Posts Tagged ‘music’

Raymond’s Band

Monday, December 10th, 2018

Raymond's Band

Raymond’s partner Tina will sometimes tease Raymond by saying he loves his guitar Susie more than he loves her, which Raymond doesn’t think is true, though he does love his guitar. He’s been playing since he was ten, and now he’s thirty-three, a superb guitarist, and he can’t imagine life without a guitar. He also can’t imagine life without Tina, and he knows she only teases him about loving Susie more than he loves her when she wants him to pay more attention to her, which is something he’s always happy to do.

A wearer of brown khaki pants, red high-top tennies, and colorful T-shirts, Raymond Chance is a sturdy five-foot-nine with short brown hair and brilliant green eyes, the brilliance somewhat muted by his wire-framed glasses, the lenses tinted light gray. The youngest of two children, his sister five years older than he, Raymond was born in Burlingame, California, his mother a first-generation Irish American, his father descended from pioneers who reached California in wagon trains a decade before the Gold Rush of 1849. From his mother, a high school music teacher, Raymond got his love of music and storytelling, and from his father, a plumber, he learned basic carpentry skills, an appreciation for baseball, and how to barbecue chicken.

A wearer of skirts, sandals, and embroidered Mexican blouses, Tina Ramirez is thirty-two, five-foot-three, with big brown eyes and long brown hair. The middle child of five siblings, Tina was born in San Jose, California, her mother Cuban, her father Mexican. A gymnast from the age of six until she was sixteen, Tina was an excellent student and received a full scholarship to San Jose State. From her mother, a seamstress, Tina learned to cook and make clothes and dance the Rumba and Mambo. From her father, a construction worker, Tina learned to work hard, how to grow tomatoes and chili peppers, and how to make killer guacamole.

Tina and Raymond have been friends for eleven years, lovers for nine, housemates for eight, and they both say they want to get married, but they haven’t set a date, nor do they talk much about marriage. They are both ambivalent about having children, not because they don’t love children, they do, but because they barely make enough money to cover their expenses, despite having an old car and sharing the three-bedroom house they rent in Oakland with four other people.

Raymond is a teacher’s aide in a private pre-school in Berkeley, his hours seven in the morning until three in the afternoon, though he often stays an extra hour until the last child has gone home. He loves his job, though it pays poorly, and he frequently searches the Want Ads for another job. He plays the guitar for at least two hours every day and has written hundreds of songs, seventy-four of which he thinks are really good.

Tina is a substitute teacher, mostly middle school, and makes twice what Raymond makes per hour, but she hates subbing and is taking online courses to improve her computer skills and enhance her chances of landing an Internet Technology job. Both she and Raymond have degrees in English from San Jose State where they met in a Creative Writing class. Tina hasn’t written anything since graduating from college, and Raymond mostly writes songs these days, though occasionally he’ll write a short story and share it with the household.

Raymond and Tina have a band called Pepperoni. Raymond is the lead singer and rhythm guitarist and writer of all the songs, Tina plays electric bass and sings harmony, and Derek, Raymond’s friend since childhood, plays lead guitar. They’ve had one regular gig for the last five months, every Sunday late morning to early afternoon at Calm Coffee, a popular café in Emeryville. Raymond has tried to get more gigs for the band, but the three songs on the Pepperoni demo CD they made in their living room reveal more of the group’s flaws than virtues. Raymond is a masterful guitarist with a pleasing voice, but Tina is frequently out of synch with Raymond when singing harmony and playing bass, and Derek is a sloppy player who uses the same seven-note blues riff over and over again.

Now and then, usually when he hasn’t had enough sleep, Raymond admits to himself that Tina and Derek are musical liabilities, but Tina loves playing bass and singing with Raymond, and Derek and Raymond started playing guitars together in Fifth Grade and Raymond thinks Derek would be devastated if he couldn’t be in the band.

Raymond landed the Calm Coffee gig by playing and singing solo for the manager of the café, Fiona Marconi, in her office adjacent to the café kitchen. Fiona, a professional dancer with expressive hands and short black hair, loved Raymond’s singing and playing, and she was more than a little peeved when he showed up with Tina and Derek for the gig; but she has such an enormous crush on Raymond, she can’t bring herself to fire Pepperoni.

One rainy Sunday in April, Tina wakes with a debilitating headache and Derek calls from Burlingame where he still lives with his parents to say he has the flu, so Raymond goes to play the Calm Coffee gig by himself.

When Raymond tells Fiona he’ll be playing solo today, Fiona wants to throw her arms around him and kiss him, but she resists those impulses and effuses, “Truth be told, you’re so good by yourself, I really don’t think you need those other two.”

Raymond nods his thanks to Fiona for her compliment, tunes Susie, plugs into the café sound system, and sits on a high stool rather than standing as he usually does when he performs with Tina and Derek.

He starts his first set with a swinging love song full of delightful chord changes and enchanting lyrics, and many of the customers stop talking to listen. At song’s end, the applause is boisterous, something that never happens when Tina and Derek play with Raymond.

The interesting thing to Raymond is, though he knows he sounds much better playing and singing alone, he misses Tina and Derek playing with him. And on this Sunday, for the first time in his life, he realizes he has chosen mediocrity over excellence because he is uncomfortable playing in public by himself. But why do I have to play with such lousy musicians?

By the end of Raymond’s third set, Calm Coffee is jammed with people listening to him; and when he finishes his last tune, the applause goes on for so long he is moved to play an encore, after which dozens of people put money in his tip jar and thank him for playing.

Fiona pays Raymond twenty dollars more than the usual fifty, gives him a big bag of muffins and cookies, and goes on and on about what a wonderful solo performer he is, but she stops short of asking him to henceforth play the Calm Coffee gig solo.

In his car, before heading home, Raymond counts his tips and can’t believe the total. So he counts the money again, looks around to confirm he is still on planet Earth, and whispers, “Two hundred and forty-seven dollars? Impossible.”

The following Sunday morning at ten, Fiona is gravely disappointed when Derek, a heavyset guy with long dank blond hair, and Tina arrive at Calm Coffee with Raymond. But despite her disappointment, Fiona decides not to tell Raymond about the dozens of phone calls she received during the week from people asking if Raymond would be playing by himself again this week.

The truth is, Fiona has only kept Pepperoni on the bill for as long as she has because she keeps hoping Raymond will either break up with Tina or wake up to his genius and start gigging solo, or both. But because Fiona did not call Raymond in the days leading up to this Sunday’s gig and tell him about those phone calls from people who love him but can’t stand the full ensemble, she decides to let today’s drama unfold however it will and hope her customers won’t boo the band, though if they do boo, she won’t be surprised.

As it happens, the customers don’t boo, either because they don’t stay to listen or they stay and don’t listen, the café din all but drowning out the music; and Raymond feels terrible as Tina keeps losing the beat and playing the wrong notes and coming in late with her harmonies, and Derek keeps bending the same handful of notes exactly as he’s been bending them since he was thirteen.

Only a few people put change in the tip jar, and when the last song is sung, Fiona asks Raymond to come to her office where she pays him and says, “I’m sorry, Raymond, but we’re going to go with somebody else on Sundays from now on. It was great getting to know you. I love your songs. Good luck.”

“I appreciate you keeping us on here for as long as you did,” says Raymond, smiling at her. “Meant a lot to us. Thanks.”

Fiona takes a deep breath and says, “If you ever want to play solo, let me know. Okay? I’d love to have you gig here and I know I could get you gigs other places, too. But not with Tina and Derek. They’re just not in your league, Raymond. You know that, don’t you?”

“I hear you,” he says, waving goodbye. “Thanks again, Fiona.”

At the table in Calm Coffee where Derek and Tina and Raymond are having their customary after-gig coffee and bagels, Raymond is trying to work up the courage to tell Tina and Derek about the termination of their run at Calm Coffee, when a man approaches their table. He’s tall and good-looking with longish gray hair, wearing a black corduroy jacket over a green T-shirt tucked into black corduroy trousers.

He nods politely to Tina and Derek, smiles at Raymond and says, “Sorry to barge in, but I heard you playing solo last week and came back to hear you again today.” He hands Raymond a business card. “I’m very interested in your music. I have a recording studio just around the corner here, and I’m working with a couple of artists who would love to record some of your songs. If that’s of any interest to you, please give me a call and we’ll set something up.”

“Okay,” says Raymond, pocketing the card without looking at it. “Thanks.”

The man walks away, and now Raymond doesn’t have the heart to tell Tina and Derek about the end of their Calm Coffee gig, just as he didn’t have the heart to tell them about the two hundred and forty-seven dollars in tips and the extra twenty he made last week.

That night, as they are settling down to sleep, Tina says to Raymond, “I felt pretty good about my playing today. I think I’m finally getting the knack of playing bass and singing at the same time. Don’t you think?”

Raymond clears his throat. “Yeah. You were fine.”

“Fine?” she says, with a touch of anger. “What do you mean fine?”

“I mean you were good,” says Raymond, unconvincingly.

“That guy who gave you his card certainly thought we were good,” she says, petulantly. “Why else would he be interested in our songs?”

“Honey, they’re not our songs, they’re my songs.”

“What?” she says, sitting up and turning on the light. “Your songs? Since when are they your songs and not Pepperoni’s songs?”

“Are you serious?” says Raymond, frowning at her. “I wrote them. I play them. I sing them and you guys play along. You didn’t write them. I did.”

Tina gets out of bed and glares at Raymond. “So does this mean you’re gonna go see that guy without me and Derek? Your songs are… they’re skeletal without us.”

“Skeletal?” says Raymond, sitting up and laughing. “Are you out of your mind?”

Tina folds her arms. “So this is what I get for playing with you for five years? This is how you treat Derek after he played with you for twenty years? You dump us the minute some guy with a recording studio gives you his card?”

“The guy is interested in my songs,” says Raymond, flabbergasted. “Not in our band. He wants the songs, maybe, for some people he’s recording. I’m a songwriter. You’re not, and neither is Derek. Can we please discuss this rationally? I am not dumping you. If I go see this guy, and I may not, I will play him my songs and if he wants some of them, we’ll figure something out. Do you hear what I’m saying? This is not about the band. It’s about the songs.”

“Yeah, but he liked the songs because of the way we played them,” she says, angrily. “Will you at least admit that?”

“No,” says Raymond, shaking his head. “What I’ll admit is last Sunday I played at Calm Coffee without you and Derek, and I made two hundred and forty-seven dollars in tips, and Fiona paid me an extra twenty dollars over the usual fifty. And today she told me she doesn’t want Pepperoni playing there anymore.”

