San Francisco is blessed with a large homeless population. When I moved to the Bay Area from Iowa in 2000, interacting with homeless people was a new experience for me. Willie Brown, the mayor of San Francisco at the time, was engaged in an active battle against the homeless. Millions of dollars were spent on things like confiscating shopping carts and removing park benches. There were no public restrooms and busking (street performing) required purchasing a permit. Meanwhile, housing costs soared, largely due to an influx of money from Silicon Valley, and the climate remained balmy year round, so the net effect of these policies were solely to increase the suffering of the homeless.
I couldn’t afford to live in San Francisco, so I lived in Richmond on the Easy Bay. When Amy and I moved there, I quickly got a part-time job as a barista at the coffee shop in Borders books in Emeryville, landed an internship at a recording studio complex in The City and joined a weekly jazz improvisation workshop. (For the unaware, “The City” is San Francisco’s rather smug and, if you live there, only acceptable nickname.) Amy got a full-time job in Berkeley. We shared a 1986 Toyota Tercel- she usually used it during the day and I used it whenever I had to haul my drumset somewhere. Most of the time, I got around using BART, the area’s monorail system, whose furthest north station was very close to our quadplex apartment, where rent was $800 per month plus utilities.
In San Francisco, I worked in the Tenderloin district, which is sort of in the middle of town but well removed from tourists, in a well-tagged (graffitied) area full of amazing Thai restaurants and taquerias. The recording studio was about four blocks north of the Civic Center Plaza BART station. The train ride took 45 minutes and costed something like $3.25 each way. The last train left the first station at midnight, and whenever I missed it I slept on a couch in a hallway of the studio.
One day, not long after I’d starting working at the recording studio, an engineer was chatting with me about the homeless in the area. He had a BMW motorcycle, and felt bad that he worried about parking it at the motorcycle parking area next to the BART station, because there were always so many people milling about it. What he would do, when he parked his bike, was give money to a nearby homeless person and say, “Could you watch my bike while you’re, please?” His worry was when he returned and if the same person was there, things could get socially awkward, because, well, dealing with homeless people is awkward.
During this conversation, I buzzed Paul Stubblebine in through the heavy blue door. Paul was a highly-regarded mastering engineer who had presumably worked at the studio for awhile, and was one of those guys who you immediately realized was highly competent. In truth, as I would find out later, he was an extraordinary human being. I’m going to segue a bit here so I can tell my Paul Stubblebine story:
On two occasions while I was there, Paul was hired as a recording/mixing engineer and I was assigned to be his assistant. During one of these sessions, Paul went to the restroom while the band was listening to a mix he had done. While he was away, one of the band members asked if I could turn the guitar up and vocals down a little. Strictly speaking, this was a major no-no; I had no business touching the famed Neve 8038 console. But, being a brash kid, I marked the location of the faders in question with a grease pencil and moved them both half a decibel. Now, answering the question, “How loud is a decibel?” is a complicated one; it doesn’t even make sense to describe decibels in terms of how far you move the fader. Roughly speaking, an increase of 10 decibels is twice as loud. (To truly understand how decibels are calculated, you have to understand the neper, and I don’t.) Half a decibel is about how far you need to adjust the volume to create a minimally perceptible difference. The minimum you can adjust most modern consumer volume knobs is a full decibel.
Paul returned to the mixing room, and while sitting down- so before he was even situated between the speakers- he nonchalantly reached out and adjusted the two faders back to where I had marked their original locations. Everyone who witnessed this realized the appropriate volumes of the guitar and vocals within the mix were definitive. I was too speechless to ever admit I had even moved the faders. It was, and is, the most superhuman thing I have ever witnessed a person do. The only other thing I can think of that comes close is watching Barry Bonds effortlessly crush a baseball.
Anyway, the engineer with the motorcycle asked Paul how he dealt with the homeless. Paul said he followed advice he had been given when he had first come to the area- find one homeless person that resonates with you and give them whatever change you have in your pocket every time you see them. When he said this, I immediately thought of a person who I had ignored asking if I wanted to buy a poem a few days prior.
The person in question was a gaunt, sickly woman draped in layers of rags who looked to be in her 50’s, with long, thinning reddish-brown hair. It was evident she had a drug problem.
People often say that they don’t like to give money to homeless because they will just spend it on booze and drugs. This rationalization hides behind the arrogant premise that we are qualified to judge what others spend their money on. These same people will then proudly explain that their concern is for the other’s health and safety. To follow this logic, the reason they don’t give is out of compassion and charity. They would rather give food, shelter or jobs to the homeless. They don’t do any of those things, of course, but that’s what they “would rather” do. It is telling of our society that those who have a place to sleep at night become so haughty toward those who don’t. I didn’t have food, shelter or jobs to offer, so I began giving this lady my spare change whenever I had it. When I did not have change, I would at least smile and say, “hi!”
In return, she would sometimes give me incoherent scribbling on scraps of paper. Some days, she would chat with me in slurred, garbled speech that I could barely decipher, and I would find myself struggling to stand, smile and listen instead of hurrying on my way. Other days she would be listless and sad and I would feel compelled to talk to her. I found out her name was Candi. I would not have pegged her as a Candi- those kinds of names were more common further up by Van Ness and Post- but I never did find out much about who she was or where she had come from.
One day Candi said she had written a poem especially for me. She fished through her pockets, found it and gave it to me. It was basically, “Andrew I love you.” I felt honored that she actually knew my name. For me, Candi was a face among the faceless. Until then, it had not really occurred to me that I was the same for her.
I would often see Candi twice a day for the next couple of years, and it was the thing I most looked forward to on my trips to and from work. Of course, sometimes she wouldn’t be there. If I didn’t see Candi for a week, I would begin to worry. She wasn’t the type of person about whom you’d think, maybe she found a place to live. In the end I was the one who disappeared for good- and I suppose this was something she was used to.
I have been privileged to meet many amazing people throughout the years, including Paul Stubblebine, but no one has been more important or influential on me and how I perceive the world than Candi. I wish I had thanked her.
Showing posts with label musicians. Show all posts
Showing posts with label musicians. Show all posts
Monday, January 5, 2015
Saturday, November 1, 2014
The Importance of Elliott Smith
When I was an audio engineer, I had a subscription to Tape Op magazine. Around 2000, I read an interview with Elliott Smith which intrigued me enough to listen to his latest album. I didn’t like it. Another whiny white male, I thought.
I blaming my reaction on Coldplay, who had just come out with a terrible song called “Yellow,” that was wildly popular for some reason. The lyrics are stupid, trite and unironically nonsensical. Here’s a sample:
I take issue with people and things that are disingenuous. Males have established a long tradition of trying to get in girls’ pants by telling girls what they think they want to hear that really annoys me. The annoying part is that girls actually fall for that crap. So did he jump or did he swim? Obviously he’s flat out lying. When a guy is trying to woo you and instead accidentally calls you a coward and then gives an ultimatum, which he admits is cowardly on his part, my advice is to run away from him. But what do I know. I suppose being a songwriter with no grasp of language doesn’t necessarily make him a bad person.
Another thing I don’t understand is chronic depression. What are so many people so sad about? Obviously there are a lot of bad things in life, but they are either within our ability to change or they aren’t, so your options in life are to be confident you can change and hopeful others will. See? There you go- I was just able to solve everybody’s problems with one sentence. With that attitude, it is understandable why white males sobbing over their presumably posh lives tend to annoy me. I am usually a very rational and objective thinker, so I tend to be incredulous that people can’t just get over their petty selves and strive on.
A few years after first dismissing Elliott Smith I heard him again, after moving in with a roommate whose two favorite musicians were Smith and Syd Barrett. I didn’t get the appeal of Barrett when I first heard him either, but just last year I was challenged to listen to the debut Pink Floyd album. I’ve never liked Pink Floyd- pretentious drivel is what I’d call it. “Piper at the Gates of Dawn” was actually pretty good, though, which caused me to revisit Syd Barrett and find him much more interesting than I’d remembered. It was through this circuitous route that I decided to give Elliott Smith another try.
Smith’s style fits snugly between late Beatles and John Lennon solo. He probably spent a lot of time listening to Bob Dylan’s Blood on the Tracks (1975). He doesn’t seem to be someone with an extensive musical library, but rather someone who has spent a lot of time shut up alone writing, rewriting and practicing. And that’s the thing about Elliott Smith- after listening to his music, you automatically assume you know everything about the guy. It’s funny to realize that, perhaps, he’s never broken up with a girl he loves; it’s just a topic he enjoys writing songs about. Smith’s songs are so utterly heartfelt, personal and convincing the proposal that they could be just stories seems preposterous.
I’ve had my heart broken by my fair share of girls, but would like to think I’ve never whined about it as much as this guy. In fact, I hope nobody’s taken a break up as hard as Elliott Smith. Holy Christ, dude, get it together. He alternatively blames self for his own inadequacies and spews anger towards his ex. Running together the lyrics from “I Didn’t Understand” and “A Question Mark,” both from XO (1998), makes it pretty obvious that Smith has some maladaptive coping strategies:
…
Even though the subject matter and instrumentation are the same, these two songs have completely different vibes- one is a cappella and the other features a full band, including a peppy baritone sax. It’s almost as if he’s cursed to keep writing on the same topics despite his uncanny ability to write songs that don’t sound derivative. Smith is not oblivious to how extreme his inability to let go and move on comes across. He not only perceives this, but responds to this criticism in a couple songs, including “Southern Belle,” from Elliott Smith (1995):
Smith tends to drown his vocals in either a sea of close harmonic overdubs or a Leslie organ speaker, giving the impression he must be uncomfortable with the sound of his own voice. One wonders whether he is insecure with his talents or in revealing the subject matter. Wrapping the words into this almost surreal cloud forces the listener not only to want to understand the lyrics but pay close attention in order to do so. In the end, the vocal effect provides an honest, distressed and soul-bearing atmosphere that effectively creates contrast on the rare occasion he reveals his actual naked, lonely voice.
The production sensibility is one way in which Smith informs the audience that the words must be personally meaningful. Another is by the unembellished frankness of the lyrics themselves.
This song in particular reads to me very much like a Charles Bukowski poem. Bukowski is the type of poet who can convince you the only solace in life is at a horse race, even though you’ve never been to a racetrack. One thing Bukowski is masterful at is putting details into poems that wouldn’t really make sense to be there unless they were true, and this is a concept that Smith also exploits. But while Bukowski is resolute and defiant, Elliott Smith is obsessed with missed opportunities and unfulfilled potential. He is a staunch pessimist.
I, on the other hand, am an optimist. Some might think I’m not because I tend to be overly critical, but that is precisely because I seek out the best of the best. I am wired to value productivity, and neither negativity nor dwelling on the past are useful. I dislike time-wasting and have never understood procrastinators. I’m easily amused and can entertain myself effortlessly. I'm a pretty normal guy. I don’t have much in common with Elliott Smith.
Figure 8 would be Smith’s final studio album. The first track from it makes us acutely aware that his mental issues may be far worse than we imagine:
This song, which is played in a haunting minor key and includes disorienting bridges, is downright frightening, and I don’t quite know what to make of it. I like to read about serial killers because their mindset is fascinatingly unfamiliar. This distinguishes "Son of Sam" from perhaps my favorite Elliott Smith song, "Between The Bars," from either/or (1997). In this song, he makes the first person character a sort of tragic, desperate wanna-be hero trying to save the wrong person and making unkeepable and ill-advised promises.
I like this song because, unlike most of Smith’s work, I can actually relate to it. I bring this up specifically because I think one of the most wonderful things about art is also something we need to be wary of- we tend to embrace art we can relate to and reject art we can’t. And that’s why Elliott Smith is important- he is a veritable window into mental illness. He acts as a voice for millions of people battling depression especially and mental diseases in general. Despite the fact that I have a BA in psychology and have dated a couple crazies, I don’t know much about mental illness. As un-hip as it is to admit it, I’m relatively sane. While those of us that don’t struggle with these issues tend to imagine them not dissimilar to how we feel upon finding expired milk in the fridge, Elliott Smith tells us how it really feels- and we should all be taking notes and learning from him for the betterment of human kind.
People who feel like Elliott Smith have lost access to perspective. Programs utilizing psychologists, psychiatrists and social workers trained to help these people regain an undistorted viewpoint are severely under-funded in America. In fact, our mental health care system ranks last among first world countries. In many ways, we have simply written off mental illness as an inevitable and unavoidable part of our culture. As a result, millions suffering from mental illness end up becoming homeless, abused or violent.
Elliott Smith died from two stab wounds to the chest on October 21st, 2003. They were probably self-inflicted.
I blaming my reaction on Coldplay, who had just come out with a terrible song called “Yellow,” that was wildly popular for some reason. The lyrics are stupid, trite and unironically nonsensical. Here’s a sample:
I swam across
I jumped across for you
Oh what a thing to do
'Cause you were all yellow
I drew a line
I drew a line for you
Oh what a thing to do
And it was all yellow
I take issue with people and things that are disingenuous. Males have established a long tradition of trying to get in girls’ pants by telling girls what they think they want to hear that really annoys me. The annoying part is that girls actually fall for that crap. So did he jump or did he swim? Obviously he’s flat out lying. When a guy is trying to woo you and instead accidentally calls you a coward and then gives an ultimatum, which he admits is cowardly on his part, my advice is to run away from him. But what do I know. I suppose being a songwriter with no grasp of language doesn’t necessarily make him a bad person.
Another thing I don’t understand is chronic depression. What are so many people so sad about? Obviously there are a lot of bad things in life, but they are either within our ability to change or they aren’t, so your options in life are to be confident you can change and hopeful others will. See? There you go- I was just able to solve everybody’s problems with one sentence. With that attitude, it is understandable why white males sobbing over their presumably posh lives tend to annoy me. I am usually a very rational and objective thinker, so I tend to be incredulous that people can’t just get over their petty selves and strive on.
A few years after first dismissing Elliott Smith I heard him again, after moving in with a roommate whose two favorite musicians were Smith and Syd Barrett. I didn’t get the appeal of Barrett when I first heard him either, but just last year I was challenged to listen to the debut Pink Floyd album. I’ve never liked Pink Floyd- pretentious drivel is what I’d call it. “Piper at the Gates of Dawn” was actually pretty good, though, which caused me to revisit Syd Barrett and find him much more interesting than I’d remembered. It was through this circuitous route that I decided to give Elliott Smith another try.
Smith’s style fits snugly between late Beatles and John Lennon solo. He probably spent a lot of time listening to Bob Dylan’s Blood on the Tracks (1975). He doesn’t seem to be someone with an extensive musical library, but rather someone who has spent a lot of time shut up alone writing, rewriting and practicing. And that’s the thing about Elliott Smith- after listening to his music, you automatically assume you know everything about the guy. It’s funny to realize that, perhaps, he’s never broken up with a girl he loves; it’s just a topic he enjoys writing songs about. Smith’s songs are so utterly heartfelt, personal and convincing the proposal that they could be just stories seems preposterous.
