Forty-two years ago today, I was sitting in the lobby of a hospital in Tyler, Texas, swatting at flies. My grandfather was hospitalized with the emphysema that eventually would kill him, and my parents were in Los Angeles, looking again for a way to treat the chronic disorder that would contribute to my dad's death some three decades later.
It was a typical, sweltering East Texas day in August, which was one reason the flies had moved indoors. I had ridden in the car some 30 miles from Longview with my grandmother and my aunt, hoping to see my grandfather. That was doubtful. Hospital rules prevented 12-year-olds from visiting patient rooms and he was not in any shape to come down to the lobby.
So I sat there, bored out of my mind, killing flies.
At some point late that afternoon, news started to spread that shook me to my adolescent core: Elvis Presley was dead at age 42.
Adolescents in the mid to late 1970s were not supposed to be Elvis fans, and I certainly did not get any cool points from my peers. “Fat Elvis” had become a parody, a bloated yet hollow shell of himself even for those immersed in the 1950s Happy Days-Laverne & Shirley nostalgia of the time.
But my peers didn’t understand what Elvis meant to me. At the time, I don’t think I understood why he meant so much.
My dad and aunt were teenagers when my grandmother discovered Presley in his first appearance on the Louisiana Hayride. A year and a half later, on Dec. 15, 1956, my grandfather drove my grandmother (then 51) and my dad (then 16) the 60 miles east to Shreveport to see Elvis’ concert at the Hirsch Youth Center at the Louisiana Fairgrounds.
I still have the program from that show, which remarkably was taped and released on one of the hundreds of Presley compilations in 2011. Listening to the low-fi affair still brings a smile to my face, knowing they were both there.
My first rock and roll record was Elvis’ first album, bought by my dad in a record store on Ninth Avenue in Texas City. I remember sitting with my parents watching Aloha from Hawaii, the first show televised around the world via satellite. My first concert, at age 6, was an Elvis show at Hofheinz Pavilion. My second, at age 9, was his performance at the Houston Livestock Show and Rodeo.
In a weird way, Elvis felt like a member of my extended family, although I was woefully short on accurate information. I hadn’t liked his last few albums, not knowing they were cobbled together by his label because he no longer enjoyed recording. I didn’t understand why he had not been able to recover from his divorce, not realizing it was in large part because of guilt over self-inflicted wounds. I didn’t connect the dots when my parents returned from a trip to Las Vegas in 1975, having been disappointed in Presley’s concert because he looked and sounded “bad” — code, as it turns out, for overweight and stoned out of his mind.
All I knew, at age 12, is that people aren’t supposed to die at 42 unless they are at war or in some type of accident. People don’t die while sitting on the toilet in their bathroom, especially when they’re only five years older than my dad and six years older than my mom.
We left the hospital that day and went to Gibson’s, one of those catch-all department stores not far from my grandmother’s house. My grandmother bought me “Moody Blue,” Presley’s last studio album that came in blue vinyl, and I played it on my aunt’s turntable that night.
Today, in the words of music writer Bill Holdship, Elvis has “now been gone as long as he was here.” And I have remained an Elvis fan, albeit one who — with the benefit of information — is more discerning and less a blind member of the cult. While I separate the schlock from the sublime, I remain in awe of his talent and charisma. I also am grateful for the way he brought my family together on a common subject for a lot of years.
In retrospect, I also can thank Elvis for introducing me viscerally to the concept of mortality at what now seems like so young an age. I didn’t realize it then, but Presley’s death was the first time I understood life can be more fleeting than you imagine. And it taught me, not for the last time, that you just have to appreciate what you’ve got.
On Friday, thanks to one of my “adopted” children and one of his good friends, I secured a press pass to shoot Pride Live’s Stonewall Day concert, held in Greenwich Village to commemorate the 50th anniversary of the riots that served as a turning point for the LGBTQ movement. The event featured a memorable speech by Lady Gaga, a three-song performance by Alicia Keys, and appearances by actors, musicians, models and political figures who are part of or are allies of the LGTBQ community.
Held as part of World Pride Week, which ends on Sunday, the midday celebration on Christopher Street was held outside the Stoneville Inn, the West Village landmark where six days of riots began on June 28, 1969. The Christopher Street Liberation Day March, held the following year, evolved into the annual Pride parades now celebrated around the world.
Sponsored by iHeart Radio’s z100 and United Airlines, Friday’s celebration featured speakers Chelsea Clinton, Donatella Versace, Whoopi Goldberg, Grace VanderWaal, Wilson Cruz, Pose stars Angelica Ross and Ryan Jamaal Smith, and Valerie Jarrett, President Obama’s advisor who read a letter from him to those in attendance. Alex Newell, who played Asaka in the Tony-award winning revival of Once on This Island, performed a powerful version of “I’m Here” from The Color Purple.
