RIP Steve Jobs: This One Feels Personal

I’m not sure I’ve ever mourned the passing of a big corporate CEO before. I don’t expect I’ll mourn the passing of another one anytime soon either. But I am mourning the passing of Steve Jobs today. Apple Computers has always had a different sort of relationship with its customer base than most other large companies. Indeed, many Apple computer users are more like acolytes than customers, especially those of us who have a multi-decade relationship with Apple and its products.

I have a vivid memory of my first encounter with the Apple II, at the house of a friend of mine in around 1980. I had more computer experience than most people at that point, having logged many hours on the PLATO mainframe system at the University of Illinois during 8th and 9th grade in the late 1970s. My dad was a professor at U of I, so he was able to get a sign-on for PLATO. He let me and my brother use it, and use it we did.

The PLATO system was very advanced for its time, with powerful graphics and multi-player games that didn’t see the light of day in the mainstream until years later. The Microsoft flight simulator was a direct descendent of a simulator developed for PLATO. Ray Ozzie, most recently the technology guru at Microsoft, was a computer science student at U of I during this time and developed a notes program on PLATO. Later, it became Lotus Notes. Looking back on it now, most of the central attributes of the modern Internet were already in place on the PLATO system in the 1970s. But I’m digressing. Sorry. Just trying to establish some context. Let’s get back to the Apple II.

Honestly, compared to PLATO, the Apple II seemed pretty weak. It had a grid based Star Trek/Space War game similar to one I’d played on PLATO. But this was a really basic game compared to some of the games on PLATO, like “Empire” or “Avatar.” Nevertheless, the idea that a computer was now affordable enough that you could have it in your house, well, that was still really cool. I wished we had one at our house. It was also clear that the Apple II kicked ass on the computers I had seen in the Radio Shack store in the North Randall Mall. Everything about the Apple II seemed better: the way it looked, the Apple logo, the advertising. It was all cool, and it definitely made Apple seem like a club you wanted to be a part of.

By 1983, IBM was starting to steal Apple’s thunder with its “Personal Computer” (“PC” for short). Not long after that, Asian PC clones starting coming out, running Microsoft’s MS-DOS operating system. The personal computer stampede was on. My dad bought a Sanyo PC clone at Christmas time in 1983. It had a single 5.25 inch floppy drive and maybe 128K of RAM. It came bundled with MS-DOS, Wordstar (word processor), Calcstar (spreadsheet), and Datastar (database manager). He bought a daisywheel printer to go with it. So all the printed output looked just like an IBM typewriter.

While I was home on holiday and summer breaks, I learned how the Sanyo PC clone worked. The lack of games was a drag, and the thing did not scream fun. But the word processor was a revelation. I had a lot of writing to do for school, and this was just the utilitarian tool I was looking for. All of a sudden, I could write with ease. No more left-handed pencil smudges, illegible script and multiple cross-outs. Suddenly, the writing process had a heretofore unimaginable level of plasticity. I could write and edit at the same time (just like I’m doing right now). This was huge.

In the fall of 1984, when I headed back to University of Michigan, that Sanyo machine came with me. My dad got a newer Sanyo with two floppy drives. At that point, I was pretty much the only person I knew who had a computer. My housemate, Bill Potter, had studied computer programming in high school, and he was much more technically inclined than I was. He dug right into the manual and figured out things that were beyond me, like batch files and using Datastar and Calcstar. I definitely learned a lot of stuff from him. But mostly I just wrote numerous history papers and my senior honors thesis, feeling very technology forward.

Up to this point, I only had a rather dim awareness of the Apple Macintosh. I had seen the big 1984 commercial during the Super Bowl and perhaps some pictures in magazines. But it wasn’t until late 1984 or early 1985 that Macs started appearing in increasing numbers on campus, both in computer labs and in student dorm rooms. I think Apple may have instituted favorable education pricing around this time to try and jump-start sales of the Mac amongst college students. Or maybe this new innovation was just finally arriving in the midwest.

At first, I dismissed the GUI of the Mac, much like command line junkies before and since. But then one night, I found myself in the dorm room of Phil Dürr (later a guitar player in the band Big Chief of Detroit, Michigan and SubPop Records fame). He had a Mac and he was playing with the program MacPaint, drawing on the screen, typing text, changing font sizes and doing all kinds of stuff I’d never seen a computer do before. Creative stuff. Fun stuff. This was not just a utilitarian writing tool. It was clearly a lot more. It was like PLATO, only it had even more to offer, especially its grayscale graphics.

My Sanyo was a generic “Personal Computer.” Phil’s computer had its own personality. It wasn’t just a “PC.” It was a “Mac.”

Notwithstanding that reality, I stuck with my utilitarian Sanyo for quite a while after that encounter with the Mac. First and foremost, I didn’t have the coin to switch. Moreover, while MacPaint was cool, I didn’t have much of a use for it, beyond thinking it was cool. MacWrite was certainly a functional word processor, but it wasn’t a huge step up over Wordstar in terms of functionality (indeed it might have been a step back in many ways). My daisywheel printer had better quality output than the dot-matrix ImageWriter printer that was bundled with the Mac. Nevertheless, the seed of Mac had been planted in my head.