I’ve had my heart broken by my fair share of girls, but would like to think I’ve never whined about it as much as this guy. In fact, I hope nobody’s taken a break up as hard as Elliott Smith. Holy Christ, dude, get it together. He alternatively blames self for his own inadequacies and spews anger towards his ex. Running together the lyrics from “I Didn’t Understand” and “A Question Mark,” both from XO (1998), makes it pretty obvious that Smith has some maladaptive coping strategies:
Thought you'd be looking for the next in line to love
Then ignore, put out, and put away
And so you'd soon be leaving me alone like I'm supposed to be
Tonight, tomorrow, and every day
There's nothing here that you'll miss
I can guarantee you this is a cloud of smoke
Trying to occupy space
What a fucking joke
What a fucking joke
I waited for a bus to separate the both of us
And take me off, far away from you
'Cause my feelings never change a bit
I always feel like shit
I don't know why, I guess that I just do
You once talked to me about love
And you painted pictures of a Never-Never land
And I could have gone to that place
But I didn't understand
I didn't understand
I didn't understand
…
I got a question mark
You got a need to always take some shot in the dark
I don't have to make pretend the picture I'm in is totally clear
You think that all things have a way they ought to appear
'Cause you know you know you know you know
You know you know you know you know
You know I don't
I dream
Don't know what you mean
Panic called you out and took you in
Giving you an easy game and letting you win
Giving back a little hatred now to the world
'Cause it treated you bad
'Cause you couldn't keep the great unknown from making you mad
'Cause you know you know you know you know
You know you know you know you know
You know I don't
I dream
Don't know what you mean
Said your final word, but honesty and love could have kept us together
One day you'll see it's worth it after all
If you ever want to say you're sorry you can give me a call
Even though the subject matter and instrumentation are the same, these two songs have completely different vibes- one is a cappella and the other features a full band, including a peppy baritone sax. It’s almost as if he’s cursed to keep writing on the same topics despite his uncanny ability to write songs that don’t sound derivative. Smith is not oblivious to how extreme his inability to let go and move on comes across. He not only perceives this, but responds to this criticism in a couple songs, including “Southern Belle,” from Elliott Smith (1995):
Killing a southern belle
Is all you know how to do
That, and give other people hell
It's what they expect from you too
But I wouldn't have you how you want
I don't want to walk around
I don't even want to breathe
I live in a southern town
Where all you can do is grit your teeth
But I wouldn't have you how you want
How come you're not ashamed of what you are?
And sorry that you're the one she got?
Ain't nobody looking now
Nobody nothing's said
No one's about to shout
Nobody's seeing red
But I wouldn't have you how you want
You're killing a southern belle
Killing a southern belle
Killing a southern belle
Smith tends to drown his vocals in either a sea of close harmonic overdubs or a Leslie organ speaker, giving the impression he must be uncomfortable with the sound of his own voice. One wonders whether he is insecure with his talents or in revealing the subject matter. Wrapping the words into this almost surreal cloud forces the listener not only to want to understand the lyrics but pay close attention in order to do so. In the end, the vocal effect provides an honest, distressed and soul-bearing atmosphere that effectively creates contrast on the rare occasion he reveals his actual naked, lonely voice.
The production sensibility is one way in which Smith informs the audience that the words must be personally meaningful. Another is by the unembellished frankness of the lyrics themselves.
"Clementine" from Elliott Smith
They're waking you up to close the bar
The street's wet, you can tell by the sound of the cars
The bartender's singing "Clementine"
While he's turning around the Open sign
"Dreadful sorry, Clementine"
Though you're still her man
It seems a long time gone
Maybe the whole thing's wrong
What if she thinks so but just didn't say so?
You drank yourself into slow-mo
Made an angel in the snow
You did anything to pass the time
And keep that song out of your mind
"Oh my darling
Oh my darling
Oh my darling Clementine
Dreadful sorry, Clementine"
This song in particular reads to me very much like a Charles Bukowski poem. Bukowski is the type of poet who can convince you the only solace in life is at a horse race, even though you’ve never been to a racetrack. One thing Bukowski is masterful at is putting details into poems that wouldn’t really make sense to be there unless they were true, and this is a concept that Smith also exploits. But while Bukowski is resolute and defiant, Elliott Smith is obsessed with missed opportunities and unfulfilled potential. He is a staunch pessimist.
“No Name No. 5” from Figure 8 (2000)
Got bitten fingernails and a head full of the past
And everybody's gone at last
Sweet, sweet smile that's fading fast
'Cause everybody's gone at last
Don't get upset about it
No not anymore
There's nothing wrong that wasn't wrong before
Had a second alone with a chance let pass
And everybody's gone at last
Well I hope you're not waiting
Waiting 'round for me
'Cause I'm not going anywhere, obviously
Got a broken heart and your name on my cast
And everybody's gone at last
Everybody's gone at last
I, on the other hand, am an optimist. Some might think I’m not because I tend to be overly critical, but that is precisely because I seek out the best of the best. I am wired to value productivity, and neither negativity nor dwelling on the past are useful. I dislike time-wasting and have never understood procrastinators. I’m easily amused and can entertain myself effortlessly. I'm a pretty normal guy. I don’t have much in common with Elliott Smith.
Figure 8 would be Smith’s final studio album. The first track from it makes us acutely aware that his mental issues may be far worse than we imagine:
"Son of Sam"
Something's happening, don't speak too soon
I told the boss off and made my move
Got nowhere to go
Son of Sam, son of the shining path, the clouded mind
The couple killer each and every time
I'm not uncomfortable, feeling weird
Lonely leered, options disappeared
But I know what to do
Son of Sam, son of a doctor's touch, a nurse's love
Acting under orders from above
King for a day!
Son of Sam, son of the shining path, the clouded mind
The couple killer running out of time
Shiva opens her arms now to make sure I don't get too far
I may talk in my sleep tonight 'cause I don't know what I am
I'm a little like you, more like Son of Sam
This song, which is played in a haunting minor key and includes disorienting bridges, is downright frightening, and I don’t quite know what to make of it. I like to read about serial killers because their mindset is fascinatingly unfamiliar. This distinguishes "Son of Sam" from perhaps my favorite Elliott Smith song, "Between The Bars," from either/or (1997). In this song, he makes the first person character a sort of tragic, desperate wanna-be hero trying to save the wrong person and making unkeepable and ill-advised promises.
Drink up baby, stay up all night
With the things you could do
You won't but you might
The potential you'll be
That you'll never see
The promises you'll only make
Drink up with me now
And forget all about
The pressure of days
Do what I say
And I'll make you okay
And drive them away
The images stuck in your head
People you've been before
That you don't want around anymore
That push and shove and won't bend to your will
I'll keep them still
Drink up baby, look at the stars
I'll kiss you again between the bars
Where I'm seeing you there
With your hands in the air
Waiting to finally be caught
Drink up one more time
And I'll make you mine
Keep you apart
Deep in my heart
Separate from the rest
Where I like you the best
And keep the things you forgot
The people you've been before
That you don't want around anymore
That push and shove and won't bend to your will
I'll keep them still
I like this song because, unlike most of Smith’s work, I can actually relate to it. I bring this up specifically because I think one of the most wonderful things about art is also something we need to be wary of- we tend to embrace art we can relate to and reject art we can’t. And that’s why Elliott Smith is important- he is a veritable window into mental illness. He acts as a voice for millions of people battling depression especially and mental diseases in general. Despite the fact that I have a BA in psychology and have dated a couple crazies, I don’t know much about mental illness. As un-hip as it is to admit it, I’m relatively sane. While those of us that don’t struggle with these issues tend to imagine them not dissimilar to how we feel upon finding expired milk in the fridge, Elliott Smith tells us how it really feels- and we should all be taking notes and learning from him for the betterment of human kind.
People who feel like Elliott Smith have lost access to perspective. Programs utilizing psychologists, psychiatrists and social workers trained to help these people regain an undistorted viewpoint are severely under-funded in America. In fact, our mental health care system ranks last among first world countries. In many ways, we have simply written off mental illness as an inevitable and unavoidable part of our culture. As a result, millions suffering from mental illness end up becoming homeless, abused or violent.
Elliott Smith died from two stab wounds to the chest on October 21st, 2003. They were probably self-inflicted.
“Oh Well, Okay" from XO
Here's the silhouette, the face always turned away
The bleeding color gone to black, dying like a day
Couldn't figure out what made you so unhappy
Shook your head to say no, no, no
And stopped for a spell
And stayed that way
Oh well, okay
I got pictures, I just don't see it anymore
Climbing hour upon hour through a total bore
With the one I keep, where it never fades
In the safety of a pitch-black mind
An airless cell that blocks the day
Oh well, okay
If you get a feeling next time you see me
Do me a favor and let me know
'Cause it's hard to tell
It's hard to say
Oh well, okay
Oh well, okay
Oh well, okay
Monday, February 17, 2014
Portland, Part I
My reasons for moving to Portland, Oregon on Halloween of 2005 were fairly simple: I knew people there, it was on the west coast and I needed to get out of the San Francisco Bay Area rat race. My primary goal upon arriving in Portland was to entrench myself in the local experimental music scene. I was both excited and confident in the development of my personal musical vision that had been formed over five years of intensive listening, practice and performance while in the Bay Area, which offered an atmosphere of many talented, educated and/or veteran musicians hungry to discover sonic potentialities, both improvised and compositional. Upwards of a hundred of us bounced between several underground clubs, aggressively pushing boundaries and challenging conventions. We intentionally tortured our instruments with alternate tunings, techniques and all manner of objects. We liked things fractured, microtonal and transitory.
Among the first people I met in Portland, at a competent music performance I attended the Friday after my arrival, was a welcoming girl named Whitney. She was taking money at the door. I paid in loose change representing, very literally, the last of my life’s savings. When I mentioned I was a drummer and new in town, she invited me to play along as atmospheric accompaniment for a contact dance group on Monday night. I didn’t know what contact dance was, but it proved an interesting opportunity to explore percussive textures and ambiences. Afterwards, Whitney invited me to join a housewarming party at the yurt she was moving into on the outskirts of town. Yep- a yurt. It was actually in a sheep pasture, and you had to be wary of the ram on the walk in.
Whitney had said she was going to spend that day hiking a trail near her novel dwelling and anyone was free to join her, but I was the only person that showed up for that. We talked about our somewhat sympathetic, somewhat divergent plans for the future as we walked. Whitney was never shy about voicing her views but also listened respectfully to my overly-opinionated opinions. She was focused, but didn’t take herself seriously. I never worried about offending her and vice versa. After the walk, a group of around a dozen or so gathered in the yurt and we spent the evening eating snacks, stoking the wood fire and playing the card game “Mafia.” It was one of the best nights I would ever spend in Portland, and it was my second weekend there….
Not long after, I attended a gathering in a warehouse featuring a cast of musicians and dancers in a continuous 12 hour performance, perhaps to celebrate the winter solstice, although I don’t exactly recall. The possibilities in exploration and experimentation over such a long period promised to bring out the best in what Portland musicians had to offer. Instead, they just spent the seven hours I was there playing un-interactive atmospheric whole tones. My approach would have been to drain all of my energy into the music and then find a way to keep going; theirs was to conserve as much energy as possible. I suppose they were envisioning a meditation on understatement and simplicity, but I found it absolutely appalling.
The bulk of the “fringe” musicians in Portland were either into contemporary hip-hop like Kanye West or late 19th and 20th Century French Classical composers such as Messiaen and Saint-Saens. (There was also a strong interest in Indian Classical music, which I adore, but the pretentiousness of those who attended such events was through the roof.) Portlanders preferred pure tones, rustic melodies and soothing harmonies. It soon became evident that nobody was interested in my musical vision, which was heavily influenced by mid 20th century European improv., spearheaded by the likes of Peter Brotzmann, Evan Parker and Alexander von Schlippenbach. To the uninitiated, it sounds like noise, and indeed the musicians I encountered who attempted pure improv. did so by simply making noise, which I found infuriating and they observed to be pointless.
I decided to take things into my own hands and developed a monthly class introducing improvisational music concepts, expanding on a project I had curated at a venue in Oakland before it got turned into a parking lot. I held these workshops, thanks to Noah Mickens, in one of the surprisingly few performance venues in town. It lasted for about four sessions, and then Noah was fired as the promoter for that club.
I was invited to participate as part of a series of duet performances organized by Tim DuRoche, who was essentially the only jazz drummer in town and also someone familiar with the Bay Area scene. I had continued to join and play along with Whitney and the other contact dancers every Monday, and chose one of them to be the other half of my duet. I think Whitney was a bit miffed I didn’t choose her, but her dancing style was hip, elegant and suave, whereas the girl I wanted to work with was intense, abrupt and somewhat bipolar. Because Music and Dance by Derek Bailey and Min Tanaka is one of those pieces that had profoundly affected me about five years prior, I was very keen on the prospect, and indeed I thought our performance was fantastic.
Playing music is controlling an avalanche of moments in time. I endeavored to pour my entire being into each one of those moments. There were times when I felt this task had been successful to the point that I’d feel as I’d become detached from my body or begin seeing the music as colors or creatures, and whenever that occurred, I sort of had this anticipation, when the music finally stopped, that the entire universe would have been somehow radically changed. Perhaps the audience would be so alight with epiphanies they’d begin floating toward the ceiling or something. Instead, in California anyway, these moments would be met with polite applause. In Portland, they were met with the audience politely asking each other if there was any way to politely remove themselves from earshot as quickly as possible.
After the duet performance, the dancer said she was not interested in doing any other work together. I contacted and played with every musician whose name and number I could get a hold of, but nothing developed. I played several times with a girl who sang with an almost-absurd child-like voice, and finally she explained she was looking for a drummer like the one that played for Neutral Milk Hotel. After listening to one of their albums, I suggested she should find a young, inexperienced drummer enthusiastic about showing off the one lick they had learned, and she did.
In the meanwhile, I had quickly acquired a job a few blocks from the room-share where I lived, at a UPS Store. It was a really dumb job and I had to work weekend. Despite that, I kept a busy social life that first winter in Portland, due to Whitney always including me on various group excursions. I would not realize how novel being sociable during the winter was in Portland until later. Also, the weekend work was relatively fun because the managers weren’t there and my co-workers were often just Rachel and Cole, and the three of us got along famously.
Whitney was originally from Illinois, and I don’t even think she had been in Portland very long, but because she was the first person I met there, she had completely skewed my perception of the so-called City of Roses. In the spring, she moved away and joined a successful dance troupe based in New York City. I stopped going to the Monday night contact dance thing and gave up looking for musicians to play with. I finished up a manual on drumming insights that I had begun shortly after moving to the Bay Area back in 2000. For many years now, music had been more important to me than life itself. It seemed now that all music was good for was making me delusional. It was time to change that paradigm, and learn to enjoy living.
Rachel and I decided we should get jobs where we had the weekends free. After doing so, we spent the summer camping in the various environments offered throughout Oregon and Washington. It was sublime.
Among the first people I met in Portland, at a competent music performance I attended the Friday after my arrival, was a welcoming girl named Whitney. She was taking money at the door. I paid in loose change representing, very literally, the last of my life’s savings. When I mentioned I was a drummer and new in town, she invited me to play along as atmospheric accompaniment for a contact dance group on Monday night. I didn’t know what contact dance was, but it proved an interesting opportunity to explore percussive textures and ambiences. Afterwards, Whitney invited me to join a housewarming party at the yurt she was moving into on the outskirts of town. Yep- a yurt. It was actually in a sheep pasture, and you had to be wary of the ram on the walk in.
Whitney had said she was going to spend that day hiking a trail near her novel dwelling and anyone was free to join her, but I was the only person that showed up for that. We talked about our somewhat sympathetic, somewhat divergent plans for the future as we walked. Whitney was never shy about voicing her views but also listened respectfully to my overly-opinionated opinions. She was focused, but didn’t take herself seriously. I never worried about offending her and vice versa. After the walk, a group of around a dozen or so gathered in the yurt and we spent the evening eating snacks, stoking the wood fire and playing the card game “Mafia.” It was one of the best nights I would ever spend in Portland, and it was my second weekend there….
Not long after, I attended a gathering in a warehouse featuring a cast of musicians and dancers in a continuous 12 hour performance, perhaps to celebrate the winter solstice, although I don’t exactly recall. The possibilities in exploration and experimentation over such a long period promised to bring out the best in what Portland musicians had to offer. Instead, they just spent the seven hours I was there playing un-interactive atmospheric whole tones. My approach would have been to drain all of my energy into the music and then find a way to keep going; theirs was to conserve as much energy as possible. I suppose they were envisioning a meditation on understatement and simplicity, but I found it absolutely appalling.
The bulk of the “fringe” musicians in Portland were either into contemporary hip-hop like Kanye West or late 19th and 20th Century French Classical composers such as Messiaen and Saint-Saens. (There was also a strong interest in Indian Classical music, which I adore, but the pretentiousness of those who attended such events was through the roof.) Portlanders preferred pure tones, rustic melodies and soothing harmonies. It soon became evident that nobody was interested in my musical vision, which was heavily influenced by mid 20th century European improv., spearheaded by the likes of Peter Brotzmann, Evan Parker and Alexander von Schlippenbach. To the uninitiated, it sounds like noise, and indeed the musicians I encountered who attempted pure improv. did so by simply making noise, which I found infuriating and they observed to be pointless.
