Friday May 15, 2020
7th Avenue Comfort
This morning I heard Simon & Garfunkel's “The Boxer” and recalled an epiphany I had a few years back. This part:
Asking only workman's wages, I come lookin' for a job
But I get no offers
Just a come-on from the whores on 7th Avenue
I do declare, there were times when I was so lonesome
I took some comfort there
It's the “comfort there” line. Or simply the “there” there. As a kid/teen/young adult, I thought the singer was taking comfort from the come-ons themselves. As in: “Well, I may be lonely, but at least they seem to want me.” I thought it was an amusing line. As an adult, I see a more obvious meaning.
Seriously, sometimes I look back at myself and wonder how I got through life.
Thursday April 09, 2020
John Prine (1946-2020)
This was pre-Covid times. I was taking a walk in Seattle over to Volunteer Park—named for the men who volunteered to serve in the Spanish-American War—and I think I was just leaving the park when, on my iPod shuffle, John Prine's live version of “That's the Way the World Goes Round” came on, and I felt such joy. It's more than the song; it's the story he tells about the girl who mishears the words.
The words go:
That's the way that the world goes ‘round
You’re up one day, the next you‘re down
It’s a half an inch of water, you think you‘re gonna drown
That’s the way that the world goes ‘round
And instead of “half an inch of water” she hears “happy enchilada.” Right. “It’s a happy enchilada and you think you‘re gonna drown.” So that’s what she aks him to play: “That song of yours about the happy enchilada.”
He tells that story halfway through the song and then finishes it up by singing her words in the chorus. When he does, there's a woman in the audience who lets out a scream of pure happiness and humor and joy. And I felt that pure happiness and humor and joy walking back home from Discovery Park. And here's the thing: I always felt that joy when I listened to the song. The whole thing is so perfect. The screw-up fits the theme of the song. You write a humorous song about the minor mishaps of life and someone comes along and totally mishears the words and renders the whole thing meaningless. How can you not laugh? How can you not embrace it? It's the way the world goes ‘round.
So I was happy that day thinking about how much I loved this song and John Prine. And I was sadder than I expected two nights ago when John Prine died from complications from the Covid-19 virus. I expected it when I heard he contracted it. He was not in good health. But there was still a sudden deep empty sadness.
I didn’t know Roger Ebert helped discover him. It was 1970, Ebert went to review a movie, but he left because his popcorn was too salty (really, Roger?) and went to a local bar for a beer. The bartender told him to check out the guy playing in the back room. He not only checked him out, he wrote about him for the Chicago Sun-Times:
“[Prine] appears on stage with such modesty he almost seems to be backing into the spotlight. He sings rather quietly, and his guitar work is good, but he doesn't show off. He starts slow. But after a song or two, even the drunks in the room begin to listen to his lyrics. And then he has you.”
Among the songs Ebert heard? “Sam Stone” and “Angel from Montgomery.”
Here's Prine on NPR in 2018:
“I never had an empty seat after that. I was still making my living as a mailman. And [after that review] I was singing three nights a week and two shows a night. And there was a line outside. And things just got better from then on.”
Kris Kristoferson helped, too, and took him to New York and had him open for him. Bonnie Raitt helped, too. She plucked “Angel from Montgomery” and sang it in 1974. The people who knew, knew. I was late to the party. I think I first started listening to him in the ‘90s? Bob Dylan writes the best story-songs I’ve ever heard but I doubt anyone ever told better stories before singing their songs than John Prine: Sabu. Oldest baby in the world. Sam Stone.
Before the live version of “Sam Stone,” about a Vietnam Vet who becomes an addict when he returns home from the war, Prine talks about how he and his friend had a day to kill in D.C., and this is what they saw:
- Lincoln Memorial
- Hot dog stand
- Kennedy's grave
- Vietnam Memorial
I love the addition of the hot dog stand. It's so true for D.C. You check out this, check out that, then suddenly it's 1 PM and damn you‘re hungry and hey there’s a hot dog stand. You eat on the Mall and continue.
I just like were they go. It's where I go. Jefferson Memorial, too, probably, and the new FDR, and Chinatown. I like looking at the statues around town. I mean, I‘ve done DC a zillion times, but those are my places, and I’m glad they‘re his places. At the same time, it makes me wonder where Republicans go when they go to DC. Lincoln was a Republican, sure, but everything he stood for they now repudiate; so where do they go? I’m kind of curious.
