Note 1: I’ve been chipping away at this post for about eight twelve months off and on. I finally managed to bring it in for a landing yesterday night. File it under #slowblogging and #longreads.
Sam Lefebvre’s recent cover story on Pandora in the East Bay Express overlaps some of what I discuss here, and it’s well worth reading. That said, as our respective focuses aren’t the same in every regard, I’m hopeful that this post will serve as a useful compliment to Lefebrvre’s piece.
Note 2: This post was updated on December 8, 2014 with a bit of new content based on some comments I received when it first went up. I expect there will probably be more substantive updates as time goes by, and if that happens, I’ll let you know right here.
Note 3: If you’d rather read this post off-line, feel free to download a copy of it in pdf, MOBI, or EPUB format. Apologies in advance for any formatting anomalies. I’m not yet a wizard at doing ebook format conversions.
***
Of all the dedicated digital music streaming services to come on-line since 2000, none has drawn the ire of the music industry quite like Pandora.
On its face, this may seem peculiar. After all, Pandora is a legal, royalty paying service. It has passed 250 million registered users in the U.S. Moreover, despite loud protestations to the contrary, there’s a credible argument to be made that, on a per listener basis, Pandora actually pays more royalties per spin to both songwriters and master rights-holders than does terrestrial radio.
So shouldn’t Pandora be a win for record labels and music publishers? Aren’t they being irrational in hating Pandora more than all the other services?
Succinctly, no. Pandora has been more disruptive of established music industry practices than any other major legal streaming music service. So the music industry has some very real reasons–both financial and aesthetic–to hate Pandora.
This post is a deep dive into five of those reasons. I’ve tried to keep my thoughts in plain English. But fair warning: I do get into some technical legal stuff towards the end. You can’t grasp the full picture without it. Continue reading “Five Reasons The Music Industry Hates Pandora The Most”
Back in 1977, I was starting 9th grade in Champaign, Illinois. One day, a kid in my class told me that if you wrote a letter to a pro sports team and told them you were a fan, they would send you free stuff.
The Seattle Seahawks were a brand new NFL franchise back then. Unlike the other expansion team, the Tampa Bay Buccaneers, who were one of the worst teams in NFL history, the Hawks had been reasonably competitive in their first season.
I thought the Seahawks helmets were super cool. They also had a left-handed quarterback: Jim Zorn. I thought that was cool too, as I was left-handed.
With the help of my mom, I wrote the Seahawks a letter saying that I was a big fan of their team. A few weeks later, I got an envelope back from them. Inside, was a decal that looked a lot like the picture above. I put that decal on the window in my bedroom.
Fast forward to 1992. My brother and I are driving across the country from Boston to Seattle, where he had lived since 1989. I am in the process of moving out there too.
We drive through Champaign on the way there and spend the night hanging out with my old friend Larry Crotser, who happens to be in town from Chicago that weekend visiting his parents.
The next day, Ben and I drive by our old house to take a look at it. There’s a guy out in front of the house next door, and we strike up a conversation with him. He indicates that if we knock on the door at our old house, the teenage son of the owner is there and he suspects that the son will let us see the inside of the house.
We go over and knock on the door. Sure enough, the son is home and after we explain who we are, he invites us into the house for a tour. They’ve done a lot of nice renovations on the inside. But while some things are definitely different, a lot of it is just as we remembered it.
When we head upstairs, we walk into my old bedroom. That’s when I see it: The Seahawks decal is still on the window there.
Later that day, after driving around town some more, we got in the car and continued the trip west to Seattle, where I’ve lived ever since.
In 2005, my parents moved to Seattle too. Now, the whole family is living here.
But long before any of us got to Seattle, the universe apparently knew that we would all end up here one day rooting for the Seahawks.
***
A year ago next Sunday (Jan 26), my dad passed away here in Seattle. Since my folks moved out here, Sunday football has been one of our family rituals.
I’m really happy I got to watch so many games with my dad in the years before he passed. Parkinsons took a lot of stuff away from him. But it never took away watching football, which was one of the last things he had left, and something he enjoyed to the very end.
I watched the NFC championship game with him last Jan 20, six days before he died. If he’d held on another week or two, we undoubtedly would have watched the Super Bowl together as well.
In a little while, Antonia and I will be heading up north to get my mom. Then, we’re going to my brother’s to watch today’s game with Ben and his family. Although my dad won’t be there, I know he’ll be with us in spirit for sure.
UPDATE 1:
Well, the Hawks played hard, got a few home team breaks, and managed to pull out a 23-17 victory. So we live to play another day.
Early in the season, my nephew developed a special celebration he’d do when something good happened for the Seahawks (a score, interception, sack, etc). It was also a tribute to my dad. He called it the “Conductor” (among other things, my dad was an orchestral conductor).
First, Max would tap the an imaginary podium with his imaginary baton. Then, he’d raise his hands up in the air and start conducting his imaginary orchestra. In my mind, they’re always playing a beautiful celebration song.
Let’s just say we were all doing the Conductor today at the end of the game after Richard Sherman tipped Colin Kaepernick’s pass in the end zone and Malcolm Smith grabbed it for an interception.
Next stop: Super Bowl. No sleep till Jersey!
Here’s hoping our imaginary orchestra is playing another celebratory song on Feb 2.
[no_toc]As I’ve mentioned before on this weblog, there wasn’t much Judeo-Christian worship in our family growing up. Nevertheless, there was always plenty of religion in our home. Through the years, my brother and I absorbed large helpings of an eclectic gospel authored by our father, Edwin London, the founder and sole rabbi of the Church of Dissonance.
When we were growing up, our church didn’t yet have a name. It was more of a free flowing set of ideas and attitudes–a way of being, or an outlook, if you will. The name came much later, courtesy of our buddy Pete Sheehy.
At a summer barbecue around 1999 or 2000, I was describing to Pete the childhood experience of attending my father’s atonal, contemporary music concerts, and how hard my brother and I found it to sit still through music so difficult to absorb that 10 minutes of it often felt more like an hour.
“That sounds a lot like it was for me going to church when I was a kid,” Pete interjected.
“You’re right,” I responded, “I guess we were raised in the Church of Dissonance.”
Since that day, I’ve intended to record the most important lessons of our church for posterity. And now, on Father’s Day, in the year of Edwin London’s passing, I think the time is finally right.
So I give you 17 lessons learned in the Church of Dissonance (“COD”):
1. Avoid cheap beer, rot-gut whiskey, and sweet mixed-drinks.
When I was in high school, my mom cut a cartoon out of the New Yorker and put it on the wall in the breakfast nook of our kitchen. There was a guy sitting at a bar talking to the bartender. The caption read “The good Scotch James. My body is my temple.”
Drinking was not frowned upon in the COD. But drinking low-end alcoholic beverages was. On more than one occasion, I got advice along the following lines from my dad:
“If you don’t like the taste of an alcoholic beverage on its own, don’t drink it mixed with other stuff to hide its flavor. Very little good ever comes from doing that. If you can’t afford to drink the quality, good tasting stuff, save your money until you can.”
As I enter my 35th year of drinking on a semi-regular basis, I’ve found my dad’s advice on these matters to be solid. I don’t always follow it (I do enjoy a limeade Shandy; sometimes, I make it with cheap beer), but when spirits are involved, dad was right: If one anticipates a long night of drinking, it’s best to avoid the Well and confine the mixer to an H20 derivative (e.g., ice, water, or club soda).
In his book Outliers, Malcolm Gladwell examines “success” and the societal factors that go into determining it. He deconstructs concepts like innate intelligence and natural ability. He examines how the year of your birth affects your life prospects, whether math skills are teachable, and how people born in certain months typically end up doing better in school and certain athletic endeavors. He also discusses the theory that it takes 10,000 hours of practice to master a skill.
Outliers isn’t Gladwell’s best book, but I still enjoyed it. So when I had an opportunity to see him discuss it at Town Hall in Seattle a while back, I jumped at the chance. I’d heard a few recordings of Gladwell giving talks, and he seemed like such a natural speaker—articulate, funny, and fluid. But evidently, this is not an inborn gift. It’s the product of intense preparation: Gladwell writes out each presentation, revises it, and then practices until he has it completely memorized.