I decided to take things into my own hands and developed a monthly class introducing improvisational music concepts, expanding on a project I had curated at a venue in Oakland before it got turned into a parking lot. I held these workshops, thanks to Noah Mickens, in one of the surprisingly few performance venues in town. It lasted for about four sessions, and then Noah was fired as the promoter for that club.
I was invited to participate as part of a series of duet performances organized by Tim DuRoche, who was essentially the only jazz drummer in town and also someone familiar with the Bay Area scene. I had continued to join and play along with Whitney and the other contact dancers every Monday, and chose one of them to be the other half of my duet. I think Whitney was a bit miffed I didn’t choose her, but her dancing style was hip, elegant and suave, whereas the girl I wanted to work with was intense, abrupt and somewhat bipolar. Because Music and Dance by Derek Bailey and Min Tanaka is one of those pieces that had profoundly affected me about five years prior, I was very keen on the prospect, and indeed I thought our performance was fantastic.
Playing music is controlling an avalanche of moments in time. I endeavored to pour my entire being into each one of those moments. There were times when I felt this task had been successful to the point that I’d feel as I’d become detached from my body or begin seeing the music as colors or creatures, and whenever that occurred, I sort of had this anticipation, when the music finally stopped, that the entire universe would have been somehow radically changed. Perhaps the audience would be so alight with epiphanies they’d begin floating toward the ceiling or something. Instead, in California anyway, these moments would be met with polite applause. In Portland, they were met with the audience politely asking each other if there was any way to politely remove themselves from earshot as quickly as possible.
After the duet performance, the dancer said she was not interested in doing any other work together. I contacted and played with every musician whose name and number I could get a hold of, but nothing developed. I played several times with a girl who sang with an almost-absurd child-like voice, and finally she explained she was looking for a drummer like the one that played for Neutral Milk Hotel. After listening to one of their albums, I suggested she should find a young, inexperienced drummer enthusiastic about showing off the one lick they had learned, and she did.
In the meanwhile, I had quickly acquired a job a few blocks from the room-share where I lived, at a UPS Store. It was a really dumb job and I had to work weekend. Despite that, I kept a busy social life that first winter in Portland, due to Whitney always including me on various group excursions. I would not realize how novel being sociable during the winter was in Portland until later. Also, the weekend work was relatively fun because the managers weren’t there and my co-workers were often just Rachel and Cole, and the three of us got along famously.
Whitney was originally from Illinois, and I don’t even think she had been in Portland very long, but because she was the first person I met there, she had completely skewed my perception of the so-called City of Roses. In the spring, she moved away and joined a successful dance troupe based in New York City. I stopped going to the Monday night contact dance thing and gave up looking for musicians to play with. I finished up a manual on drumming insights that I had begun shortly after moving to the Bay Area back in 2000. For many years now, music had been more important to me than life itself. It seemed now that all music was good for was making me delusional. It was time to change that paradigm, and learn to enjoy living.
Rachel and I decided we should get jobs where we had the weekends free. After doing so, we spent the summer camping in the various environments offered throughout Oregon and Washington. It was sublime.
Friday, November 15, 2013
The Importance of Ice Cube
Growing up in rural Iowa did not provide many opportunities for interacting with black people, so my exposure to them came through 80’s mass media. If Run DMC and The Cosby Show were any indication, black people were talented, popular and well-respected. Besides those two examples, every black on television was either a fast athlete with trend-setting attire, an excellent singer and/or dancer with trend-setting attire or a good-natured, naïve orphan dependent upon white adults and peers to prevent them from making poor decisions. In retrospect, this may seem like a joke or exaggeration, but, um, nope. Remember, MTV was very hesitant to show blacks and only did so selectively and calculatedly until Michael Jackson blew that barrier apart after he began making elaborate and impressive videos that couldn’t be refused or ignored in 1983.
This disturbing reality is the backdrop for the most shocking thing I’d ever encountered in my 12 years of life, when, in seventh grade, I heard “Fuck Tha Police,” By NWA, being played through a boombox in the clay modeling area of the art room.
Upon hearing the unavoidable chorus, I wondered why anyone would say something like that. Simply listening to the verses reveals this song is about racial prejudice within the LA police enforcement and judicial system. More importantly, this song is a series of first-person accounts of what it is like to be a young black man living in the LA projects. As a young white man living in rural Iowa, I had literally no first-hand experience of police enforcement or the judicial system. One of my favorite television shows, however, had been Dukes of Hazzard, and so I sort of just figured cops were incompetent, unthreatening blowhards who ticketed bad drivers.
Public outcry protesting both the song and the band was loud and furious. The FBI sent the members of NWA a threatening letter accusing them of “advocating violence against and disrespect” for police officers. Parental Advisory stickers, which had been a compromised result of a 1985 Senate censorship hearing but had rarely been used, were suddenly omnipresent. (The first use of the sticker had been on Ice-T’s debut album in 1987.) It is extraordinarily important to recognize that, despite all the attention and backlash “Fuck Tha Police” received, nobody seemed at all concerned with investigating the LAPD or the California judicial system. The general public was shocked that this song was exposing their children to the f-word, not that this song was exposing racial injustice. It was deemed crucial that anger and violence should not leave the black neighborhoods; that was their problem… and their fault. When you peel away the layers, you find that the real concern was not to protect the children, but to silence the voice of the minority daring to speak against the unfair treatment they are receiving.
This wasn’t the first time I had encountered lyrics that shocked me. The first time was on a bus enroute to a little league baseball game, when I heard The Beatie Boys’…
“(You Gotta) Fight For Your Right (To Party!)”
You wake up late for school, man, you don't wanna go
You ask you mom, "Please?" but she still says, "No!"
You missed two classes and no homework
But your teacher preaches class like you're some kind of jerk
You gotta fight for your right to party
You pops caught you smoking and he said, "No way!"
That hypocrite smokes two packs a day
Man, living at home is such a drag
Now your mom threw away your best porno mag (Busted!)
You gotta fight for your right to party
Don't step out of this house if that's the clothes you're gonna wear
I'll kick you out of my home if you don't cut that hair
Your mom busted in and said, "What's that noise?"
Aw, mom you're just jealous- it's the Beastie Boys!
You gotta fight for your right to party
This asinine song encouraging teenage disobedience has no socially redeeming qualities. However, of all the songs on Beastie Boys debut album, Licensed to Ill (1986), this one is the least offensive. Some of them have a verse about shooting people followed by one about raping girls. The rest are about drinking, eating junk food and dealing with girls. “Paul Revere” even mentions cops: The sheriff's after me for what I did to his daughter- I did it like this, I did it like that, I did it with a whiffleball bat. Why didn’t anybody freak out about The Beastie Boys lyrics? They were hugely popular and influential while avoiding disparaging mass protests, threatening government letters or even a parental advisory sticker. They are also three Jewish kids from New York, so perhaps there couldn’t be more of an apples and oranges comparison.
Straight Outta Compton (1988) opens with the declaration, “You are now about to witness the strength of street knowledge.” Besides “Fuck Tha Police,” it contains songs that run the spectrum from “Parental Advisory Iz Advised” and “Express Yourself” to “Gangsta, Gangsta” and “Dope Man.” (Another highly controversial song, “A Bitch Iz A Bitch,” was a single added to the remastered version of Straight Outta Compton in 2002) Almost all of the lyrics on the album were written by O’Shea Jackson, using the pseudonym Ice Cube. His lyrics never quite go where you’d predict, for example “Dope Man” derides drug addicts. The characters in his songs almost always end up in prison. Ice Cube refuses to turn a blind eye to grim realities, and black on black violence is a central issue. Despite the grim subject matter, there is always wittiness in spades, and this is the key to NWA’s success. “Gangsta, Gangsta,” which is about a group of black kids driving around and terrorizing the neighborhood because they are bored, contains this gem:
Sweatin all the bitches in the biker shorts (but) we didn't get no play from the ladies- with six niggaz in a car, are you crazy?
One mustn’t lose perspective that Ice Cube is primarily an entertainer. He’s not a politician, physicist, psychologist or whatever- he’s a goddamn rapper. Ice Cube is a persona, a caricature played by a man named O’Shea Jackson. His lyrics weave freely between clowning and sincerity, gravitating toward whatever’s most entertaining. Ain’t nothin’ in life but to be legit- don’t quote me now; I ain’t said shit. He consistently defrays anyone from looking up to him as a role model, and makes it obvious that he’s exposing inner city violence as something to escape and not glorifying it.
Ice Cube’s lyrics contain a lot of tough talk and posturing, and while the outside world would cite that as a reason why they are baseless fiction to be ignored, in the inner city this is a necessary survival tactic. Street knowledge is basically the art of knowing how to handle yourself in a hostile environment. In the inner city, you have to wear a thick skin and retain a strong will to protect yourself from various pressures from people desperate to make a buck.
From 2000-2004, I lived in a neighborhood known as the “Iron Triangle” in Richmond, California. It was a close-knit community where knowing your neighbors was not an option but of the essence. During that same time, I was working late nights at a recording studio in the Tenderlon District in San Francisco, where I met and worked with dozens of rap artists, and playing avant-garde and experimental music in underground clubs in Oakland, including several centers run by the Black Panther party. In 2004, I moved to Oakland for a year. Those five years taught me a lot of lessons and showed me a lot of things, some of which would raise the hairs on the back of your neck. I will attest that to this day, when I feel threatened by someone or that they are trying to intimidate me, my first thought is to exclaim, I from fucking Oakland bitch; don’t even try an’ fuck wit’ me. Similarly, when I see a car driving down the street at five miles per hour, which is a frequent occurrence in the sleepy rural Iowa town in which I now reside, I still think, They either lookin’ to shoot or get shot. You never, ever act suspiciously in the ‘hood. You don’t want to look like a tourist. In Iowa, everyone basically acts like a tourist. Of course, they would likely have no idea what I mean by that, but it’s a convenient coincidence that the state’s name is an acronym for Idiots Out Wandering Around.
People in the inner city enjoy competition in a sporting sense. It is common to see men in open garages playing cards or families gathered around dominoes while cooking large meals together. This helps generate a strong bond of community. Gangs consist of a few greedy control freaks and a whole lot of teenagers desperate for a modicum of recognition and respect, but the vast majority of the community works hard to discourage gangs and remain safe. Moments of intense violence are borne from desperation, a lot of which relates to drugs, but also inner-turmoil stemming from deep-seated values of pride and familial loyalty. You don’t dare talk badly of anyone behind their back unless you are also willing to say it to their face. Speaking directly, decisively and frankly is expected and appreciated.
In contrast, people in Iowa tend to survive by being insular. They stay close to those they’ve known for years and try not to attract too much attention from outsiders. Iowans are not neighborly; in fact most prefer no or few neighbors. The degree to which Iowans will go to avoid communication or even eye contact with strangers in a public place is beyond impressive. Iowans are not used to handling stressors. They think traffic is a slow-moving vehicle (aka a tractor) that they’d need to pass to continue toward their destination at the speed limit. When confronted with any sort of direct challenge to any behavior, Iowans tend to completely lose their shit and respond with passive-aggressive immaturity and back-stabbing. As a result, Iowans are very suspicious of each other. People in Iowa enjoy staying in agreement and away from any competitive friction. They watch sports but don’t generally play them. They talk about the weather and how messed up the rest of the world is. Iowans think anything outside of their comfort zone sounds awful and is best avoided.
These culturally based ways of experiencing the world are mutually exclusive. No black person can go unnoticed in a rural Iowa town for the simple reason that there just aren’t that many people of color around here. An easy way to overwhelm an Iowan with panic and fear is to drop one in the ghetto. Even in places where it is more common, white people throughout the United States tend to be much more comfortable with blacks in isolation rather than in groups.
Iowans think, “If you don’t want trouble from the cops, don’t do anything illegal.” In the ‘hood, that assumption is straight up ign’ant. This assumption comes from experiences such as one that happened a few months ago, when a police officer in Iowa City hollered out the window at my white girlfriend while parked next to her at a stoplight that she had a headlight out. About a month ago, I was pulled over on a country road and given a warning for speeding, and as I drove off, I noticed I had three empty beer bottles sitting on my passenger seat which the officer didn’t inquire about. The fact that many are suddenly wondering the story behind the bottles illustrates my point perfectly. Two weeks ago, an officer in almost the same location flashed his lights at me to signal to slow down, and I obliged. I highly doubt any black person in America can relate to these experiences. Perhaps the biggest similarity between Oakland, California and the tiny towns littering Iowa is the main roads leading out of both are often hidden and unmarked. However, two other important shared traits are an appreciation for church and self-referential humor. One big difference is that if you talk shit about the ghetto to a hoodlum, it’s understood, but if you say anything bad about Iowa to an Iowan, heaven help you.
Part II
1990 was a world dominated by MC Hammer and The Fresh Prince of Bel Air, but it was also the debut of In Living Color on Fox, which shone like a ray of hope above anything on television featuring blacks. At first, I would watch it on Sunday nights in secret, not knowing whether it would be considered a bad influence. It laughed loudly at both the cultural treatment and media portrayal of skin color and race in America. Eventually, I used its sketches as starting points to instigate conversations about race relations, because the show seemed able to delineate the line between absurd and unacceptable.
1990 was also the year of Amerikkka’s Most Wanted, Ice Cube’s superb solo debut album produced by The Bomb Squad, best known for their work with Public Enemy. Many of the songs begin with sampled clips of mass media degrading American blacks and himself, contextualizing his lyrics as responses to and the result of white majority attitudes. A parody of himself being electrocuted after spouting the last words, “Fuck all ya’ll” is followed by a defiant rap that loudly mocks the claim that he’s the villain while drawing parallels between his lyrics and a drive-by shooting. He also demonstrates that the solutions are just as absurd as the problems.
"The Nigga Ya Love To Hate"
I heard payback's a motherfucking nigga
That's why I'm sick of gettin’ treated like a goddamn stepchild
Fuck a punk cause I ain't him
You gotta deal with the nine-double-M
The damn scum that you all hate
Just think if niggas decide to retaliate
They try to keep me from running up
I never tell you to get down it's all about coming up
So what they do go and ban the AK?
My shit wasn't registered any fucking way
So you better duck away, run and hide out
When I'm rolling real slow and the light’s out
‘Cause I'm about to fuck up the program
Shooting out the window of a drop-top Brougham
When I'm shooting let's see who drop
The police, the media and suckers that went pop
And motherfuckers that say they too black
Put ‘em overseas they be begging to come back
They say keep ‘em on gangs and drugs
You wanna sweep a nigga like me up under the rug
Kicking shit called street knowledge
Why more niggas in the pen than in college?
Now ‘cause of that line I might be your cellmate
That's from the nigga ya love to hate
(background voice) Fuck you, Ice Cube!
Yeah, ha-ha, it's the nigga you love to hate
(background voice) Fuck you, Ice Cube!
You know, baby, your mother warned you about me
It's the nigga you love to hate
Yo, you ain’t doing nothin’, pops
You ain’t doing nothin’, pops, fo’ us boys
What you got to say for yourself?
You don’t like how I'm living? Well, fuck you
Once again it's on, the motherfucking psycho
Ice Cube the bitch killa cap peeler
Yo runnin through the line like Bo
There's no pot to piss in I put my fist in
Now who do ya love to hate
‘Cause I talk shit and down the eight-ball
‘Cause I don't fake you're begging I fall off
The crossover might as well cut them balls off
And get your ass ready for the lynching
The mob is droppin’ common sense in
We'll gank in the pen
We’ll shank any Tom, Dick and Hank or get the ass
Fakin’ it ain't about how right or wrong you live
But how long you live
I ain't with the bullshit
I meet cold bitches no hoes
Don't wanna sleep so I keep popping No-Doz
And tell the young people what they gotta know
‘Cause I hate when niggas gotta live low
And if you're locked up I dedicate my style in
From San Quentin to Rykers Island
We got ‘em afraid of the funky shit
I like to clown so pump up the sound
In the jeep make the old ladies say
Oh my god wait it's the nigga ya love to hate
(background voice) Fuck you, Ice Cube
Yeah, come on fool
It's the nigga you love to hate
(background voice) Fuck you, Ice Cube
Yeah, run up punk
It's the nigga you love to hate
(Yo-Yo) ‘Who the fuck do you think you are you calling girls bitches?