John and his friend also head to the Vietnam War Memorial, which is right by Lincoln on the Mall, and what he says about it is probably the most succinct thing I‘ve heard about the dark beauty of that Memorial. Worth listening to.
John Prine wrote songs like Walker Evans took photos: speaking for Americans and raising up their stories for all to hear. He will be missed.— Ron Wyden (@RonWyden) April 8, 2020
Some twinkle in the eye is gone from the world. But it’s also still here.
Sunday March 17, 2019
Trow on Elvis '56
Re-reading George W.S. Trow. Always worthwhile. In the beginning of “Pilgrim's Progress/Media Studies,” he's ragging on a $3.1 millon study on violence that doesn't take proper context into account. It also ignores what Trow calls “sequence” and what I tend to call “chronology.” He gives a great example of why it matters:
My next note says: “No sense of sequence.” In analyzing violence on television, it was all treated as though it had been ever with us, like sugar use, as if, naturally we‘ve always had sugar in coffee and tea, and how much are we using now, and what does it do to our energy level, and should we cut down on sugar?—like that. No sense of when sugar was invented, no sense of the sequence of it. And the note I made at this point is, “Like analyzing rock-and-roll on TV—a big subject—without looking at Elvis Presley’s appearance on the Dorsey Stage Show in 1956.”
Well, in 1956, in January, Elvis began to appear on television, and his first appearance was on a program called Stage Show with Tommy and Jimmy Dorsey. Tommy and Jimmy Dorsey, who'd been a hit with teenagers twenty years before, were now fifty years old, and the show was corny, and it was corny precisely because we'd been through the experience of the Second World War, which was a very puritanical experience, a military experience, an experience of privation and seriousness. ... The Dorseys presented themselves as something from the hall of fame of popular culture. They had jugglers, they had tap dancers, it was just the standard stuff that adults had grown up on, and Elvis came into that, and anyone who wants to see the moment, and nearly everyone should see the moment, can watch a documentary called Elvis ‘56. Elvis came into it, and you know—I hope you know what Elvis was like when he was twenty-one years old, and he was twenty-one—and he wasn’t dressed like Liberace, he was dressed to kill, and he did kill. He killed Stage Show, and everything it represented, in a moment. This has to do with the quality of unexampled people in life, it has to do with the quality of talent, it has to do with the history of Dionysian energy. Of course, there would have been no point in counting everything that was happening in television in December 1955, because in January of 1956 a human avatar of unparalleled power named Elvis Presley was going to change the whole thing forever, and to leave that kind of truth out of a media discussion is simply to have a discussion—well, worthless is the word that comes to mind.
I‘ve been sick for the past few weeks, and today was sunny, so I walked over to Seattle University and read this in the sun by the fountain where dogs play. Made me want to watch “Elvis ’56” again. Also made me think that Elvis' much-praised comeback special in ‘68 was just a ’68 version of Stage Show with Tommy and Jimmy Dorsey. It was the show for '50s kids who were confused by civil rights, anti-war protesters and hippies.
Anyway pay attention to chronology. I think of this every time the news brings up the U.S.-Chinese trade war without mentioning its obvious Trumpian origins.
Friday October 19, 2018
Your Kids Will Always Be Embarrassed of You
“I was incredibly flattered. It was very cool. It was a little embarrassing at times. You know, carpool with the kids and the song comes on and my son's like... [imitates him shrinking back into his seat].”
Michelle Pfeiffer on being namechecked in the Mark Ronson/Bruno Mars hit, “Uptown Funk.”
Thursday August 16, 2018
Aretha Franklin (1942-2018)
How isolated was I as a kid in the ‘70s? How segregated are we as a society and a culture even though we had national meeting places like the three big networks back then? I saw “The Blues Brothers” in 1980, age 17, with some little knowledge of the world and music; and when Jake and Ellwood, on a mission from God, are putting together their band again, and recruit Matt “Guitar” Murphy at the diner, and his wife, a waitress, tries to stop him, singing “Think,” this was my thought halfway through that song:
Wow, that waitress sure can sing.
I’d heard Aretha's name, of course, I just didn't know what she looked like. Of the big-name singers from that movie, Aretha, James Brown, Ray Charles and Cab Calloway, I only knew Ray. This was my intro to the others. So at least it gave us that.