All of Gladwell’s hard work was certainly in full effect during his talk at Town Hall. He effortlessly worked through a series of stories from Outliers, adding commentary and jokes to keep things rolling along smoothly. Towards the end of his talk, he turned to the subject of personal motivation, asserting that while society’s exceptional performers certainly possess natural ability, the thing that separates them from the pack is their willingness to “do the things that other people won’t do.”
To illustrate this point, Gladwell related an anecdote contrasting two pro golfers: Tiger Woods and Phil Mickelson. It seems to have been drawn from an on-line exchange between Gladwell and ESPN’s Bill Simmons. Here’s the salient portion of their exchange:
Gladwell:
I was watching golf, before Christmas, and the announcer said of Phil Mickelson that the tournament was the first time he’d picked up a golf club in five weeks. Assuming that’s true, isn’t that profoundly weird? How can you be one of the top two or three golfers of your generation and go five weeks without doing the thing you love? Did Mickelson also not have sex with his wife for five weeks? Did he give up chocolate for five weeks? Is this some weird golfer’s version of Lent that I’m unaware of? They say that Wayne Gretzky, as a 2-year-old, would cry when the Saturday night hockey game on TV was over, because it seemed to him at that age unbearably sad that something he loved so much had to come to end, and I’ve always thought that was the simplest explanation for why Gretzky was Gretzky. And surely it’s the explanation as well for why Mickelson will never be Tiger Woods.
Simmons:
On Mickelson and Sports Lent, I remember watching one of those 20/20-Dateline-type pieces about him once, and he was adamant about remaining a family man, taking breaks from golf and never letting the sport consume him … and I remember thinking to myself, “Right now Tiger is watching this and thinking, ’I got him. Cross Phil off the list. This guy will never pass me.” The great ones aren’t just great, they enjoy what they’re doing – that’s why MJ’s first retirement always seemed genuine to me. He had pretty much mastered his craft, and the media was wearing him down, and then his father was murdered, and for the first time in his life, basketball was looming as a chore for him. And he was smart enough to get away and recharge his batteries. I always respected him for that. Well, unless the real reason he “retired” was because of his gambling problems and an ominous “You screwed up, you’re gonna walk away for 18 months, and we’re gonna pretend this entire discussion never happened” ultimatum from commissioner Stern.
But I think there’s a certain amount of professionalism that needs to be there, as well, because there will always be days when you don’t feel like doing your job, and those are always the true tests. Halberstam has a great quote about this: “Being a professional is doing your job on the days you don’t feel like doing it.” I love that quote and mutter it to myself every time I don’t feel like writing because my allergies are bothering me, or my back hurts, or my head hurts, or there’s some random dog barking, or any of the other excuses I use when I’m procrastinating from pumping out something…..
I’ve thought a lot about this exchange since Gladwell’s talk at Town Hall (which happened before all of Woods’ marital issues hit the tabloids). At that point, Tiger’s image was untarnished. He was the 21st century, American, corporate ideal writ large in the sporting context—the guy with the entire world in the palm of his hand, the consummate competitor, the guy with the surgical focus, the guy who always puts winning first and eats guys like Phil Mickelson for lunch. In short, the guy who elicits a powerful man crush in the likes of Gladwell and Simmons: The guy who is willing to do what other people won’t do.
But back to Town Hall. As Gladwell was discussing Woods and Nickelson that night, I felt a powerful ambivalence welling up inside of me. Part of me is no less prone than Gladwell or Simmons to forming hero worshipping man crushes on high achieving dudes like Tiger Woods. So I get that impulse and its appeal.
Another part of me could barely hold myself back from standing up in the auditorium and shouting “No, that’s Bullshit!” Why do we venerate people like Tiger Woods, when it’s so obvious how unbalanced he is? Sure, he works hard. Sure, he’s good at what he does. Sure, he’s a winner, a champion. But what makes that inherently virtuous? What does his approach cost him and the others around him?
Isn’t there a shadow side to approaching life the way he does, particularly when the facade of Tiger can’t possibly be real? Hasn’t this story played out the same way enough times already? Whether it’s Tiger, Mark McGuire, Sammy Sosa, Roger Clemens, Alex Rodriguez, the Paterno/Sandusky Penn State scandal, or the recent Lance Armstrong revelations, I always wonder, “Does it really have to play out this way again?”
Is encouraging people to be more like Tiger, or JoePa, or Lance really the best thing for our culture and the health of the world at large? Can’t you smell that Schadenfreude laying in the grass, just waiting for its moment in the sun? Isn’t Phil Mickelson the one we should venerate, even if he isn’t quite the competitor that Tiger is? Isn’t he the one who is actually doing it the right way, who has a healthier perspective, the one who hasn’t sacrificed all of his humanity to the alter of achievement?” Or does none of that matter?
I don’t think I’m alone in this reaction. Indeed, as a society, we seem deeply ambivalent about this stuff. On the one hand, we have a tendency to treat people like Tiger Woods as if they were modern-day gods of Greek Mythology, with their outsized personalities, grand exploits, and superpowers. Many of us long to be like them. We fancy ourselves kindred spirits, working hard towards the moment when we’ll get our turn to claim our place in the sun and be recognized for our greatness. On the other hand, many of us also secretly enjoy it when people like Tiger fail, for somehow it validates that even if we never match Tiger’s worldly fame and glory, we’ll always have him dead to rights on matters of rectitude.
And in that moment of cognitive dissonance, whether implicitly or explicitly, we question the dominant success narrative of our culture. We remind ourselves that there are a lot of different kinds of success in this world, and the sort of success that Gladwell discusses in Outliers is of a very particular sort: success in the classroom, success on the athletic field, success on the big stage, success in the public sphere. Success at things with a clear, easy to measure metric attached to them. The sort of stuff that Corporate America is obsessed with, which probably explains why Gladwell has become such a popular speaker in those settings. (The day before his Town Hall talk, Gladwell gave the same talk on the Microsoft Campus in Redmond.)
Most of us righteously agree, at least for a minute, that maybe it’s not such a good idea to elevate this sort of success over all the other kinds. For venerating the “people who will do what other people won’t do” is saying that the end result is always more important than the process used to achieve it, and the main thing that gives any of us value is what we produce, irrespective of how it affects other people or makes us feel.
There’s very little room for friendships, familial bonds[1], empathy, or open-ended intellectual curiosity. It’s all about the bottom line, including the children we conceive and raise. If they don’t achieve in these terms, then the parent has to feel bad about that process too, even if the kid ends up having a relatively happy life, filled with loving relationships, cool experiences, etc.
But even at our most righteous, we can’t quite shake another discomfiting thought: Maybe this is just the ugly truth of how things really are, and most of us just don’t want to see it. Maybe all that stuff about work-life balance, caring about your fellow man or woman, and doing things the “right way” is just lip service, or bourgeois ethics designed mostly to maintain the status quo and keep the have-nots from catching up with the haves.
Or maybe these principles are a luxury that incumbent elites can afford, because the original sins of their forbearers, the ones that brought them to their current elevated station and continue to benefit them, have been erased by the passage of time.
In the three installments of the Godfather, Al Pacino’s Michael Corleone longs for legitimacy, to be clean, unsullied by the past sins of his father, like Kay (Diane Keaton), his WASP wife, and the WASPs he presumably went to college with. But of course their cleanliness is probably just an illusion too. Their power and privilege, so seamless and clean, is simply a function of more time and distance from the sin. Each progressive generation gets more abstracted from it. The provisional antecedents of the power become more obscured, the existence of the power more reified, until it is simply the default setting.
Everyone who lacks the benefits of incumbency faces the same dilemma faced by Michael’s father, Vito Corleone (Robert Dinero), in Godfather II. They don’t necessarily have the luxury of principle if they want to get ahead. All Vito wanted was to feed his family and make a good life for them in the new world. He didn’t set out to be an organized crime boss. He begins his time in America as a casualty of the Sicilian Mafia wars. But eventually he sees the situation for what it is: a no-win Kobayashi Maru scenario. And like Captain Kirk, he transgresses established ethics and societal norms, choosing “to do the things that others wouldn’t do,” break the existing rules, and “win” the game (“It’s not personal. It’s just business”).