You ain't all that
That's all I hear, bitch, bitch
I ain't nobody's bitch!’
A bitch is a....
Soul Train done lost their soul
Just call it train cause the bitches look like hoes
I see a lotta others damn
It almost look like the Bandstand
You ask me did I like Arsenio?
About as much as the bicentennial
I don't give a fuck about dissing these fools ‘cause they all scared of the Ice Cube
And what I say what I portray and all that
And ain't even seen the gat
I don't wanna see no dancing
I'm sick of that shit listen to the hit
Cause yo if I look and see another brother
On the video tryin to out-dance each other
I'm a tell T-Bone to pass the bottle
And don't give me that shit about role model
It ain't wise to chastise and preach
Just open the eyes of each
‘Cause laws are made to be broken up
What niggas need to do is start loc’ing up
And build, mold and fold they-self into shape
Of the nigga ya love to hate
Throughout the album, Ice Cube loudly rejects the status quo and refuses to yield his perspective. He reminds the listeners he still hates cops. In a song featuring the annoying Flavor Flav called, “I’m Only Out For One Thang,” Ice Cube very subtlely admits that not having his voice silenced has become a high priority. From his NWA days, Ice Cube had frequently declared his motivations were “money and bitches.” This is patently offensive, but also jarringly honest. Imagine if everyone who was motivated by those things admitted it. He specifically says this to cynically demonstrate his shortcomings: In “Gangsta, Gangsta,” he writes, Do I look like a motherfuckin’ role model? To all the kids lookin’ up to me- life ain’t nothin’ but bitches and money, which is juxtaposed by a KRS One sample in the chorus that says, It’s not about a salary, it’s all about reality. Anyway, in what sounds like an improvised throw-away outro of “I’m Only Out For One Thang,” Flavor Flav jokingly persists in asking Ice Cube to clarify what one thing he’s after and Ice Cube finally responds, I’m out for the pussy, the money and the mic. The humor reminiscent of Monty Python’s Spanish Inquisition sketch is obvious, but even keeping that intact, any long-time listener would have anticipated his answer to be “bitches and money.” This makes the addition of “mic” stick out as a declaration that being able to speak whatever it is he has to say is an essential goal.
The rap genre as a whole, and Ice Cube specifically, have been heavily criticized for being misogynistic. This is somewhat justified and one factor is the cultural impact of outspoken black male-chauvinists like Louis Farrakhan. Amerikkka’s Most Wanted introduces a female rapper named Yo-Yo in a song which attempts to reconcile perspectives on gender. Ice Cube takes the role of someone who thinks women should serve men, and Yo-Yo insists women deserve equality and respect.
Yo-Yo would go on to put out at least three very good albums, one of which Ice Cube co-produced and rapped on, and when Ice Cube started his own record label in 1994, he put Yo-Yo in charge (according to wikipedia.org). Although she had moderate success, Yo-Yo somehow never became a huge hit like her male peers. This ugly fact demonstrates the accuracy with which Ice Cube successfully captures not only localized attitudes but those of America as a whole in his lyrics. Like Archie Bunker, Ice Cube is both entertaining and relevant because he is publicly echoing thoughts that are claimed to be outdated but many silently cling to.
On March 3, 1991, a black man named Rodney King was filmed being brutally beaten by several Los Angeles police officers while other police officers stood by. After this incident became the top news story, the members of NWA should have received a whole lot of letters of apology for having criticized and been insulted by their claims of police violence on blacks instead of giving them diligent consideration. Instead, a jury demonstrated it wasn’t that the claims weren’t believed, but that police violence on blacks was acceptable. Inaction in striving for equality of justice could no longer be blamed on ignorance, but wholly on apathy. Tom Brokaw’s frank assessment that “Outside the South Central area few cared about the violence, because it didn’t affect them,” which had been used as a sample on Amerikkka’s Most Wanted, was once again validated.
John Singleton’s directorial debut, Boyz N the Hood (1991), came to theaters almost immediately after the Rodney King video broke with the tagline, “Once upon a time in South Central L.A... It ain't no fairy tale.” The title is borrowed from the title of the Ice Cube penned song that became the impetus for forming NWA, and includes Ice Cube in his acting debut. Today, the movie comes off as clunky and dated, but it accelerated the cinematic concept introduced by Spike Lee of giving an uncensored portrayal of the challenges and obstacles faced by black teens in the projects in movies like the seemingly prophetic Do the Right Thing (1989).
Death Certificate (1991) and Predator (1992), Ice Cube’s second and third solo albums, are just as good as Amerikkka’s Most Wanted. He also helped introduce Del the Funky Homosapien and produced Da Lench Mob’s magnificent Guerillas in the Mist (1992). In 1992, he also married Kimberly Woodruff. They are still married and have four children. In late December 1992, so basically 1993, another former NWA member Dr. Dre, now signed to a label financed by a real-life gangster named Shug Knight, released his solo debut. Although Dre was the famous name on The Chronic, it showcased the talent of a young unknown named Snoop Doggy Dogg and acted both as an introduction and test market warm-up for Snoop Doggy Dogg’s Doggystyle (1993). Both of these albums are over-rated, but they had a ton of commercial success. The failure of Ice Cube’s fourth album, Lethal Injection (1993) was that he seemed to lose confidence that the stuff he had been doing in the years between NWA and The Chronic was way better than The Chronic.
Acting is possibly a better fit for what Ice Cube attempts to communicate than rap. For example, when you rap about being a drug dealer, people assume you’re a drug dealer, whereas when you play the role of a drug dealer in a movie, people realize you’re acting. Ice Cube is not an exceptional actor, but he exudes confidence in front of the camera. When he turned down the male lead in John Singleton’s second movie, Poetic Justice (1993), Ice Cube recommended another gifted songwriter named Tupac Shakur.
For two years, I was the Assistant Engineer for the engineer who had mixed Digital Underground’s self-titled breakthrough album, and he often recounted the quickness and ease with which Tupac could listen to a beat, write a verse of lyrics and rap those lyrics over the beat in such a way that you could never imagine one had ever existed without the other. It is unfortunate that those who have decided they don’t like rap music will never get to appreciate how much more advanced rap lyrics are than what is found in any other American musical style.
With the successful rap producer DJ Pooh, Ice Cube co-wrote the hugely-successful comedy Fridays (1995), which launched the acting career of stand-up comedian Chris Tucker, and two sequels. He would re-join the cast in Singleton’s third movie, Higher Learning (1995), which is a creepily poignant depiction of how gangs are formed.
Hopefully the day will come when American blacks are given the same recognition and respect as white Americans, but, until then, it will remain essential for people like Ice Cube to bring the voice of the minority to the masses. This needn’t require heavy-handed preaching; simply re-telling entertaining stories from the point of view of those oppressed can be enough to trigger discussion, generate empathy and remind us of injustices. This will always bring strong resistance from those benefiting from the desperate, but boldly persisting in defying the roles society assigns us offers hope, at least for a time.
"Once Upon A Time In The Projects"
Once upon a time in the projects, yo,
I damn near had to wreck a ho
I knocked on the door - "Who is it?"
“It's Ice Cube, come to pay a little visit to you
And what's up with the niggas in the parking lot?”
She said, “Fuck ‘em, ‘cause they get sparked a lot.”
I sat on the couch but it wasn't stable
And then I put my Nikes on the coffee table
Her brother came in he's into gangbanging
‘Cause he walked up and said, "What set you claiming?"
I don't bang I write the good rhymes
The whole scenery reminded me of good times
I don't like to feel that I'm put in a rut
By a young nigga that needs to pull his pants up
He threw up a set and then he was gone
I'm thinkin to myself, Wont this bitch bring her ass on.
Her mother came in with a joint in her mouth
and fired up the sess it was sess no doubt
She said, “Please excuse my house,” and all that
I said, “Yeah,” ‘cause I was buzzed from the contact
Lookin’ at a fucked up black and white
Her mom's bitching ‘cause the county check wasn't right
She had another brother that was three years old
And had a bad case of the runny nose
He asked me who I was then I had to pause
It smelled like he took a shit in his little drawers
I saw her sister who really needs her ass kicked
Only thirteen and already pregnant
I grabbed my forty out the bag and took a swig
‘Cause I was getting overwhelmed by BeBe Kids
They was runnin’ and playin’ and cussin’ and yellin’
and tellin’ and look at this young punk bailin’
I heard a knock on the door without the password
and her mom's got the 12 guage Mossberg
The nigga said "Yo, what's for sale?"
and the bitch came out with a bag of ya-yo
She made the drop and got the 20 dollars
from a smoked out fool with ring around the collar
The girl I was waiting for came out
I said, “Bitch, I didn't know this was a crack house!”
I got my coat and suddenly...
(Stop, the police, don’t move. Freeze, or I’ll kill ya!)
The cop busted in and had a Mac-10 pointed at my dome
and I said to myself once again it's on
He threw me on the carpet, and wasn't cuttin’ no slack
stomped on my head and put his knee in my back
First he tried to wrap me up, slap me up, rough me up
They couldn't do it so they cuffed me up
I said, “Fuck, how much abuse can a nigga take?
Hey yo, officer, you're making a big mistake!”
Since I had on a shirt that said I was dope
He thought I was selling base and couldn't hear my case
He said, “Get out of my face!” He musta had a grudge
His reply, “Tell that bullshit to the judge.”
The girl I was with wasn't saying nothin’
I said, “Hey yo, bitch, you better tell ‘em something.”
She started draggin’ and all of a sudden
we all got tossed in the patty wagon
Now I beat the rap, but that ain't the point
I had a warrant so I spent two weeks in the joint
Now the story you heard has one little object
Don't fuck with a bitch from the projects!
This disturbing reality is the backdrop for the most shocking thing I’d ever encountered in my 12 years of life, when, in seventh grade, I heard “Fuck Tha Police,” By NWA, being played through a boombox in the clay modeling area of the art room.
Upon hearing the unavoidable chorus, I wondered why anyone would say something like that. Simply listening to the verses reveals this song is about racial prejudice within the LA police enforcement and judicial system. More importantly, this song is a series of first-person accounts of what it is like to be a young black man living in the LA projects. As a young white man living in rural Iowa, I had literally no first-hand experience of police enforcement or the judicial system. One of my favorite television shows, however, had been Dukes of Hazzard, and so I sort of just figured cops were incompetent, unthreatening blowhards who ticketed bad drivers.
Public outcry protesting both the song and the band was loud and furious. The FBI sent the members of NWA a threatening letter accusing them of “advocating violence against and disrespect” for police officers. Parental Advisory stickers, which had been a compromised result of a 1985 Senate censorship hearing but had rarely been used, were suddenly omnipresent. (The first use of the sticker had been on Ice-T’s debut album in 1987.) It is extraordinarily important to recognize that, despite all the attention and backlash “Fuck Tha Police” received, nobody seemed at all concerned with investigating the LAPD or the California judicial system. The general public was shocked that this song was exposing their children to the f-word, not that this song was exposing racial injustice. It was deemed crucial that anger and violence should not leave the black neighborhoods; that was their problem… and their fault. When you peel away the layers, you find that the real concern was not to protect the children, but to silence the voice of the minority daring to speak against the unfair treatment they are receiving.
This wasn’t the first time I had encountered lyrics that shocked me. The first time was on a bus enroute to a little league baseball game, when I heard The Beatie Boys’…
“(You Gotta) Fight For Your Right (To Party!)”
You wake up late for school, man, you don't wanna go
You ask you mom, "Please?" but she still says, "No!"
You missed two classes and no homework
But your teacher preaches class like you're some kind of jerk
You gotta fight for your right to party
You pops caught you smoking and he said, "No way!"
That hypocrite smokes two packs a day
Man, living at home is such a drag
Now your mom threw away your best porno mag (Busted!)
You gotta fight for your right to party
Don't step out of this house if that's the clothes you're gonna wear
I'll kick you out of my home if you don't cut that hair
Your mom busted in and said, "What's that noise?"
Aw, mom you're just jealous- it's the Beastie Boys!
You gotta fight for your right to party
This asinine song encouraging teenage disobedience has no socially redeeming qualities. However, of all the songs on Beastie Boys debut album, Licensed to Ill (1986), this one is the least offensive. Some of them have a verse about shooting people followed by one about raping girls. The rest are about drinking, eating junk food and dealing with girls. “Paul Revere” even mentions cops: The sheriff's after me for what I did to his daughter- I did it like this, I did it like that, I did it with a whiffleball bat. Why didn’t anybody freak out about The Beastie Boys lyrics? They were hugely popular and influential while avoiding disparaging mass protests, threatening government letters or even a parental advisory sticker. They are also three Jewish kids from New York, so perhaps there couldn’t be more of an apples and oranges comparison.
Straight Outta Compton (1988) opens with the declaration, “You are now about to witness the strength of street knowledge.” Besides “Fuck Tha Police,” it contains songs that run the spectrum from “Parental Advisory Iz Advised” and “Express Yourself” to “Gangsta, Gangsta” and “Dope Man.” (Another highly controversial song, “A Bitch Iz A Bitch,” was a single added to the remastered version of Straight Outta Compton in 2002) Almost all of the lyrics on the album were written by O’Shea Jackson, using the pseudonym Ice Cube. His lyrics never quite go where you’d predict, for example “Dope Man” derides drug addicts. The characters in his songs almost always end up in prison. Ice Cube refuses to turn a blind eye to grim realities, and black on black violence is a central issue. Despite the grim subject matter, there is always wittiness in spades, and this is the key to NWA’s success. “Gangsta, Gangsta,” which is about a group of black kids driving around and terrorizing the neighborhood because they are bored, contains this gem:
Sweatin all the bitches in the biker shorts (but) we didn't get no play from the ladies- with six niggaz in a car, are you crazy?
One mustn’t lose perspective that Ice Cube is primarily an entertainer. He’s not a politician, physicist, psychologist or whatever- he’s a goddamn rapper. Ice Cube is a persona, a caricature played by a man named O’Shea Jackson. His lyrics weave freely between clowning and sincerity, gravitating toward whatever’s most entertaining. Ain’t nothin’ in life but to be legit- don’t quote me now; I ain’t said shit. He consistently defrays anyone from looking up to him as a role model, and makes it obvious that he’s exposing inner city violence as something to escape and not glorifying it.
Ice Cube’s lyrics contain a lot of tough talk and posturing, and while the outside world would cite that as a reason why they are baseless fiction to be ignored, in the inner city this is a necessary survival tactic. Street knowledge is basically the art of knowing how to handle yourself in a hostile environment. In the inner city, you have to wear a thick skin and retain a strong will to protect yourself from various pressures from people desperate to make a buck.
From 2000-2004, I lived in a neighborhood known as the “Iron Triangle” in Richmond, California. It was a close-knit community where knowing your neighbors was not an option but of the essence. During that same time, I was working late nights at a recording studio in the Tenderlon District in San Francisco, where I met and worked with dozens of rap artists, and playing avant-garde and experimental music in underground clubs in Oakland, including several centers run by the Black Panther party. In 2004, I moved to Oakland for a year. Those five years taught me a lot of lessons and showed me a lot of things, some of which would raise the hairs on the back of your neck. I will attest that to this day, when I feel threatened by someone or that they are trying to intimidate me, my first thought is to exclaim, I from fucking Oakland bitch; don’t even try an’ fuck wit’ me. Similarly, when I see a car driving down the street at five miles per hour, which is a frequent occurrence in the sleepy rural Iowa town in which I now reside, I still think, They either lookin’ to shoot or get shot. You never, ever act suspiciously in the ‘hood. You don’t want to look like a tourist. In Iowa, everyone basically acts like a tourist. Of course, they would likely have no idea what I mean by that, but it’s a convenient coincidence that the state’s name is an acronym for Idiots Out Wandering Around.