The Queen of Soul died this morning at the age of 76. Other remembrances here. The greatest remembrance of all is the music, which everyone is listening to this morning, and which lives on and on and on.
The other day, when news broke that Aretha was sick, my friend David, a good Southern boy, posted this clip from the 2013 documentary “Muscle Shoals” to social media. It's a reminder that even with all that talent, even with all that power, it didn't have to happen. It's not just talent and hard work. You need people who know what they're doing. And even if you have all that, sometimes you need the right piano riff.
Sunday July 01, 2018
Song of the Summer
I'm going to have to steal “While ol' Satan stands impressed.” That's evergreen shit these days.
Saturday May 19, 2018
Still Crazy After All These Years
Went with my friend Jim to the Paul Simon “Homeward Bound” concert at Key Arena last night. Not sure what else was going on, but Lower Queen Anne was packed. I met Jim at 6 PM outside Toulouse Petit, thinking we'd head into their first-come-first-serve Happy Hour pit; but we talked to a guy, next in line seemingly, who'd been waiting 20 minutes. Peso's was even worse. So we wound up across the street at the Tin Lizzie Lounge, a bar/restaurant associated with the Mediterranean Inn, which was also overwhelmed and/or understaffed. Orders never arrived; drinks took forever. But it was pleasant enough, and for whatever reason there were some astonishingly good-looking customers there. It felt a little like that secret club on “Seinfeld.” I felt like George, who somehow snuck in.
The show at Key Arena began just as we were taking our seats. Paul opened with “America,” and talked a a bit about the current state of America, without really naming names. His voice, at 76, started rusty but soon hit its stride. Can't hit the highs (no “You can call MEEEE ... AL”) but skated through the middles. He's also in astonishingly good shape. Dude's got guns. Did a lot of fluttery hand movements throughout—like his version of Elvis' latter-day karate poses. I wondered if the movements began as physical therapy. When you do one thing all your life, your body often rebels.
His backing band was great, and he did a lot of favorites, but he mostly has favorites. Is there a more fun-filled all-American song than “Me & Julio Down by the School Yard”? It's nearly 50 years old now but feels contemporary, and I thought of the video versions I knew:
- Simon and Connie Hawkins playing 1-on-1 basketball in season 1, episode 2 of “Saturday Night Live,” which Simon hosted
- The “taking it out and chopping it up” montage in “Royal Tenenbaums”
- Simon on “Sesame Street” with the “Dance dance dance” girl
I also flashed back to an argument I had in junior high with my best friend Pete and his brother John. It was 1977, we were in their basement, and for some reason we argued over who was better—Paul Simon (me) or the Bee Gees (them). I wound up storming out and we didn't speak for months. I was that odd junior-high kid whose favorite musician was Dick Cavett's favorite musician.
What didn't he play that I wanted to hear? A few thoughts:
I also would‘ve liked to hear more from his first solo album, Paul Simon, or his second, There Goes Rhymin’ Simon, both of which feel underrated to me. But what are you going to do? There's so many.
Here's his set list for the night, 25 songs in all. A third encore is mentioned, but in truth, after the four songs of the second encore, he dismissed the band, stayed, and played the final two, including “The Sound of Silence,” with just himself and his guitar on stage. A fitting end: A poet and his one-man band.
Wednesday March 28, 2018
This Wrecks Me
Mark Harris posted this video on Twitter yesterday and I watched it once, was impressed, assumed it was a guy singing about a girl. Then I read that it's from the annual MisCast gala, in which Broadway performers sing a song for a part they wouldn't be cast for. I was like, “Why wouldn't he be cast for this? Oh, it's from ‘Waitress’? And it's the title role singing? Oh, about herself? She's singing to her younger self?”
Then I listened again. And lost it. Heartbreaking. And what a rendition from Jeremy Jordan.
