Tuesday, October 5, 2010
Tuesday, May 18, 2010
It's Been a Long Time
Before I was six months old, my father was out the door for good. I never got to know him at all. I saw him maybe a dozen times over the next 35 years. Some of those visits were pretty freaky, and maybe I'll write them down at some point. A few years ago, a sister I barely knew I had called me from out of the blue to tell me that my father had died several years earlier of liver poisoning. The guy liked to drink. I think about this every night as I'm fixing myself a big vodka and cranberry, realizing that I need the drink to relax and feel free of all the low-level shit I have to deal with everyday...
My mom was/is a workaholic and a striver. She subordinated everything, including me, including my real sister, to her career. She says that the 60s passed her by and that she didn't even notice they were happening. This is true up to a point. She was not a beatnik or a hippie. She hates the sound of electric guitars. She never protested or joined any causes opposing the status quo. On the contrary, she was a conformist, singular focussed on money and achievement. Still, her soaring career success probably would not have occurred had it not been for feminism and evolving gender roles. So maybe it's more accurate to say that she was an unwitting product of the 60s, old enough to have one foot still planted in the 50s.
...This is where my family tree starts to get complicated. My mom met my non-biological dad before I was born. I think of him my real dad because he raised me as his son. I have reason to believe that the two of them were romantically involved while she was pregnant with me. She let it slip out once that he was at the hospital on my birthday while my biological father was nowhere to be found. I've tried on occasion to probe for details about the whole dynamic, but it''s uncomfortable and remains murky. She tends to paper over the messy details in her life. My biological father was rarely discussed when I was growing up. I got the unspoken message that he was a part of my life best forgotten.
I've always had a sense that there's something fundamentally wrong with me...
Tuesday, December 16, 2008
a break in the action
Friday, December 5, 2008
a portrait of the artist as a young man
Saturday, November 22, 2008
homo economus
Monday, November 17, 2008
the big d 'n a
Tom Terrific throws the circle change in the '73 Series...
Catherine Keener, who just keeps getting more beautiful with age...
Ms. Portman, all the more lovely with short hair...
Gil Kane's rendering of Spidey, though this particular issue is guaranteed to break your heart...
Gene Clark...
Double Indemnity...
'Book 'im Dano, murder 1...'
James Ellroy...
Dennis...
Pastrami at Langer's, serious as a heart attack...
Malibu sunsets...
...OK, I feel better already.
Friday, October 31, 2008
you see it all in 3-D
I don't really have much to add about Steely Dan's Aja that hasn't already been said much more elegantly than I could say it here... We all know that the album's 'adult' sound is as smooth as a baby's ass, almost to the point of being elevator music... The guitar solos are super tasty, especially the one in "Peg," where the last coke-fueled note sustains into the subsequent verse. I love that! ...The Michael McDonald backing vocals on the album are just plain weird. I've never heard such bizarre harmonies with the notes so close to each other...
So, ok, as cringe making as it may sound to the angry punk rockers out there in my huge readership, I'd venture to say that Aja is one of my two or three most formative records, having been one of the key soundtracks of my life during an especially impressionable period in the mid-late 70s, when not only "Peg" but also "Deacon Blues" and "Josie" were played multiple times every day on AM and FM radio stations in New York City... We're gonna break out the hats and hooters when Josie comes home... The songs evoke random, fragmented memories. When I hear the dissonant guitar intro to "Josie," for instance, I feel like I'm lying on my shrink's couch, suddenly remembering something intense and maybe even painful..."Deacon Blues" reminds me of riding in the family car (a '76 Volvo), through Spanish Harlem, in the summertime, when I was 9 or 10. The windows were rolled up and the doors locked. Outside, Puerto Rican kids stripped themselves down to their underwear and ran through open hydrants, anything to get a break from the blazing heat. The men on those streets wore dingy wife beater t-shirts, played checkers, and took nips from dark green bottles in brown paper bags. It's a trivial memory, I know, but it's poignant in a way that I have trouble getting at with words. I also flash on things like the graffiti that decorated every inch of New York's subway trains. ZAP... CHOKE... DONDY ... 295 ... NYC was a different place, a better place. Trash and filth covered the sidewalks and the casual smell of pot always seemed to be wafting through certain side streets down near the East River. I was afraid of the .44 Caliber killer, even after he was in jail. I was also afraid of the Purple Pooper Scoopers, two guys with Jesus beards who dressed in tie dyed coveralls and would roam around the city on their three-speed bikes, picking up dog leavings. I think they were doing it out of the goodness of their hearts, as a weird form of hippy civic pride, but there was something creepy about them. Even then I was a cynic, always questioning the motives of harmless do gooders... They got a name for the winners in the world...
The incredible thing about Aja for me now is the way it's taken on an additional meaning since I became an Angeleno. Aja is one of the greatest L.A. albums ever recorded, with its banyan trees and dude ranches above the sea. The protagonists in the songs seem dazed, suspicious of the strangeness of the place and its people. 'Up on the hill, they think I'm OK...or so they say.' Yet those same protagonists 'crawl like vipers through the suburban streets,' adapting to the weird ways of Los Angeles until they become second nature. 'A world of my own, I'll make it my home sweet home...'
Saturday, October 25, 2008
reelin'
If I hold my own hands to the fire, I'd say that the Great Collapse refers to the dissolution of the idealism first set in motion by the Baby Boomer Generation after JFK's election in 1960. The idealism consisted of a growing belief in equality for all and a reassertion of individual uniqueness and creativity over and against the stifling moral conformity of the 1950s. It took JFK's assassination for 60s ideals as we know them to take on lives of their own, and one difficulty comes in trying to grasp the way the 60s reached a peak with the civil rights and anti-war movements, but also showed initial signs of decay at the same time.
