By Steve Brennan
By Ashley Zimmerman
By Michele Eve Sandberg
By Abel Folgar
By Ashley Zimmerman
By New Times Staff
By Abel Folgar
By Laurie Charles
For City Link's venerable staff writer Bob Weinberg, it's bad enough that his biweekly column about all things bluesy and jazzy got yanked. But now he's got a noisy detractor -- oddly enough, with the same name -- bitching that his hasty exit wasn't graceful enough.
At the conclusion of Weinberg's final column on December 3, he thanked the folks who'd supported him during his eight-year tenure. A nice thing to do, right? Not every reader saw it that way.
"I'm extremely upset with you for making a point of thanking all of those who have supported the Blues in South Florida, with the exception of the City of Ft. Lauderdale, and the South Florida Blues Society," wrote Bob "Bluesbobby" Weinberg in a letter to the City Linker the following weekend. "I'm referring to a glaringly obvious and apparent omission by you of two prominent bodies in our community that have supported and promoted the Blues, probably more than anyone else." This particular Weinberg (who goes by Bluesbobby to avoid confusion with the columnist) is the president of the South Florida Blues Society.
Wow. Two Bob Weinbergs, both big lovers of the blues, and they just can't see eye-to-eye. What's the trouble? Why such a schism at the crossroads? Can't all these old white dudes just get along?
Turns out it ain't that simple. Dig deeper, and some pretty big issues divide the two Weinbergs. Bluesbobby explains: "He's into a lot of rootsy kind of things, and I'm not. I favor the Chicago electric blues. But that's just a matter of taste."
Well, that settles it. Talk about a classic impasse. Marriages have ended over less. Obviously, these two will need years of mediation to resolve their differences.
Bluesbobby's way of thinking illustrates the pitfalls waiting for those who pledge devotion to one genre. Lose the focus, lose the plot. Why, in such a relatively small scene, does such fundamentalism hold sway?
"It's like hip-hop," observes Fort Lauderdale musician and New Times contributor John Stacey. "Who's more down, who's got more street cred. Who wants to play that game?"
A casual reader of City Link could be forgiven for confusing the two Mr. Weinbergs, given their cultural overlap. But that would do them a disservice, says Carl "Kilmo" Pacillo, owner of Alligator Alley, who is adept at telling the two apart. "Bob Weinberg the writer is a nice, humble, earnest guy who knows what he's talking about," Kilmo explains. "Bluesbobby is a megalomaniac who doesn't."
For working musicians like Stacey and Pacillo, blues societies are an unwelcome intrusion into what's already a fractious and unstable community. And the two-year-old South Florida version (the SFBS) appears to have a lot to learn about the politics of inclusion, maintaining at least the appearance of modesty and playing well with others.
Stacey penned an angry response to Bluesbobby also intended for publication in this week's City Link's letters section. "Chastising the guy for not mentioning your little group in his last column seems the height of ingratitude," he wrote.
Yes, it surely did. And it was stupid and self-defeating as well. Is there any way to whine about your unrecognized hard work without sounding like a crybaby? Not really.
Bluesbobby's letter unfairly painted all 723 dues-paying members of the SFBS as accolade-addicted little cheeseballs like himself. "Maybe I went a little over the top, but it got everybody's attention," Bluesbobby told Bandwidth last week. And besides, he asked, what's the big deal? After all, Weinberg didn't lose his job at City Link. "He's still writing for the paper. He's just not doing that column anymore. Even as a farewell column, I just feel he should have recognized the blues society. I hope it's not taken as a personal blast against him. I tried to show my support, regardless of this particular issue. Maybe I overreacted, but it was just a gut reaction, basically, to the whole music issue."
City Link's December 3 music issue was intrinsically flawed, Bluesbobby insists. For starters, it included -- gasp! -- no blues. "I was really very disappointed with that entire music issue and its lack of attention to any blues musicians," he complains. "It talked about the kind of music that I don't know if there's an audience for. And there is a very definite audience for blues."
Huh? Come again? Bandwidth must have missed something. Now there are only two kinds of music, blues and other? And this guy seriously questions whether there's an audience for other? Did he even go to the music fest in Hollywood that night? Did he see how many people braved sub-60 degree temperatures to enjoy this weird, crazy, new, non-bluesy music? What universe is this Bluesbobby guy from, anyway?
The whole story is even more laughable when one considers that blues is a limited, limiting, and lumbering genre.
Sorry, Bandwidth needs to come clean about a few prejudices. Nothing against the blues, but it's more stuck in time harder than those mummified martians in Quatermass and the Pit. It may adapt, it may change, it may grow, but at the blues' present rate of evolution, it'll take thousands of centuries for it to do so. Maybe when harmonicas come with a MIDI interface. It doesn't help that its hardcore devotees wear blinders that prevent less-pure forms from entering the picture. Bluesbobby has taken this fanaticism to its illogical extreme. He's like a blues ayatollah.