Here are the lyrics from Sara Bareilles:
It's not simple to say
That most days I don't recognize me
That these shoes and this apron
That place and its patrons
Have taken more than I gave them
It's not easy to know
I'm not anything like I used be, although it's true
I was never attention's sweet center
I still remember that girlShe's imperfect, but she tries
She is good, but she lies
She is hard on herself
She is broken and won't ask for help
She is messy, but she's kind
She is lonely most of the time
She is all of this mixed up and baked in a beautiful pie
She is gone, but she used to be mine
It's not what I asked for
Sometimes life just slips in through a back door
And carves out a person and makes you believe it's all true
And now I‘ve got you
And you’re not what I asked for
If I'm honest, I know I would give it all back
For a chance to start over and rewrite an ending or two
For the girl that I knewWho‘ll be reckless, just enough
Who’ll get hurt, but who learns how to toughen up
When she's bruised and gets used by a man who can't love
And then she‘ll get stuck
And be scared of the life that’s inside her
Growing stronger each day ‘til it finally reminds her
To fight just a little, to bring back the fire in her eyes
That’s been gone, but used to be mine
Used to be mineShe is messy, but she's kind
She is lonely most of the time
She is all of this mixed up and baked in a beautiful pie
She is gone, but she used to be mine
It's the “mine” that really nails it. “She used to be me” would be ordinary. “Mine” puts it on another level. I think I've listened/watched 20 times now. Your turn.
Saturday December 09, 2017
'Man Shot, 1 West 72'
I should've posted this yesterday, on the ... which was it ... 37th anniversary. Almost as many years as he spent on Earth.
What an inspired way to write the column, telling of the lives of the cops who picked up the body and brought it Roosevelt Hospital in New York. Part of it is brutal reading: another body, but not another body, in the violent country he desperately wanted to live in, on the cusp of our most violent year. He didn't even get an ambulance? Just cops picking him up and carrying him into the backseat of their patrol car? And still alive. And still aware. “Are you John Lennon?” A nod and a groan. The intersection of these cops' lives with the man they brought in. And that brilliant last line that feels more relevant than ever:
And Jim Moran and Tony Palma, older now, cops in a world with no fun, stood in the emergency room as John Lennon, whose music they knew, whose music was known everywhere on earth, became another person who died after being shot with a gun on the streets of New York.
Rest in peace, John. Rest in peace, Jimmy Breslin, 52 when he wrote this, 88 when he died earlier this year.
Thursday July 13, 2017
Trump Protest Songs: Elvis Costello's ‘Sunday’s Best' (1979)
It's from 1979 but ain't exactly dated. It begins this way:
Times are tough for English babies
Send the army and the navy
Beat up strangers who talk funny
Take their greasy foreign money
And it ends this way:
Put them all in boots and khaki
Blame it all upon the darkies
Tuesday June 27, 2017
Dear ‘Dear Evan Hansen’
I first heard about the musical “Dear Evan Hansen” from my hairdresser Todd, who returned from a trip to NYC a few months ago raving about it above all other Broadway musicals he'd seen there—including, believe it or not, “Hamilton.” Then he began posting videos from the show on social media. Then “Dear Evan” won the Tony for best musical and for Ben Platt, its young lead.
You can hear Platt singing “Waving Through a Window” here.
This is how it begins:
I‘ve learned to slam on the brakes
Before I even turn the key
Before I make the mistakes
Before I lead with the worst of me
Give them no reason to stare
No slipping up if you slip away
So I got nothing to share
No, I got nothing to say
I totally identify. It feels like an update of Thoreau’s “The mass of men lead lives of quiet desperation.” It reminds me of this line from a “Mad Men” episode a few years back that hit home:
“I have been watching my life. It's right there. I keep scratching at it, trying to get into it.”
It's a lesson most of us have to keep relearning, apparently.
Tuesday March 21, 2017
Quote of the Day
“I come from a time when you spent time with records like they were books. So it was very much a journey with the music-maker. It remains that today. Trying to represent for that story as well as how it resonates with you, that's the unexplainable, because it's mysterious. A single musical note presents a lot of mystery.
”When you're left with words to try and get at that, it is kind of unexplainable, but you try. That's the fun of it. That's the inspiring part of it. I'm trying to explain, as much as I can, why this matters to me.
“That's with every piece, though, whether it's about music or not. You start out a column and you're trying to tell the reader, ”This matters to me, and I'm going to tell you why.“ That's just very basic. But with music you're diving into something that's pretty bottomless. It's explainable, but it could be a whole other explanation the next day.”
-- Jim Walsh, “Explaining the Unexplainable: With two new books out, Jim Walsh reflects on his career in journalism,” a Q&A with Dylan Thomas, in Southwest Journal. Check out Jim's memories of interviewing Prince in the 1990s.