People in the inner city enjoy competition in a sporting sense. It is common to see men in open garages playing cards or families gathered around dominoes while cooking large meals together. This helps generate a strong bond of community. Gangs consist of a few greedy control freaks and a whole lot of teenagers desperate for a modicum of recognition and respect, but the vast majority of the community works hard to discourage gangs and remain safe. Moments of intense violence are borne from desperation, a lot of which relates to drugs, but also inner-turmoil stemming from deep-seated values of pride and familial loyalty. You don’t dare talk badly of anyone behind their back unless you are also willing to say it to their face. Speaking directly, decisively and frankly is expected and appreciated.
In contrast, people in Iowa tend to survive by being insular. They stay close to those they’ve known for years and try not to attract too much attention from outsiders. Iowans are not neighborly; in fact most prefer no or few neighbors. The degree to which Iowans will go to avoid communication or even eye contact with strangers in a public place is beyond impressive. Iowans are not used to handling stressors. They think traffic is a slow-moving vehicle (aka a tractor) that they’d need to pass to continue toward their destination at the speed limit. When confronted with any sort of direct challenge to any behavior, Iowans tend to completely lose their shit and respond with passive-aggressive immaturity and back-stabbing. As a result, Iowans are very suspicious of each other. People in Iowa enjoy staying in agreement and away from any competitive friction. They watch sports but don’t generally play them. They talk about the weather and how messed up the rest of the world is. Iowans think anything outside of their comfort zone sounds awful and is best avoided.
These culturally based ways of experiencing the world are mutually exclusive. No black person can go unnoticed in a rural Iowa town for the simple reason that there just aren’t that many people of color around here. An easy way to overwhelm an Iowan with panic and fear is to drop one in the ghetto. Even in places where it is more common, white people throughout the United States tend to be much more comfortable with blacks in isolation rather than in groups.
Iowans think, “If you don’t want trouble from the cops, don’t do anything illegal.” In the ‘hood, that assumption is straight up ign’ant. This assumption comes from experiences such as one that happened a few months ago, when a police officer in Iowa City hollered out the window at my white girlfriend while parked next to her at a stoplight that she had a headlight out. About a month ago, I was pulled over on a country road and given a warning for speeding, and as I drove off, I noticed I had three empty beer bottles sitting on my passenger seat which the officer didn’t inquire about. The fact that many are suddenly wondering the story behind the bottles illustrates my point perfectly. Two weeks ago, an officer in almost the same location flashed his lights at me to signal to slow down, and I obliged. I highly doubt any black person in America can relate to these experiences. Perhaps the biggest similarity between Oakland, California and the tiny towns littering Iowa is the main roads leading out of both are often hidden and unmarked. However, two other important shared traits are an appreciation for church and self-referential humor. One big difference is that if you talk shit about the ghetto to a hoodlum, it’s understood, but if you say anything bad about Iowa to an Iowan, heaven help you.
Part II
1990 was a world dominated by MC Hammer and The Fresh Prince of Bel Air, but it was also the debut of In Living Color on Fox, which shone like a ray of hope above anything on television featuring blacks. At first, I would watch it on Sunday nights in secret, not knowing whether it would be considered a bad influence. It laughed loudly at both the cultural treatment and media portrayal of skin color and race in America. Eventually, I used its sketches as starting points to instigate conversations about race relations, because the show seemed able to delineate the line between absurd and unacceptable.
1990 was also the year of Amerikkka’s Most Wanted, Ice Cube’s superb solo debut album produced by The Bomb Squad, best known for their work with Public Enemy. Many of the songs begin with sampled clips of mass media degrading American blacks and himself, contextualizing his lyrics as responses to and the result of white majority attitudes. A parody of himself being electrocuted after spouting the last words, “Fuck all ya’ll” is followed by a defiant rap that loudly mocks the claim that he’s the villain while drawing parallels between his lyrics and a drive-by shooting. He also demonstrates that the solutions are just as absurd as the problems.
"The Nigga Ya Love To Hate"
I heard payback's a motherfucking nigga
That's why I'm sick of gettin’ treated like a goddamn stepchild
Fuck a punk cause I ain't him
You gotta deal with the nine-double-M
The damn scum that you all hate
Just think if niggas decide to retaliate
They try to keep me from running up
I never tell you to get down it's all about coming up
So what they do go and ban the AK?
My shit wasn't registered any fucking way
So you better duck away, run and hide out
When I'm rolling real slow and the light’s out
‘Cause I'm about to fuck up the program
Shooting out the window of a drop-top Brougham
When I'm shooting let's see who drop
The police, the media and suckers that went pop
And motherfuckers that say they too black
Put ‘em overseas they be begging to come back
They say keep ‘em on gangs and drugs
You wanna sweep a nigga like me up under the rug
Kicking shit called street knowledge
Why more niggas in the pen than in college?
Now ‘cause of that line I might be your cellmate
That's from the nigga ya love to hate
(background voice) Fuck you, Ice Cube!
Yeah, ha-ha, it's the nigga you love to hate
(background voice) Fuck you, Ice Cube!
You know, baby, your mother warned you about me
It's the nigga you love to hate
Yo, you ain’t doing nothin’, pops
You ain’t doing nothin’, pops, fo’ us boys
What you got to say for yourself?
You don’t like how I'm living? Well, fuck you
Once again it's on, the motherfucking psycho
Ice Cube the bitch killa cap peeler
Yo runnin through the line like Bo
There's no pot to piss in I put my fist in
Now who do ya love to hate
‘Cause I talk shit and down the eight-ball
‘Cause I don't fake you're begging I fall off
The crossover might as well cut them balls off
And get your ass ready for the lynching
The mob is droppin’ common sense in
We'll gank in the pen
We’ll shank any Tom, Dick and Hank or get the ass
Fakin’ it ain't about how right or wrong you live
But how long you live
I ain't with the bullshit
I meet cold bitches no hoes
Don't wanna sleep so I keep popping No-Doz
And tell the young people what they gotta know
‘Cause I hate when niggas gotta live low
And if you're locked up I dedicate my style in
From San Quentin to Rykers Island
We got ‘em afraid of the funky shit
I like to clown so pump up the sound
In the jeep make the old ladies say
Oh my god wait it's the nigga ya love to hate
(background voice) Fuck you, Ice Cube
Yeah, come on fool
It's the nigga you love to hate
(background voice) Fuck you, Ice Cube
Yeah, run up punk
It's the nigga you love to hate
(Yo-Yo) ‘Who the fuck do you think you are you calling girls bitches?
You ain't all that
That's all I hear, bitch, bitch
I ain't nobody's bitch!’
A bitch is a....
Soul Train done lost their soul
Just call it train cause the bitches look like hoes
I see a lotta others damn
It almost look like the Bandstand
You ask me did I like Arsenio?
About as much as the bicentennial
I don't give a fuck about dissing these fools ‘cause they all scared of the Ice Cube
And what I say what I portray and all that
And ain't even seen the gat
I don't wanna see no dancing
I'm sick of that shit listen to the hit
Cause yo if I look and see another brother
On the video tryin to out-dance each other
I'm a tell T-Bone to pass the bottle
And don't give me that shit about role model
It ain't wise to chastise and preach
Just open the eyes of each
‘Cause laws are made to be broken up
What niggas need to do is start loc’ing up
And build, mold and fold they-self into shape
Of the nigga ya love to hate
Throughout the album, Ice Cube loudly rejects the status quo and refuses to yield his perspective. He reminds the listeners he still hates cops. In a song featuring the annoying Flavor Flav called, “I’m Only Out For One Thang,” Ice Cube very subtlely admits that not having his voice silenced has become a high priority. From his NWA days, Ice Cube had frequently declared his motivations were “money and bitches.” This is patently offensive, but also jarringly honest. Imagine if everyone who was motivated by those things admitted it. He specifically says this to cynically demonstrate his shortcomings: In “Gangsta, Gangsta,” he writes, Do I look like a motherfuckin’ role model? To all the kids lookin’ up to me- life ain’t nothin’ but bitches and money, which is juxtaposed by a KRS One sample in the chorus that says, It’s not about a salary, it’s all about reality. Anyway, in what sounds like an improvised throw-away outro of “I’m Only Out For One Thang,” Flavor Flav jokingly persists in asking Ice Cube to clarify what one thing he’s after and Ice Cube finally responds, I’m out for the pussy, the money and the mic. The humor reminiscent of Monty Python’s Spanish Inquisition sketch is obvious, but even keeping that intact, any long-time listener would have anticipated his answer to be “bitches and money.” This makes the addition of “mic” stick out as a declaration that being able to speak whatever it is he has to say is an essential goal.
The rap genre as a whole, and Ice Cube specifically, have been heavily criticized for being misogynistic. This is somewhat justified and one factor is the cultural impact of outspoken black male-chauvinists like Louis Farrakhan. Amerikkka’s Most Wanted introduces a female rapper named Yo-Yo in a song which attempts to reconcile perspectives on gender. Ice Cube takes the role of someone who thinks women should serve men, and Yo-Yo insists women deserve equality and respect.
Yo-Yo would go on to put out at least three very good albums, one of which Ice Cube co-produced and rapped on, and when Ice Cube started his own record label in 1994, he put Yo-Yo in charge (according to wikipedia.org). Although she had moderate success, Yo-Yo somehow never became a huge hit like her male peers. This ugly fact demonstrates the accuracy with which Ice Cube successfully captures not only localized attitudes but those of America as a whole in his lyrics. Like Archie Bunker, Ice Cube is both entertaining and relevant because he is publicly echoing thoughts that are claimed to be outdated but many silently cling to.
On March 3, 1991, a black man named Rodney King was filmed being brutally beaten by several Los Angeles police officers while other police officers stood by. After this incident became the top news story, the members of NWA should have received a whole lot of letters of apology for having criticized and been insulted by their claims of police violence on blacks instead of giving them diligent consideration. Instead, a jury demonstrated it wasn’t that the claims weren’t believed, but that police violence on blacks was acceptable. Inaction in striving for equality of justice could no longer be blamed on ignorance, but wholly on apathy. Tom Brokaw’s frank assessment that “Outside the South Central area few cared about the violence, because it didn’t affect them,” which had been used as a sample on Amerikkka’s Most Wanted, was once again validated.
John Singleton’s directorial debut, Boyz N the Hood (1991), came to theaters almost immediately after the Rodney King video broke with the tagline, “Once upon a time in South Central L.A... It ain't no fairy tale.” The title is borrowed from the title of the Ice Cube penned song that became the impetus for forming NWA, and includes Ice Cube in his acting debut. Today, the movie comes off as clunky and dated, but it accelerated the cinematic concept introduced by Spike Lee of giving an uncensored portrayal of the challenges and obstacles faced by black teens in the projects in movies like the seemingly prophetic Do the Right Thing (1989).
Death Certificate (1991) and Predator (1992), Ice Cube’s second and third solo albums, are just as good as Amerikkka’s Most Wanted. He also helped introduce Del the Funky Homosapien and produced Da Lench Mob’s magnificent Guerillas in the Mist (1992). In 1992, he also married Kimberly Woodruff. They are still married and have four children. In late December 1992, so basically 1993, another former NWA member Dr. Dre, now signed to a label financed by a real-life gangster named Shug Knight, released his solo debut. Although Dre was the famous name on The Chronic, it showcased the talent of a young unknown named Snoop Doggy Dogg and acted both as an introduction and test market warm-up for Snoop Doggy Dogg’s Doggystyle (1993). Both of these albums are over-rated, but they had a ton of commercial success. The failure of Ice Cube’s fourth album, Lethal Injection (1993) was that he seemed to lose confidence that the stuff he had been doing in the years between NWA and The Chronic was way better than The Chronic.
Acting is possibly a better fit for what Ice Cube attempts to communicate than rap. For example, when you rap about being a drug dealer, people assume you’re a drug dealer, whereas when you play the role of a drug dealer in a movie, people realize you’re acting. Ice Cube is not an exceptional actor, but he exudes confidence in front of the camera. When he turned down the male lead in John Singleton’s second movie, Poetic Justice (1993), Ice Cube recommended another gifted songwriter named Tupac Shakur.
For two years, I was the Assistant Engineer for the engineer who had mixed Digital Underground’s self-titled breakthrough album, and he often recounted the quickness and ease with which Tupac could listen to a beat, write a verse of lyrics and rap those lyrics over the beat in such a way that you could never imagine one had ever existed without the other. It is unfortunate that those who have decided they don’t like rap music will never get to appreciate how much more advanced rap lyrics are than what is found in any other American musical style.
With the successful rap producer DJ Pooh, Ice Cube co-wrote the hugely-successful comedy Fridays (1995), which launched the acting career of stand-up comedian Chris Tucker, and two sequels. He would re-join the cast in Singleton’s third movie, Higher Learning (1995), which is a creepily poignant depiction of how gangs are formed.
Hopefully the day will come when American blacks are given the same recognition and respect as white Americans, but, until then, it will remain essential for people like Ice Cube to bring the voice of the minority to the masses. This needn’t require heavy-handed preaching; simply re-telling entertaining stories from the point of view of those oppressed can be enough to trigger discussion, generate empathy and remind us of injustices. This will always bring strong resistance from those benefiting from the desperate, but boldly persisting in defying the roles society assigns us offers hope, at least for a time.
"Once Upon A Time In The Projects"
Once upon a time in the projects, yo,
I damn near had to wreck a ho
I knocked on the door - "Who is it?"
“It's Ice Cube, come to pay a little visit to you
And what's up with the niggas in the parking lot?”
She said, “Fuck ‘em, ‘cause they get sparked a lot.”
I sat on the couch but it wasn't stable
And then I put my Nikes on the coffee table
Her brother came in he's into gangbanging
‘Cause he walked up and said, "What set you claiming?"
I don't bang I write the good rhymes
The whole scenery reminded me of good times
I don't like to feel that I'm put in a rut
By a young nigga that needs to pull his pants up
He threw up a set and then he was gone
I'm thinkin to myself, Wont this bitch bring her ass on.
Her mother came in with a joint in her mouth
and fired up the sess it was sess no doubt
She said, “Please excuse my house,” and all that
I said, “Yeah,” ‘cause I was buzzed from the contact
Lookin’ at a fucked up black and white
Her mom's bitching ‘cause the county check wasn't right
She had another brother that was three years old
And had a bad case of the runny nose
He asked me who I was then I had to pause
It smelled like he took a shit in his little drawers
I saw her sister who really needs her ass kicked
Only thirteen and already pregnant
I grabbed my forty out the bag and took a swig
‘Cause I was getting overwhelmed by BeBe Kids
They was runnin’ and playin’ and cussin’ and yellin’
and tellin’ and look at this young punk bailin’
I heard a knock on the door without the password
and her mom's got the 12 guage Mossberg
The nigga said "Yo, what's for sale?"
and the bitch came out with a bag of ya-yo
She made the drop and got the 20 dollars
from a smoked out fool with ring around the collar
The girl I was waiting for came out
I said, “Bitch, I didn't know this was a crack house!”
I got my coat and suddenly...
(Stop, the police, don’t move. Freeze, or I’ll kill ya!)
The cop busted in and had a Mac-10 pointed at my dome
and I said to myself once again it's on
He threw me on the carpet, and wasn't cuttin’ no slack
stomped on my head and put his knee in my back
First he tried to wrap me up, slap me up, rough me up
They couldn't do it so they cuffed me up
I said, “Fuck, how much abuse can a nigga take?
Hey yo, officer, you're making a big mistake!”
Since I had on a shirt that said I was dope
He thought I was selling base and couldn't hear my case
He said, “Get out of my face!” He musta had a grudge
His reply, “Tell that bullshit to the judge.”
The girl I was with wasn't saying nothin’
I said, “Hey yo, bitch, you better tell ‘em something.”
She started draggin’ and all of a sudden
we all got tossed in the patty wagon
Now I beat the rap, but that ain't the point
I had a warrant so I spent two weeks in the joint
Now the story you heard has one little object
Don't fuck with a bitch from the projects!
