Daily Office:
Tuesday, 14 September 2010
¶ James Surowiecki looks into how “stimulus” came to be a dirty word in Washington — despite the success of the actual Stimulus Bill. The accepted wisdom certainly places the American voter in an unflattering light, but the real default is in our leadership, which can dream up effective policies but can’t be bothered to sell them.
But the most interesting aspect of the stimulus’s image problems concern its design and implementation. Paradoxically, the very things that made the stimulus more effective economically may have made it less popular politically. For instance, because research has shown that lump-sum tax refunds get hoarded rather than spent, the government decided not to give individuals their tax cuts all at once, instead refunding a little on each paycheck. The tactic was successful at increasing consumer demand, but it had a big political cost: many voters never noticed that they were getting a tax cut. Similarly, a key part of the stimulus was the billions of dollars that went to state governments. This was crucial in helping the states avoid layoffs and spending cuts, but politically it didn’t get much notice, because it was the dog that didn’t bark—saving jobs just isn’t as conspicuous as creating them. Extending unemployment benefits was also an excellent use of stimulus funds, since that money tends to get spent immediately. But unless you were unemployed this wasn’t something you’d pay attention to.
The stimulus was also backloaded, so that only a third was spent in the first year. This reduced waste, since there was more time to vet projects, and insured that money would keep flowing into 2010, lessening the risk of a double-dip recession. But it also made the stimulus less potent in 2009, when the economy was in dire straits, leaving voters with the impression that the plan wasn’t working. More subtly, while the plan may end up having a transformative impact on things like the clean-energy industry, broadband access, and the national power grid, it’s hard for voters to find concrete visual evidence of what the stimulus has done (those occasional road signs telling us our tax dollars are at work notwithstanding). That’s a sharp contrast with the New Deal legacy of new highways, massive dams, and rural electrification. Dramatic, high-profile deeds have a profound effect on people’s opinions, so, in the absence of another Hoover Dam or Golden Gate Bridge, it’s not surprising that the voter’s view is: “We spent $800 billion and all I got was this lousy T-shirt.â€
¶ Jazz pianist Bill Evans died thirty years ago tomorrow. Doug Ramsay reminds us of his legacy and prompts us to pull out The Complete Village Vanguard Recordings, 1961. Jazz groups still go for the sound that Evans made with Scott LaFaro and Paul Motian. (WSJ)
Finally, in 1959 Evans formed a trio with bassist Scott LaFaro and drummer Paul Motian, who felt what Evans had been hearing in his mind for years. Their albums, notably “Portrait in Jazz,” “Explorations” and “Sunday at the Village Vanguard” (all for the Riverside label), set new levels of aspiration for pianists and new standards for interaction in jazz-piano trios.
Regiments of young bassists imitate LaFaro’s ability to play high and fast, but most do not or cannot begin to approximate his lyricism, timing or depth of tone, which Evans likened to the sound of an organ. Many new bassists emulate the technique they hear from LaFaro on the Evans recordings without understanding how it fits into the complex relationship among Evans, LaFaro and Mr. Motian. They miss how LaFaro’s note choices relate to the impressionistic chord voicings that give Evans’s playing so much of its character. Worse, they overlook at least half of what made LaFaro a great bassist: the power of his straight-ahead swing, which meshed with Evans’s own rhythmic concept.
In July 1961, less than two weeks after the trio recorded at the Village Vanguard, LaFaro died in a car crash at the age of 25. His death sent Evans into depression so deep that, according to Mr. Motian, he did not perform for six months. Gene Lees, a close friend of Evans, wrote in his book “Meet Me at Jim & Andy’s” (Oxford), “After LaFaro’s death, Bill was like a man with a lost love, always looking to find its replacement.” Evans’s bereavement over LaFaro affected him the rest of his life, but he went back to work with Mr. Motian and a new bassist, Chuck Israels. In succeeding trios, Eddie Gomez and Marc Johnson—virtuosi heavily influenced by LaFaro—had the bass chair. Evans recorded, unaccompanied and with others, for nearly two more decades.