Tina glares at Raymond. “I know why you’re doing this. Because you resent that I make more money than you, and you resent that I’m going to get a tech job and make serious money while you barely make minimum wage.”

“Tina,” he says quietly. “I’m happy you make good money subbing, and I’ll be happy when you get a job you like and make even more money. I work at the pre-school because I love the job and I love the kids, but my real job, the job I care most about, is my music. And I really don’t understand why you would begrudge me a little success with what I’ve dedicated my whole life to. I don’t get it.”

She sits on the edge of the bed and says, “I begrudge you because I’m jealous of you. As if you didn’t know. I was gonna be a writer. Remember? And you were gonna be a writer. But we ended up being what we are, and I don’t do anything creative except play bass and sing with you, and I know I’m not very good, but I love it because it’s something creative, something not just about getting money and surviving. It’s what we wanted to be. Artists. And you work at being an artist and I don’t. I could write. I could write stories and post them online. But I don’t because I’m not passionate about writing anymore. I don’t see the point. And I’m tired of just scraping by. You don’t seem to care that you don’t make very much money because you’ve got your music. But I don’t have music except when I play along with you. And now I can’t even do that.”

Raymond crawls across the bed and puts his arms around her. “Maybe we should move somewhere where it doesn’t cost so much to live. We don’t have to live in the most expensive place in the world. Do we?”

“No,” she says, relaxing in his arms. “I’m sorry I got mad at you. I’m glad that guy likes your songs. They’re great songs.” She kisses him. “Did you really make two hundred and forty-seven dollars, plus the fifty, plus twenty more?”

“I did,” says Raymond, excitedly. “Wanna see?”

Suite Chariot is the name of Zack Mathias’s recording company, Zack Mathias the man who gave Raymond his card at Calm Coffee. Raymond researched Zack Mathias on the Internet and learned that Zack, who hails from New York, has produced several albums for well-known singers and played bass on dozens of albums, some of them hugely successful.

Which is why, on the Saturday after Pepperoni performed at Calm Coffee for the last time, Raymond hesitates to press the brass doorbell button on the wall next to the large red door on the ground floor of a two-story white stucco warehouse, the sign above the door—magenta letters on a field of turquoise—identifying this as the entrance to Suite Chariot.

Indeed, Raymond is so intimidated by the thought of meeting Zack, he is on the verge of not pressing the doorbell, and returning home and sending an apologetic email to Zack retracting his offer to meet with him, when a woman runs by with a large menacing dog on a leash, and Raymond is startled into pressing the button.

And before his fear of meeting Zack can take over again, the red door opens and here is a striking African American woman with black hair captured in dozens of long slender braids. She is wearing a turquoise sweatshirt, purple sweatpants, and gold basketball shoes, her lips painted cherry red.

“Welcome Raymond,” she says, giving Raymond a wide-eyed smile, her voice deep and warm. “I’m Maru. Zack’s running a little late. Come in. We’ll get you set up in the studio. He’ll be here soon.”

Raymond follows Maru down a long narrow hallway to a small waiting room appointed with a plush sofa and armchair, one wall of the little room dominated by a large oil painting of Jimi Hendrix wearing the long curly brown-haired wig and sumptuous clothing of Louis XIV while holding an electric lute plugged into a classic Fender Reverb amp.

From the waiting room, they enter a large performance room with a big window in one of the walls looking into a control room where an African American man with short gray hair is sitting in a comfortable-looking chair at the recording console. He is wearing a white short-sleeved dress shirt, a red bowtie, and black slacks. He waves to Raymond, and Raymond waves back.

“Um,” says Raymond, looking around the performance room and seeing five microphones on stands, a trap set, and a large reddish-brown standup bass in a beautiful wooden box stand, “I didn’t think I was going to be recording anything today. I thought we were just going to… I was just gonna play some tunes for Zack and…”

“That’s right,” says Maru, moving one of the microphones, “but Zack likes to record everything because we never know when lightning might strike.”

“That’s true,” says Raymond, taking of his jacket. “We never know, do we?”

“Nope,” says Maru, taking Raymond’s jacket from him. “People call you Raymond or Ray?”

“Raymond,” he says, laughing nervously. “But that’s only because nobody’s ever called me Ray. I don’t know why, but no one ever has.”

“Raymond feels a little formal to me,” she says, pursing her lips. “Be okay if I call you Ray?”

“Yeah, I like it when you say Ray,” he says, blushing.

“How about when I say Ray?” says the fellow in the control room, his gravelly voice coming through a speaker on the wall above the window.

“Yeah, I like that, too,” says Raymond, smiling at the man. “What’s your name?”

“I’m Jerry,” he says, his eyes sparkling. “But everybody calls me Tap.”

“Tap’s a most excellent drummer,” says Maru, coming close to Raymond. “You like to stand or sit when you play?”

“Either,” says Raymond, feeling like he’s about to fall off a cliff. “Whatever you think is best.”

“Your choice,” says Maru, nodding.

“Well, I play a little better sitting down,” says Raymond, looking around for something to sit on, “but I sing better standing.” He shrugs. “I guess I’ll sit.”

“Chair, stool, or piano bench?” asks Tap, getting up from his chair in the control room. “I’m thinkin’ piano bench.”

“Yeah, that would be perfect,” says Raymond, getting Susie out of her case. “I’ve never been in a recording studio before.”

“Seriously?” says Maru, frowning at him. “You play like you were born in one, Ray.”

“Where… “ Raymond clears his throat. “Where did you hear me play?”

“At Calm Coffee,” she says, nodding. “Two weeks ago. Zack called and told us to get over there as soon as we could. And I’m so glad we did.” She looks into the control room. “Here’s Zack.”

“Hey Raymond,” says Zack, standing at the control console. “Sorry I’m late. Got stuck in traffic on the bridge. Madhouse out there.”

“You live in San Francisco?” asks Raymond, watching Tap wheel in a big brown piano bench on a yellow dolly.

“No, I live here when I’m in town,” says Zack, taking off his jacket, his T-shirt red today. “Upstairs. Couple bedrooms, kitchen, dance floor. I stayed in a hotel in the city last night. Stayed up way too late listening to a couple singer songwriters.” He sits down at the console. “And the whole time I was listening to them, I kept thinking about your songs, especially that one about the guy who goes next door to complain about the loud music and ends up falling in love. That’s a hit, Raymond.”

“Oh, thanks,” says Raymond, unconsciously fingering the first few chords of the song. “Glad you like it. That one’s called ‘Too Much Noise.’”

“Great song,” says Zack, nodding. “Would you play that one first?”

“Sure,” says Raymond, sitting on the piano bench and tuning Susie as Maru positions three microphones around him, one for his voice, one aimed at Susie’s sound hole, one aimed at Susie’s neck.

“You want headphones?” asks Maru, smiling sweetly at Raymond.

“For what?” he asks, innocently.

“To hear yourself playing and singing.” She laughs in delight. “You really are a studio virgin, aren’t you?”

“Let’s go without headphones,” says Zack, with quiet authority. “They can take some getting used to.”

Maru and Tap join Zack in the control room, and Zack says, “Any time you’re ready, Mr. Chance.”

Raymond closes his eyes, takes a deep breath, and improvises a lovely opening for his sweet little rocker “Too Much Noise”.

In the unsullied quiet of the performance room, Raymond hears his voice and guitar more clearly than he has ever heard them, and he loves how he sounds.

When he finishes the tune, he opens his eyes and sees Maru and Tap and Zack applauding in the control room; and in the next moment they are with him—Tap sitting down at the trap set, Zack standing with his big bass, and Maru sitting on a high stool.

“Play that one again, Raymond,” says Zack, nodding. “That was fantastic.”

So Raymond starts the song again, this time with a different opening, and Zack adds a few quiet bass notes right on the beat, and Tap swirls his brushes on the snare drum; and Zack’s subtle playing and Tap’s tender drumming carry Raymond into the body of his song.

And as he plays and sings, Raymond knows he has never heard anything as beautiful as Zack and Tap playing with him, supporting him; and when Maru joins him on the chorus, her astounding voice locked in perfect harmony with his, Raymond is changed forever.

Too much noise, the walls were shaking

Too much noise, my heart was breaking

Too much noise, I just couldn’t take it,

So I went next door and fell in love.

 

Raymond plays three more of his songs, Zack and Tap and Maru join him on reiterations of each, and after an hour of musical bliss, Maru whips out her phone and orders Chinese food, and the four of them go upstairs to await delivery of lunch.

Zack gives Raymond a tour of his digs, and during the tour tells Raymond he has two other set-ups like this, one in Austin, one in London.

“The only actual house I own is in Hawaii, on Kauai,” he says, leading Raymond back to the kitchen. “I like to be warm in the winter.”

Tap comes up the stairs with the Chinese food, and when everyone has a full plate, Zack raises his cup of green tea and says, “To our great good fortune in finding you, Raymond. May this be the beginning of a marvelous collaboration.”

Glasses are clinked, tea is drunk, food is enjoyed, and Zack says, “So… Raymond. If you haven’t guessed already, I want to produce your first album. And your second and third and fourth, God willing.”

My album?” says Raymond, freezing. “I thought you were just interested in my songs for other people to record.”

“Oh other people are definitely gonna record your songs,” says Tap, nodding emphatically. “But you have to make a record, Ray. You have to.”

“I… I… well, of course I want to, but…”

A silence falls, Zack and Tap and Maru waiting for Raymond to explain his reticence.

“As I told you, Zack,” says Raymond, clearing his throat, “I have a fulltime job at a pre-school. I’m a teacher’s aide. And… I suppose I could do some recording at night and on weekends, but…”

“You keep saying but,” says Maru, frowning at him. “What’s up with that, Ray?”

“I’m… well…” He laughs anxiously. “Nothing like this has ever happened to me before so I’m just… I’m not sure how to do this.”

“May I propose something?” says Zack, smiling hopefully at Raymond.

“Please,” says Raymond, nodding humbly.

“I will sign you to a six-month recording deal with me as the producer of your album, and I’ll pay you a monthly salary equal to or greater than what you make in your current job. We’ll make an album, the four of us along with some other people we’ll bring in, and then I’ll try to make a deal with a label. I think Blue Note will go crazy over you.”

“Crazy,” says Maru, nodding in agreement.

“And if they don’t go crazy, somebody else will,” says Tap, pointing at Raymond. “I’d bet serious dollars on that.”

Raymond takes Tina out for supper that night to an Indian restaurant, and after they place their order, Tina says, “The suspense is killing me. How did it go today with Zack Mathias the famous bass player?”