Gaga and Keys, however, were the definite headliners. While she did not perform, Gaga gave an impassioned speech that lasted almost 15 minutes. She namechecked transgender activists Marsha P. Johnson and Sylvia Rivera, who helped lead the demonstrations, and noted that 11 trans women of color have been killed in the first six months of 2019.
“This community has fought and continued to fight a war of acceptance, a war of tolerance, and of the most relentless bravery,” a visibly moved Gaga told the crowd. “You are the definition of courage.”
Gaga, whose non-profit Born This Way Foundation benefits LGBTQ youth, said she will “continue to fight every day during shows, and even when I’m not on stage, to spread a message that’s actually quite simple: Be kind.
“And that kindness belongs to you,” she said. “It always has belonged to you, even when the world was not kind, it belonged to you.”
As the nearly two-hour event wound toward its close, RuPaul's Drag Race season eight winner Bob the Drag Queen came out to lip-sync Alicia Keys' 2012 hit "Girl on Fire." As it turned out, Keys was backstage performing the vocals live. She joined Bob on stage and then performed three more songs: a cover of Cyndi Lauper's "True Colors," "In Common" and "Empire State of Mind."
At one point during her brief set, Keys pointed to the Stonewall Inn and smiled.
"Places are powerful. People are powerful,” she said. “And when we're together, we're even more powerful than imaginable.”
Thanks to Ginno Murphy and Tom Bagley for helping me get into the event and giving me the opportunity to chronicle this moment in time.
To see more photos from this event, go to my Facebook album here.
Editor's note: I recently had the opportunity to interview Scott Avett of the Avett Brothers prior to the release of the band's new album, "Closer Than Together." The interview, along with these photos taken during the group's concert at Barclays Center in Brooklyn, appears in Americana Highways.
Scott Avett is having the type of month multi-hyphenates dream about: a new album; a sold out show at Brooklyn’s Barclays Center; an appearance on The Tonight Show; and the opening of a huge collection of his paintings at the North Carolina Museum of Art.
“Today is the first day I’m constantly reupping as a musician,” he said during a Monday morning interview four days prior to the release of “Closer Than Together,” the Avett Brothers 10th studio album and the group’s first since “True Sadness” hit number 3 on the Billboard Top 200 in 2016. “I’m dedicating for the first day in many, outside of playing shows, just to work on music and on being a musician again.”
He laughs. “With all that’s going on, I have to do that. But I’m full in all the way. I’m going to try to keep going and try to keep making what I’m supposed to be making.”
On the music front, that involves what Avett calls a “gradual evolution” of the group’s sound and vision. While the group says it does not make “sociopolitical” music, “Closer Than Together” addresses gun violence (“Bang Bang”) as well as toxic masculinity and greed (“New Woman’s World”).
But more than anything, the album represents a call for unity, no surprise for a band whose earnest, seemingly simple songs about the human condition touch on issues of great depth for us all. You especially see that during the Avetts’ live set, which I witnessed first-hand while shooting the show in Brooklyn later that week.
During a 30-minute phone interview, Avett touched on the group’s creative process, his various outside projects (including a Broadway musical based on the Avett Brothers’ music and producing Clem Snide’s new record), the freedom of working for a major label as the music business turns upside down, and the effect of a Judd Apatow documentary on the making of “True Sadness.”
Here are excerpts from the interview, edited for clarity:
On the group’s “life and death output” and the effect it has on him: “Every one of them, by the end, there’s this output of life and death from ideas and thoughts. In some ways, it’s the death of songs in that we’ve recorded and released them, and yet there’s this new life that does reflect seasonal growth and dying off and rebirth. Creatively, it’s reflective of life and the trust we have in each other. But the songs have many lives and deaths as we are documenting them and putting them out there.
“I’m more aware of it than I used to be. I used to be so miffed by how short and grumpy I was at the end of every recording session. I would just be a total pain in the butt to live with. Seth (his brother) would certainly agree. Now I’m much more aware of it and doing things to combat it.”
On how the “True Sadness” documentary affected his approach to music making: “It was exhausting, but so was ‘Four Thieves Gone,’” Avett says, referring to the group’s 2006 album. “Seeing the documentary myself helped me to observe (how he responded to stress). I was able to observe this self I was on screen, this really unguarded vulnerable self. Isn’t that amazing, that we can do that?
