twitter.com/disquiet: Firetrucks, Santoro, Ebooks

From the past week

I do this manually each Saturday, collating most of the tweets I made the past week at twitter.com/disquiet, which I think of as my public notebook. Some tweets pop up sooner in [expanded form](https://disquiet.com/2022/05/04/justin-green-1991-pulse-tower-comics/) or [otherwise](https://disquiet.com/2022/05/01/emerg-call/) on Disquiet.com. I’ve found it personally informative to revisit the previous week of thinking out loud. This isn’t a full accounting. Often there are, for example, conversations on Twitter that don’t really make as much sense out of the context of Twitter itself. And sometimes I tweak them a bit, given the additional space.

▰ The scenario where you hear firetrucks, and then they get louder and louder, and then you realize they’re right there on your block? Apparently it doesn’t necessarily sound like one might imagine it sounds. As they approached the end of our block last night (for an incident at a nearby apartment building), the firetrucks cut their sirens, and as a result, they sounded sort of like they were trailing off. I thought they’d gone right past, but in fact they were right there. (The sound diminished, but the lights were unambiguously bright.) Not sure yet what happened, but the inhabitants returned to the building within about half an hour.)

▰ Great time to take a walk in the neighborhood is after school’s out on a clear day. The avenues resound with music practice. Fewer tubas than when I lived in New Orleans, but still a great sense of dispersed communal activity — separate but together, practicing alone as a group.

▰ Full force foghorn this morning

▰ “Marc, there have been fewer images in your [tinyletter.com/disquiet](https://tinyletter.com/disquiet) lately.”

“Yes, Tinyletter’s image situation seems a little broken lately.”

“Marc, why don’t you switch providers?”

“I’ve got time to either make a newsletter or investigate affordable options. Doing both is tougher.”

▰ Gotta love (which is to say, the opposite) that YouTube Music lists the title of *The Essential John Fahey* as simply *The Essential*. (Side note: “Singing Bridge of Memphis, Tennessee” is a work of sonic art. As is the rest of the album.)

▰ The gap between when you finish reading the library ebook and when an email alert tells you the finished book has been automatically returned. (There’s the distance in time, but also how long — or short, on rare occasion — the gap feels.)

▰ Next up in guitar class: Kenny Burrell’s “Chitlins Con Carne”

▰ Last week cartoonist Justin Green died and now Gene Santoro. I edited the various jazz sections of Tower Pulse! for the first half of the ’90s. Gene was a major presence every month. He knew more about jazz than the rest of us combined. The mag benefited from him greatly. RIP.

▰ If you’re Mastodon-curious, I hang out at [post.lurk.org/@disquiet](http://post.lurk.org/@disquiet). And if you find Mastodon confusing (e.g., Why isn’t that a mastodon.social URL?), you’re not alone. Took me 4,500 words to unpack what confused me, and why it’s still interesting ([“How I Got from Mastodon’t to Mastodon”](https://disquiet.com/2022/05/02/how-i-got-from-mastodont-to-mastodon/)).

▰ Graphics GPU or portable DJ gear?

▰ I was wondering how long I’ve been reading really long things on a phone (or phone equivalent). It would have been exactly 25 years ago, when I put Neal Stephenson’s 45,000-word *Wired* article about the world’s longest cable (great piece, by the way) on my new PalmPilot in 1997. Read Cory Doctorow’s *Craphound* the next year. Then got into Project Gutenberg. Now I mostly sync Libby/Hoopla, and buy the occasional ebook (good way to support an author is to pre-order). I’ve always read with a pencil in hand, even if that pencil is my phone (or Kindle).

▰ Long week. Offline weekend plans:

– Start listening by trying to stop listening.

– Train your algorithm by deleting unwanted stuff from your music/video history.

– Find a favorite book in audiobook form. Revisit it while taking a walk with no destination in mind save the past.

Joel St. Julien’s Dream

Three tracks from the San Francisco–based musician

Joel St. Julien’s *Dream* shouldn’t get lost in the flurry of Bandcamp Day — what supposedly, but who knows, may be the final Bandcamp Day. It’s a track of chaotic gentleness, the fragmented and lushly frantic “You, my love” placed lovingly between two easier-to-love ambient tracks, the foggy title piece and the beading “Endless,” its sparkling tones undergirded by a subdued percussive pelting. “Dream” in particular is something to get lost in. It’s a generous dollop of fuzzy cloud cover and twinkling pointillism. But I’m pretty sure it’s “You, my love” I’ll be returning to. I hear what I think is granulated guitar, the pizzicato sounds crushed and wrinkled into textural mayhem, as the piece unfolds into something downright stratospheric.

The EP available at [joelstjulien.bandcamp.com](https://joelstjulien.bandcamp.com/album/dream). More on Joel St. Julien, who is based in San Francisco, at [joelstjulien.com](http://www.joelstjulien.com).

Disquiet Junto Project 0540: 5ive 4our

The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond.