Sunday, September 8, 2013
The Importance of Nirvana (and Josh)
When he was in tenth grade and I was a junior in high school, Josh carried around a navy blue (or was it red?) Mead notebook containing, according to him, every single Nirvana lyric, which he had presumably spent that summer transcribing. The first time or two I asked to see it he said no, but eventually acquiesced. The first inevitable thing I was struck by was Josh’s penmanship, which I had seen before but not to this degree. It was nearly impossible to differentiate between Josh’s handwriting and a typewriter. His small a’s and g’s, for example, were the kind a keyboard makes instead of how we learn in school. This was not hastily written and barely legible scrawl, but focused and pristine devotion, replete with bracketed alternate possibilities for words he was unsure of.
The content of these lyrics varied from angry, unfocused rants to stark, desperate pleads, most of them dealing with the inevitability of change, the restrictions imposed by our environment and the stress of trying to cope with these realities. This author wanted to let others know that he was totally screwed up, but not as screwed up as they are. A motif uniting these lyrics was a defiant mocking of everything: parents, teachers, popular kids, unpopular kids, the status quo, rebels, himself, etc. I wasn’t quite sucked into pretending Nirvana’s lyrics were remarkably insightful or well-constructed, but they offered something I could relate to. In contrast to nearly every song aimed for a teenage audience I’d ever heard, there was no bragging about sexual exploits or other conquests that I knew absolutely nothing about. In fact, these songs suggested he was as confused about that stuff as I was. This writer was helplessly trapped within his own mind, a predicament I understood all too well.
Here’s a verse from “Paper Cuts” which serves nicely as an example: (The last line before the chorus, which consists of repeating the word “Nirvana,” is pretty much incomprehensible, but I tried my best.)
Black windows of paint
I scratch with my nails
I see others just like me
Why do they not try to escape?
They bring out the older ones
They point in my way
They come with the flashing lights
And take my family away
And very later I have learned
To accept some friends of ridicule
My whole existence is for your amusement
And that is why I'm here with you
To tear me with your eye on her
I didn’t know much about contemporary music. My girlfriend listened to bad hip-hop, dance music and, well, for example, her favorite song was “Vogue,” by Madonna. I asked Josh if I could borrow a tape of… what were they called again? Josh was high-strung and easily annoyed. He also didn’t like me very much. I once tried going over to his house to play video games, and when he discovered that’s why I was there, he loudly and forcefully kicked me out, accusing me of “using” him. To this day I have no idea what purpose he wanted me to have for hanging out. Anyway, he wouldn’t let me borrow a tape, but he would let me listen to one inside a band practice room while he stood outside guarding the door so I couldn’t get caught and have the cassette confiscated.
He had me start by listening to Nirvana’s first album, Bleach (1989) and followed that up with a bootleg (a real one, not the excellent compilation of live material called Insecticide (1992), as this was a few months before it came out). After having read such neatly-written lyrics, I was startled to discover not only the music but also the insanely-strained lyrical delivery were heavily distorted and incomprehensible. I now realized how much time Josh had spent listening to this band. I couldn’t really make much out of it, so in an attempt to understand it, I did what I always do and sought to discover its roots. I asked my mom for bands with songs like “Louie, Louie” and “Helter Skelter.” It’s interesting to note that, looking back at this moment twenty years later, I must have known more about music than I generally give myself credit for back then, because that is a damn fine question. I don’t really remember what music my mom came up with to listen to, but it unfortunately wasn’t The Stooges or Syd Barrett. She did, however, have me read The Catcher and the Rye, which contained that exact same magic of offering a character that I felt I could closely relate to even though we had absolutely nothing in common.
After the success of Nevermind (1991), seemingly every band from Seattle got signed to a major label, and one thing the best of them had in common was being influenced by The Melvins, perhaps the most under-rated rock band of all time. They spent the mid-80’s churning out the best music at the time, and continue to do so today. No band from that region was worse than Pearl Jam. Little annoys me more than mediocre music with insipid melodies backing up a self-absorbed, pretentious frontman, and in those ways Pearl Jam has more in common with U2 than the so-called “Seattle Sound.”
The third Nirvana studio album, called In Utero (1993), was released as I began my senior year of high school. Although I feel like I know the lyrics to every one of its songs, another album was released by a group from Chicago at almost the same time which I would argue is one of the greatest rock albums of all time: Siamese Dream (1993), by The Smashing Pumpkins. There has been a copy sitting in a used bin at a thrift store for several weeks, which is absolutely appalling. In fact, that is what inspired me to write this homage to contemporary popular music from my high school years. Billy Corgan’s wall of perfectly overlayed guitars backing odd, strainy vocals was probably heavily influenced by REM, but sounds nothing like them. Ironically, I was introduced to The Smashing Pumpkins at church. Our pastor, apparently recycling a sermon from twenty years previous, contrasted the lyrics from Chuck Berry’s “School Days” with Alice Cooper’s “School’s Out” in order to demonstrate how troubled and confused “kids today” were. He then offered hope that our misguided youths were seeking answers and vulnerable to be “saved” through “proper guidance” by presenting the Pumpkins song, “Quiet”:
Quiet, I am sleeping in here
We need a little hope
For years I've been sleeping
Helpless, couldn't tell a soul
Be ashamed of the mess you've made
My eyes never forget, you see…
Behind me
Silent, metal mercies castrate boys to the bone
Jesus, are you listening up there to anyone at all?
We are the fossils, the relics of our time
We mutilate the meanings so they're easy to deny
Be ashamed of the mess you've made
My eyes never forget, you see…
Behind me
Quiet!
I am sleeping
Quiet!
I am sleeping
Quiet!
I don't trust you
I can't hear you
Be ashamed of the mess you've made
My eyes never forget, you see…
Behind me
Behind me, the grace of falling snow
Cover up everything you know
Come save me from the awful sound…
Of nothing
I found this sermon so poignant that I went right out and purchased both Siamese Dream and a Chuck Berry two-disc compilation. (The Alice Cooper album covers were creepy enough that I figured I could take the preacher’s word about that one.) A large number of the Chuck Berry songs were preoccupied with the attractiveness of underage girls….
Part II
Shannon Hoon was born to sing. I’d put his voice up there with Roy Orbison and Freddy Mercury in terms of irreplicable natural ability. Rogers Stevens and Christopher Thorn have an uncanny symbiotic way of weaving deceptively sophisticated parallel guitar parts. This is not your grandma’s rhythm guitar/lead guitar duo. Brad Smith and Glen Graham are a rock-solid rhythm section, capable of understanding the nuances of any tempo. These musicians co-wrote both the music and lyrics as the band Blind Melon. Their big hit, “No Rain,” is probably the worst song they ever did, which is not to say that it’s a bad song. They were one of the few bands that could have lured me away from Star Trek: Next Generation or Northern Exposure to watch on that asinine David Letterman show, which is precisely what they did on April 8, 1994. After an absolutely sublime performance of “Change,” Hoon started talking seriously about I didn’t know what, until it ended with, “…goodbye to Kurt Cobain.” The blood rushed out of my head as I began flipping through all six channels in a futile attempt at making sense of this. All these years later, I still weep inconsolably when I hear that performance.
It seems like every revolution in American music is halted by drugs, especially heroin. The problem is so well-known that Eric Dolphy, whom I would argue is THE greatest musician of the 20th century, died after falling into a diabetic coma and being left untreated in a hospital bed because it was assumed he’d overdosed and they were waiting for the drugs to wear off. Even so, I’d suggest the problem is even worse than generally advertised. For whatever reason, my parents told me Janis Joplin died of alcohol poisoning even though it was really a heroin overdose. It has been stated by those that were there that Jim Morrison died of a heroin overdose. Vomit asphyxiation, which is how Jimi Hendrix died, is common with a heroin overdose, because the drug causes the lungs to cease working. Further, I’d be willing to bet that the same government employees encouraging heroin use among blacks to halt the Black Power movement have something to do with this. To borrow a Joseph Heller quote that I thought was Kurt Cobain because he used it in the song “Territorial Pissing,” “Just because you’re paranoid doesn’t mean they aren’t after you.”
Josh asked me what I did to become a member of National Honor Society. “Absolutely nothing,” I replied. He said he wanted to get in but hadn’t been chosen as a member. “It’s not really a thing. All you do is get a group picture taken once a year for the yearbook. That’s it.” But since he still seemed upset about it, I went and spoke to the teacher who coordinated the NHS photograph for our school. He explained that the voting board didn’t feel Josh demonstrated the community leadership required to be a member. I tried to retort that I didn’t have any community leadership abilities either, but he deftly cited the current conversation as an example that I did. When I graduated from high school, Josh had compiled over a hundred credit hours from Iowa State University and was the only one of the four of us in Advanced Computer Programming IV who actually succeeded in learning Fortran. I’m sure he became a successful person regardless of whether he was ever accepted into NHS or any other club.
When I got to college, I was completely confused by the omnipresent Nirvana t-shirts and posters, and assumed they must have jumped on the bandwagon after he died. In my high school, the popular kids listened to Garth Brooks and Shania Twain. I had never watched MTV, and honestly never realized Nirvana was a successful and popular band. I didn’t even know there was a version of Nevermind with a hidden track. It was only looking back that I realized there was a veritable army of kids scattered all over the country who had been united by an unkempt, flaxen-haired, awkward young man whose raspily screeching voice successfully expressed their sense of alienation while simultaneously obliterating it.
In 2006, Kurt Cobain became the highest-earning dead celebrity, unseating Elvis Presley. However, I just glanced at the current list, and Cobain’s name is nowhere to be found. I personally never cared for much that Elvis did other than his early Sun recordings, and even those are average at best, so I can totally understand how people today might listen to Nirvana and wonder what the big deal was. Some things are truly impossible to explain to anybody who didn’t live through it. From my perspective, I wonder how kids today survive high school at all if the crappy music on contemporary radio is any indication of what they’re listening to.
Although Shannon Hoon constantly altered the lyrics on live versions of this song, here is the transcription of “Change” from the debut album by Blind Melon (1992):
I don't feel the sun’s coming out today
It’s staying in, it’s gonna find another way
As I sit here in this misery
I don't think I'll ever, no Lord, see the sun from here
And oh, as I fade away
They'll all look at me and say, and they'll say
Hey look at him! I'll never live that way
And that's okay
They're just afraid to change
When you feel life ain't worth living
You got to stand up and take a look around and then you look up way to the sky
And when your deepest thoughts are broken
Keep on dreaming boy, ‘cause when you stop dreaming it's time to die
And as we all play parts of tomorrow
Some ways will work and other ways we'll play
But I know we can't all stay here forever
So I want to write my words on the face of today
And then they'll paint it
And oh, as I fade away
They'll all look at me and say, they’ll say
Hey look at him and where he is these days
When life is hard you have to change
When life is hard you have to change
The content of these lyrics varied from angry, unfocused rants to stark, desperate pleads, most of them dealing with the inevitability of change, the restrictions imposed by our environment and the stress of trying to cope with these realities. This author wanted to let others know that he was totally screwed up, but not as screwed up as they are. A motif uniting these lyrics was a defiant mocking of everything: parents, teachers, popular kids, unpopular kids, the status quo, rebels, himself, etc. I wasn’t quite sucked into pretending Nirvana’s lyrics were remarkably insightful or well-constructed, but they offered something I could relate to. In contrast to nearly every song aimed for a teenage audience I’d ever heard, there was no bragging about sexual exploits or other conquests that I knew absolutely nothing about. In fact, these songs suggested he was as confused about that stuff as I was. This writer was helplessly trapped within his own mind, a predicament I understood all too well.
Here’s a verse from “Paper Cuts” which serves nicely as an example: (The last line before the chorus, which consists of repeating the word “Nirvana,” is pretty much incomprehensible, but I tried my best.)
Black windows of paint
I scratch with my nails
I see others just like me
Why do they not try to escape?
They bring out the older ones
They point in my way
They come with the flashing lights
And take my family away
And very later I have learned
To accept some friends of ridicule
My whole existence is for your amusement
And that is why I'm here with you
To tear me with your eye on her
I didn’t know much about contemporary music. My girlfriend listened to bad hip-hop, dance music and, well, for example, her favorite song was “Vogue,” by Madonna. I asked Josh if I could borrow a tape of… what were they called again? Josh was high-strung and easily annoyed. He also didn’t like me very much. I once tried going over to his house to play video games, and when he discovered that’s why I was there, he loudly and forcefully kicked me out, accusing me of “using” him. To this day I have no idea what purpose he wanted me to have for hanging out. Anyway, he wouldn’t let me borrow a tape, but he would let me listen to one inside a band practice room while he stood outside guarding the door so I couldn’t get caught and have the cassette confiscated.
He had me start by listening to Nirvana’s first album, Bleach (1989) and followed that up with a bootleg (a real one, not the excellent compilation of live material called Insecticide (1992), as this was a few months before it came out). After having read such neatly-written lyrics, I was startled to discover not only the music but also the insanely-strained lyrical delivery were heavily distorted and incomprehensible. I now realized how much time Josh had spent listening to this band. I couldn’t really make much out of it, so in an attempt to understand it, I did what I always do and sought to discover its roots. I asked my mom for bands with songs like “Louie, Louie” and “Helter Skelter.” It’s interesting to note that, looking back at this moment twenty years later, I must have known more about music than I generally give myself credit for back then, because that is a damn fine question. I don’t really remember what music my mom came up with to listen to, but it unfortunately wasn’t The Stooges or Syd Barrett. She did, however, have me read The Catcher and the Rye, which contained that exact same magic of offering a character that I felt I could closely relate to even though we had absolutely nothing in common.
After the success of Nevermind (1991), seemingly every band from Seattle got signed to a major label, and one thing the best of them had in common was being influenced by The Melvins, perhaps the most under-rated rock band of all time. They spent the mid-80’s churning out the best music at the time, and continue to do so today. No band from that region was worse than Pearl Jam. Little annoys me more than mediocre music with insipid melodies backing up a self-absorbed, pretentious frontman, and in those ways Pearl Jam has more in common with U2 than the so-called “Seattle Sound.”
The third Nirvana studio album, called In Utero (1993), was released as I began my senior year of high school. Although I feel like I know the lyrics to every one of its songs, another album was released by a group from Chicago at almost the same time which I would argue is one of the greatest rock albums of all time: Siamese Dream (1993), by The Smashing Pumpkins. There has been a copy sitting in a used bin at a thrift store for several weeks, which is absolutely appalling. In fact, that is what inspired me to write this homage to contemporary popular music from my high school years. Billy Corgan’s wall of perfectly overlayed guitars backing odd, strainy vocals was probably heavily influenced by REM, but sounds nothing like them. Ironically, I was introduced to The Smashing Pumpkins at church. Our pastor, apparently recycling a sermon from twenty years previous, contrasted the lyrics from Chuck Berry’s “School Days” with Alice Cooper’s “School’s Out” in order to demonstrate how troubled and confused “kids today” were. He then offered hope that our misguided youths were seeking answers and vulnerable to be “saved” through “proper guidance” by presenting the Pumpkins song, “Quiet”:
Quiet, I am sleeping in here
We need a little hope
For years I've been sleeping
Helpless, couldn't tell a soul
Be ashamed of the mess you've made
My eyes never forget, you see…
Behind me
Silent, metal mercies castrate boys to the bone
Jesus, are you listening up there to anyone at all?
We are the fossils, the relics of our time
We mutilate the meanings so they're easy to deny
Be ashamed of the mess you've made
My eyes never forget, you see…
Behind me
Quiet!
I am sleeping
Quiet!
I am sleeping
Quiet!
I don't trust you
I can't hear you
Be ashamed of the mess you've made
My eyes never forget, you see…
Behind me
Behind me, the grace of falling snow
Cover up everything you know
Come save me from the awful sound…
Of nothing
I found this sermon so poignant that I went right out and purchased both Siamese Dream and a Chuck Berry two-disc compilation. (The Alice Cooper album covers were creepy enough that I figured I could take the preacher’s word about that one.) A large number of the Chuck Berry songs were preoccupied with the attractiveness of underage girls….