From the looks of it, Vito is in good company. Whether it’s Mark McGuire, Barry Bonds, Lance Armstrong, and their buddies taking performance enhancing drugs in the world of sports, or rock bands using performance enhancing drugs like speed and Cocaine on the stage, there’s a lot of transgression going on. John Calipari keeps taking teams to the Final Four. He may not be honest. He pushes the envelope on the rules. But he’s a winner. His players make it to the NBA, and winners write the history.
Besides, aren’t the sanctimonious rules of the NCAA just so much hypocrisy anyway. Aren’t they just empty piety covering up the way college athletes are exploited by a system that pays them very little and profits greatly on the back of their talent and effort? Or are all apprenticeships like that, inherently exploitative? If you work in a lab as a post-doc fellow, you’re probably not getting compensated the true worth of your knowledge and talent either. But perhaps that is part of the learning process. Perhaps the deprivation and uneven power dynamic is part of what creates an environment in which people are more likely to respond to coaching and instruction. Hard to say.
Undoubtedly, Gladwell might respond to my criticisms by asserting that he’s not advocating that people behave like Tiger Woods or Lance Armstrong. He’s just reporting that successful people like Tiger Woods “do the things that other people won’t do.”
That’s a fair point, and Gladwell is certainly not alone in making it. Indeed, David Sedaris’s “Four Burners Theory” covers similar ground.[2] `But even if Gladwell isn’t explicitly advocating that people behave in this way, the message is clear. Hell, it’s clear from Gladwell’s own conduct. He’s one of those guys too. He writes and then re-writes the presentation. He memorizes and rehearses it until it’s seamless.
Most people don’t do that. The people who do aren’t like the rest of us. They’re rare. And because they do the things that other people won’t do, they also tend to play by a different set of rules than the rest of us (even when they pretend this isn’t so). Probably, like the gods of Greek Mythology, they always have.
Perhaps this is just more obvious in today’s media environment than it used to be. For nothing remains a secret very easily anymore and the media rarely protects celebrities today like it sometimes did in the past.[3] Particularly since the Vietnam War and Watergate, a lot of us have become cynical to the core. We’re just waiting for some dark shadow revelations to emerge from a story that seems too good to be true. And we’re always primed to tear the veil off of everything, because we can’t believe that anything, no matter how good it seems on the surface, couldn’t have something rotten lurking inside it.
Case in point: Here in Seattle, rookie sensation, Russell Wilson, burst onto the scene this past NFL season, quarterbacking the Seahawks to their best season in years. Like Tiger and Lance before him, he seems too good to be true. He always says the right sports clichés and does the right things (e.g., “the separation is in the preparation”). But as much as you want to feel good and embrace the Russell Wilson story all the way, it’s gotten hard to do that, because your heart has been broken so many times. So you’re just waiting for an unimaginably heinous story to break about a domestic violence situation between Wilson and his wife or allegations that he has been molesting 8-year-old boys at the local Children’s Hospital he visits every week.
Makes me sad to think about it. But how can you not think about it when things like this seem to happen almost every few weeks? I started writing this piece not long after the Tiger Woods scandal broke. Then it got stalled. The Lance Armstrong revelations inspired me to pick it back up and work on it more. In between those two events, we had the Penn State scandal and the Suzy Favor Hamilton scandal. Since then, there have been more allegations about Alex Rodriguez using PEDs. Who knows what will be next?
Maybe Gladwell’s next book should be a look at the psychology of high achievers such as himself. Perhaps then we could better appreciate how the tendencies that allow a person to “achieve” in one area of life increase the likelihood that they will transgress societal norms in other areas.[4] And with this knowledge, maybe we’d get clear once and for all that Charles Barkley had it right about not being a role model. Then, we’d be less inclined to elevate these people so unrealistically in the first place.
At the same time, perhaps it would also allow us to focus more attention on those areas of achievement that Gladwell has excluded from Outliers. For most people don’t get 10,000 hours of training when they begin the process of rearing children. Yet, some people manage to be better than other people anyway. Some people build and nurture a wide community of friends and associates (“Connectors” to use a term from another Gladwell book). Some people are always there in a crisis when a friend needs an understanding ear or help up off the carpet after they’ve fallen down. But only in rare circumstances are the accomplishments of these people foregrounded.
As former NFL coach Tony Dungy apparently has said, “Integrity is what you do when no one is watching; it’s doing the right thing all the time, even when it may work to your disadvantage.” Those words have got a pretty good ring to them. They definitely don’t describe the Captain Kirk, Kobayashi Maru scenario from the Starfleet Academy. But they do describe the Mr. Spock Kobayashi Maru scenario from the Wrath of Kahn.
There, faced with a no-win situation, Spock can’t just reprogram the computer simulation, change the background constraints, and prevail. Instead, he must sacrifice himself, so that others may survive. That’s a mighty high bar. Most of us don’t ever reach it. But it’s something to strive for.
Indeed, while I’m not a religious person, it seems like our faith (wherever we may find it) is what inspires and supports us in striving to act with integrity—even when nobody is watching, even when we never get a gold star, and even when so many messages in the culture make us feel foolish for doing so.
It’s a good thing that a lot of people still seem to have this sort of faith or we’d be really screwed. But sometimes it still feels like an endangered species that is being asked to carry too much of the load. And I worry about what may happen if we don’t collectively work harder to re-factor our priorities and foreground the values that support this sort of faith. For living these values doesn’t just ask us to do what other people won’t do. It also asks us to do things that many people don’t do.
They’re not necessarily the same things that Gladwell is talking about in Outliers. But they definitely pose their own challenges. Often, they are even harder than doing the things that people like Tiger Woods and Lance Armstrong do to excel in their respective endeavors (i.e., deferring short-term gratification to achieve something bigger in the long-term). For at least in this life on earth, there isn’t much glory attached to doing the difficult integrity things that a lot of other folks don’t do. And that’s kind of a shame, because these seem like the things that actually deserve the most glory and attention.
So maybe one of these days, if we’re lucky, somebody will write a contemporary, best-selling book venerating people who have managed to do well these less sexy, but no less important, things.
Maybe they’ll write out a great speech based on the book and revise it until it shines. Maybe they’ll memorize their speech. Maybe they’ll be booked to give it at places like Town Hall and Microsoft. Maybe it will become a sensation and inspire a more public conversation about how the rest of us can better emulate the people described in the book.
In the mean time, I guess the best we can do is have that sort of conversation ourselves with the people we know, however imperfect or unpolished it may seem, and try to live those ideas everyday, even when nobody is watching. From small things (big things one day come).
In the wake of the Lance Armstrong mea culpa, it was heartbreaking to hear the story about Armstrong telling his son, who defended his honor, that he had lied to him about his PED use. ↩
The “Four Burner Theory” encourages us to look at our lives as a stove with four burners. Burner one represents family. Burner two represents Friends. Burner three represents health. Burner four represents career. According to Sedaris, to be good at one of these areas of life, you must turn down the flame on one of the other burners (e.g., to be really good at career, either friends, family, or your health needs to be mostly ignored). To be great at one of these areas of life, you must turn down the flame on two burners. So it might be possible to be great at career and keep the burner of family on. But you’ll probably need to turn off the burners of health and friendship. In my experience, many people do end up turning down one burner to focus on the other three. But only a select few, the “people who will do what other people won’t do,” can stomach losing two of the four burners. ↩
It’s a little crazy that former Olympian (and fellow UW-Madison Badger) Suzy Favor Hamilton, could embark on a secret career as a high-priced escort and believe that if she shared her real identity with clients it would nevertheless remain a secret. But on another level, while perhaps a bit naive, maybe it wasn’t completely crazy to think that people would keep it in confidence (or at least mostly in confidence). Probably, the story didn’t leak out because one mean dude called TMZ. It was more like somebody used her services, bragged about it to a buddy and told him not to tell anyone else. Of course, that buddy had to tell at least one other person. Eventually, along that chain, the message of discretion was lost. The rumor got into the hands of somebody with a monetary interest in determining whether it was true. With a little digging, they determined it was true. The rest is history. ↩
More Suzy Favor Hamilton, because her story is so rich and, well, she’s a fellow UW-Madison Badger. In addition to being a world class middle distance runner, she apparently also became a top-ranked escort. Undoubtedly, her decision to get into the escorting business was driven by a lot of different things. Other than noting that this isn’t something that most upper-middle class professional women do, I’m not here to judge her actions or motivations. But one thing seems clear from the news accounts. ↩Once she committed to being an escort, she was in it to win it. She wasn’t going to be a mediocre escort. And I wonder if the competitive aspect of that business was one of the draws for her. For while she could no longer use her body to strive to be the best middle-distance runner in the world. being the top-ranked escort in Vegas was apparently still a realistic possibility. As dude pushing 50 myself, I can tell you that best “beer gut” is about the only body-related competition where I’d have any realistic shot of being top-ranked. So however weird it might seem to a lot of people, attaining top-ranked escort status in Vegas as person over 40 is something that most people could never do even if they wanted to. Therefore, whatever one thinks about the propriety of her actions, I don’t find it that hard to understand how they filled a psychological need for Favor-Hamilton.