¶ Joshua Brown’s piece about overpaid stockbrokers (“registered representatives,” in Wall Street parlance) caught our eye because… we’d forgotten about stockbrokers! And here’s why:
1. Scarcity of Clean Licenses: You have no idea how scared to death compliance officers are to bring in producers with multiple complaints on their CRDs. Headhunters are told in no uncertain terms that in the post-crash, post-Madoff world, they shouldn’t even bother bringing in a candidate with multiple blemishes on their license, no matter how much revenue is on the table. Compliance simply cannot bear the increased regulatory scrutiny in this environment. This means that the advisor with both big production numbers and a squeaky clean history is worth that much more to the hiring firm.
2. Aging Sales Force: Industry-wide, the average age of financial advisors is in the 40’s! This is remarkable and in reality, it means that firms are overpaying because of how limited the talent pool is at the up-and-comer end. When there are fewer rising stars, firms must do what the NY Yankees do – sign aging veterans to massive deals. We discussed the aging of the industry here at length, in case you missed it: Why the Kids Don’t Want to be Financial Advisors
3. Concentration of Millionaires: There are fewer millionaire households in America post-2008 as a result of the decline of stocks and real estate. According to the Registered Rep article,  the amount of millionaires peaked at 9.2 million in 2007 and is closer to 6.7 million now. These millionaire households are also being consolidated at the advisor level as wirehouses prune the lower producing advisors from their ranks and help their top earners pad their books with even more assets – in other words, wirehouses have created their own compensation-hungry monsters by helping them get bigger at the expense of smaller producers.
¶ Did you know that Auto-Tune was invented to improve oil prospecting? We didn’t. (Live Science; via  The Morning News)
Auto-Tune users set a reference point – a scale or specific notes, for example – and a rate at which derivations from this point will be digitally corrected.
This rate can be carefully calibrated so a voice sounds “natural,” by tacking the voice smoothly back to the reference pitch. Or, artists can make the correction happen quickly and artificially, which results in the warbling, digitized voices now all the rage in pop, hip-hip, reggae and other types of music.
Auto-Tune’s invention sprung from a quite unrelated field: prospecting for oil underground using sound waves. Andy Hildebrand, a geophysicist who worked with Exxon, came up with a technique called autocorrelation to interpret these waves. During the 1990s, Hildebrand founded the company that later became Antares, and he applied his tools to voices.
The recording industry pounced on the technology, and the first song credited (or bemoaned) for introducing Auto-Tune to the masses was Cher’s 1998 hit “Believe.”
Although a success with audio engineers, Auto-Tune remained largely out of sight until 2003 when rhythm and blues crooner T-Pain discovered its voice-altering effects.
¶ One stop shopping: pro and con responses to Camille Paglia’s takedown of Lady Gaga can be had at The Awl. Truth to tell, Julie Klausner and Natasha Vargas-Cooper aren’t all that pro. Maria Bustillos is definitely con, reponding with a smackdown.
Because Paglia cannot understand the new voices, she claims they “have atrophied.†Because she doesn’t understand the subtleties of communicating via text message, she claims the youngs are “communicating mutely,†which, what? Was communicating by letter in the 18th century also “muteâ€, “atrophiedâ€? What does that even mean? Because she must not know any, I guess, she supposes the kids have “abandoned body language in daily interactions.â€
Then there is Paglia’s complaint that Gaga is not sexy, that drag queens are far sexier than Gaga. Does it not occur to her that our whole world is already awash in “sexy†young women, singers, dancers, models, actresses, who are trying and trying and trying to “be sexyâ€, and/or that the public is maybe really so sick of that? Or that Lady Gaga’s appeal relies, in part, on precisely the fact that she inflates and distorts that “sexy†iconography in order to force the viewer to question his assumptions about sexuality, performance, gender?