Part II
Shannon Hoon was born to sing. I’d put his voice up there with Roy Orbison and Freddy Mercury in terms of irreplicable natural ability. Rogers Stevens and Christopher Thorn have an uncanny symbiotic way of weaving deceptively sophisticated parallel guitar parts. This is not your grandma’s rhythm guitar/lead guitar duo. Brad Smith and Glen Graham are a rock-solid rhythm section, capable of understanding the nuances of any tempo. These musicians co-wrote both the music and lyrics as the band Blind Melon. Their big hit, “No Rain,” is probably the worst song they ever did, which is not to say that it’s a bad song. They were one of the few bands that could have lured me away from Star Trek: Next Generation or Northern Exposure to watch on that asinine David Letterman show, which is precisely what they did on April 8, 1994. After an absolutely sublime performance of “Change,” Hoon started talking seriously about I didn’t know what, until it ended with, “…goodbye to Kurt Cobain.” The blood rushed out of my head as I began flipping through all six channels in a futile attempt at making sense of this. All these years later, I still weep inconsolably when I hear that performance.
It seems like every revolution in American music is halted by drugs, especially heroin. The problem is so well-known that Eric Dolphy, whom I would argue is THE greatest musician of the 20th century, died after falling into a diabetic coma and being left untreated in a hospital bed because it was assumed he’d overdosed and they were waiting for the drugs to wear off. Even so, I’d suggest the problem is even worse than generally advertised. For whatever reason, my parents told me Janis Joplin died of alcohol poisoning even though it was really a heroin overdose. It has been stated by those that were there that Jim Morrison died of a heroin overdose. Vomit asphyxiation, which is how Jimi Hendrix died, is common with a heroin overdose, because the drug causes the lungs to cease working. Further, I’d be willing to bet that the same government employees encouraging heroin use among blacks to halt the Black Power movement have something to do with this. To borrow a Joseph Heller quote that I thought was Kurt Cobain because he used it in the song “Territorial Pissing,” “Just because you’re paranoid doesn’t mean they aren’t after you.”
Josh asked me what I did to become a member of National Honor Society. “Absolutely nothing,” I replied. He said he wanted to get in but hadn’t been chosen as a member. “It’s not really a thing. All you do is get a group picture taken once a year for the yearbook. That’s it.” But since he still seemed upset about it, I went and spoke to the teacher who coordinated the NHS photograph for our school. He explained that the voting board didn’t feel Josh demonstrated the community leadership required to be a member. I tried to retort that I didn’t have any community leadership abilities either, but he deftly cited the current conversation as an example that I did. When I graduated from high school, Josh had compiled over a hundred credit hours from Iowa State University and was the only one of the four of us in Advanced Computer Programming IV who actually succeeded in learning Fortran. I’m sure he became a successful person regardless of whether he was ever accepted into NHS or any other club.
When I got to college, I was completely confused by the omnipresent Nirvana t-shirts and posters, and assumed they must have jumped on the bandwagon after he died. In my high school, the popular kids listened to Garth Brooks and Shania Twain. I had never watched MTV, and honestly never realized Nirvana was a successful and popular band. I didn’t even know there was a version of Nevermind with a hidden track. It was only looking back that I realized there was a veritable army of kids scattered all over the country who had been united by an unkempt, flaxen-haired, awkward young man whose raspily screeching voice successfully expressed their sense of alienation while simultaneously obliterating it.
In 2006, Kurt Cobain became the highest-earning dead celebrity, unseating Elvis Presley. However, I just glanced at the current list, and Cobain’s name is nowhere to be found. I personally never cared for much that Elvis did other than his early Sun recordings, and even those are average at best, so I can totally understand how people today might listen to Nirvana and wonder what the big deal was. Some things are truly impossible to explain to anybody who didn’t live through it. From my perspective, I wonder how kids today survive high school at all if the crappy music on contemporary radio is any indication of what they’re listening to.
Although Shannon Hoon constantly altered the lyrics on live versions of this song, here is the transcription of “Change” from the debut album by Blind Melon (1992):
I don't feel the sun’s coming out today
It’s staying in, it’s gonna find another way
As I sit here in this misery
I don't think I'll ever, no Lord, see the sun from here
And oh, as I fade away
They'll all look at me and say, and they'll say
Hey look at him! I'll never live that way
And that's okay
They're just afraid to change
When you feel life ain't worth living
You got to stand up and take a look around and then you look up way to the sky
And when your deepest thoughts are broken
Keep on dreaming boy, ‘cause when you stop dreaming it's time to die
And as we all play parts of tomorrow
Some ways will work and other ways we'll play
But I know we can't all stay here forever
So I want to write my words on the face of today
And then they'll paint it
And oh, as I fade away
They'll all look at me and say, they’ll say
Hey look at him and where he is these days
When life is hard you have to change
When life is hard you have to change
Tuesday, August 30, 2011
My Favorite Things
I’ve had a line from a song stuck in my head for about a week now: “If you like piña coladas….” That’s the only line I know, and since I don’t at all enjoy cloying cocktails, I have no idea why I keep singing this line. The song is a trite one about someone finding his soul mate in the classifieds by listing various they like to do, which made me start thinking about the Richard Rodgers and Oscar Hammerstein II song, My Favorite Things. I don’t really know the words to that one either. In fact, the songs I know the lyrics to are limited to a few nursery rhymes and 80’s cartoon theme songs.
Relying solely on memory, my guess was that Rodgers was employing in this song an old trick of the trade that in medieval times was used as proof that the devil is always lurking in the shadows. In any major key, if you play the same notes beginning on the sixth note in that scale, you will be playing a minor key. Musicians call this the relative minor. I imagined the song skipped along in a major tonality until the B section ("When the dog bites…"), where he deftly switched to the relative minor.
The first thing I noticed upon hearing the actual tune was that the Julie Andrews version is atrocious. Singing is eschewed in favor of acting cutesy. Thankfully, the original Mary Martin version is listenable. And, as it turns out, I was totally incorrect in my imagined assessment. The song is played in E minor, which, in part because it only has one accidental (F#), is, for lack of a better description, gentle on the ears. (I remember as a kid asking a music teacher what minor keys were and being told it was a scale of notes that sounded spooky. This is an egregiously inadequate explanation.)
The song begins only with a B and the whole first phrase uses only two other notes, E and F#. It then gradually harmonically expands these notes in a manner reminiscent of Beethoven (for example), unraveling the notes cautiously and politely in a lilting, un-syncopated waltz. Then, the contrast in the B section is done simply by imposing a slur leading into a rest on the downbeat of every other measure. Simple. He is, after all, writing a children’s song.
Less than a year after the song debuted on Broadway in The Sound of Music and long before the movie adaptation, John Coltrane used My Favorite Things as a vehicle tune to reintroduce the soprano saxophone, an instrument that had been played by Sidney Bechet, a major figure in the development of jazz at the turn of the century, but had been virtually completely neglected since. Coltrane plays the melody in an elastic 6/8 time- common in African music but almost never heard in classical Western music- over a steadily repeating piano vamp (courtesy of McCoy Tyner) channeling an Afro-Cuban tumbao part. Adding syncopation immediately renders Rodger’s B section gimmick useless, and, in fact, Coltrane never plays the B section at all. Instead, Coltrane tacks a two measure turnaround onto the A section. A “turnaround” is a device frequently employed in jazz as a means to fluidly get from the end of a melody line back to the beginning. Once in place, the turnaround enables Coltrane to loop the A section ad nauseum. Indeed, Coltrane explores the A section in depth, but when he finally breaks free from it, he performs a parallel or, more generally, a modal transformation of the song, turning it from E minor to E major!
Whereas switching from a minor key to the relative major (for example, from E minor to G major) uses the same notes starting in two different places along the scale, a parallel change from E minor to E major involve different scale notes but start in the same place. The final movements of several late Romantic era Russian compositions, such as Rachmaninoff’s Symphony #2, also explore this move from E minor to E major. Coltrane, like every innovator, had been diligently doing his homework in researching the innovators that came before.
This may all be a bit tedious to you, and if so, you will be relieved that I removed an entire section elaborating on tonal modality, but are really going to want to kick my ass when I reveal my point in mentioning all this: the manipulation of frequencies, dynamics and tempos in sounds are among my favorite things. Another of my favorite things is researching innovators.
I am often criticized for being too picky. Call me what you will, but sometimes I feel like the complaint is really that I’m too curious. We humans are wired to enjoy all things magical. Where magic doesn’t exist, we maintain it with willful ignorance. Humans become conservative in order to avoid having to come to terms with the possibility that their knowledge, experiences or beliefs are sub-par. Anthropologically, the best explanation I can guess for this condition is that a sober assessment of reality would cause suicide rates to skyrocket and procreation rates to plummet. (Perhaps that’s just a pithy circular argument, i.e. we enjoy the magical because reality sucks.) Sometimes, finding out too much about something does destroy the allure. (One example that comes to mind is meeting George Clinton.) Other times, however, as is the case with John Coltrane’s musical endeavors, further discovery can increase the appeal to the point of obsession. For me, these are the truly wonderful things in life, which is why everybody’s constant yammering about how much they like something that they know little to nothing about will continue to peeve me to no end. But, to honor the example of Coltrane’s interpretation of My Favorite Things, I am going to attempt to avoid negativity and focus on things that make me happy.
Here are a few more of my favorite things: watching baseball (biased toward San Francisco Giants), watching soccer (biased toward FC Barcelona), playing disc golf, eating Thai food, eating seafood, drinking single malt Scotch whisky, making cocktails, laughing with friends, being able to say offensive things without anyone taking offense, watching Japanese movies, tinkering with non-digital gadgets, studying military history, debunking myths, giving massages, wielding knives, getting tattooed, female orgasms, listening to cicadas and thunderstorms, campfires, playing Risk, keeping abreast of advances in physics, science fiction in general, gaining independence in skill and thought, perusing thrift stores and estate sales, Glencairn whisky glasses, being in the presence of the ocean, exercising conscious awareness of sensory information, analyzing everything and hot showers.
Relying solely on memory, my guess was that Rodgers was employing in this song an old trick of the trade that in medieval times was used as proof that the devil is always lurking in the shadows. In any major key, if you play the same notes beginning on the sixth note in that scale, you will be playing a minor key. Musicians call this the relative minor. I imagined the song skipped along in a major tonality until the B section ("When the dog bites…"), where he deftly switched to the relative minor.
The first thing I noticed upon hearing the actual tune was that the Julie Andrews version is atrocious. Singing is eschewed in favor of acting cutesy. Thankfully, the original Mary Martin version is listenable. And, as it turns out, I was totally incorrect in my imagined assessment. The song is played in E minor, which, in part because it only has one accidental (F#), is, for lack of a better description, gentle on the ears. (I remember as a kid asking a music teacher what minor keys were and being told it was a scale of notes that sounded spooky. This is an egregiously inadequate explanation.)
The song begins only with a B and the whole first phrase uses only two other notes, E and F#. It then gradually harmonically expands these notes in a manner reminiscent of Beethoven (for example), unraveling the notes cautiously and politely in a lilting, un-syncopated waltz. Then, the contrast in the B section is done simply by imposing a slur leading into a rest on the downbeat of every other measure. Simple. He is, after all, writing a children’s song.
Less than a year after the song debuted on Broadway in The Sound of Music and long before the movie adaptation, John Coltrane used My Favorite Things as a vehicle tune to reintroduce the soprano saxophone, an instrument that had been played by Sidney Bechet, a major figure in the development of jazz at the turn of the century, but had been virtually completely neglected since. Coltrane plays the melody in an elastic 6/8 time- common in African music but almost never heard in classical Western music- over a steadily repeating piano vamp (courtesy of McCoy Tyner) channeling an Afro-Cuban tumbao part. Adding syncopation immediately renders Rodger’s B section gimmick useless, and, in fact, Coltrane never plays the B section at all. Instead, Coltrane tacks a two measure turnaround onto the A section. A “turnaround” is a device frequently employed in jazz as a means to fluidly get from the end of a melody line back to the beginning. Once in place, the turnaround enables Coltrane to loop the A section ad nauseum. Indeed, Coltrane explores the A section in depth, but when he finally breaks free from it, he performs a parallel or, more generally, a modal transformation of the song, turning it from E minor to E major!
Whereas switching from a minor key to the relative major (for example, from E minor to G major) uses the same notes starting in two different places along the scale, a parallel change from E minor to E major involve different scale notes but start in the same place. The final movements of several late Romantic era Russian compositions, such as Rachmaninoff’s Symphony #2, also explore this move from E minor to E major. Coltrane, like every innovator, had been diligently doing his homework in researching the innovators that came before.
This may all be a bit tedious to you, and if so, you will be relieved that I removed an entire section elaborating on tonal modality, but are really going to want to kick my ass when I reveal my point in mentioning all this: the manipulation of frequencies, dynamics and tempos in sounds are among my favorite things. Another of my favorite things is researching innovators.
I am often criticized for being too picky. Call me what you will, but sometimes I feel like the complaint is really that I’m too curious. We humans are wired to enjoy all things magical. Where magic doesn’t exist, we maintain it with willful ignorance. Humans become conservative in order to avoid having to come to terms with the possibility that their knowledge, experiences or beliefs are sub-par. Anthropologically, the best explanation I can guess for this condition is that a sober assessment of reality would cause suicide rates to skyrocket and procreation rates to plummet. (Perhaps that’s just a pithy circular argument, i.e. we enjoy the magical because reality sucks.) Sometimes, finding out too much about something does destroy the allure. (One example that comes to mind is meeting George Clinton.) Other times, however, as is the case with John Coltrane’s musical endeavors, further discovery can increase the appeal to the point of obsession. For me, these are the truly wonderful things in life, which is why everybody’s constant yammering about how much they like something that they know little to nothing about will continue to peeve me to no end. But, to honor the example of Coltrane’s interpretation of My Favorite Things, I am going to attempt to avoid negativity and focus on things that make me happy.
Here are a few more of my favorite things: watching baseball (biased toward San Francisco Giants), watching soccer (biased toward FC Barcelona), playing disc golf, eating Thai food, eating seafood, drinking single malt Scotch whisky, making cocktails, laughing with friends, being able to say offensive things without anyone taking offense, watching Japanese movies, tinkering with non-digital gadgets, studying military history, debunking myths, giving massages, wielding knives, getting tattooed, female orgasms, listening to cicadas and thunderstorms, campfires, playing Risk, keeping abreast of advances in physics, science fiction in general, gaining independence in skill and thought, perusing thrift stores and estate sales, Glencairn whisky glasses, being in the presence of the ocean, exercising conscious awareness of sensory information, analyzing everything and hot showers.
Sunday, February 27, 2011
How It Goes
“I didn’t know you played the drums.”
“I used to but not anymore.”
“What kind of music do you play?”
“I played mostly jazz and experimental stuff.”
“Wow, jazz drumming is really hard, isn’t it?”
“I don’t know how to make sense of that question. It’s like anything else- whether it’s easy or difficult depends on how deep you go into it, I guess.”
“So why did you quit?”
“I got tired of starving to death a found a real job.”
“Well I play guitar in a blues band with some friends, and we perform at a bar downtown on open mic night about once a month or so. We’re actually looking for a drummer right now. We would love to have you play with us!”
“No, thanks.”
“Are you sure? We’re not very good but it’s a lot of fun!”
“I spent around eight hours a day for something like ten years practicing and hauling my drums around to do something that nobody will pay you for because everyone thinks it’s fun. In my experience if you’re having fun, it’s because you don’t know that you don’t know what you’re doing.”
“Oh, well we just practice on Sundays.”
“Anyway, I haven’t played in like three or four years now.”
“Oh wow, why not?”
“There’s no reason for me to play. I can just listen to Milford Graves or Jo Jones or Alla Rakha, et cetera.”
“But don’t you miss playing?”
“No.”
“Well, I hope you get back into it someday.”
“I used to but not anymore.”
“What kind of music do you play?”
“I played mostly jazz and experimental stuff.”
“Wow, jazz drumming is really hard, isn’t it?”
“I don’t know how to make sense of that question. It’s like anything else- whether it’s easy or difficult depends on how deep you go into it, I guess.”
“So why did you quit?”
“I got tired of starving to death a found a real job.”