(Poster above by Ed Fotheringham. Printing by the Vera Project. There are still a limited number of posters for sale. Proceeds go to Music for Marriage Equality. Starting on August 27, 2012, you should be able to buy one at www.music4marriage.org. Nice, professional, B&W photos below by Niffer Calderwood. Video by Chris Swenson. Blurry color photo of Ed Fotherginham’s feet by me and my Droid Incredible.)
I saw an impromptu reunion of the band Flop last Saturday night in the living room at my buddy Whiting’s house. For those who don’t know them, Flop was a band from the era of the Seattle grunge explosion, but never quite of the Seattle grunge explosion. They made three great full-length records, filled with melodic pop/punk. Then they disbanded around 1995.
In a alternate universe, destiny might well have delivered to Flop the fame that Nirvana, Pearl Jam, and Soundgarden received in ours. Meanwhile, Kurt Cobain, after years spent touring and trying to make it in the music business, might have put his art skills to use and stumbled into a successful career in web design, all the while continuing to play music shows and release records of great quality.
But in our universe, that fate belongs to Rusty Willoughby: art director by day, musician and songwriter 24/7/365. Whether with Pure Joy, Flop, Llama, or his most recent project, Cobirds Unite, few Seattle musicians have matched Rusty for longevity and consistent quality of output. Indeed, the Cobirds Unite album is easily one of my favorite records of the last 5 years.
Rusty may have never amassed a fan base comparable to that of the icons of grunge, but his audience remains passionate and loyal, a fact that was plainly evident last Saturday night. People were in high spirits, and Rusty, Bill, Paul, Nate, and Dave did not leave them disappointed.
The show somehow managed this amazing trick of being filled with wonderful nostalgia while simultaneously remaining absolutely rooted in the now. Maybe it was having everyone packed into such a small space (a great call on Flop’s part). Maybe, because Rusty’s current songs are still so great, nobody had to feel secretly sad that all the good stuff was in the past. Whatever the reasons, Whiting’s living room felt refreshingly devoid of ironic self-consciousness.
This, in and of itself, was notable. For few in the annals of history have wielded the protective shield of cynical, self-aware, irony more proudly and completely than the people of my generation. Boomer hippies have their free love, patchouli, tie dye, consciousness raising protest marches, and self-righteousness. We have our irony.
If I had any doubt about just how much our ironic outlook marks us as creatures of a particular time and place, a recent weekend spent amongst the sincerely earnest young songsters at the Doe Bay Music Festival made it plain for me again.
But last Saturday there was no one foot in the water and one foot on the shore. Everyone in the room seemed to want to be there all the way. And they looked like they belonged there too. Scanning the proceedings, I had an odd sensation, as if somebody had taken a picture of a house party from 1992, put it in Photoshop, and applied the “middle-aged” filter.
I know that probably doesn’t sound very attractive in the abstract. But it was really quite awesome in the flesh. The years had not transformed anyone into a sad, unrecognizable caricature of their younger self, and Flop was still great too. Yes, there were some bald heads and grey hair. But cosmetics could not obscure the unbroken thread running from Whiting’s living room all the way back to where it all started for Flop years ago in a shared U-District house.
Video by Chris Swenson
There was no bittersweet paradise lost vibe. There was only a joyful feeling of renewal, as we reconnected at the most basic and visceral level to what for many of us is the formative, shared-cultural experience of our generation, our storefront church, our Festival Express: the small-scale rock show–band and audience crammed together, wall between them destroyed, pulsing and undulating as one, senses completely immersed in the moment.
I’m not sure how the night could have been any more right. For my people have always been mostly about little cultural moments like this, shared with our immediate community, in places like basements and living rooms. We might not have invented doing it yourself, but our most significant cultural contribution has probably been making it something that everyone throughout the world immediately understands when they see the letters “DIY”.
The ethos of DIY is a modest one. Rarely, does its reach exceed its grasp. To a large extent, it exists in opposition to the grandiose. Indeed, it was probably observing the very public foibles of the Greatest Generation and the early Baby Boomers that led many of us to cling so tightly to the more modest goal of keeping things real enough that they don’t get too overblown and polluted.
Perhaps, it’s fair to criticize our lack of grand, widescreen audacity and ambition. But on the other hand, our DIY ethos seems to have aged better than tie dye and patchouli.
And that’s no accident. It was by design. For metaphorically speaking, DIY isn’t one particular suit of clothes or a specific fashion trend. It’s whatever you happen to be wearing at the moment you decide you’re going to get off your ass and do something, however small or personal it may seem in the grander scheme of things. In this regard, DIY is a timeless outfit that’s always in style.
Over the last 30 years, we’ve helped grow a lot of cool stuff out of the DIY soil. Even if it wasn’t a stated goal to begin with, some of it has changed the world. In the process, we’ve acquired power. Many among us are now the Man or the Woman.
So it’s both foolish and impossible to pretend that we are still part of some sort of underdog insurgency. Our sensibility is everywhere, in all kinds of improbable places, like State Farm Insurance commercials and sports talk radio.
Indeed, it increasingly feels like the entire mainstream is populated with people like us, cultural omnivores, making sly references to things like Gilligan’s Island; John Cage; Rush; Miles Davis; the Three Stooges; Apocalypse Now; and Tony Orlando and Dawn. It’s not just for margin dwelling hipsters anymore.
That can be pretty weird to contemplate sometimes. But still, even in middle age, a different thread also remains, one running slightly under the surface, but nevertheless hardwired into our collective identity. We don’t seem to know any other way than to keep going back to the DIY soil, wherever we may find it.
When in doubt, go to the basement, the living room, the practice space, the workshop, the drawing board, the word processor, or wherever else you do your thing. Make something.
Why? Because you want to. Because you have to. Because the act of doing it feels good in and of itself, even if the process ends up being more important than the outcome in the grand scheme of things. Express yourself. Remind yourself that you are still alive. In doing so, maybe help remind your friends and family that they are alive too.
That’s what Flop invited us to do with them so joyfully last Saturday night, put our hands in that dirt, rub it on our sweaty, beer-soaked faces, and remember something that has shaped so much of what we’ve done to date: No matter how much our worlds may change, with careers, kids, and lots of other cool (and not so cool) distractions and responsibilities, that soil remains ours to work in. We don’t need anyone’s permission to sow our seeds there. All we need is a little inspiration, the tools at hand, and the will to follow through.
In that piece, Brendan draws a distinction between “violence” and “vandalism,” suggesting that the news media too often lumps these two things together under the singular heading of “violence.”
While I agree that Brendan’s distinction may well be worth considering, particularly at the level of theory, I’m not surprised that people typically link the term “vandalism” with the term “violence.”
Here’s why: Both vandalism and violence are forms of aggression. Yes, they take place along a moral continuum. Violence is worse. But when people, animals, etc. are nearby, the distance between vandalism and violence can be very short indeed.