“We had the same process with this record for sure, the same feelings for sure, but I did more to combat them and keep them in place, I tried to use the parts of them that are good to fuel what I do as opposed to stopping something in its tracks, which I’ve been known to do because I didn’t know what to do with it.”
On the documentary’s effect on the band’s popularity: “’True Sadness’ had a little longer life because of that documentary, but the cool thing was we saw real numbers change at our live shows. More people came out who were curious, who had no idea what we were. It was sort of like, ‘Here’s this group. Why have I missed them?’
“It was exciting to see that growth in our concerts. That’s our real time life, where we come and share all of these creative lives and deaths that we experience within a show.”
On the band’s continued growth and evolution two decades into their career: “Not everyone knows all the missteps and failures. There are all these hits and misses here and there. They always happen, but when one miss happens, the attitude has to be there will always be another opportunity. We have to know it’s OK, that there are always going to be misses. In fact, there should be more misses than hits.
“For the longest time, we always sort of ranked ourselves. Early on we had to do that, because no one was going to rank how we did. And we were very lucky. We were raised in a very caring — probably it’s a spiritual thing that I didn’t know at the time — environment in which you were encouraged to accept yourself as being part of something bigger and something grand.
“So, it’s a gradual evolution for me. It’s been in real time. I really don’t take any time to compare where we are consciously. Sometimes I forget where we sort of were or where (songs) came from. But when I think about it, I can certainly hear two different bands, especially as far as sound goes.”
On signing with a major label (Rick Rubin’s American Recordings, now part of UMG) and advice they received from Paleface, a folk artist who was signed by Polygram and Sire in the 1990s only to be dropped soon after: “One of the things we did right, I think, is work amateur until you get called up into the quote-unquote majors, and I shouldn’t even put quotations around that. We started as amateurs (with the North Carolina label Ramseur Records). The majors would have been suicide for us. It really would have been.
“Paleface is this brilliant songwriter we met in New York in 2003, and what he experienced was the opposite to what we went through. He was on a major label really early and really quick and he self-destructed. He said, ‘I didn’t have to do anything for myself. I always had people around me who would do everything.’ He would always tell us how good it is that we grew slowly, that we made all of those early mistakes in the amateurs.
“We knew how to draw thousands of people in several cities before we ever got to the majors. We knew how to sell records. We knew how to run a business. We knew how to write checks and manage money among each other. We didn’t really need a major label at that point except to advance our creative process, and that’s where Rick came in.”
On taking more than three years between albums: “We’re more apt to take more time now than we used to. We didn’t used to have the financial ability to take the time, but as soon as we were remotely stable (financially), we started taking the time. It’s one of those resources I was talking about.
“Right off the bat, Rick helped give us space that we weren’t taking for ourselves. We weren’t taking the initiative to make space and time at a natural pace. Rick has really helped us take time, make space for the music and follow our instinct and conscience. We were on that path already but he really sped it up for us.”
At this point, with about 10 minutes left, our conversation shifted to Avett’s other projects while staying focused on the creative process. We discussed his art shows (the large one at the North Carolina Museum of Art and a smaller one at the Soho Gallery in Charlotte, both of which will be up through January 2020), and the Broadway musical. The Clem Snide record, which Avett describes as “indie but spiritual” will be released next year, and the band also is expected to return to the studio in the spring to finish some music that was left behind during the Closer Than Together sessions.
Avett graduated from East Carolina University in 2000 with a BFA in studio art. The “full-on big show” in Raleigh, “Scott Avett: Invisible,” is described by the museum as his take on “universal issues of spirituality and struggle, love and loss, heartache and joy, as well as more personal stories of career, family, and living in the South.”
Painting and performing are large parts of who Avett is creatively, but they “can really distract each other badly. They can be each other’s worst enemy. I have to be really disciplined and know when to turn my back on one to work on the other.”
With the band on tour through November, he’s looking forward to taking some time to recharge before, as he describes it, the creative muse inevitably returns. And he remains open to following the “spark” that sometimes occurs when he’s exhausted.
“When I’m home and once I’m rested from being out, it’s so predictable, I get these visions of what’s next or these sounds of what’s next. They come in and I’m driven to go out and make whatever it is that calls me,” he said. “But some of the most interesting stuff for me comes after the big efforts, when you’ve had the juices flowing and gears turning. Sometimes that lack of presence you feel because you’re so exhausted actually makes you more present. It causes you to be in real time and something great can happen. That’s really fascinating for my process.”