When the Mac II came out in 1987 or so, my dad picked one up. It had a then unheard of 40MB hard drive. He had to drive down to Columbus, Ohio from Cleveland to pick it up. Some electronic music students from Ohio State loaded an ass ton of different software onto the hard drive of the Mac II. But it was in no discernible order. Home on a break, I spent hours exploring all the stuff on that hard drive. Yeah, I know it’s smaller than the size of 10-15 average length mp3s. But at the time, it felt like a massive, almost infinite library of stuff. Subsequently, he also got some early MIDI sequencing software (Professional Performer), an early two-track Pro-Tools editing system, and a 500MB external SCCI hard drive to store digital audio on. That was some mind bending stuff in its time.

About a year after my dad got his Mac II, I stopped working on my Sanyo at home and started writing papers on the Mac SE/30s they had in the computer lab at the University of Wisconsin (where I was in law school). I really started digging into Microsoft Word and appreciating its GUI and WYSIWYG layout. They also had a laser printer in the lab, and I really liked the typeset looking output you’d get with it if you used Times font. At that point, I’m not sure I would have said that MS Word was better than Wordperfect 5.1 on the PC. But it was definitely growing on me.

I finally got my first mac in 1991. It was a used Mac II, purchased from Pre-Owned Electronics, in the Boston suburbs. Like my dad’s, it had a 40MB hard drive. When I moved to Seattle in 1992, I purchased a Personal Laserwriter NTR at Ballard Computer (now a Thai restaurant). Having my own laser printer was, of course, a revelation. Like most Apple hardware, the printer was very well built. I used it for well over 10 years. Even after Apple discontinued the Localtalk standard, I bought an adapter that allowed me to hook it up via Ethernet. It just kept on chugging through a series of new Macs. There was a Mac IIvx (100MB hard drive), a Performa 6230 (1GB hard drive), a Beige Powermac G3 (10GB hard drive), a Powermac G4/400 tower (40GB hard drive), which I’m still using, and the Macbook I’m typing this on (250GB hard drive). I also got an iPod Touch 16GB when I bought the Macbook. This handheld device probably has more computing power than my first three or four macs combined.

That’s 20+ years of personal computer use in one long paragraph (almost my entire adult life): 20 years of writing, reading, making music, listening to it, drafting contracts, watching video, and so much more. Steve Jobs played a huge role in shaping the technological contours of all that. His work empowered me to do my work. So his passing definitely feels personal to me.

Where most other people in the computer industry somehow never seemed to get things quite right, Jobs usually did.[1] He seemed to have this innate sense of what good is. I don’t know why this sense is so hard to come by. But it is.

I’ve interacted through the years with a whole lot of musicians, artists, and other creative people. Many of them are very skilled. But only a few of them also seem to have this innate sense of “good.” These are usually very special people. If they make or record music, you want to hear it. If they do interior design, you want to spend time in that space. If they build something, you want to use it. If they cook something, you want to eat it.

Often, I think, these kinds of folks tend to work in smaller, more individualized environments, where they can do their thing and avoid butting heads with people who don’t get it and never will. That Steve Jobs didn’t do this makes his accomplishments even more impressive. He somehow managed to imprint his sense of what “good is” onto a large, global organization.

Was Jobs often an asshole? The public record would indicate that the answer is “yes,”  Was he a hard guy to work for? That answer also appears to be “yes.” Was he a bad manager of people? At least as a young man, yes. Did he get better at this with age? Perhaps.

But that’s all inside baseball stuff, and as consumers most of us aren’t amateur business ethicists (even if we should be). We’re concerned with outcomes, not process. We don’t usually spend a lot of time examining how the sausage is made. We just eat it, evaluate it, and enjoy it when it’s good.

The Jobs sausage was very good indeed. It will be missed.


  1. There’s at least one major thing that Jobs got just as wrong as everyone else in the computer industry: the labor practices in the Chinese factories where Apple builds its products. This is a significant black mark on Jobs’ legacy and the legacy of the computer industry more generally.

    Of course, most of us consumers in the West are complicit in this as well, placing outcomes over process, and tacitly accepting the Faustian bargain of modernity, that visionary leaders like Steve Jobs invariably carry out their grand utopian projects on the backs of abstracted, anonymous little guys.

    As Marx and Engles put it so eloquently in the Communist Manifesto, “All that is solid melts into air, all that is holy is profaned, and man is at last compelled to face with sober senses, his real conditions of life, and his relations with his kind.” In short, this modern world is a dirty business. (See the work of Marshall Berman for a more thorough and eloquent discussion of these matters.)  ↩

Seth Godin on the perils of the Magic Lottery Ticket

Over on his blog, Seth Godin just made this post about the perils of spending all your time looking for a magic lottery ticket. More than most people, Seth has the ability to really distill things down to the essence. He had a post a while back called Barry Bonds. It’s a favorite of mine, and I’ve shared it many times with various people I know trying to make something happen in the music business. His magic lottery post is kind of like the sequel, and well worth reading.