“Went well,” says Raymond, nodding. “Went… um… really well. He wants to produce an album with me.”

“He wants some of your songs?” she asks hopefully.

“All the songs on the album would be mine,” says Raymond, finding it hard to breathe. “And I would be playing them and singing them with Zack playing bass and a guy named Tap playing drums and a woman named Maru singing with me, and other people, too, would play and sing on the album.”

Tina frowns. “I thought he just wanted some of your songs. Isn’t that what he said at Calm Coffee?”

“Yes, that’s what he said at the café, but after I played him a few songs, he got this other idea.” Raymond smiles, trying not to cry. “He’s a very nice guy, Tina, and he’s a fantastic musician and… and he really likes my music. So…”

“Wow,” says Tina, her eyes filling with tears. “So are you gonna do it?”

“Yes,” says Raymond, looking at her. “I think so. I want to go over the contract with you and…”

“You’re signing a contract?” says Tina, frowning. “Is he paying you?”

“Well… if I sign the contract, yes. He’ll pay me four thousand dollars a month for six months and cover all the costs of the recording and the other musicians and… I’ll be taking a break from working at the pre-school to just focus on the music.”

“Oh my God, Raymond,” she says, getting up and going to him. “It’s incredible. Hurray for you.”

“Hurray for us,” he says, rising to embrace her—their outburst inspiring several diners to clap because they think Raymond just proposed to Tina and she’s saying Yes.

They hold each other, crying and laughing, and Raymond says, “Thank you, honey. Thank you for loving me.”

“I love you so much,” she says, looking into his eyes. “But how are you ever gonna tell Derek?”

Raymond signs the contract with Zack the next day, and the day after that he gives two-weeks notice at the pre-school, and the following Saturday he takes BART from Oakland to Burlingame to have lunch with Derek.

For the entire hour-long train journey, Raymond is consumed with guilt, not about pursuing his musical career without Derek, but for allowing Derek to believe he was Raymond’s musical peer for the last twenty years, when in fact Derek reached his musical zenith in junior high.

For many years, Raymond assumed Derek was aware of the difference in their guitar-playing abilities, but one weekend during Raymond’s third year at San Jose State, Derek visited Raymond at the house Raymond was renting with four other college guys, and something happened during Derek’s visit that made Raymond rethink his assumption about how Derek perceived things.

One of Raymond’s housemates, Gino, was a good guitarist, and Raymond and Gino had worked out some fairly complicated duets of three Django Reinhardt tunes. The Saturday night when Derek was visiting, Gino and Raymond performed the duets at their house party attended by about forty young men and women, and the response to their playing was so enthusiastic they were compelled to perform their duets a second time.

Afterwards, Derek, who was very stoned, joined a group of people heaping praise on Gino and Raymond, and proclaimed loudly, “Yeah, they were good, but you should hear me and Raymond play. We’re amazing together.”

Several people responded to Derek’s boast by asking to hear Raymond and Derek play. Gino handed his guitar to Derek, Raymond took up his guitar, and Derek said, “Play that blues thing we always do.”

So Raymond improvised a pleasing progression of jazzy blues chords and Derek played the same seven-note riff over and over again, not quite in synch with Raymond, and when Raymond ended the song, a few people clapped, and that was that.

The next morning, before Derek headed back to Burlingame, he said to Raymond, “We should start a band. We were incredible last night. People were blown away.”

Ten minutes from Burlingame, recalling that moment in San Jose twelve years ago, Raymond thinks That’s when I should have told him. But I couldn’t because he didn’t have anything else in his life and I thought he would kill himself if I told him the truth.

After Raymond graduated from college and moved to Oakland, Derek would come visit for a day and a night every week, and in the evenings during those visits, Raymond and Derek would play guitars and Derek would play the same blues riff over and over again.

Raymond thought of these sessions as his gift to Derek for being such a loyal friend and because he didn’t have the will to tell Derek not to come visit, though he and Tina came to dread Derek coming because he seemed so lost and sad and he still lived at home with his parents and had never had a girlfriend and didn’t seem to have anything in his life except television and video games and his job delivering newspapers.

Derek and Raymond have lunch in a pizza parlor where Derek goes every day, his home away from home, where everyone who works there knows him by name.

“I think I could get us a gig here,” says Derek, looking around the pizza parlor. “They don’t have live music here, but I’ll bet I could talk them into it.” He nods confidently. “They love me here.”

“This is good pizza,” says Raymond, lying; and his lie irks him, and he blurts, “You know that guy who gave me his card at Calm Coffee?”

“Yeah,” says Derek, nodding enthusiastically. “He had a great belt. Did you notice his belt? It was like this amazing shiny dark burgundy leather. And very thin. And the belt buckle was silver and like a piece of modern art. I went online looking for a belt like that, but I couldn’t find one. I’ll bet it’s Italian. Looked very expensive. What about him?”

“His name is Zack Mathias and he turns out to be quite a well-known record producer and bass player.” Raymond looks away from Derek. “I’m gonna be making an album with him.”

“Really?” says Derek, amazed. “When?”

“Starting now and working for the next few months and then… he’s gonna try to sell the album to a record company.” Raymond forces himself to look at Derek. “He really likes my songs and my singing and… my playing.”

“Well he should,” says Derek, grinning at Raymond. “So will you be like… touring?”

“I don’t know,” says Raymond, his heart breaking. “Maybe.”

“Wow,” says Derek, beckoning to a passing waitress. “Hey Leslie, this is my best friend Raymond. He’s making an album with a big time record producer.”

“Congratulations,” says Leslie, with little enthusiasm.

“Thank you,” says Raymond, his eyes full of tears.

“So you gonna be his roadie, Derek?” asks Leslie, arching her eyebrow.

“No, he won’t need a roadie,” says Derek, gazing fondly at Raymond. “He’s great all by himself.”

         fin

Zelman’s Van

Monday, October 15th, 2018

Zelman's Van

Zelman was born and raised in a middle-class suburb of Philadelphia. His given name is Zachariah Elman, though as far back as he can remember, which is thirty years to when he was three, his mother and father and older sister and younger brother called him Z.

At Cornell, where he majored in Music, his name appeared on the dorm roster as Z. Elman, and during a mixer on his first night of college, his inebriated roommate called him Zelman, and forever after he has been known as Zelman.

His senior year at Cornell, Zelman fell in love with the beautiful Mimi Osterwald, a Drama major, also a senior, and the summer after they graduated, they got married and moved to Queens, Mimi to pursue her acting career, Zelman to play guitar and piano and write songs.

Eleven years later, living in an apartment in Burlington, New Jersey, barely making ends meet, Mimi told Zelman she was involved with Albert Rosenstein, a television producer, and was moving to Albert’s apartment in Manhattan.

Unable to afford the apartment in Burlington on his own, Zelman gave two-weeks notice at the hotel where he played piano in the cocktail lounge, and two-weeks notice at the pizza parlor where he worked thirty hours a week. When his obligations to his employers were fulfilled, he loaded his clothes and books and two guitars and two ukuleles and a conga drum and bongos and maracas into his forest green 1972 Volkswagen van named Miles, and headed west, his destination Los Angeles where he had a college chum who was a recording engineer and had space in his living room where Zelman could crash for a while.

Zelman at thirty-three has longish brown hair, wears wire-framed glasses, and is slender for the first time in twenty years. He was never obese, but from puberty until recently he was more than a little chubby. Starting a year ago, he began swimming fifty laps every morning at the Burlington Aquatic Center, lifting weights for an hour every afternoon at the YMCA, and gave up beer, potato chips, and ice cream, all of which led to the disappearance of thirty pounds and the appearance of muscles.

As Mimi said several times in the weeks leading up to the end of their relationship, “Suddenly you’re all svelte and handsome. What happened to the sweet soft guy I married?”

“The sweet soft guy you married stopped feeling sorry for himself,” says Zelman, cruising along in the slow lane on Interstate 64 somewhere in Kentucky in late September, his van averse to going over fifty-miles-per-hour. “The sweet soft guy you married decided to stop partaking of your sob fest every night, which was apparently just a cover for your affair with that slimy putz Rosenstein who is old enough to be your father. Well, not quite.”

Zelman sighs as he does after every outburst concerning Mimi, his sigh an acknowledgement that he misses her, though he knows their relationship was founded on the expectation that whether they succeeded in their chosen careers or not, they would always live as comfortably as they had as middle class children and teenagers and young adults attending an Ivy League college; and when they could no longer afford to live so comfortably, their relationship began to founder.

“Which means she never really loved me,” says Zelman, exiting the interstate to get gas. “So did I ever really love her? Or was I just obsessed with trying to win her love because she was beautiful and vivacious and I was chunky and wimpy and thought if by some miracle she would love me, I would be transformed into…what? Not me?”

“What town is this?” asks Zelman, handing a twenty-dollar bill to the middle-aged Pakistani man sitting on a high stool behind the counter in the gas station quick-stop store.

“Which pump?” asks the Pakistani man, taking the bill from Zelman.

“Witch Pump?” says Zelman, wrinkling his nose. “Why would anyone name a town Witch Pump?”

The Pakistani man gazes stoically at Zelman. “Which pump do you want gas from?”

“Oh,” says Zelman, laughing. “Number Four. And can you tell me the name of this town?”

“Frankfort,” says the man, tapping the requisite keys on his computer to activate Pump Number Four.

Zelman is cleaning his windshield when a shiny black Porsche pulls up behind his van, and a man wearing black cowboy boots and black jeans and a red silk shirt and a black cowboy hat and dark glasses jumps out and says with a southern drawl, “Hello there. You want to make a quick hundred bucks?”

“Are you speaking to me?” asks Zelman, smiling quizzically at the man.

“I am,” says the man, taking off his dark glasses and blinking in the bright sunlight. “We’re shooting a music video just up the road here and if you’ll drive your van back and forth real slow behind the action, I’ll give you a hundred bucks cash. Take a couple hours.” He grins. “That’s a helluva van you got there, buddy. Iconic. 1973? 74?”

“72,” says Zelman, gazing fondly at his van. “My father bought it new when he graduated from college, and then he gave it to me when I went off to Cornell.”

“That’s not the original paint job, is it?” asks the man, frowning.

“No,” says Zelman, wistfully. “I did this by hand the summer after my junior year of college. Seven coats. Hence the profound shellac effect. Did you notice the thousands of tiny gold stars on the dark green? An homage to Seurat.”

“I did not notice the stars,” says the man, taking a closer look at the paint job. “Beautiful. You want the gig?”

“I do,” says Zelman, both curious and low on cash.

