Author: hankkalet

Metta World Peace — i.e., the player formerly known as Ron Artest — could be coming home if the Lakers cut him. Peace is erratic. He’s combustible. And yet, he remains one of the true lock-down perimeter guys around. He’s physically strong, can hit the three and may be the one guy who fits alongside Carmelo Anthony at forward if the Knicks and Melo insist that the franchise player is better off at the four.

Signing Peace — which is far from a done deal, of course — would give the Knicks two elite perimeter defenders (along with Iman Shumpert), as well as two of the league’s most erratic and self-centered players (along with J.R. Smith).

It also should be mentioned that Peace should have been a Knick out of college — he went 16th in the 1999 NBA draft, one pick after New York landed Frederic Weis, perhaps the worst pick in the franchise’s long history of dumb draft moves.

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Garland Jeffreys in Houston (garlandjeffreys.com)

This is the first of what likely will be a sporadic take on the music that moves me. On tap today, the Garland Jeffreys catalogue, which is playing while I work on some news pieces.

For many, Brooklyn’s Garland Jeffreys is little more than a footnote to rock ‘n’ roll history. And that’s a shame, because he was, for a four-year period at the end of the ’70s and beginning of the ’80s, among the best singer-songwriters around.

He was a touchstone for me, mixing politics and urban realism in his lyrics, fusing a punk attitude with his own Brooklyn brand of pub rock. His songwriting influenced not only my taste in music — he was of a piece with the New York punk and Springsteen albums I was listening to — but also my very early efforts at writing poetry and fiction. I appreciated the details and, though nearly everything I wrote at the time probably should be burned, I think he taught me something.

I first heard Jeffreys on WNEW during summer break singing a cover of ? and the Mysterians’ “99 Tears.” I ran out immediately to get the album — Escape Artist — and played the hell out of it (I still have the vinyl, though it is pretty worn). It became apparent immediately that “99 Tears” — and the other single, “R.O.C.K.” — were not exactly representative of who Jeffreys was as a singer or a songwriter. The album also contained songs like “Christine” and “Modern Lovers,” brilliant bits of reggae-tinged pop, along with “Mystery Kids,” a harder-edged rocker. There also was a bonus EP included called Escapades that includes Jeffreys’ terrifying recounting of a Miami race riot, “Miami Beach,” a song that may best be described as the American version of the Specials’ “Ghost Town.” That was 1981 and, unfortunately, it was nearing the end of Jeffreys’ breakthrough into the American conscience.

Jeffreys first received attention as a member of the band Grinderswitch and then went solo, releasing his self-titled debut 40 years ago in 1973. The album was solid, but barely hinted at the four gritty, brilliant hybrids — the last of which, Escape Artist, I mention above — that he would release a few years down the road.

First, as Allmusic.com points out, Jeffreys releases the two-sided single “Wild in the Streets” / “35 Millimeter Dreams.” The songs remain among Jeffreys’ best and are important cogs in his 1977 effort, Ghost Writer. Ghost Writer, nearly four years in the making, showcases all of Jeffreys’ talents — the gritty imagery, the pub-rock affections, the New York attitude, the tenderness he brings to a love song or a story well told. One-Eyed Jack, the follow-up, was solid, but not nearly as satisfying and probably hampered by expectations. The reality, as All Music says, is that the album “probably couldn’t have lived up to its predecessor, and it doesn’t, but it is further evidence of a songwriting talent (not to mention a singing ability that mixes Dion with Mick Jagger) deserving of more notice than it has gotten so far.”

The two albums that followed, however, did live up to Ghost Writer. American Boy and Girl (with its street-wise lyrics and stories and the beautiful “Matador” and “If Mao Can See Me Now”) and Escape Artist.

A very good live album — Rock and Roll Adult — and an overproduced attempt to hit the pop charts — Guts for Love — followed, but Jeffreys’ career ran out of steam. His output has been sporadic — just three albums, all very good and bordering on exceptional, with 1992’s Don’t Call Me Buckwheat possibly being the strongest of his career.

As I said, that is a shame. Jeffreys deserves more attention than he has gotten.

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A study released the other day by a business lobbying group has found that the state could lose thousands of jobs if the minimum wage is increased and indexed to inflation — a claim wage-hike supporters say is misleading.

What the business groups who funded the study argue is that the wage hike will increase costs to businesses and that businesses, in turn, will cut back on hours and jobs.

There is a certain logic to this — except that the studies are not conclusive on this and, despite what the business lobby says, indicate that the cutbacks rarely happen.

Part of the reason for this, supporters say, is that putting money in the pockets of low-income workers ends up putting money back into businesses, which offsets the increased cost of manpower. Again, the studies are not conclusive.

What is conclusive, it seems to me, is that it is impossible to live on the current minimum wage in New Jersey and, while a $1 an hour increase will only offer nominal help, it will add a bit more of a cushion to the income of the men and women who are working at or near the minimum wage. The issue, as I see it, is one of fairness and the economic arguments are only a side show.

Here is my story in NJ Spotlight on the study and the debate.

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