Each Thursday in the Disquiet Junto group, a new compositional challenge is set before the group’s members, who then have just over four days to upload a track in response to the assignment. Membership in the Junto is open: just join and participate. (A SoundCloud account is helpful but not required.) There’s no pressure to do every project. It’s weekly so that you know it’s there, every Thursday through Monday, when you have the time.

Deadline: This project’s deadline is the end of the day Monday, May 9, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 5, 2022.

These are the instructions that went out to the group’s email list (at tinyletter.com/disquiet-junto):

**Disquiet Junto Project 0540: 5ive 4our**
The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond

Step 1: The day before this project began was May 4, which has been claimed by a fantasy from a galaxy far far away. Prepare to reclaim the day for the late jazz pianist Dave Brubeck and saxophonist Paul Desmond.

Step 2: Now, in honor of Dave Brubeck’s classic recording of the Paul Desmond composition “Take Five,” record something original in 5/4 time.

Eight Important Steps When Your Track Is Done:

Step 1: Include “disquiet0540” (no spaces or quotation marks) in the name of your tracks.

Step 2: If your audio-hosting platform allows for tags, be sure to also include the project tag “disquiet0540” (no spaces or quotation marks). If you’re posting on SoundCloud in particular, this is essential to subsequent location of tracks for the creation of a project playlist.

Step 3: Upload your tracks. It is helpful but not essential that you use SoundCloud to host your tracks.

Step 4: Post your track in the following discussion thread at llllllll.co:

Project discussion takes place on llllllll.co: [https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/](https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/)

Step 5: Annotate your track with a brief explanation of your approach and process.

Step 6: If posting on social media, please consider using the hashtag #DisquietJunto so fellow participants are more likely to locate your communication.

Step 7: Then listen to and comment on tracks uploaded by your fellow Disquiet Junto participants.

Step 8: Also join in the discussion on the Disquiet Junto Slack. Send your email address to [email protected] for Slack inclusion.

Note: Please post one track for this weekly Junto project. If you choose to post more than one, and do so on SoundCloud, please let me know which you’d like added to the playlist. Thanks.

Additional Details:

Deadline: This project’s deadline is the end of the day Monday, May 9, 2022, at 11:59pm (that is, just before midnight) wherever you are. It was posted on Thursday, May 5, 2022.

Length: The length is up to you.

Title/Tag: When posting your tracks, please include “disquiet0540” in the title of the tracks, and where applicable (on SoundCloud, for example) as a tag.

Upload: When participating in this project, be sure to include a description of your process in planning, composing, and recording it. This description is an essential element of the communicative process inherent in the Disquiet Junto. Photos, video, and lists of equipment are always appreciated.

Download: It is always best to set your track as downloadable and allowing for attributed remixing (i.e., a Creative Commons license permitting non-commercial sharing with attribution, allowing for derivatives).

For context, when posting the track online, please be sure to include this following information:

More on this 540th weekly Disquiet Junto project — 5ive 4our (The Assignment: Take back 5/4 for Jedi time masters Dave Brubeck and Paul Desmond) — at: https://disquiet.com/0540/

More on the Disquiet Junto at: https://disquiet.com/junto/

Subscribe to project announcements here: https://tinyletter.com/disquiet-junto/

Project discussion takes place on llllllll.co: [https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/](https://llllllll.co/t/disquiet-junto-project-0540-5ive-4our/)

Justin Green: First Contact

The start of a long collaboration

My old friend Justin Green died late last month. Obituaries have been appearing that begin to plumb the depths of his work, life, and influence: [nytimes.com](https://www.nytimes.com/2022/04/30/arts/justin-green-who-put-himself-into-his-underground-cartoons-dies-at-76.html), [chicagotribune.com](https://www.chicagotribune.com/entertainment/ct-ent-justin-green-comics-obituary-20220429-fq2nxm67r5ewtdnu7nvt7ceyui-story.html), [tcj.com](https://www.tcj.com/justin-green-1945-2022/), [cbr.com](https://www.cbr.com/binky-brown-creator-justin-green-obituary/), [dailycartoonist.com](https://www.dailycartoonist.com/index.php/2022/04/26/justin-green-rip/). As I [mentioned](https://disquiet.com/2022/04/26/rip-justin-green-1945-2022/) when the news broke of his passing, I was fortunate to live in the same town as him, Sacramento, California, in the early 1990s, which led to me editing a ton of comics that he produced for the pages of Tower Records’ *Pulse!* magazine. After I began to process the news of his death, I looked through an old file of documents from that period of time, and I found this copy I’d made of a letter I sent to him following our first phone conversation. Eventually he would decide to, rather than create a serial, produce a sequence of richly idiosyncratic and lovingly rendered biographies and anecdotes from musical history, which the publisher Last Gasp later collected in the book *Musical Legends*. The letter is from mid-November 1991. His first strip of many would appear in the March issue of *Pulse!* the following year.