The action behind which Zelman slowly drives his van is performed by a troupe of nine amazingly limber female dancers ranging in age from seven to thirty, dancing with shopping carts in the big empty parking lot of a defunct mall. The dancers are wearing artfully ripped T-shirts of various colors tucked into white jeans, their feet shod in pink tennis shoes.

Burt Carlton, the man who hired Zelman and his van, is the producer of the music video. Vivienne Bartok, the director of the shoot, is small and slender and Russian, her black hair cut very short. She is wearing a white dress shirt with the sleeves rolled up, faded blue jeans and red sandals. Zelman guesses Vivienne is about his age, though he also thinks she could be as young as twenty-five and as old as forty.

When Vivienne sees Zelman’s van, she gets very excited and says to Zelman with her charming Russian accent, “Here is what I want you to do. Drive by very slowly about ten feet behind the dancers, go out-of-frame, turn around, and then slowly return and stop right behind the dancers and stay there until they finish their routine. When the music stops, you will drive away and the dancers will chase after you with their shopping carts.”

The song for the video is five-minutes-long and features drum machines playing a syncopated rhythm over a great din of synthesized sound, the words of the three-note melody sung by a woman with a high screechy voice. For each of the takes, the song is blasted from a large speaker sitting atop the equipment truck. The first time Zelman drives by behind the dancers, he thinks the singer is saying, “You my slave.” When he drives back the other way and comes to a stop behind the dancers, he thinks the woman might be saying, “Glue my cave.”

In any case, Zelman loathes the song and hopes Burt and Vivienne won’t ask him to drive back and forth more than a few times.

After the third take, while the dancers take a break for water and to catch their breaths, Zelman gets out of his van and watches Vivienne direct her cameraperson to shoot close-ups of the golden flowers on the dark green.

“Is Zelman your first name or your last name?” asks Vivienne, pronouncing first fierce and last lest, which Zelman finds ironic and sexy.

“Both,” he says, looking around the parking lot at the dancers and the film crew and his old green van, and he is amazed to realize that just a little while ago he was driving along the interstate feeling as lost as he has ever felt, almost out of gas, and now he’s in Frankfort, Kentucky on a warm afternoon in early autumn, starring with his van in a music video and making a hundred dollars.

“What do you do, Zelman?” asks Vivienne, smiling curiously at him.

“I’m a musician,” he says, nodding to affirm this. “Piano and guitar and all manner of percussion. And I write songs. But I’ve had many other jobs to support my musical habit.”

“Have you got a demo I can listen to?” she asks, arching her eyebrow in a beguiling way. “Maybe this is why God brought you to me? I’m always looking for good songs.”

“No demo,” he says, shrugging pleasantly, “but if we can find a piano, I’d be happy to give you a concert.”

“We can find a piano,” she says, nodding. “But first, a few more takes of this dance with your van.”

Eleven more takes consume three hours, and dusk is descending when the assistant director finally says, “That’s a wrap,” and the film crew starts loading their cameras and lights and booms into the equipment truck; and the dancers get in their cars and drive away.

Burt hands Zelman a hundred dollars, ruminates for a moment, and gives him another hundred. “Woulda cost me at least three hundred to rent something like your van for the day. Thanks again.”

“Thank you,” says Zelman, shaking Burt’s hand. “Much appreciated.”

“Gotta run,” says Burt, winking at Zelman.

“Of course,” says Zelman, watching Vivienne talking to a crewmember, a handsome guy with a baseball cap on backwards; and as he watches her, he decides she was only making small talk when she said they would find a piano. Even so, he lingers a while longer in case she really does want to hear his music—and the longer he lingers, the more invisible he feels.

Now Burt pulls up beside Vivienne in his shiny black Porsche, she gets in, and they zoom away.

Zelman sighs, takes a moment to let go of his disappointment, climbs into his van, and starts his engine. And as he depresses the clutch and puts his hand on the 8-ball-knob of the stick shift, he sees a small peach-colored envelope affixed to the door of his glove compartment with a piece of pink duct tape.

So he kills his engine, opens the envelope, and finds Vivienne’s elegant gray business card with a note written on the back in the smallest neatest hand he has ever seen.

Z. Sorry for subterfuge. I’ll explain later. I’m at Brown Hotel in Louisville. Supper? My treat. Call me. V.

They partake of a delicious room-service supper in Vivienne’s plush suite on the third floor of the beautiful old hotel in downtown Louisville, the windows open, the evening warm and sultry. Vivienne is wearing a red T-shirt and pink sweat pants, Zelman a black T-shirt and baggy brown corduroy trousers, both of them barefoot. Vivienne has spicy prawns and mashed potatoes and a beet salad and two beers, while Zelman has fried chicken and mashed potatoes and string beans and a half-bottle of red wine.

They interview each other. Vivienne gets a quick overview of Zelman’s life, and Zelman learns that Vivienne is twenty-nine and emigrated to Los Angeles from Russia with her mother and father and younger sister when she was fifteen. While her father drove a taxi and her mother worked in a bakery, Vivienne suffered through a brief stint in high school before she landed a job as a gofer on the set of a movie produced by the father of a young man she met at a dance club. The gofer job led to more film production jobs, and she’s been in the movie biz ever since.

“I’m very ambitious,” she says, loading a small brass pipe with a glistening bud of marijuana. “I aspire to make feature films. But I actually have scruples, believe it or not.” She holds a match over the bud and takes a hit. “I don’t use sex to get what I want. I use my talent.”

She hands the pipe to Zelman, he takes a little hit, and hands the pipe back to her.

“You don’t smoke much pot, Zelman?” She arches a quizzical eyebrow. “Afraid you might say something you’ll regret?”

“No,” he says, shaking his head. “I just…a little goes a long way for me.”

“Me, too,” she says, taking another hit and handing him the pipe again. “This is very mellow stuff. Good for talking and music.”

Zelman has another hit. “Your note said you would explain later. Explain what?”

“Oh Burt is in love with me,” she says, shrugging. “I give him no hope, but he has big crush, so…I have three more days working here and he would be jealous if he knew I invited you, so it’s better he doesn’t know. It will make the next three days less hassle for me if he doesn’t know. Unrequited love is one thing, but jealousy wrecks everything.”

“Whereas unrequited love inspires love songs,” says Zelman, finding her surpassingly lovely.

“Exactly,” she says, laughing. “He’s not a bad producer. Look how he found you and your van.”

“I can see why he’s in love with you,” says Zelman, gesturing as if presenting her to the world. “You’re a darling.”

“This is famous Chekhov story,” says Vivienne, nodding slowly. “The Darling. I am opposite of this character. Do you know the story?”

“I don’t,” says Zelman, shaking his head. “How are you the opposite?”

“She takes on ambitions of the men she marries. She cannot exist except as an assistant to powerful men, one after another. I have my own ambitions and I like being the boss. I like to collaborate, but not give up my power.”

“That’s why I love music,” says Zelman, itching to play a song for her. “I can play alone or share the magic.”

“There’s a piano in the ballroom they are not using tonight,” says Vivienne, having a last puff. “They said we could use the piano.”

Zelman is awestruck by the Steinway in the ballroom, a superb seven-foot grand in perfect tune, and being blissfully stoned, he launches into a jazzy bluesy improvisation full of longing and mystery that leads seamlessly into his song Nothing Anybody Says, his smoky tenor riding on glorious waves of notes and chords.

Now he looks up from the keys and sees Vivienne swaying to the music, her hands clasped, her eyes closed, a sublime smile on her face, and seeing her so enthralled by his music inspires Zelman to sing the last verse especially for her.

“What just happened?” she asks, opening her eyes and gazing wide-eyed at him. “You hypnotized me.”

“I played for you,” he says—a boy again, delighted by this enchanting girl who loves his music.

“Was amazing,” she says, resting her hand on his shoulder. “Come back to my room. We have much to discuss.”

In Vivienne’s room again, Zelman gets out his guitar and plays a rollicking samba-like tune with lyrics about the blurry line between love and lust, while Vivienne dances around the room with joyful abandon.

“Okay,” she says, collapsing on the sofa, “here is my idea, Zelman. Yes, we are high and I must hear you again when I’m not stoned, but I know we can have big success together. First we will create videos that get hundreds of millions of views and then we make a feature film.”

“Videos of my songs?” he asks, sensing that isn’t quite what she means.

“Yes and no,” she says, picking up the hotel phone. “Hello. This is room 321. Can we please have coffee and cookies and French bread and butter? Yes, chocolate chip is fine. Thank you.”

“How yes and how no?” asks Zelman, trying and failing to imagine being married to Vivienne.

“The songs are important, of course,” she says, growing serious. “And your songs are wonderful, but without imagery they cannot prevail. Not today. The movies, the totalities of imagery and music, these are the songs now. Do you know what I mean, Zelman? If the Beatles came today and not sixty years ago their songs would be presented as soundtracks to little movies, otherwise we would not know of them. But more to the point, their songs would be designed to support the images. Songs now are subservient to imagery. Whether this is good or bad, I don’t know, but this is how things are. And this is what we can do together. Design music for movies and make those movies together.”

As he listens to Vivienne speak, Zelman realizes two things: he would love to be in a relationship with someone as straightforward and optimistic as Vivienne, though not necessarily with Vivienne, and he has absolutely no interest in designing music for movies.

The cookies and coffee and French bread and butter arrive, and after Zelman has two cups of coffee and a big piece of bread slathered with butter, he declares, “I’m going now, Vivienne. Take advantage of the caffeine high and eat up some miles on the empty interstate. I loved spending time with you. You’re wonderful. Thanks for everything.”

“Zelman?” she says, walking with him to the door. “I really like you. And I love your music. You will call me when you get to LA. Please? I really want to see you again, and I’m not just saying that.”

“I will call you when I get to LA,” he says, looking into her eyes. “I predict great success for you, Vivienne.”

“What about you?” she asks, taking his hand. “What do you predict for you?”

“A dog,” he says, embracing her. “I’d like to get a dog.”

“I like dogs, too,” she says, holding him tight. “Someday when I have a house with a yard, I will have a dog and our dogs will play together.”

“Nothing would make me happier,” he says, letting her go. “See you in LA.”

The next afternoon, Zelman stops at the FourWay Café in Cuba, Missouri, and as he peruses the menu, a woman wearing a billowy white blouse and a long rainbow-colored skirt enters the café, looks around at the twenty or so customers, sees Zelman, and crosses the room to him.

“Excuse me,” she says, her voice deep and warm, “is that your Volkswagen van out there? The green one with the gold stars?”