Most people are cognizant of this reality. They know that once you let out the genie of aggression for whatever purpose, righteous intentions may not be enough to prevent a situation from careening into violence.
When I was in school in Madison, Wisconsin back in the mid to late 1980s, there was a fruit smoothie stand on the Library Mall called “Loose Juice.” It was owned by a guy named Karleton Armstrong. On August 24, 1970, Karleton, his brother and two other dudes blew up the Army Math Research Building at the University of Wisconsin-Madison.
It was intended as an act of vandalism or targeted property destruction to use Brendan’s terminology. Karleton and his cohorts tried to make sure that nobody was inside.
But a post-doctoral fellow named Robert Fassnacht apparently didn’t get the memo. He was in the basement doing research that night, trying to wrap some stuff up before starting his family vacation. When the building blew up, he was killed.
Karleton and some of his cohorts went to jail (one of the four dudes is apparently still at large). When he got out, he opened the smoothie stand.
Karleton made a good smoothie called the Dick Gregory with strawberries and bananas. He seemed like a humble, soft spoken dude. I’m sure his intentions were good back in 1970. But his act of targeted property destruction killed somebody. That was real. That was violence. That he intended something different didn’t change the outcome.
This reality was hammered home for me years later here in Seattle. A distant cousin of mine came to visit and pinged about having lunch with my brother and me. We met him and his wife at the Saigon Bistro above the Viet Wah in the I.D..
My cousin was older than us, and we didn’t know him really at all. As we talked, it turned out that he had attended grad school in Madison during the late 1960s and early 1970s.
I made a comment about that era being crazy times. I think I must have referenced the Math Research Building blowing up and how Karelton had the smoothie stand on the Library Mall while I was in Madison.
When I said that, my cousin tensed up a little. “The guy who was killed in that bombing was a friend and colleague of mine. He had a wife and young kids.”
That put a razor sharp edge on things. Maybe Karleton had had a weird life he didn’t expect, blowing up a building, going to jail, selling smoothies, and later owning a deli called the Radical Rye on State Street in Madison. But he was still alive. My cousin’s friend was dead, and his kids never got to know their father.
My take away: Any time you move into aggressive destruction mode, you create a risk of hurting somebody. In an urban environment like downtown, where there are a lot of people around, that risk goes up.
Probably, the most brutalizing aspect of modern capitalism is the way that it turns people into abstractions on a spreadsheet. Philosopher Kings of the market make decisions that don’t take the human costs into account and a lot of people suffer. Generals and government officials do the same thing on the battlefield.
But when “anarchists” do targeted property damage vandalism, they’re kind of just fighting one immoral approach with another one. They replace the spreadsheet with some sort of theoretical revolutionary framework. But they’re still trying to play the role of Philosopher King, taking their cues from a place of abstraction, where the human costs of their actions don’t seem any more well considered than the actions of the people they are protesting against.
Sure, the wine in their glass may be different, but the glass itself is the same. It’s the same pattern of thought. It’s the same psychological impulse. It’s two wrongs don’t make a right.
To me, this is the power of non-violence. It mostly avoids this mirror imaging problem. It’s a different kind of vessel entirely. Yes, it is slow. Yes, it requires lots of discipline. No, it is often not emotionally satisfying. But like interest compounding, if people can stick with it long enough, it’s been known to add up.
I’ve had a K-Mart radio for over 30 years now. It receives AM, FM, and shortwave frequencies. It was made in Japan before that was a compliment. Nevertheless, it aspires to be hi-fidelity, with knobs and switches for bass, treble, volume, and loudness, plus a separate woofer and tweeter. It even has inputs on its side for things like microphones and electric guitars. Yes, I have played guitar through it.
A while back, a housemate of mine moved out and took the boombox from our kitchen. After months of cooking without music, I remembered the K-Mart radio, dug it out of storage, and put it back into service. Worked like a charm. No CDs, cassettes, or MP3s. Just whatever’s on the terrestrial airwaves when you power it up.
Around 1975, my dad gave both my brother and me one of these radios for Christmas. For me, it replaced an old tube table radio that had originally been my grandmother’s. That radio had a cool orange light on the front of it and wood on the sides. But it was on its last legs. As it heated up, the volume would drop until you couldn’t hear much of anything. It also didn’t have good AM reception. So I couldn’t listen to WLS, the Top 40 station from Chicago. But I did listen to Champaign’s WLRW Solid Gold FM on it: “Poison Ivy,” “Charlie Brown,” “Rag Doll,” and things like that. Strange to think that those oldies were younger in 1975 than the K-Mart radio is now.
I come from a mixed faith marriage. My mom is Episcopalian. My dad is Jewish. There are undoubtedly a lot of reasons why the faith of the mother determines the faith of the child in Judaism. But one reason might be that women are often the ones who maintain the family cultural traditions. That was pretty much true in my family. Perhaps because of the mixed marriage, I got very little traditional religion growing up. We never attended church or temple. Mostly, we worshipped in the Church of Dissonance, which really wasn’t a place as much as a way of being. But that’s a subject for another time.
We did, however, celebrate Christmas. Presumably, my mother was the instigator of this. As a very little boy, we went at least once out to Oakland, California to celebrate it with her mom. Probably, there were more times before that. But I don’t remember them. Maybe we celebrated it for Grandma’s sake. I don’t know. But when I was 5, Grandma died, and we kept on celebrating Christmas. So it either meant something to somebody, or by that time the habit was formed. The Londons are nothing if not creatures of habit, and Christmas certainly helped organize our yearly consumption of consumer durable goods. It also gave me one less thing to feel like a freak about (let’s just say that most of the kids I knew growing up did not worship in the Church of Dissonance).
Kids and Christmas are a very comfortable fit. At least that’s how it’s always seemed to me. Everyone is happy to see kids. People give them things. And why wouldn’t people give them things? Kids really make Christmas fun. They embody the joy of the season. Even today, it’s easy to please a kid with less than ten dollars. Try really pleasing an adult with less than 10 dollars. It’s virtually impossible. Only a kid delivers that much positive feedback for ten bucks.
As a kid, I didn’t think much about Christmas. It was just something we did. Consequently, I never really considered the possibility that my dad, the Jewish guy, might have a more complicated relationship with the holiday than I did. Of course, in retrospect, it’s clear that he did.
On the one hand, my dad definitely had the outsider’s anthropological curiosity about Christmas. In the late 1950s, he wrote an opera about Santa Claus to complete his Ph.D. in music composition. And in the 1970s, he composed a suite of Christmas music under the pseudonym “Bjørne Enstabile”. (Maybe he determined that since Irving Berlin had written a famous Christmas tune, it was a rite of passage for all Jewish composers to try their hand at writing one too.)
On the other hand, I think celebrating Christmas was always a little bit weird for my dad, like getting an invite to an annual party you have routinely been excluded from in the past. Even if the party is pretty fun, you never completely shake the sense that there’s something a little wrong about being there.
I’ve dated a few Jewish gals over the years, and on a couple of occasions they celebrated Christmas with me. While I don’t want to project too much of their experience with Christmas onto my dad, talking with them about it did provide me with at least a little bit of third party Jewish perspective on what it feels like to participate in the Christian rituals.
My takeaway from these conversations? Dad liked the family togetherness of Christmas. He seemed to like that low budget positive kid feedback part too. But he was nevertheless ambivalent about the holiday, and he expressed this ambivalence each year by putting off his Christmas shopping until the last possible moment.
Typically, the drill went something like this: Finals would end a few days before Christmas at the University of Illinois, where my dad taught music theory and composition. Then on December 23 or December 24, my dad would go have a few afternoon drinks, maybe with his friend Salvatore Martirano, maybe with some other folks, maybe alone. I don’t really know. But having some drinks was usually involved. Then he was ready to head off and do some Christmas shopping.
The year of the K-Mart radio was definitely a Christmas Eve shopping year. In fact, I think it was an unprecedented Christmas Eve night shopping year. This is probably how K-Mart got involved. Under normal circumstances, it wouldn’t have been dad’s go-to shopping destination. But it was one of the few stores open late on December 24th. So he didn’t have much of a choice.
