softer touch on the drum skins. On his solo albums Desmond usually used drummers who were more reserved than Morello, although over time he learned to enjoy Morello’s playing as well. 

“Thank You (Dziekuje)” is inspired by the music and people of Poland. Brubeck and his Quartet had visited Poland on their 1958 tour, which was sponsored by the United States State Department. This trip led to Brubeck discovering many of the “unusual” time signatures that would become the trademark of the group in the next few years. One of Brubeck’s most famous songs, “Blue Rondo a la Turk,” was inspired by Turkish musicians he heard on that trip playing in the time signature of 9/8. “Thank You (Dziekuje)” features some lovely soloing by Desmond and a slightly more restrained solo from Brubeck that has some classical flourishes, inspired by Chopin. Despite being trained in some classical music and majoring in music, Brubeck never learned to read music. However, this didn’t deter him from becoming an excellent composer.

Both “Nomad” and “Thank You (Dziekuje)” are from the Quartet’s excellent 1958 album “Jazz Impressions of Eurasia.” “Castilian Blues” is in 5/4 time, the same signature as “Take Five.” “Castilian Blues” was from the Quartet’s most recent LP at the time, “Countdown: Time in Outer Space,” the follow up to “Time Out” and 1961’s “Time Further Out.” “Castilian Blues” features an aggressive short solo from Brubeck, and a long drum solo from Morello. Morello was a drummer who could keep the audience’s attention during a long solo, and he shows the audience just how skilled he was behind the drums. 

Bennett opens his set with the swinging “Just in Time,” one of his more well-known songs. Bennett is backed by his longtime pianist Ralph Sharon, Hal Gaylor on bass, and Billy Exiner on drums. Tony then sings the tender ballad “Small World,” from the musical “Gypsy.” Bennett’s exuberant voice is perfectly suited for the next song, “Make Someone Happy,” which could be his theme song. Bennett hits some big notes, and it’s clear how powerful his voice is. “Rags to Riches,” one of Bennett’s biggest hits, is given a brief outing, featured some short jazzy phrasing from Tony. “One for My Baby (And One More for the Road)” is done very up-tempo, in an almost breezy style, the opposite of the way Frank Sinatra sang this torch song. Tony then closes his set with the then newly-recorded “I Left My Heart in San Francisco.” It’s interesting to hear him sing his most famous song at a time when it was still very new. The song still has the same impact performed with only a trio, and we can listen even closer to Bennett’s gorgeous phrasing. 

After Bennett’s set, Brubeck, Eugene Wright, and Joe Morello come back to the stage to perform with him. Tony says “We haven’t rehearsed this, so lotsa luck folks.” But whether they rehearsed or not doesn’t matter, this is music for the ages. 

The first song is “Lullaby of Broadway,” with a nice intro by Brubeck, and great drumming by Morello. “Come on along and listen to the lullaby of Dave Brubeck!” shouts Tony as an intro to Brubeck’s solo. Brubeck was a good accompanist of vocalists; he doesn’t try to overshadow Bennett. Bennett’s vocal is easy and jazzy on this song.

“Chicago (That Toddlin’ Town)” is less successful to my ears, as Bennett is more cautious with his phrasing. Brubeck has a good solo, but the song just doesn’t catch fire.

“That Old Black Magic” is the highlight of the Bennett/Brubeck collaboration for me. Brubeck and Morello work in some nice Latin-sounding phrases, and Bennett is more adventurous, almost shouting “That old black magic called LOVE!” before Dave’s solo. Brubeck’s solo is fierce, as he pounds out the chords, and then Tony comes back in. It’s marvelous.

“There Will Never Be Another You” starts out slow. Then Bennett double times it, and Brubeck and Morello are off to the races for Dave’s solo. This is true jazz collaboration, musicians listening and responding to each other in real time, in the moment. Brubeck’s solo is a gas, and Morello adds fuel to the fire. Bennett then comes back in, singing at the faster tempo, and then, all too quickly, it’s over. Tony Bennett and Dave Brubeck did perform together other times, but to my knowledge this is their only recorded pairing. Dave Brubeck continued recording and performing until just before his death last December at the age of 91. Tony Bennett is still going strong at age 86, still touring and recording and introducing new fans of all ages to jazz and the Great American Songbook. “The White House Sessions” is an essential purchase for fans of either performer.