“Yes,” says Zelman, smiling at her. “Don’t tell me. You’re making a music video and want the iconic vehicle as a prop in your homage to the halcyon days of yore.”

The woman laughs and Zelman is struck by several things about her: how beautiful she becomes when she smiles, the jingling of her multi-faceted dangly silver earrings, the pleasant clacking of her three necklaces made of small chunks of turquoise, the sparkle in her blue eyes, the reddish hue in her long brown hair, the subtle Asiatic quality of her facial features, and the music in her laughter.

“I’m certainly dressed for such an homage,” she says, looking down at her billowy white blouse and rainbow-colored skirt and old leather sandals, “but I’m not making a music video, though I am a musician. No, I’m wondering about getting a ride with you to Arizona.” She pauses to see how Zelman reacts to that idea, and when he continues to gaze at her not unkindly, she adds, “For me and my daughter and our dog and our stuff. Our car blew up yesterday and I can’t currently afford the bus or the train or even to rent a car, but I can pay you three hundred dollars when we get to Arizona, assuming you’re heading west, which you might not be, but I thought I’d ask.”

“Are you and your daughter hungry?” asks Zelman, looking into the woman’s eyes and liking what he sees. “I would be happy to buy you lunch and we can see how we all get along. Or don’t.”

“We could use a meal,” says the woman, nodding thoughtfully. “But somebody’s gotta stay with the dog, so…”

They get their sandwiches and smoothies to go and dine on the tailgate of Zelman’s van.

The woman, Grace, is forty, a massage therapist, herbalist, and musician. Her daughter Teresa is fourteen, tall and slender with dark blonde hair in a ponytail that falls to her waist. She, too, is a musician. With them are two guitars, two violins, and two dulcimers.

The dog, Maurice, is a large seven-year-old Golden Retriever-Chocolate Lab mix, friendly, and keenly interested in food scraps.

They banter about this and that, enjoy each other, and Zelman is on the verge of agreeing to take Grace and Teresa and Maurice to Arizona, when Grace says, “We’re kind of in a hurry. I could trade off driving with you and we could go day and night without stopping.”

“Oh, I’m sorry,” says Zelman, shaking his head. “I wouldn’t want to do that. For one thing, Miles, my van, can’t go over fifty and has to have a good long rest every seven or eight hours. With two more humans and a big dog on board, and all your stuff, forty-five would be the best we could hope for. Miles-per-hour. And then there’s me. I don’t like hurrying. Makes me anxious. I need to not be driving every other day or so. And also, though I’m headed for Los Angeles, I’m not keen on getting there any time soon, so hurrying is the exact opposite of what I want to do.”

Grace looks at Teresa, looks at the van, looks at Zelman, and says, “But if we go as slow as you want to, you’ll take us with you?”

“I will,” says Zelman, looking at Teresa and Maurice and Grace and their pile of instruments and suitcases and knapsacks and sleeping bags. “Assuming everything fits.”

 ∆

On the evening of his fifth day of traveling with Grace and Teresa and Maurice, Zelman sits by the campfire in their camping spot in Lake Scott State Park in western Kansas, listening to Teresa play her dulcimer and sing a song about a girl with hair of spun gold. Grace is walking Maurice on the path that goes around the little lake, hoping the dog will poop before bedtime.

The fire makes a loud crackling sound as Teresa sings the last note of her song, and Zelman hears the crackling as God applauding, and he applauds, too.

“Get out your guitar, Zelman,” says Teresa, her voice half a girl’s and half a woman’s, for she is still a girl though fast becoming a woman. “Let’s do that one you wrote about the guy going to the party.”

“You get out your fiddle, I’ll get out my guitar,” says Zelman, turning at the sound of Grace returning with Maurice and unhooking the leash from his collar so he can rush to Zelman and rest his snout on Zelman’s lap.

“Hey you,” says Zelman, petting the love-hungry dog and watching Grace and Teresa fetch their instruments from the van; and he knows he has never been happier than he is now.

fin

 

Guitar Porn

Monday, June 18th, 2018

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music sex love drawing by Todd

“The most important part of my religion is to play guitar.” Lou Reed

I recently started playing the guitar again after a ten-year hiatus, and after some weeks of aching fingers and sore wrists, I have regained enough of my former chops so playing is pleasurable and fascinating again.

The guitar I’m playing is not a very good instrument. I gave away my excellent guitar a few years ago when I was jettisoning things freighted with bad mojo. Now, as I practice on a lesser instrument, I don’t long for the guitar I gave away, but for a guitar of equal excellence. However, I have decided not to purchase a better guitar until I have gotten as good as I can on this little axe I bought to determine if the magic is still there. For some reason, I want to earn the right to own and play a fine guitar again.

That’s kind of silly, actually, because the better the instrument, the more pleasurable the experience of playing, which would be added incentive to practice and explore, but I am often kind of silly. This earning process feels right to me at this point in my physical and spiritual and emotional evolution.

Meanwhile, I occasionally receive musical instrument catalogues filled with photographs and descriptions of awesome guitars, and I find myself staring at these pictures as I might stare at photos of attractive women. I imagine holding those guitars and playing them and thrilling to the feel of them against my body as I strum them and their bodies resonate with mine. Hence the title of this essay: guitar porn.

Perhaps you know someone, most likely a man, who owns multiple guitars, and I don’t mean two or three guitars, but seven or nine or seventeen or possibly thirty-seven guitars—and perhaps he rarely or never plays these guitars. Nevertheless, having these guitars defines who he is—to himself and to others. Searching for guitars gives him purpose. Maybe he only allows himself to own a total of twelve guitars and he must sell one before he can acquire a new one. Or maybe there is no limit to how many he can have, and he recently built an addition on his house where he keeps his forty-nine rare and frighteningly expensive guitars in a dust-free humidity-controlled environment.

Once in my life, for about two months, I owned two guitars simultaneously. I might as well have brought a third wife into my house, my first two wives being my other guitar and my piano. There was no way I could give any of my wives the attention they wanted if I was trying to please three of them. Two I could please, but three was one too many. In my case, I was not collecting guitars just to have them, but to play them every day. I would guess that most people who own more than a few guitars do not relate to guitars as spirit beings incarnate as musical instruments, but I could be wrong.

At the moment, I have two pianos. I’m waiting to find out if the new grand piano in my life can be regulated and repaired so it becomes as fine an instrument as the upright piano I’ve had for forty years. They are very different instruments, so I might keep them both, though I think I will feel I am neglecting the upright if I choose to make the grand piano the main focus of my piano playing.

How do my pianos feel about my taking up the guitar again? I suppose if I played them less than I did before I resumed guitar playing they would be unhappy, but actually, playing the guitar seems to have increased my appetite for playing the piano. So they don’t seem to mind. They are more concerned about each other than they are about my guitar.

As it happens, I took up the guitar when I became a vagabond and could not carry a piano with me. After a few months on the road without a piano, in 1970, I bought a not-very-good nylon-string guitar in the famous gigantic Mercado de Guadalajara, and I played that guitar every day for three years until I bought my first steel-string guitar, a slinky little Ovation with which I became a professional guitar-playing singer songwriter.

Three years later, at the age of twenty-six, I sold the Ovation for a hundred dollars to prove to my crazy angry girlfriend that I did not need a guitar to feel okay about myself. However, the only thing I proved by not having a guitar was that I missed having a guitar or a piano or both. Some people are just happier with musical instruments than without them. I am one of those people.

Perhaps those people, mostly men, who collect multiple guitars would not be happy without their guitars even if they don’t play them. After all, some people collect pottery and don’t eat out of the pottery, and some people collect jewelry and don’t wear their jewels, but enjoy looking at them and fondling them. Some people collect porcelain figurines of cherubs and repulsively cute children that are easy to break and take up shelf space and collect dust. Some people have five dogs. Some people have seven cats. I have a neighbor with four vintage Toyotas. I’ve known women with hundreds of pairs of shoes. When George Harrison of The Beatles died, he left behind hundreds of ukuleles.

Life is mysterious, but one thing is certain: the day I walk into a guitar shop intending to buy an excellent guitar, I will activate those neurological sectors of my being that evolved over millions of years for the express purpose of looking for and finding love, and by love I mean powerful emotional and physical resonance.

Hey Baby

Monday, March 26th, 2018

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Petit point for Night Train cover by D.R. Wagner

“Listen to the wind as it blows through the trees, listen to her and listen to me, listen to your heart and listen to your brain, listen to the sweet song of the rain. Oh my darling, I know this is hard for you to hear, but you are the one everybody wants to be with tonight.” from Todd’s song You Are the One.

My recent article about singing to the seals at Big River Beach and remembering my first paying gigs as a musician elicited several fascinating comments, so I thought I’d write a little more about my music. By the way, we’ve disarmed the Comments feature on my blog, so if you’d like to communicate with me about my articles, please send me an email.

So…having supported myself in minimal style for a couple years as a singer/songwriter in my early twenties in Santa Cruz circa 1973, I moved to Menlo Park and got a job as a janitor and teacher’s aid at a day care center in Palo Alto for children of single working mothers. My girlfriend G and I had broken up in Santa Cruz, but G rejoined me in Menlo Park, and after a year of saving our pennies, we moved to Eugene, Oregon where we lived in a converted garage while G attended the university as a music major studying piano and composition. Shortly after we arrived in Eugene, I sold my first short story for what was a fortune to me in those days, nine hundred dollars, and that allowed me to focus entirely for some months on writing short stories and a novel.

My relationship with my girlfriend was not mutually supportive. Which is to say, until I had some effective psychotherapy when I was forty, I routinely partnered with women who disapproved of me and my life choices, yet depended on me to encourage and support them. Why did I do this? To summarize volumes of emotional history, I was programmed by my disapproving and punitive parents to partner with disapproving others, and I didn’t know how else to go about life.

Lest you think I exaggerate my malady, check this out. For the entirety of our three-year relationship, G was adamant, and frequently shouted adamantly at me, that I was using my singing and songwriting and the adulation they brought me as emotional crutches to feel okay about myself and if I really wanted to face the truth about who I was, I would get rid of my guitar. So after we’d been in Eugene a month, I sold my guitar.

Now as it happened, we also had a piano in that garage because G was studying music theory and composition and wanted a piano handy for theorizing and composing. Because I make music as reflexively as ducks swim, I frequently played her piano. I don’t read music, but I had been improvising on pianos since I was sixteen, so in the absence of a guitar, I played her piano several times a day. This drove G bonkers because she struggled to compose anything she liked, while I reeled off hours of groovy-sounding music with no conscious knowledge of music theory.