“Well I play guitar in a blues band with some friends, and we perform at a bar downtown on open mic night about once a month or so. We’re actually looking for a drummer right now. We would love to have you play with us!”
“No, thanks.”
“Are you sure? We’re not very good but it’s a lot of fun!”
“I spent around eight hours a day for something like ten years practicing and hauling my drums around to do something that nobody will pay you for because everyone thinks it’s fun. In my experience if you’re having fun, it’s because you don’t know that you don’t know what you’re doing.”
“Oh, well we just practice on Sundays.”
“Anyway, I haven’t played in like three or four years now.”
“Oh wow, why not?”
“There’s no reason for me to play. I can just listen to Milford Graves or Jo Jones or Alla Rakha, et cetera.”
“But don’t you miss playing?”
“No.”
“Well, I hope you get back into it someday.”
Monday, January 10, 2011
Internet Radio
Around 2001, the accountant at the recording studio I was working at and I both applied for a job describing music for an upstart website. She got the job; I didn’t- which turned out to be a blessing because the company didn’t actually have any money so everybody was working for no pay. All I needed was another volunteer position!
Fast-forward a few years, and Pandora is doing pretty well for itself. For those of you who don’t know, www.pandora.com is a website that allows you to choose artists or songs from which it creates a “radio” station of similar music. You can include multiple performers or songs in each radio station you create, which is essential for preventing the station from becoming repetitive.
I have been using Pandora for a few years now. In fact, I am currently listening to “Allauddin Khan Radio.” When I first tried to create this station, there was no Hindustani music to speak of; mostly horrible World fusion. This could have been my fault, as the first names I used in creating the station were Ravi Shankar and Zakir Hussain. Now, their northern Indian classical section is larger than I would have expected.
Unfortunately, one can only listen to 40 hours of Pandora per month for free, even though it is riddled with advertisements and commercials. Fortunately, there are other internet radio stations. Last.fm, which has no listening restrictions, is even better than Pandora. Last.fm seems to have a larger underground music database. Although I think it’s possible, I’ve never bothered to figure out how to link artists with Last.fm, which is a credit to the site as Pandora would be unbearable without the artist links.
Last.fm does not have a pause button, which is annoying. It also does not automatically start playing when you go to the website, as Pandora does, and often crashes while trying to play the annoying commercial before the station starts. Last. Fm doesn’t play commercials between songs as Pandora does. It keeps track of every song you’ve ever played on it, but I’m not sure what the benefit of this is. On Last.fm you can comment on tracks (like on youtube), and if you click on the name of a commenter, you can see their listening history, which is actually kind of creepy, but useful for getting a chance to listen to bands others are constantly listening to but you’ve never heard of.
Pandora generally leans toward popular music. My “Tool Radio” station, for example, is lame- it plays a bunch of Rage Against the Machine, Nine Inch Nails and Nirvana- none of which have much in common with Tool other than being early ‘90’s band that gained huge popularity. The “Tool Radio” for Last.fm, however, plays much more relevant artists such as Opeth, Indukti and Isis. Of course, you also get crap like Peach and Deftones which is just grating and completely unwanted. Both Tool stations play Soundgarden, but Pandora plays their shit like “Black Hole Sun” whereas Last.fm plays awesome Soundgarden such as “The Day I Tried To Live.” Last.fm seems a bit more aware of member ties; thus they’ll play ASHES dIVIDE (sic as far as I’m concerned; pet peeve) and Pandora won’t.
I listen to a wide variety of music. Some other artist names I frequently use to create radio stations are: El Lebrijano (flamenco), Albert Ayler (post-Coltrane jazz), Art Ensemble of Chicago (avant garde), Thelonious Monk (bebop), Charles Mingus (music), Busoni or Debussy (classical piano), Slayer (heavy metal), Blind Lemon Jefferson or Skip James (blues) and Buckethead (guitar).
Fast-forward a few years, and Pandora is doing pretty well for itself. For those of you who don’t know, www.pandora.com is a website that allows you to choose artists or songs from which it creates a “radio” station of similar music. You can include multiple performers or songs in each radio station you create, which is essential for preventing the station from becoming repetitive.
I have been using Pandora for a few years now. In fact, I am currently listening to “Allauddin Khan Radio.” When I first tried to create this station, there was no Hindustani music to speak of; mostly horrible World fusion. This could have been my fault, as the first names I used in creating the station were Ravi Shankar and Zakir Hussain. Now, their northern Indian classical section is larger than I would have expected.
Unfortunately, one can only listen to 40 hours of Pandora per month for free, even though it is riddled with advertisements and commercials. Fortunately, there are other internet radio stations. Last.fm, which has no listening restrictions, is even better than Pandora. Last.fm seems to have a larger underground music database. Although I think it’s possible, I’ve never bothered to figure out how to link artists with Last.fm, which is a credit to the site as Pandora would be unbearable without the artist links.
Last.fm does not have a pause button, which is annoying. It also does not automatically start playing when you go to the website, as Pandora does, and often crashes while trying to play the annoying commercial before the station starts. Last. Fm doesn’t play commercials between songs as Pandora does. It keeps track of every song you’ve ever played on it, but I’m not sure what the benefit of this is. On Last.fm you can comment on tracks (like on youtube), and if you click on the name of a commenter, you can see their listening history, which is actually kind of creepy, but useful for getting a chance to listen to bands others are constantly listening to but you’ve never heard of.
Pandora generally leans toward popular music. My “Tool Radio” station, for example, is lame- it plays a bunch of Rage Against the Machine, Nine Inch Nails and Nirvana- none of which have much in common with Tool other than being early ‘90’s band that gained huge popularity. The “Tool Radio” for Last.fm, however, plays much more relevant artists such as Opeth, Indukti and Isis. Of course, you also get crap like Peach and Deftones which is just grating and completely unwanted. Both Tool stations play Soundgarden, but Pandora plays their shit like “Black Hole Sun” whereas Last.fm plays awesome Soundgarden such as “The Day I Tried To Live.” Last.fm seems a bit more aware of member ties; thus they’ll play ASHES dIVIDE (sic as far as I’m concerned; pet peeve) and Pandora won’t.
I listen to a wide variety of music. Some other artist names I frequently use to create radio stations are: El Lebrijano (flamenco), Albert Ayler (post-Coltrane jazz), Art Ensemble of Chicago (avant garde), Thelonious Monk (bebop), Charles Mingus (music), Busoni or Debussy (classical piano), Slayer (heavy metal), Blind Lemon Jefferson or Skip James (blues) and Buckethead (guitar).
Tuesday, September 15, 2009
Song Lyrics
Some of you may be wondering why I've been posting a lot of song lyrics. The answer is easy: 1) I'm too lazy to write original blog entries right now; 2) I sometimes find myself listening to music that seems to be EXACTLY where I am at when I hear it.
I had a friend in college who was paranoid that the radio was sending him messages. "That's the beauty of music," I'd explain. The greatest art, by its very nature of expression limited by senses, allows us to feel connected to others. This connection is simultaneously profound and illusory. An example I like to use is all those who claim to relate to Holden Caulfield from The Catcher in the Rye even though NOBODY has ever acted anything like that character in the history of humankind.
Combining poetry with music is a sublimely potent means of communication. Despite all the song lyrics I have included in my blog, I have rejected others with ONE word that I couldn't precisely relate to. The lyrics I post are intended to relay to my (imaginary) audience where I am at that moment. I have even gone through my own past posts to try to recall how I was feeling at a particular time, found some lyrics I’d posted and listened to that song. It makes for effective memory triggering.
Now you know, and knowing is half the battle. G.I. JOE!
I had a friend in college who was paranoid that the radio was sending him messages. "That's the beauty of music," I'd explain. The greatest art, by its very nature of expression limited by senses, allows us to feel connected to others. This connection is simultaneously profound and illusory. An example I like to use is all those who claim to relate to Holden Caulfield from The Catcher in the Rye even though NOBODY has ever acted anything like that character in the history of humankind.
Combining poetry with music is a sublimely potent means of communication. Despite all the song lyrics I have included in my blog, I have rejected others with ONE word that I couldn't precisely relate to. The lyrics I post are intended to relay to my (imaginary) audience where I am at that moment. I have even gone through my own past posts to try to recall how I was feeling at a particular time, found some lyrics I’d posted and listened to that song. It makes for effective memory triggering.
Now you know, and knowing is half the battle. G.I. JOE!
Sunday, August 2, 2009
Les Paul
The first time I heard Les Paul and Mary Ford I just about shit my pants. This was a music I had never heard before. The recording quality was stupendous, the melodic lines clean yet profound, the tone unsurpassed. Everything about the music was cleverly calculated but refreshingly charming. This was white people music (something I generally avoided at the time) except with soul. I first heard it in 1995. The music was from as early as 1947. To this day, I’ve still never heard anything else like Les Paul’s music, which is inexplicable considering the influence (which includes the invention of multi-track recording and the modern electric guitar) that he has had on modern music. It’s as if everybody since has been futilely trying to copy him. Although, truth be told, a lot of his guitar lines are Django Reinhardt rip-offs.
Sunday, March 22, 2009
Oregon Symphony
There is nothing quite so effective at reminding one of how much they love something as watching it being destroyed. Halfway through The Oregon Symphony’s highly ironic arrangement of Duke Ellington’s “It Don’t Mean a Thing (If It Ain’t Got That Swing),” which opened the concert I went to last night, tears began streaming down my face. I have been brought to tears by music many times before, but these were not tears inspired by sublimity, these were tears for the dead. It’s not that I hadn’t been warned- the title of the concert was, after all, Soul of New Orleans. But there was no second line happening this night. This was nails being pounded tight enough into the coffin to ensure no soul would escape. After that first tragic song, the conductor, Jeff Tyzik, smugly quipped, “I can guarantee you’ve never heard that song played like that before. And I can guarantee there’s more of it to come!” And he was oh, so right.
The featured artist for the evening was a trumpeter/vocalist named Byron Stripling. His forte was witty between-song banter. And he thought he was really funny. As a musician, he was strikingly boring and conservative. He stuck to the melody, and the arrangements conveniently removed virtually all improvisation. In fact, he played all of one extended trumpet solo the entire evening, in “Honeysuckle Rose,” during which he had obviously no idea what to do whatsoever. He ended a full three measures short of the turnaround! His intonation was tight, avoiding blue notes and vibrato. He had an interesting habit of moving his pinky up and down- obviously pretending that there was a valve under it. “What a showman!” the middle-aged white people in attendance will say….
Before beginning one of the great classic blues songs of all time, Stripling did a routine overtly making fun of the blues. This was redundant, to be sure. What was the point of this concert? Why spend an evening going out of your way to ruin a truly original American classical art form? Why not just stick with playing Mozart and Elgar? While making fun of them, Stripling struggled to name some blues singers. He did come up with James Rushing. James Rushing? He is always called JIMMY Rushing! Even the guest musician had not bothered with getting an education in the true version of this music before dismissing it.
During the first set, they made a few ill-advised attempts at small group playing, but with the piano shoved practically off stage left, and the scattered trombonist and clarinetist, it was obvious that even if they had bothered to try listening to each other they wouldn’t really have been able to. There was also a guest drummer who was about as competent as a senior in any reasonably proficient high school jazz band. He was buried behind the violas with a plexi-glass screen in front of him, presumably because he can’t control his own dynamics or there’d be no such thing as getting him subdued enough.
The second set was to begin with “King Porter Stomp,” another of my favorite tunes. In his introduction, the conductor mentioned the Fletcher Henderson arrangement then bragged, “We don’t have Fletcher Henderson’s sax section, but he didn’t have OUR string section.” Oh, hell no! Fletcher Henderson assembled many of the greatest musicians of the 20’s and early 30’s to be in his highly innovative band and was probably the greatest arranger of all time, sacrificing his career as a bandleader to become Bennie Goodman’s full-time arranger. The Oregon Symphony is a bunch of hacks. I seriously wanted to punch Mr. Tyzik in the teeth.
As I scanned ahead on the program, I grimaced at anticipation of Flat Foot Floogie, because I knew this guy wasn’t going to be able to scat or was just going to act like a jackass while doing it. After all, he had already derided music with words you can’t understand. It did not escape me that the program misspelled Slim Gaillard’s name, nor did it pass me by lightly when Stripling referred to him as a “one-hit wonder.” Uh- hello? You’re seriously going to call a popular live entertainer and master of his idiom with a 40 year career a one-hit wonder? Stripling’s attempt at scat lived up to its name.
Up until the last one, every song had ended with the high tonic being held surprisingly short on the trumpet, followed by Stripling pumping his fist in the air at his own brilliance. It was forgivable that he didn't have Armstrong, Gillespie or Fergusen's range, but I doubted he had the ear to even play the fifth above or something interesting. Well, he finally went for it, but we'll never know what “it” was, because he flubbed it ENTIRELY. He quickly took the horn out of his mouth while grinning slyly as if he’d meant to do that. Is there any way to make a deal with the devil to trade this fucker’s soul for jazz back? Long live jazz; jazz is dead.
The featured artist for the evening was a trumpeter/vocalist named Byron Stripling. His forte was witty between-song banter. And he thought he was really funny. As a musician, he was strikingly boring and conservative. He stuck to the melody, and the arrangements conveniently removed virtually all improvisation. In fact, he played all of one extended trumpet solo the entire evening, in “Honeysuckle Rose,” during which he had obviously no idea what to do whatsoever. He ended a full three measures short of the turnaround! His intonation was tight, avoiding blue notes and vibrato. He had an interesting habit of moving his pinky up and down- obviously pretending that there was a valve under it. “What a showman!” the middle-aged white people in attendance will say….
Before beginning one of the great classic blues songs of all time, Stripling did a routine overtly making fun of the blues. This was redundant, to be sure. What was the point of this concert? Why spend an evening going out of your way to ruin a truly original American classical art form? Why not just stick with playing Mozart and Elgar? While making fun of them, Stripling struggled to name some blues singers. He did come up with James Rushing. James Rushing? He is always called JIMMY Rushing! Even the guest musician had not bothered with getting an education in the true version of this music before dismissing it.
During the first set, they made a few ill-advised attempts at small group playing, but with the piano shoved practically off stage left, and the scattered trombonist and clarinetist, it was obvious that even if they had bothered to try listening to each other they wouldn’t really have been able to. There was also a guest drummer who was about as competent as a senior in any reasonably proficient high school jazz band. He was buried behind the violas with a plexi-glass screen in front of him, presumably because he can’t control his own dynamics or there’d be no such thing as getting him subdued enough.
The second set was to begin with “King Porter Stomp,” another of my favorite tunes. In his introduction, the conductor mentioned the Fletcher Henderson arrangement then bragged, “We don’t have Fletcher Henderson’s sax section, but he didn’t have OUR string section.” Oh, hell no! Fletcher Henderson assembled many of the greatest musicians of the 20’s and early 30’s to be in his highly innovative band and was probably the greatest arranger of all time, sacrificing his career as a bandleader to become Bennie Goodman’s full-time arranger. The Oregon Symphony is a bunch of hacks. I seriously wanted to punch Mr. Tyzik in the teeth.
As I scanned ahead on the program, I grimaced at anticipation of Flat Foot Floogie, because I knew this guy wasn’t going to be able to scat or was just going to act like a jackass while doing it. After all, he had already derided music with words you can’t understand. It did not escape me that the program misspelled Slim Gaillard’s name, nor did it pass me by lightly when Stripling referred to him as a “one-hit wonder.” Uh- hello? You’re seriously going to call a popular live entertainer and master of his idiom with a 40 year career a one-hit wonder? Stripling’s attempt at scat lived up to its name.
Up until the last one, every song had ended with the high tonic being held surprisingly short on the trumpet, followed by Stripling pumping his fist in the air at his own brilliance. It was forgivable that he didn't have Armstrong, Gillespie or Fergusen's range, but I doubted he had the ear to even play the fifth above or something interesting. Well, he finally went for it, but we'll never know what “it” was, because he flubbed it ENTIRELY. He quickly took the horn out of his mouth while grinning slyly as if he’d meant to do that. Is there any way to make a deal with the devil to trade this fucker’s soul for jazz back? Long live jazz; jazz is dead.
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