The K-Mart in Champaign, Illinois was on Bloomington Road near Prospect Avenue (it’s a Home Depot now). From our house on West Hill Street, you drove north up Prospect across the railroad tracks, past Unc Blacker’s Tavern (“Coldest Beer in Town”), Top Boy Hamburgers, Putt Putt Golf, Dairy Queen, Shakey’s Pizza , Dog and Suds, and Foremost Liquors. I think there was a Red Lobster up there too.
We didn’t live far from the K-Mart, maybe a mile or two away. Once I got to junior high school, I biked it pretty regularly (indeed my junior high school was between our house and the K-Mart). But it was definitely in a different part of town. Our neighborhood sort of defined the northern edge of the nicer part of Champaign. It was nothing fancy, but it mostly consisted of reasonably well-kept, middle class, single family homes. As you headed north out towards K-Mart, things got progressively more low rent and run down. If you headed due east from K-Mart, you eventually found yourself in a poorer, African American part of town. And if you headed due west, you’d find a lot of poor and lower middle class white folks.
Whatever their ethnicity, these people were the regular customers of the K-Mart. And that Christmas Eve night was no exception. My dad later painted a rather bleak picture of the scene: people struggling under the dingy glow of the fluorescent lights to get some last minute shopping done with whatever cash they’d managed to scrape together before the impending deadline–many of them undoubtedly hoping their meager budget would be enough to win some positive feedback from their children.
Dad, the tipsy, middle-class academic, was most definitely a tourist in that sea of desperation. But he was not a stranger to it. He’d grown up poor in Philadelphia during the Great Depression. While he never said so explicitly, I’ve wondered whether the scene conjured up some unhappy childhood memories for him. All I know is that he never hit the K-Mart on Christmas Eve night again. And he rarely went to K-Mart at all after that.
So this night was different than all the other nights. It was like a higher power drew my dad to the radios. For they were of a quality rarely encountered at K-Mart before or since that day. I can’t remember anything else I received for Christmas in 1975, but the K-Mart radio left its indelible mark almost immediately. How different our lives would have been if dad had not gone to the K-Mart that night.
K-Mart Radio Era London Family @ the Sheraton in French Lick, Indiana. Seems entirely plausible that Post-IU/Pre-ISU Larry Bird was hanging out down in the basement bowling alley as this picture was being taken.
The day after I got the new radio, I was a little more of my own person than the day before I got it. Receiving it was like encountering Martin Luther’s 95 Theses during the Protestant Reformation and contemplating for the first time the possibility that no sacerdotal middle man was necessary to convene with the divine. Suddenly, I had my own direct connection. Now, it was about me and my peers. What did I like? What did we like? Who was cool? Who wasn’t? Before too long, we had our own cultural theology.
Of course, thinking about it almost 40 years later, my illusions of autonomy seem pretty quaint. Even if the K-Mart radio took my parents out of my cultural loop, there were still plenty of adults in the abstract ether of the mass media, constructing and structuring most of what we kids consumed. Sure, there was a symbiotic feedback loop. These people were eager to see what we liked, because their livelihood depended on it. But ultimately, it was a very top down system of dissemination with an incredibly powerful supply-side filtering mechanism. Many were called. But we only heard the very few who were chosen by the gods of the mass media.
Today, we live in an era of media fragmentation. Choice and individuality are buzzwords. The old enforced scarcity of mass media and supply-side filters has given way to a networked, hyper-abundance of digitized culture products. Often, it feels like almost everyone is both a publisher and a consumer.
Contemporary kids embrace a cultural theology far more radical than anything we could have conceived of in the 1970s. Many aren’t just skeptical about the privileged role of the sacerdotal middle man. They question the entire notion that any divine “other” exists outside the confines of the peer-to-peer Hive Mind.
Devices like the iPod allow people to carry tens of thousands of songs around in the palm of their hands. To anyone born before 1980, having easy access to such a huge archive of recorded music feels like an episode of Star Trek. All you have to do is say “Computer, play me some John Coltrane, Chuck Berry, Mississippi John Hurt, Minutemen, Hank Williams, Nick Drake, Death Cab for Cutie, and Soul Asylum.” A few moments later you’re listening to it.
In the face of this abundance, the shuffle feature has become a popular tool for addressing its challenges. Don’t know what to choose? Put it on shuffle. Who knows what it will play next? When shuffle does a good job, one may even entertain the possibility that the algorithm is tapping into something divine. But this is an illusion. Ultimately, all the control remains with the user. Don’t like the song that comes up in the shuffle? Skip it. Or put on your own customized play list. In the end, each iPod user has the godlike power to craft their own personal pop cultural experience.
That sort of power seems pretty great in theory. But in practice, wielding it can be rather overwhelming. Barry Schwartz’s book, The Paradox of Choice, eloquently addresses this conundrum. More choice, he argues, doesn’t necessarily mean more happiness. Often, it leaves people drained and dissatisfied. So many choices. So many what-ifs after a choice is made. Did I really make the best choice? Maybe I should have gotten the Chipotle, Cool Ranch Doritos instead of Extra Spicy Nacho Cheese.
This problem is particularly acute in the context of music consumption. So much old music is easily available and so much more new music is constantly being released. It’s like trying to drink from a high-pressure fire hose. Gerald Casale from the band Devo recently addressed this in an NPR interview: “What’s happened is that so many CDs are put out per month, possibly 10,000 a month. Nobody can possibly even know half the music that exists out there.”
For the people who try to keep up with current releases (e.g., critics and super fans), it can feel less and less like it’s about the pleasure of listening and more and more like it’s about just trying to find a way to process the never ending stream of data.
One wouldn’t want to miss out on some important new release. Yet is any release important anymore? How do you even locate and contextualize various releases when there’s such a glut of old and new music floating around in the big atemporal reservoir of song.
Radio, of course, doesn’t work like this. It’s less about control and more about collective experience. As my buddy Pete Sheehy put it to me a while ago, “a radio is a wePod not an iPod.” Everybody gets the same playlist and the same three choices when they tune into a radio station: (1) listen to it, (2) change the station, or (3) turn it off. That’s not a lot of choices compared to an iPod, especially given the limited number of terrestrial radio stations in most markets.
But even with these limitations, radio remains a great deal. It gives you the music for free, and it simply asks you to keep listening when the commercials come on (or the sponsorship messages, or the pleas for donations). Evidently, enough of these commercials have been listened to year-in and year-out to keep the business model viable for many decades.
Probably, I’m just getting old and nostalgic, but I often prefer letting someone else choose the playlist, especially if they are good at it. Compared to the average shuffle mix on an iPod, the classic top 40 of the 1960s and early 1970s still provided a more cohesive mix. Whether it was Motown, British Invasion, Stax/Volt, or San Francisco Psychedelia, if it made it on the top-40 in this period, there was something catchy and pop at its core.
Hell, the same could probably even be said about the average 1970s free-form station. There was a human filter involved, somebody with judgment. There was also the knowledge that a bunch of other folks in your town were listening to the same thing at that very same moment that you were.
When I first visited Seattle in the summer of 1990, my brother had KCMU on in his house (the predecessor to KEXP for any youngsters or Seattle newcomers reading this). As we moved around his Capitol Hill neighborhood, it seemed like every business we entered also had it on.
Fugazi was scheduled to play a show at some movie theater in Seattle’s Lake City neighborhood that has long since been razed for condos or something. Riz Rollins was the afternoon DJ then, and on the day of the Fugazi show, as he talked about it on the air, it really felt like Seattle was a very small town and everybody who lived there was going to be attending the show that night. I found that astounding, especially in a city the size of Seattle.
At that moment, I was reminded of the power of the wePod, and I understood why Seattle’s vibrant music scene was fast becoming an international phenomenon. Along with local music magazine “the Rocket,” KCMU was taking the energy of the local scene, aggregating it, amplifying it, mixing it with complementary stuff from the world outside Seattle (like Fugazi), and reflecting it back to the local community. All you had to do was tune in to be a part of it.