Nine months into our Eugene sojourn, G and I broke up for good and I moved to Medford, Oregon where I worked as a landscaper for two years. While living in Medford, I was contacted by my old high school chum Dan Nadaner who was a fan of my guitar playing and singing. He had written some rhyming verses for the soundtrack to a little film he made called Stripes and asked me to sing his verses in the manner of a country tune while accompanying myself on guitar. (Watch Stripes on my web site.)

To make that recording for Dan, I borrowed a small steel-string guitar and a little cassette recorder from my friend David Adee. Dan was pleased with how I sang his verses, and after making the recording I bought that guitar from David. Having gone two years without a guitar, songs began pouring out of me and I wrote several new tunes in the next few months. A year later, in 1977, I moved from Medford to Seattle, and while living a lonely life there, I wrote a nostalgic bluesy love song called Hey Baby.

In 1980, having had a large success with my first novel Inside Moves, I was attending a party in Sacramento, songs were being shared, and when the guitar came to me, I sang Hey Baby. When I finished the song there was much hooting and applause and a woman asked, “Who wrote that? Wasn’t that in a movie?”

I said, “No. It’s one of my songs.”

“Sounds famous,” she went on. “That’s like a song you hear in grocery stores, you know, the instrumental version of a classic.”

As of this writing, Hey Baby is not famous, but I never forgot what that woman said about the song, and her praise emboldened me to play Hey Baby when I gave readings at bookstores and cafés, and the song eventually became a mainstay of the one-man shows I performed for some years.

Fast forward to the first year of my first marriage, 1984. My wife introduced me to Rickie Lee Jones’s first album, which I enjoyed, but there was one song on that album I absolutely with every cell in my corpus loved—Night Train (not the blues standard, but Rickie’s song with that title.) After listening to her Night Train countless times, I wrote a novel entitled Night Train that sprang from dreams inspired by Rickie’s song.

In the novel, the down-and-nearly-out narrator Charlie is haunted by the one success he ever had, a hit song he wrote called Hey Baby upon which hinges everything that happens in that wild crazy chase love story.

I eventually published Night Train with Mercury House, a San Francisco publisher, and they took the book out-of-print shortly after publication. Thus few people ever heard of my Night Train, though the following review by Tom Nolan ran in the LA Times in 1986.

“In his fourth novel, Todd Walton, author of the critically praised Inside Moves and Louie & Women, delivers an unusual and gripping tale that begins like a hard-boiled crime story and becomes something resembling science fiction. Walton evokes a paranoid romanticism reminiscent of Craig Nova, Don DeLillo or Thomas Pynchon as he tracks the fate of Lily and Charlie, two down-and-out musicians on the run from an army of ‘very well-connected’ thugs out not just for blood but for spirit. Fleeing by car, foot, air, bicycle, train, covered wagon and dirigible, the two make their way with Lily’s baby from Sunset Boulevard to a mountain retreat in Oregon. Eluding all manner of physical and mental danger, Lily and Charlie take their final stand with a commune of utopian artists.

“Their odyssey is seedily realistic, wildly surrealistic, often erotic and only occasionally a bit precious. What seemed like a simple pursuit story has become an engaging parable of the responsibilities of creativity, the nature of self-worth, the redemptive power of love—perhaps the Meaning of Life itself. And the message, as Charlie reads it? ‘No matter how far down you get, you got to get up.’”

And now, thirty-three years gone by since Night Train was briefly available in a handful of bookstores, I love recalling the myriad threads that came together to make that book—Hey Baby a tune I wrote for my favorite singer in those days: Bonnie Raitt. And though I never got the tune to Bonnie, in my imaginings, her version of Hey Baby makes the song an instant classic, thereby fulfilling the long-ago prophecy of Hey Baby becoming a soundtrack for grocery shopping.

Night Train is available as a Kindle and iBook, and used copies of the hardback abound online.

Seymour

Tuesday, December 15th, 2015

Cat and jamming

The Piano Lesson photo by Marcia Sloane

(This article appeared in the Anderson Valley Advertiser December 2015)

“If you play an instrument or sing, you will no doubt agree that life’s experiences influence the way you practice. But has it ever occurred to you that the opposite may also be true: that the skills gained from practicing—namely, the refinement and control of your emotions, your thoughts, and your physical responses—can influence your life?” Seymour Bernstein

Last night Marcia and I watched Seymour: An Introduction, a documentary about the pianist and piano teacher Seymour Bernstein, who was eighty-five at the time the film was made and is eighty-eight today. The film, directed by Ethan Hawke, the actor, is certainly about classical music and pianos and playing the piano, but the movie is also a fascinating and ever-surprising portrait of an extremely thoughtful person with an extraordinary talent for teaching.

The previews for the film made me worry that Ethan Hawke would be too much in the film, but his presence is minimal. Most of the film brings us into intimate closeness with Seymour, who is delightfully erudite and eccentric. I felt we were having a visit with a favorite uncle, and whether I agreed with everything he said or not, it was big fun hanging out with him.

A most unlikely veteran of the Korean War—and there is a great segment of the film devoted to his military experience in Korea—Seymour grew up in an entirely non-musical family, but began playing the piano when he was five, having begged his parents to buy a piano. His disapproving father used to say, “I have three daughters and a pianist,” but Seymour was born indivisible from music and so was not deterred by his foolish father.

At one point in the movie, Seymour is in the piano rental room downstairs in the Steinway building in Manhattan, working with a brilliant young pianist on technique, and the young pianist says, and I paraphrase, “Everything in my life is about music.” And we see Seymour responding to the young man’s pronouncement with a look that says, “Yes. You are a younger version of me.”

Several scenes in the film take place in this Steinway rental room—Seymour looking for a grand piano to use for the recital Ethan Hawke has scheduled for the denouement of the film. As a piano player, these scenes made my mouth water and re-ignited my lifelong desire to have a super duper grand piano—not that there’s anything wrong with my trusty upright. But when one hears those bass notes played on a superlative grand piano, and one’s entire body begins to hum along, well…

Seymour goes from grand piano to grand piano, looking for one that sounds good to him even when played softly. He plays a few chords on one piano and crows, “Horror of horrors!” and then dashes away to try one he declares “not bad”, until at last he finds a piano he proclaims the finest he has ever played, and this from a man who has undoubtedly played hundreds of the finest pianos in the world.

My favorite scenes in the movie are when we get to watch Seymour giving private lessons and master classes, all of his students accomplished pianists. Again and again, we hear these pianists play parts of pieces that sound wonderful, and then we watch Seymour adroitly help them noticeably improve their playing of the part, either by explaining the music to them in a way they have not considered, by demonstrating what he wants them to do by playing for them, or by physically taking hold of them and altering their postures as they play. And everything he does and says is freighted with love for the music and for the musicians. Inspiring!

Hawke decided to film a number of conversations Seymour has with a variety of people: two pianists, a British guy claiming to be a mystic, and a man in his fifties who has been Seymour’s student since he was five-years-old. The self-proclaimed mystic struck me as entirely superfluous to the film, and I had the feeling Seymour thought so, too. The two pianists are useful echoes to some of Seymour’s ideas about practicing and self-discipline, and his middle-aged student poses a question that made me want to smack the guy, but Seymour handles the question with equanimity.

The guy, peeved that Seymour gave up performing when he was fifty, says (and I paraphrase), “Don’t you think someone with your extraordinary talent has an obligation to overcome his aversion to performing in order to give your gift to the world?”

Seymour’s answer is, “I poured my gift into you.”

And really a large point of the movie, and apparently the main reason Ethan Hawke wanted to make this film, is that Seymour is indivisible from his art, and this indivisibility is what he models for his students. Seymour’s bliss, if you will, springs from helping others become the best musicians they can be, regardless of their level of talent or whether they will ever perform for anyone other than themselves.

In his youth, Seymour did concert tours and wowed the critics, but none of that for him compares to the joy he feels in exploring music on his own terms, including composing, and helping others overcome their obstacles to playing better.

At one point, Hawke is shown trying to elucidate why he feels so conflicted about himself as an artist and a person. He says his best work as an actor is often not successful, and his largest successes, in terms of money, are his worst work. Seymour, who has lived in the same little one-room apartment for sixty years, suggests by everything he does and says that the solution to Hawke’s problem is to stop making crappy movies and make good movies instead. In making Seymour: An Introduction, Hawke has certainly taken Seymour’s advice.

It may also be, that like Seymour, Ethan will eventually discover his greatest gift when he ceases to take roles to make big money and gives his all to the art of acting, perhaps as a teacher.

The Magician

Tuesday, October 20th, 2015

superstar

A still from The Magician, a video by Kate Greenstreet

(This article appeared in the Anderson Valley Advertiser October 2015)

“Magicians will always tell you the trick is the most important thing, but I’m more interested in telling a story.” Marco Tempest

Most artists are unknown or little known outside their neighborhood or town or small circle of friends. This is not a bad or good thing, but merely the way of the world. My favorite poets are known to only a handful of people, and many of the finest musicians and painters and actors I’ve had the good fortune to hear and see will never be known outside the little kingdoms inhabited by their personal friends and acquaintances.

All of the hundreds of artists I have known in my life, save for those rare few who for one reason or another succeeded hugely in the mainstream of our culture, either came to accept and even relish their relative anonymity in the greater scheme of things or they ceased to make art because the hope of great success was their primary motivation for making art.

A few of my books have sold thousands of copies, but none of my nine music CDs have sold more than a hundred copies. Many people unknown to me have read my books, but most of those who enjoy my music are known to me by their first names. And yet I have always been as dedicated to my music as I am to my writing, and I intend to practice and compose music for as long as I am able. Lovers of my music are few, but they are zealous lovers, and that is sufficient.

A few years ago I recorded an album of solo piano improvisations entitled Ceremonies, each piece an accompaniment to an imagined ceremony.

One of the pieces on the album is entitled “Dance of the Seahorses” and as I improvised that tune, I imagined the slow underwater dancing of those remarkable fish, a hypnotic enactment of a never-ending ceremony.

Another piece entitled “Blue Cathedral” is a churchy blues I imagined as a sacred processional in a cathedral bathed in ethereal light.

And my favorite piece on the Ceremonies album is entitled “The Magician.” As I played that mysterious tune, I saw in my mind’s eye a graceful mime performing a slow dance full of mystical and subtly humorous flourishes.

Fast forward to October 13, 2015, four days shy of my sixty-sixth birthday. An email arrived from my pal Max Greenstreet in New Hampshire informing me that he and his wife Kate Greenstreet had just released Kate’s video-poem The Magician, with my composition “The Magician” underpinning the narrative; and that short film is now viewable on Vimeo, a web site where filmmakers can share their creations with the world.