¶ At a site that’s new to us, Humble Student of the Markets, Cam Hui (a portfolio manager by day) writes an entry “Diagnosing America’s Ills.” We couldn’t agree more with this level-headed assessment.
I believe that America’s ills stems from neglect, largely from the short-term nature of American thinking. There has been a neglect of infrastructure, a lack of focus on basics of innovation and wealth creation, as well as an erosion of the advantages bestowed by education.
The most recent infrastructure report card gives American physical infrastructure badly failing grades: Aviation (D), Bridges (C), Dams (D), Drinking Water (D-), Energy (D+), Hazardous Waste (D), Inland Waterways (D-), Levees (D-), Public Parks and Recreation (C-), Rail (C-), Roads (D-), Schools (D), Solid Waste (C+), Transit (D), and Wastewater (D-). Fixing this shortfall requires spending of over $2T. Nevertheless, there are calls for greater infrastructure spending as a way to build an economic recovery.
¶ We can’t tell just whom Louis Menand is parodying in the third paragraph of his review of The Oxford Book of Parodies, but we’re sure that he’s parodying somebody. We’ll probably get the new anthology, but we won’t be parting with Parodies: An Anthology from Chaucer to Beerbohm, the still-better collection that Dwight Macdonald put out in 1960, back when, as Mr Menand nails it, “Modern Library Giants strode the earth.”
It is a characteristic of our top-rated species that any natural disposition will, over time, undergo development, variation, and refinement in excess of its importance to reproductive success. Evolutionary psychologists refer to the artifactual residue of this process, the biologically pointless stuff the organism compulsively churns out, as “culture.” In the making-fun-of-others department, the highest cultural rung — it is sometimes regarded as an art form — is parody.
¶ Regular readers know that we discuss books and bookish things at Vespers; that is why we’re mentioning Daniel Mendelsohn’s review of City Boy, Edmund White’s latest volume of reminiscence, here. The deadliest thing we’ve read in ages, the piece is almost too magisterial to show its claws. It is hard to tell whether Mr Mendelssohn holds Edmund White’s advocacy of “gay literature,” or Mr White himself, in greater contempt. The dishing begins with the title, “Boys Will Be Boys,” and every paragraph draws blood. Animus notwithstanding, the review is a cogent argument against the proposition that homosexuals are alien mutants. (NYRB)(P)
Our candidate for “most savage single sentence”: “It’s interesting to speculate how the young White, who was capable of an impressive elegance and was clearly preoccupied, as well, with interesting formal questions, would have evolved as a novelist.” The finale, however, takes devastation to artistic heights.
This is a far cry from the attitude of the young White who had once resentfully criticized Poirier and other gay writers he knew when he was starting out—even the ones who were unabashedly out of the closet, like Merrill and Ashbery—for wanting to assimilate aesthetically, as he saw it: to write for the larger world instead of—well, preaching to the converted, to that small “community [that] we want[ed] to celebrate in novels that would create our identity while also exploring it.†Hence although City Boy, like many a bildungsroman, ostensibly culminates in a happy attainment of maturity—the young man’s successful quest to be a published gay writer—there is another, deeper education that plays out in these pages: the one that leads, however disjointedly, to an apparent acknowledgment that real literature is neither a form of social therapy nor a vehicle for political advertising, but is, in fact, “universal,†and seeks to dissolve rather than create intellectual and artistic ghettos.
Still, you suspect that White, unabashedly a product of the era he recalls in City Boy, takes pride in the fact that what he has been writing all these years—the earnest if increasingly artless transcription of gay life and gay lives, of which City Boy is the latest installment—has aimed to fill a niche instead of a universe. What he wanted, after all, was to become part of a scene, to have a reputation, to be known as a writer, whatever the sentiments and ideas he wrote about. The niche he helped create allowed him to achieve all this; and who would begrudge him the satisfaction that he got exactly what he wanted?
¶ Stanford Kay’s Gutenberg Project, at The Best Part.
¶ At Strange Maps, the “Fool’s Cap” Map of the World.