You can spend so much time looking for that powerful person who is going to change your life that there’s not much time left to do the work that might actually get you somewhere someday. In my lexicon, the search for a magic lottery ticket is a particularly deluded and futile airpower strategy.

It’s not that powerful people don’t swoop in and help make low profile people better known. That does seem to happen pretty regularly. It’s just that most of these low profile people are a lot less low profile than you realize. That whole overnight sensation 10 years in the making thing is almost always true.

When “unknown” bands get elevated after a music conference like SXSW, they’re rarely really “unknown” to music biz insiders. Probably, they have been busily working on the ground for years to connect all the dots that lead up to more powerful people taking 15 minutes to see their band play in Austin. In Seth’s lexicon, they’ve been building their tribe. To use my lexicon, they’ve built a good ground game.

From the outside looking in, it looks like they just found a Magic Lottery Ticket. But that’s an illusion. For the project was actually built to grow even if Oprah never showed.

John de Roo’s “Holy Cow”

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[Another piece from the archives–written in 2008. You can purchase Holy Cow at CDBaby.]

Picture of Holy Cow Album CoverBack in the mid-1980s, folks didn’t know everything about everywhere. There were no online virtual communities. Home computers weren’t multi-track recorders in waiting. DIY home recordings weren’t ubiquitous. We flew a lot more blind, because it wasn’t all a keystroke away. You had to know people who knew things. If you didn’t, you had to hope you could find some people who did. If you couldn’t, you made do with what you had.

In this Paleolithic era of the cassette porta-studio, every thirteen-year-old kid didn’t have one yet. In fact, you were lucky if you even knew someone who had one. And notwithstanding Bruce Springsteen’s Nebraska, the conventional wisdom was clear: People didn’t make records on a porta-studio. “Real” records were made by professionals in big fancy studios that cost lots of money to rent. Even so-called “Indie” records involved open reel tape of some sort.

Those folks audacious enough to make a record on a porta-studio were in for an uphill climb. The available knowledge about recording was spotty and mostly passed on by word of mouth. Equipment was hard to come by. Nobody took you very seriously, either, especially if your musical vision didn’t sound like Phil Collins’s “In the Air Tonight,” with gated digital reverb on the toms and thick layers of Yamaha DX-7 digital synth filling in all the cracks. If you deigned to release the finished product on cassette, well, how could you even really call that a “record”?

But some determined people did–people like John de Roo of Kalamazoo, Michigan. Often, these folks simply didn’t know any better. They had something to say, and they just wanted to capture it before it slipped away forever. So they used the available tools–in this case, Dirk Richardson’s Yamaha 4-track cassette recorder and whatever other gear they happened to have. And when it all came together, well, a little gem called Holy Cow was created.

Today, there are whole genre categories like “Lo-Fi” and “Freak Folk” that describe this homemade approach to music making. Nobody questions its legitimacy. When you use those terms, people in the know immediately understand what you mean. But when John de Roo recorded Holy Cow, that stuff was still being figured out.

Guided By Voices hadn’t even released their first porta-studio album. So when a friend gave me this cassette and said it was John de Roo’s “solo album,” I wasn’t quite sure what to make of it. To be honest, I was probably in the camp wondering how anything available only on cassette could even be viewed as a legitimate record.

But as I listened to it, I overcame that bias. Maybe it wasn’t as slick as Van Halen’s 1984, or even Husker Du’s Zen Arcade, but between its great songs and arrangement choices, it made a virtue of its limitations. Be it the ethereal beauty of the opener, “Castle in the Water,” the acoustic earthiness and pond sounds of “Snapping Turtle,” the inspired cover of Abba’s “Knowing Me, Knowing You,” or the outright weird psychedelic pop of “Elizabeth Loves Orange Soda,” Holy Cow delivers from start to finish.

It turned out to be one of my favorite records of 1986. I’m happy to find Holy Cow sounding better than ever in digital format. I’m also hopeful this reissue will help it to find a wider audience. It’s most definitely worthy. Stuff like Phil Collins sounds dated today, but Holy Cow is strangely timeless. It almost makes more sense right now than it did back in the day. Whether you’re hearing it for the first time, or getting reacquainted all over again, you’re in for a treat. Enjoy.

At Work With Ace

[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.

Sucking in the Seventies: Paul Westerberg, the Replacements, and the Onset of the Ironic Cover Aesthetic in Rock and Roll (It’s Only Rock and Roll But I Like It)

[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, myFlyer for Replacements Show at Joe's Star Lounge 12/2/1984 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.

Then in the fall of 1984 something happened in Ann Arbor that turned the well ordered world of our little sub-culture upside-down. The Replacements came to town and played “Black Diamond” by Kiss. Undoubtedly, it was not the first such incident nationwide. Nor were the Replacements necessarily the only band at that time playing covers like “Black Diamond.” Nonetheless, in hindsight, Paul Westerberg and his cohorts were perhaps the most important purveyors of this practice.
Continue reading “Sucking in the Seventies: Paul Westerberg, the Replacements, and the Onset of the Ironic Cover Aesthetic in Rock and Roll (It’s Only Rock and Roll But I Like It)”