Words are inadequate to describe how thrilled and gratified I am that Kate chose my music for this video-poem she made in league with Cynthia King. I am a huge fan of Kate’s video-poems, Max her right hand man in the making of her films, and it is not hyperbole to say that having my music harmonizing with her words and imagery is a validation and encouragement that will sustain my musical pursuits for the rest of my life.

You can watch The Magician by going to https://vimeo.com/142189708

“It is the unspoken ethic of all magicians to not reveal the secrets.” David Copperfield

A large part of my joy about Kate and Max using “The Magician” in their exquisite film is that I have endeavored several dozen times over the course of my life to collaborate with other artists on a wide variety of creations, and the vast majority of those collaborations ended in creative or emotional or financial disaster, and usually some combination of the three. It would be convenient to blame my collaborators for these disasters, but since I am the only constant in these many failed equations, I suspect the fatal flaw lies with me.

Long ago in the days before digital cameras, I collaborated on the making of a short film I wrote and directed. The audio engineer on the project said he would only collaborate with me if everyone involved in making the film had his or her role in the process clearly defined, written down, and agreed upon, and that as the instigator and financier of the project, my judgment in all creative matters would be the final one, with everyone involved agreeing to that, too, with signed documents attesting to these agreements.

At the time, I thought such punctilious preliminaries unnecessary, but he was a superb sound engineer and I very much wanted to work with him, so I agreed to his conditions. My cameraman bridled a bit at the strict clarification of his role, but he signed his agreement as did the few other people involved, and we got to work.

No collaborative endeavor I have been involved with before or since ever went so smoothly. The potential clash of egos was dispensed with at the outset, and clashing egos, as I’m sure you know, make collaboration difficult if not impossible.

And though today my creative endeavors are solo flights—no one to argue with but little old me—I often fantasize about how grand it would be to team up with a drummer or filmmaker or singer or dancers who find my music and words exactly what they’ve been looking for to meld with their artistry.

This is why I am so thrilled that Kate and Max used my music in their movie The Magician. My music, in the words of Goldilocks, was just right—our collaboration arising from friendship and mutual admiration.

As I resume collaborating with myself, I imagine my novel-in-progress calling out to prescient publishers and daring movie makers, my latest piano explorations ringing through the global etheric in quest of people who will hear my music as soundtracks to bold new explorations of the light fantastic.

Django

Wednesday, August 12th, 2015

Django

Django On Todd photo by Marcia Sloane

(This article appeared in the Anderson Valley Advertiser August 2015)

“There are two means of refuge from the miseries of life: music and cats.” Albert Schweitzer

On this first day of August, 2015, as darkness gives way to daylight and the cobwebs of sleep are swept away by a slowly dawning clarity of mind, I wonder what this deep silence is all about. Our thirteen-year-old cat Django is what I refer to as an alarm cat. Like clockwork, promptly at seven every morning, rain or shine, he begins to yowl for his humans to feed him. Marcia does not hear the morning yowls of our large gray shorthaired kitty, or so she claims, thus I am the human who most often rises to feed Django at the beginning of each day.

But today, when my expectant ears hear no feline cries for sustenance, my brain presents me with two options: the time is not yet seven or Django has gone hunting and will be home soon and start yowling. Upon rising, I find the time is 7:22, no cat in sight. I dole out a modest portion of food into Django’s empty bowl, and step outside into the deep quiet of the fog-enshrouded forest.

“Django. Django,” I call. “Come get your breakfast.”

By ten o’clock, Django has not yet appeared, and my brain reminds me that there have been a few times in the eight years I’ve been with Marcia when Django was gone for as long as twenty-four hours.

At quarter to eleven, fifteen minutes before Marcia is scheduled to leave with our neighbor Marion to attend a wedding in Eureka, Marion phones to say she just came home from visiting a friend and noticed the body of a large gray cat on the side of the road where our lane meets Little Lake Road, and she fears the cat might be Django.

In the next moment, Marcia and Marion and I are running down our quiet lane to Little Lake Road, and just to the east of our street lies the body of Django. Marcia bursts into tears, and I can barely see through mine as I lift the already stiff body into the box I brought to carry him home, one of his back legs badly broken and nearly separated from his body.

Because Marcia and Marion have to leave very soon to make the long trek from Mendocino to Eureka to be in time for the wedding, we hastily choose a place in our flower garden next to the agastache—the cones of purple flowers swarming with bumblebees and honeybees—and I dig a deep hole, bury Django’s body, and Marcia makes a beeline for a large brown stone on the north side of our house, a stone she wants to put atop Django’s grave. We fetch the dolly, load the big stone thereon, wheel the stone to grave, and together place the stone atop the freshly turned earth.

“Makes me feel better knowing he’s in the ground before I go,” says Marcia, giving me a farewell hug.

“Time spent with cats is never wasted.” Sigmund Freud

Django had a near death health crisis two years ago due to his extreme obesity, and thereafter I became his strict dietician, doling out small portions of cat food, four times a day. He lost seven pounds, regained his energy, and became much happier and more loving—but he was always hungry and not shy about letting me know. Thus it became my daily habit to feed him when I got up in the morning, and again at noon, five, and ten.

With the advent of his persistent hunger, my regimen of late evening stretching exercises became an exciting event for Django—the unfurling of my yoga mat meaning Meal #4 would be served shortly after the mat was rolled up and put away. Thus whenever I would look up from my routine on the living room rug, there would be our big hungry cat on his footstool, watching my every movement, a cat who prior to the change in his culinary reality would sleep through my stretching because it had nothing to do with him.

After some weeks of observing my nightly stretching, the new slender Django apparently decided that if he stretched, too, his chances of being fed would improve, though I always fed him whether he stretched with me or not. In any case, he developed a series of cute flirtatious poses, our favorite being when he would lie on his back on his footstool, and hang halfway off, upside down, kneading the air with his mighty claws and making a high clucking sound.

“Cats are connoisseurs of comfort.” James Herriot

Django sat with us during supper every night. His designated chair was to Marcia’s right, and he often fell asleep while we ate and talked. But the moment, and I mean the very moment, Marcia put her fork down after taking her last bite of supper, Django would wake up, often from a deep snoring slumber, and reach out to Marcia, his paw suspended in the air.

What followed was unquestionably Django’s favorite time of every day, lap time, the lap in question Marcia’s. She would pull Django’s chair close to hers, he would cross to her lap and assume the pose of the famous sphinx of Giza, facing forward, his eyes closed, purring profoundly. And he would stay in that pose on Marcia’s lap for as long as she would let him, his bliss so huge and obvious, it never once occurred to me to ask Marcia to put Django back on his chair and assist me with the dishes. How could I possibly disturb Django’s ecstasy? I could not.

In my experience there are few things as marvelous to see as a big handsome cat meditating splendiferously on a lovely woman’s lap, and that is the memory of Django I will cherish for as long as I live.

Just Old

Wednesday, June 17th, 2015

if my head sinks beneath the sea site

If My Heads Sinks Beneath The Sea painting by Nolan Winkler

(This article appeared in the Anderson Valley Advertiser June 2015)

“Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is a matter of the will, quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life.” Samuel Ullman

A friend suggested that the reason I find contemporary American movies and books and plays and music to be largely junk is that I am just old.

Bob Dylan, Paul Simon, David Crosby, and many other older musicians aver that contemporary popular music today is inferior to the popular music of their day, but that’s just because those guys are old.

Every writer I know over fifty decries the deplorable state of writing and editing today, but that’s just because we’re old. And when older poets recoil at the poetry of younger poets whose verses are rife with clichés, void of subtlety, and might be lyrics to rap songs, they are recoiling because they are just old.

If you ask young people about the movies of today, they will name dozens of films they think are light years better than movies we thought were great when we were younger. Young people are certain I cannot see and hear and understand what they are seeing and hearing and understanding because my eyes and ears and mind are just old, and they might be right about that, though I don’t like to think so.

My mother plugged her ears and shouted, “Turn that off!” when she caught nine-year-old me listening to Ray Charles. Maybe Mom was just old. She liked The Mills Brothers and Artie Shaw, and so did I, but she didn’t like Sam and Dave and The Beatles and Buffalo Springfield because she was stuck in the musical aesthetics of Tommy Dorsey and Jack Little.

“Every age has its storytelling form, and video gaming is a huge part of our culture. You can ignore or embrace video games and imbue them with the best artistic quality. People are enthralled with video games in the same way as other people love the cinema or theatre.” Andy Serkis

I am sixty-five-years-old at last count. Depending on your view of things, I am middle-aged, old, or real old. Yes, contemporary cultural aesthetics are in constant flux, and yes, I am not enamored of most of the latest fluctuations. However, my estrangement from American culture did not begin when I qualified for Medicare and Social Security. No, my disaffection began when I was in the prime of my life, otherwise known as my twenties and thirties, and coincided with the lightning-fast conquest of America’s publishing industry by a few massive, politically conservative, morally bankrupt multi-national corporations.

To echo Allen Ginsberg, I saw the best minds in the publishing business fired by soulless corporate operatives and replaced by Yes people who only follow orders from the unimaginative number-crunchers above them, those orders being: publish books exactly like the books we already know sell lots of copies. Do not buy anything that might be too sophisticated for a poorly educated ten-year-old. Buy nothing remotely original. And only consider things sent to you by literary agents who agree to follow these same orders.

That merciless corporate blitzkrieg of America’s publishers began circa 1972 and the conquest was complete by 1980. Call me a conspiracy nut, but I think this takeover was part of a conscious effort by the ruling elite to snuff out the fires started in the counter-culture renaissance known as The Sixties, with the election of Ronald Reagan a direct result of their coup d’état.

Publishing was not the only branch of our cultural tree thoroughly infected by the corporate fungus during that same decade. Record companies, movie studios, magazines, newspapers, radio stations, and television networks were also conquered and gutted by the same multinational consortium, and we have lived in a culture shaped and controlled by this mind-numbing corporatocracy ever since.

I don’t hold this view of history because I am just old, but because I experienced this cultural takeover firsthand when I was a young and successful writer and screenwriter. When I refused to acquiesce to the new cultural guidelines imposed by the recently installed corporate managers, my career was effectively ended.