Today, social networking sites like Facebook seem to offer a richer platform than radio for aggregating and sharing these sorts of social experiences. So perhaps we don’t need radio as much for that anymore. But as I celebrate another year with the K-Mart radio, let’s not prematurely write off the venerable wePod either.
Sure, its status and cultural relevance may have declined somewhat in recent years. And it certainly has its flaws (the present state of most commercial radio offers ample proof of that). But in the right hands, a radio can still change your life, just as it changed mine that Christmas morning many years ago.
Everyday, staff members at stations like KEXP continue to drink deeply from the fire hose of cultural production, distill it, and beam the results back to the people. In doing so, they reaffirm that a carefully curated set of music provides an unparalleled opportunity to sidestep the noise and commune with the divinity of the pure signal.
[Another old piece of writing. Kind of a sibling to the Replacements piece. Consolidating it over here.]
Recently, the band Kiss made a triumphant return to the limelight. It was fun observing the whole resurgence. It got me thinking warm thoughts about my life as 7th grader, listening to the Big 89, WLS AM Chicago, and the 50,000 watts of top forty power it beamed down to Champaign, Illinois. But before I’ve even finished singing “Beth” to myself, my mind invariably wanders forward to more recent Kiss related memory: a night a few years before this recent resurgence when I unexpectedly found myself going to see Ace Frehley, Kiss lead guitarist, perform at a local rock club with his own band.
“Whadya think he’ll play?” one of my friends wondered out loud as we drove down to the club.
“Hope he plays some Kiss songs,” another one replied.
“He better,” we all agreed. “Or it’ll be a rip-off.”
Inside the club, the band room had been transformed into the “hard rock zone.” The stage was filled with tall stacks of Laney amplifiers belonging to Ace and his band. In many trips to this club, I had never seen a full wall of amps like that in there.
Outside the band room, by the bar, I ran into an acquaintance of mine who said he had been there when the bands loaded in their equipment and that Ace was surrounded by three body guards.
“I couldn’t tell if they were protecting him or holding him up so he wouldn’t fall down,” he explained.
About twenty minutes after the second opening band finished its set, Ace emerged with his band. From my vantage point he looked like a cross between a puffy-faced vampire and Elvis after he discovered Carbohydrates. “Relaxed fit” blue jeans were a necessity rather than a fashion choice. Surrounding Ace were three comparatively younger musicians of the hard rock persuasion, sporting an array of tight jeans, colorful vests and scarves that would have made Aerosmith’s Steven Tyler proud.
At this point, even a jumbo helping of Generation X ironic whimsy seemed unlikely to salvage the evening. But when Ace slung on his cherry-sunburst Les Paul Custom and the band launched into “Detroit Rock City,” I was forced to reconsider my position. The band sounded good, even if Ace’s vocals were a little thin. All those amps made one hell of a loud pummeling sound. The kind of loud you get when you send two Les Paul guitars into eight hundred watts of overdriven tube amplification and back out through thirty-two 12″ Celestion speakers–a muscular, we’re not even pushing these rigs, kind of loud. I stood there, slightly in awe, the bottom end of the guitars washing over me, and pondered whether the best Kiss songs didn’t embody, in a hard rock context, the very principles Strunk and White preached in their Elements of Style: clarity, directness, concision, and careful organization.
Then a strange thing happened. The voice of my sixty-five-year-old dad echoed through my head:
“He’s really working up there, isn’t he?”
Although the meaning of this statement was immediately clear to me, it probably needs some explanation here. My dad has been involved in music professionally for about fifty years. He started out doing popular stuff, playing trumpet and french horn in jazz and swing bands back in Philadelphia in the 1940s. Since 1960, he’s been a composer, a conductor, and a professor of music composition. He’s written three operas and numerous other orchestral and choral works, most of which have far more in common with the work of Schönberg and Cage than with that of Ace Frehley.
But despite their stylistic dissimilarities, over the years, dad, like Ace, has made his living through music. It’s art to him, and he takes his art seriously. But it’s also a job and a career. So when my dad says “He’s really working up there, isn’t he?” it’s a knowing comment about a reality that binds all professional musicians together, regardless of how different they may be in musical style or taste. They’re all hustling and trying to make a living. They’re not just artists. They’re workers too. Music may be everyone else’s break from everyday life, their entertainment. It may even be a welcome escape from the tedium of the nine-to-five world for the musicians themselves. But if you do it regularly for money, eventually it’s work.
So when my dad made a similar comment as we watched James Brown do the splits on the David Letterman Show about thirteen years ago, I took it as a statement paying respect to James Brown for taking his craft seriously, for being my dad’s age and doing the splits on Letterman, for still getting out there and singing “Cold Sweat” with energy and conviction. I took it the same way when my dad used similar language to describe seeing Elvis in Las Vegas in 1972. And when my dad took my brother to see the Who in 1982 and he came back and said the same thing, I knew what he meant. I doubt the Who touched his life significantly, but the fact of their longevity did make an impression on him. They were still doing it after almost two decades. And they put on a good show. Their job was to entertain and they did their job.
We children of the rock and roll era don’t have much respect for the notion of craft to which my dad’s comment refers. It’s really a pre-rock-and-roll notion, one born in a time when craft was usually a precondition to making a living as a musician. Songwriters wrote songs. Musicians played these songs. There was a lot more live music and bands were bigger. They had big horn sections with intricate arrangements. To make these arrangements work, bands generally worked from sheet music. This practice also facilitated more fluid employment relations. Individual musicians were less tied to particular bands. The “show went on.” If Saxophone A couldn’t show up, you brought in Saxophone B, gave him the music, maybe rehearsed once and played the show.
This still goes on today in at least some segments of the music industry. But in many respects, rock and roll changed all this, because the ethos of rock and roll is hostile to such notions of craft and professionalism, even though this sort of craft and professionalism has always been a part of rock and roll. As an ideology, rock and roll has always been about “anyone can do it” and “raw emotions” expressed in an “authentic” way. So a song’s a little raw. So the guitars are out of tune. Who cares? It’s sincere. It’s honest. It’s what I was feeling. Don’t put you’re standards on me. I can do what I want. It’s rock and roll.
In this ideological framework, craft, in the pre-rock sense, is among the worst evils. It’s about elitism and exclusivity. It’s the end of innocence, the beginning of self-consciousness, the arrival of artifice and insincerity. It’s the hand of “the man” sanitizing the music, white-washing the truth. It’s the world of commerce rushing in and trampling the sacred world of “real” artistic expression. It’s people carrying on after the thrill is gone in order to make a living. It’s people making decisions for business rather than artistic reasons. It’s not very romantic. In short, it’s the everyday life of the real world, the world from which rock and roll is supposed to provide an escape.
In this regard, rock and roll seems to share more with the world of sports than with the musical genres that preceded it. You either make it big or barely make a thing (The NBA vs. the CBA). In addition, rock and roll seems to be viewed as a game that you play, not a job that you do. God forbid you ever think of it as a job (especially out loud). You’re supposed to play it for the love of the game, and feel grateful for the privilege. You’ll work a day job if you have to, in order to play on your own terms. That’s far more honorable than sullying yourself in a cover band playing weddings.
Rock and roll is also like sports in that successful rock and roll musicians aren’t just musicians. They’re “stars.” As a result, we’ve tended to look at successful rock musicians in much the same way we look at successful ballplayers. There’s a tacit agreement: you play the game as well as you can and we’ll give you more money and adulation than most people receive in a life time. But remember that it’s a young man’s game. When the time comes that you’ve lost the spring in your step and you can’t pull the ball down the line anymore, leave the game gracefully and retire or go sell insurance. We don’t want to feel embarrassed for you. Because if we have to see you as you are now, we’ll have to look at ourselves as we are now. We’ll have to face the here and now, as opposed to that fantasy world of the past that your music creates for us, that place where we’re all forever young.
Ace Frehley is the walking embodiment of this phenomenon. In his case, it’s even more pronounced, because he spent the most successful years of his career performing in make-up and a costume, surrounded by a vast array of pyrotechnics. Maybe he looked like a puffy-faced vampire in 1975 too. We never knew, but we could sure see him now in all his middle-aged, burned-out splendor. It wasn’t a pretty sight.