The Collapse gathered steam with the onset of the second half of the 60s. I've tried to show how this uneven and protracted phenomenon was captured in rock... The Beatles and The Who, among others, approached the Collapse with varying degrees of pathos and disillusionment. The Rolling Stones, Neil Young and Frank Zappa seemed somehow to know all along that 60s ideals would eventually disintegrate or morph into something more sinister. Bob Dylan, The Band, The Grateful Dead and The Byrds turned the Collapse into an occasion to escape into the countryside. Joni Mitchell and Jackson Browne used the Collapse as an excuse to escape into themselves. Still others, like Bowie, Iggy, Lou Reed, T. Rex, and the rest of the Glam crowd, responded to the Collapse by engaging in sensationalistic artifice, debauchery and sexual experimentation.
My observations on the music of the Great Collapse started and will end with Steely Dan. Their 1972 debut album, Can't Buy A Thrill, is a definitive expression of post-60s disenchantment. The record's opening track, "Do it Again," is one of the greatest songs they ever recorded and forms something of a template for everything else on the record and even everything Becker and Fagen subsequently did during the 70s. The song's nasty snake-like beat and freaky electric sitar solo, along with its bad trip lyrics alluding to murder, hangmen, gambling and adultery, leave little doubt that the era of love and sunshine has receded into the distant past. With Nixon cruising towards easy re-election against a wimpy opponent, and the Viet Nam war lumbering further into the abyss, flower power became a quaint memory, and on songs like "Reelin' in the Years" and "Turn that Heartbeat Over Again," Becker and Fagen are only too happy to impose buzz kill on the remaining hippy believers. A World become one, of salads and sun, only a fool would say that.' Ouch...
But along with the social commentary on Can't Buy a Thrill, it's also important to emphasize how musically satisfying the album is. The phenomenal guitar playing from the likes of Jeff "Skunk" Baxter (now a right-wing national defense consultant), Denny Dias and Elliot Randall, perfectly complement the amazing songwriting prowess Becker and Fagen bring to the table. The infectious tunefulness of the songs easily compensates for any bitter aftertaste that might be left by the album's cynical post-60s vibe...
I go against the grain of most critical opinion in my view that Countdown to Ecstasy is a disappointment after the greatness of Can't Buy A Thrill. The songs are not as good and the album feels a bit thin with a mere eight tracks. Still, the record has some great moments in "Razor Boy", "The Boston Rag" and "Show Biz Kids," and the aftermath of the 60s is still very much on everybody's minds in "King of the World": 'No marigolds in the promised land, there's a hole in the ground where they used to grow.'
But Steely Dan only really became the outfit most people know as Steely Dan with their third album, Pretzel Logic. The album cover would have you believe that listening to the record will be a distinctly New York-ish experience. But Pretzel Logic actually represents the beginning of a decisive shift in Steely Dan's center of gravity away from the road and touring and into semi-permanent residence in the insulated recording studios of Los Angeles. The move to L.A. walked hand-in-hand with a much smoother sound. Even songs with flaming guitar solos, like the great "Night By Night," have a new mellowness about them. ...Pretzel Logic is where Steely Dan begin to embrace the fuzak that turned a lot of listeners off. But don't let the seemingly benign sound fool you. What makes the album so compelling is the way it uses infectious, M.O.R. sounding songs like "Rikki Don't Lose that Number," "Barrytown," and "Through With Buzz" as packages for acerbic social observations. This would be the band's approach for the remainder of the decade.
Starting with Katy Lied, all remaining pretense of following the normal rules of a rock 'n roll band went out the window. Steely Dan quit the road for good and were reduced to Becker, Fagen and whatever other session players they needed to create the atmospherics that are such an essential part of their sound. The song arrangements and musicianship on Katy Lied are flawless. Becker, Fagen and, one presumes, producer Gary Katz, continued to show off their impeccable taste in guaitarists, this time using Rick Derringer as well as Denny Dias and Elliot Randall. Although the rigid perfection of the music on Katy Lied left some listeners cold - John Mendelsohn of Rolling Stone wrote that he was "unable to detect the slightest suggestion of real passion in any of it" - the album is, in my opinion, the ultimate Steely Dan record, even though Becker and Fagen disavowed what they perceived to be its shoddy sound quality after the album was released in 1975. With songs like "Dr Wu," "Black Friday," "Everyone's Gone to the Movies", and "Daddy Don't Live in that New York City No More," Katy Lied is a perfect distillation of the rampant self abuse, paranoia and decadence so endemic to its own historical moment. And in spite of the frequently leveled charge of passionlessness, there's also a refreshing degree of warmth and yearning on tracks like "Any World (That I'm Welcome To)", "Bad Sneakers" and "Your Gold Teeth II." In any event, I've always felt that the alleged coldness of the Steely Dan enterprise ceases to be an issue if you approach the music as a soothing, L.A.-style echo of the post-Collapse era's drift into mellow pensiveness.
More on Steely Dan next time...
Thursday, October 23, 2008
long time no speak
It’s been about a week since my last post because I’m busy putting finishing touches to a draft of a short story, Summer of ’63, based on a chapter from my in-progress novel. I’ve gotten some excellent feedback from several readers, and now the question for me will be what to do with the story. Obviously my goal is to publish it somewhere, but I’m still trying to figure out the best way to approach things. I’ll keep everyone posted on any progress I make. ...It'll be a few more days until my next post as I'm working on a longer piece to conclude what I've written on the music of the Great Collapse...