“The only way to make sense out of change is to plunge into it, move with it, and join the dance.” Alan Watts

Before I was just old, I founded the Creative Writing Department for the California State Summer School for the Arts. Every summer for five years, my faculty and I would greet the fifty young writers we had selected from many hundreds of applicants, and we would invariably discover that all these bright young people were starving for something to read other than Anne Rice or Stephen King or To Kill A (expletive deleted) Mockingbird. I use the word starving because the nincompoops running our schools in collusion with the corporate overlords intentionally deprived those young people of varied, original, challenging and nourishing literature.

One of our first acts of compassion for these bright young people was to give them long reading lists of our favorite novels, short story collections, plays, and non-fiction works, as well as the names of hundreds of excellent writers and poets, most of those authors dead or just old. And for this simple gift of sharing the names of books and writers we admired, we were looked upon by our young peers as angels descended from heaven to end the vapidity of their cultural experiences.

Now that I am just old, I sometimes delude myself, just for fun, by imagining another totally neato renaissance happening in my lifetime. Or maybe, as a friend who is also just old opined, “The renaissance is always here, but like a whale, she dives deep for food and we can’t see her most of the time unless we happen to be watching when she comes up for air.”

Lost To Time

Wednesday, May 27th, 2015

Compound India ink on paper by Nolan Winkler

Compound drawing by Nolan Winkler

(This article appeared in the Anderson Valley Advertiser May 2015)

“Our soul is cast into a body, where it finds number, time, dimension. Thereupon it reasons, and calls this nature necessity, and can believe nothing else.” Blaise Pascal

We just watched the movie Wild based on a memoir by a woman, played in the movie by Reese Witherspoon, who hiked the Pacific Crest Trail through California and Oregon to overcome her anger and sorrow about her mother’s death, and to end her addiction to heroin and frequent rough sex with nasty strangers. If ever a movie was made to convince people, especially women, never to go backpacking, this is that movie. From the beginning of her hike until the finish, a terrified Witherspoon runs a gauntlet of small-brained rapist alcoholics, though before she hit the trail she couldn’t get enough of those guys. If you enjoy stilted dialogue, confusing flashbacks, uninspiring views of wilderness, and a cute woman groaning as she hikes and flees from small-brained rapist alcoholics, you’ll love this movie.

“People today are still living off the table scraps of the sixties. They are still being passed around—the music and the ideas.” Bob Dylan

In the summer of 1965, when I was fifteen, I went on a backpack trip with my fifteen-year-old pals Pierre and Nathan. Pierre’s parents drove us from Menlo Park to the end of Palo Colorado Canyon Road in Big Sur, we bid them adieu, and spent five glorious days hiking through the rugged wilderness to Pfeiffer Big Sur Sate Park.

Emerging from the wilds at the end of Day Five, we hitchhiked north from Pfeiffer about ten miles to a place named something I can find no reference to on contemporary maps or in descriptions of the Big Sur coast, all traces of the racist moniker lost to time. This rare piece of flat land on a coastline of steep slopes held a farmhouse and outbuildings inhabited by scruffy men and women, dirty children, cats, dogs, and chickens.

Why did we go there? Because Pierre was hot on the trail of Sheila, sixteen, who lived in the farmhouse with her mother Joan, the boss of the place. Joan was six-foot-five, curvaceous, muscular, and drop dead gorgeous. She had two other children on the premises, an eleven-year-old son Brian, already six-feet-tall, and a four-year-old daughter Desiree. She also had two husbands living with her, twin brothers with dreamy smiles and neatly trimmed beards, both a foot shorter than Joan.

Joan told us she was throwing a big party that night and we were welcome to partake. Shortly thereafter Pierre vanished with Sheila, many more scruffy men and women arrived, and wreaths of cannabis smoke graced the air. Sensing my unease, Joan’s very tall eleven-year-old son Brian said he would take us to an ideal camping spot far from the madding crowd.

“But first have some food,” said Brian, wise beyond his years.

So Nathan and I stayed for spaghetti and meatballs and cucumber salad, but eschewed the marijuana-infused desserts, mescaline punch, and LSD. Brian then led us up a steep track to flat ground high above the farm. Fog rolled in, darkness fell, and having hiked twenty miles that day, we crawled into our bags and slept like logs for twelve hours.

Waking to a breathtaking view of the Pacific Ocean sparkling in the morning sun, we hiked down to the farm to get Pierre and make our way north to Carmel where Nathan’s mother would meet us and take us home.

We found the place a trampled mess and Joan in the kitchen, inspiringly topless, making scrambled eggs. When we asked where Pierre was she said, “He’s with Frank in Carmel.”

She wrote Frank’s address on a scrap of paper and Nathan and I set off hiking north along Highway One where not a single car went by in either direction for what seemed like hours. Finally a badly wheezing Datsun stopped for us and the longhaired driver asked, “You at Joan’s party last night? I can’t believe I missed it.”

He then gave us a vivid secondhand account of the party at which, his source reported, a renowned LSD chemist shared his finest with famous writers and musicians and everyone else, the mescaline was mythic, everyone had sex with everyone, and mass enlightenment ensued.

Our ride ended in Carmel Highlands from where we hitched into Carmel proper and called Nathan’s mother from a pay phone, her estimated arrival time four hours.

We had no trouble finding Frank’s house, but we had trouble with Frank. A sallow fellow with lank hair, he stood defiantly in his doorway proclaiming, “Pierre is ill and going to be living with me from now.” He explained that while tripping together, he and Pierre had discovered a deep cosmic affinity spanning many past and future lives.

Returning to central Carmel sans Pierre, Nathan and I were photographed by dozens of tourists who felt certain we two filthy teenagers with backpacks must be that new kind of human they’d heard so much about: the hippy.

Nathan’s mother arrived, we drove with her to Frank’s house, and when Frank tried to stop Nathan’s usually mild-mannered mom from rescuing Pierre, she shouted, “He’s fifteen! You want to go to prison for a very long time?”

So Frank allowed us to collect Pierre and we rode home with our comrade lying comatose in the back of the station wagon. Two days later, Pierre told me he remembered having sex with Sheila, but thereafter everything was a blur, which was probably a good thing.

Seven years later, in 1972, I told this story to a hippy guy from Big Sur. He knew Joan’s place by the name of which there is no record today, and he told me that party was now legend and considered by many people to be the Beginning of Everything.

Nowadays, circa 2015, most of the inhabitants of Carmel and Big Sur are wealthy non-hippies—the politically incorrect place names from olden times erased to expunge the grunge, and oh Kerouac was it ever grungy at Joan’s place in 1965.

Stripes

Wednesday, May 13th, 2015

this song's for you site

This Song’s For You by Nolan Winkler

(This article appeared in the Anderson Valley Advertiser May 2015)

“The truth you believe in and cling to makes you unavailable to hear anything new.” Pema Chödrön

A friend recently sent me a link to a short movie about a high school art teacher in St. Paul Minnesota whose students are recent arrivals from other countries, refugees from military conflicts. Many of the students barely speak English, so this teacher has devised fun and creative ways to explore color theory without needing much language for the learning.

Watching the film reminded me of another short art-related movie made by a friend of mine in 1976 called Stripes, about stripe patterns in paintings and life. Dan Nadaner, now a professor of art and a successful artist, made the three-minute long film in those pre-digital days while doing an internship at the Metropolitan Museum of Art in Manhattan. For the soundtrack, he wrote a ditty about the stripes that appear in paintings by famous artists, and he asked me to play guitar and sing his lyrics in the way he imagined, a kind of slow-going country song.

I was twenty-six and living in Medford Oregon at the time, working as a landscaper. I had stopped writing and making music entirely for a reason that may sound ridiculous, but which made perfect sense given the accumulation of neuroses characterizing me in those days.

I took up the guitar at the age of twenty when I needed a more mobile instrument than a piano. Three years later I was making a large part of my minimal living playing guitar and singing in pubs and cafés in Santa Cruz, and it was during this time I entered into a relationship with a woman who was studying piano.

My relationship pattern at that time and for much of my life was to choose partners and friends who were openly hostile toward my music and writing. Why would an artist repeatedly get involved with people who despise his art? The short answer is that my parents were contemptuous of my music and writing and violently opposed to my pursuing those art forms as my life’s calling. Thus as a child and teenager I became habituated to abuse and disdain for what I was passionate about, and as I progressed into adulthood I repeatedly and unconsciously chose people reminiscent of my parents to be my mates and friends. This continued into middle age when I finally broke free of that debilitating pattern.

But before breaking free, I spent much of my life enmeshed with people who thrived on disparaging the likes of me, and one of those people was my girlfriend when I was twenty-four and twenty-five and making part of my living as a musician and selling the occasional short story. My girlfriend hated the relative ease with which I made music, and by the end of our relationship she had convinced me that my desire to entertain people with my music and stories was an emotional crutch. She preached at me incessantly that if I ever wanted to become a whole and genuine person, I needed to quit making music and stop writing.

So I gave up writing and music, she and I broke up, I went to work as a landscaper, and I didn’t play a note or write a word for one long year until Dan called me from New York and asked me to play guitar and sing the soundtrack for his movie Stripes.

I clearly remember telling Dan that I no longer played guitar or sang or wrote stories, and I remember Dan calmly suggesting this was a passing phase, that I was a good musician and he was sure I would do a fine job singing his ditty about stripes.

So I borrowed a guitar and played and sang the Stripes song into a cassette recorder and sent the tape to Dan, thinking it would be something he could use to clarify his vision of the soundtrack, but then he called and said, “That’s perfect.”

The next day I woke up with a new song forming and I barely got the words written down and the chords figured out before another song began to emerge. Then the floodgates opened, I purchased the borrowed guitar, wrote dozens of songs, started playing the piano again, and haven’t stopped playing since.

Shortly after I began making music again, I wrote the first short story I’d written in two years and immediately sold it for five hundred dollars. I know this sounds like a fairy tale, but it is entirely true. Dan asking me to play and sing for his movie, and his approval of what I created for him, lifted the curse and turned Toad into a functional writer and musician again.

“How did it get so late so soon? Its night before its afternoon. December is here before its June. My goodness how the time has flewn. How did it get so late so soon?” Dr. Seuss

More than thirty years later, Dan sent me a DVD of Stripes, and when I watched the movie again after all these years, my gratitude to him was as big as the moon. The film is somewhat rosy now, having lain in a canister for three decades before being transferred to digital format, but I still find it a most beautiful creation. Our web meister Garth has posted Stripes on my web site so you can take a look. Just go to Underthetablebooks.com and click on Films.

Alas, my resumption of writing and making music way back when did not go hand in hand with an end to relationships with abusive people who hated my music and writing. That blessed day would not come until I was in my mid-fifties and I finally ended the last of those debilitating connections. What took me so long? I guess these kinds of transformations take time.