But there’s more to it than that. Even if Ace was as fit as Steven Tyler–the Dorian Grey of Hard Rock–seeing him perform would still engender a complicated mix of emotions. For at some level, seeing Ace is seeing Kiss. And unpacking the cultural significance of Kiss has proven to be far more complicated than anyone ever expected. After all, rock critics and the hipoise always hated Kiss, precisely because Kiss was always about craft. It was crass. It was completely contrived. And in the eyes of the critics, the “philistine masses” ate it up, because they lacked the hermeneutic skills to shed their false consciousness and see the horrible truth about the band. They were too stupid to see through the artifice, to see that there might not be any “real” emotions underlying Kiss’s music, to see that “Art” took a back seat to entertainment.
What the critics missed is that music is a two way emotional street. It isn’t just about a musician bearing his or her “real” soul and the listener bearing witness to the “authenticity” of this experience and absorbing it. It’s about listeners making their own meanings out of the music. At this level, the distinction between “real” emotion and craft is a lot less important. Craft can be a virtue, because craft is a powerful thing. That’s why rock and roll has always been wary of it, even as it tacitly embraces it. Craft is knowledge. It implies an understanding of the ways in which music affects people physically and emotionally and the ability to use music’s power to manipulate people’s emotions and senses. In the case of pop music, it’s the ability to write and record a song that people like, a song that people will pay money for.
On this level Kiss was always a phenomenal success. Whether the band members wrote the songs themselves or brought in song doctors like Desmond Child, someone knew what they were doing and cared about doing it well. Hell, the band might not have even played on the records. And whether the songs expressed “sincere” emotions is anyone’s guess. Maybe they just wanted to make money or be famous. But someone had pride in the product. Sure, it was candy, but for those of us who came of age with Kiss, it tasted pretty good.
We were touched by the band’s craft. It seduced us and made us like the band’s music. And we’ve built emotional attachments to Kiss’s music that are personal to our own experiences. At least for me, these attachments don’t have much to do with the “deep issues” of pain and loss and the contemplation of the artist’s soul. They have to do with being twelve years old and listening to the radio and singing “I want to rock and roll all night and party every day” without really even knowing what the hell these words meant. They were just catchy. They still are. And I don’t want to belittle this experience just because I was twelve years old and lacking the sophisticated interpretive tools possessed by rock critics and my friends’ older siblings. I learned those later. They’ve brought me pleasure and enlightenment. But so has Kiss, a pleasure I’d hate to lose, but can never fully explain.
So as I watched Ace playing up on the stage that night, it was strangely uplifting. “Rocket Ride” felt good. “Back in the New York Groove,” from his solo album, felt good. So did the encore, where he pulled out “Rock and Roll All Night.” Sure it was bittersweet. It was hard not to feel a little sorry for Ace. There was no big arena, no make-up, and no pyrotechnics. Ace was no longer a mega-star. But even knowing how drunk Ace probably was, he did not seem pathetic to me. Ace was working and there was a love and understanding of the craft that came through. He was up on that stage entertaining us, and he acquitted himself quite well. The band sounded good and Ace’s guitar playing was there too. Nobody ever would have confused him with Ritchie Blackmore or Eddie Van Halen. But nobody ever has. So why start now? He played his solos and rocked out in a down right dignified way. Well, as dignified as a person can be who uses the words “fuck,” “fucker,” and “motherfucker” in every sentence. But after all, Ace wouldn’t be doing his job if he didn’t. He’s a free bird. It’s rock and roll, and Ace is a rock and roller.
[I wrote this years ago, mostly just to try and understand some stuff that was bouncing around in my head. Moving it over from the Myspace page, so it’s here with other stuff I’ve written. The piece was never formally published. It’s just been bouncing around the web. But the people who’ve read it, seem to like it.
For example, in his book, Let’s Talk About Love: A Journey to the End of Taste, Carl Wilson called it “a 1996 lost classic of rock criticism…”
David Cantwell, author of Merle Haggard: The Running Kind, this great New Yorker piece on Sam Cook’s “A Change is Gonna Come”, and co-author of Heartaches by the Number: Country Music’s 500 Greatest Singles called it “one of the best, smartest, most insightful music pieces I’ve ever read. Period.”
Have look. Maybe you’ll enjoy it too.]
By Jacob London, copyright, 1996. All rights reserved. No commercial use without author’s express written permission
A while back, my local “alternative” radio station began playing a cover version of the Bay City Rollers’ “Saturday Night” by the U.K. band Ned’s Atomic Dustbin. The first time I heard it, I didn’t think about changing the station, even though the Rollers were one of the most critically unhip bands of the 1970s. Instead, I sat back and listened, slightly amused, but mostly taking the whole experience for granted. Such is the state of things now that the practice of “alternative” bands covering “bad” songs from the 1970s has become so commonplace. If it isn’t Ned’s Atomic Dustbin, it’s Seaweed or Smashing Pumpkins doing some Fleetwood Mac song like “Go Your Own Way” or “Landslide.”
Few question the full-on embrace of 1970s popular culture anymore. It’s even got it’s own “American Graffiti” film in Richard Linklater’s “Dazed and Confused.” Linklater’s take on the past is a little more self-conscious and cynical than George Lucas’s vision of the early 1960s in “American Graffiti.” But Linklater’s remembrance of teen life in 1976 remains a warm one, especially in its unselfconsciously reverent use of the period’s music. It pushes all the same buttons as Lucas’s film, although neither Linklater nor his audience would ever completely admit it. For even as the residue of 1970s has reasserted itself in the American cultural life of the 1990s, a lingering tinge of reticence remains, as people continue to adjust to the idea that openly embracing the mainstream culture of the 1970s no longer entails being instantly labeled a loser or a philistine.
Back in the early 1980s, when I was starting college in Ann Arbor, Michigan, things were a lot different. There was plenty of risk involved in embracing the mainstream music of the 1970s, at least among the community of rock and roll hipsters I hung out with. A friend later summarized the stakes very well in a different context: “There’s a lot on the line when you tell other people what kind of music you like; people know they’ll be judged based on what they say. If they give the right answer they’ll be accepted. If they don’t, people may look down on them.” This was true in Ann Arbor during that time–as it has been everywhere I’ve lived since. The rules determining inside and outside were generally unwritten, but they weren’t hard to figure out.
Punk rock was cool. Some New Wave was cool. David Bowie, he was pretty cool (his glam rock was sort of New Wave and Punk before they were invented). Dylan, the Beatles, the Byrds, the Stones, the Who, Motown, and the other classics of 1960s rock, that was cool too, as long as you weren’t too much of a hippie about it. But the mainstream music of the 1970s was not cool. Disco sucked, including George Clinton and his P-Funk allies. Foreigner was not cool. Lynyrd Skynyrd was not cool. Neither were Black Sabbath, Led Zeppelin, Peter Frampton, Foghat, Bad Company, Thin Lizzy, or Alice Cooper. Black Oak Arkansas was not cool. Neither were Head East, R.E.O. Speedwagon, the Michael Stanley Band, the Eagles, Kansas, Styx, nor any of the other music Richard Linklater put in his movie.
In this environment, it is no surprise that my good friend Larry felt compelled to show his allegiance to the clan of the rock and roll hipster by throwing his copy of Led Zeppelin IV against the wall of the University of Illinois dorm room where he was staying during the summer of 1983. I seem to remember trying half-heartedly to convince him not to do it as he raised the record to hurl it.
“You sure you want to do that man,” I said. “A record is a record. You might regret it later.”
“No way man, I’m gonna throw it,” he said, cocking it behind his ear. “I’m ashamed I own this; it sucks. If I hear ‘Stairway to Heaven’ one more time I’m gonna lose my shit. It sucks. ‘Black Dog’ sucks too. It all sucks.” And with that, he whipped the thing at the wall and it shattered into numerous pieces around the room (he told me recently he bought it again on CD a few years ago). We put something like “Armed Forces” by Elvis Costello on the turntable, opened up some cans of Stroh’s beer, and cracked up for a while, completely confident that justice had been done.