The Broadway musical, which largely will be based on 2004’s “Mignonette” as well as other songs from the group’s catalog, is an additional artistic challenge for the group. “It seems so natural,” he said of “Swept Away,” which premieres at Berkeley Repertory Theatre in June 2020 before moving to New York. “Early, early, early on, I could see these songs as a Broadway piece, but I put that idea away years ago. To see someone else imagine it or see it in the same way, that’s exciting. They’re producing something that may or may not work, but it will be fun to see what happens.”
With three children — ages 4, 8 and 10 — and a career filled to the brim, Avett said he has learned over the past several years not to “overvalue work time” and to “give more value to the nondoing.”
“I swear, I’m doing much more within less work time than I used to, because adopting that principle causes you to be more relaxed and have a more fulfilling family life,” he said. “It’s easy to say that a career is the most important thing you have, but that’s such nonsense. It’s all so silly. If I afford myself more family time, which is super important, then I’m more relaxed when I go to work. And when I’m working, what I’m doing is more sincere and more fun. I just couldn’t get that before the age of 40. I couldn’t get it.”
As the conversation ends, I asked Avett if he enjoys music and art as much as he did 20 years ago.
“I think I do,” he said, laughing. “But in a different way. I try not to treat it as critically as I did 20 years ago, and that makes it more fun. It’s been a shift, because as many times as I say I’m going to change careers or going to quit, I never would. I’m always excited to move on to the next thing. There’s always the next thing to enjoy. I think that’s the key.”
To see more photos from the show, go to my Facebook album here.
The anniversary tour, in which artists perform a popular or seminal work start to finish, has become a solid moneymaker for musicians over the past decade. For the artists, who’ve seen the industry implode due to downloads and streaming that pays pennies on the dollar, it is a drawing card in a clouded and crowded marketplace increasingly reliant on ticket and merchandise sales to make a living.
This week alone, three such tours are crossing through the Washington, D.C. area. First was Dave Alvin, revisiting the acoustic “King of California” on Tuesday at The Birchmere in Alexandria, Va. The next night, Lori McKenna kicked off her “Return to Bittertown” tour in our nation’s capital. And on Saturday night, Hootie and the Blowfish will continue their 25th anniversary tour of “Cracked Rear View” at Jiffy Lube Live in Bristow.
While every anniversary show is an opportunity for nostalgia, allowing the artist and audience to relive a moment in time, the best ones also provide us with insight into the creative process thanks to between song stories and anecdotes.
The cumulative album sales from both Alvin and McKenna still don’t come near those of “Cracked Rear View,” but in low-key and intimate settings in small clubs, both artists showed why they are two of the best songwriters working today. And the albums they played from start to finish were, for both, game changers.
Somewhat ironically, “King of California” and “Bittertown” were the fourth albums for both Alvin, who had gone solo after co-founding The Blasters, and McKenna, who was at the time pregnant with her fifth child.
For the first 15 years of his career, Alvin was known for smoking guitar work and ability to cross genres with groups such as The Blasters, X, and The Knitters, and as a solo artist. Released in 1994, “King of California” remains a stunning and evocative disc, one that allowed Alvin to recast and reinterpret several of his songs (along with a few well-chosen covers) in a stripped-down acoustic setting. On Tuesday, multi-instrumentalist Greg Leisz, who produced "King of California" and other Alvin releases, provided lovely support, as did Christy McWilson on vocals.
Ten years later and three days before her now 15-year-old son was born, McKenna released “Bittertown.” Faith Hill famously stopped recording her multiplatinum album “Fireflies” after hearing it, opting to cover three of McKenna’s songs from the record. The support of Hill and her husband, Tim McGraw, helped McKenna launch a career as one of the most in-demand songwriters in Nashville.
Here is a brief look at some of the stories behind both albums, among other anecdotes:
• Alvin, who played the album in order, filled his set with vivid memories and language. After opening with the title track and “Barn Burning,” he noted that albums usually are sequenced differently from live shows. The label wanted the “hits,” in the front, while concerts usually keep the biggest songs for the end if not the encore.
“So this is coming really fashionably early,” he said before launching into “Fourth of July,” a song he has played in most shows since it was released by X in 1987. “If this is the one you came for, you can leave afterward. I don’t mind.”
No one left.
• McKenna, who is known for writing sad songs, made note that her career falls into two distinct stages: before “Bittertown” and after “Bittertown.” To mark the anniversary, on Wednesday she released a 12-inch vinyl with two re-recorded classics from the album — “Bible Song” and “Stealing Kisses.”
“I want to assure you that I’m happier in real life than I was when I wrote this record,” she said, noting that she had to relearn many of the songs before playing them live again. “… There are a lot of words in these old songs. We played them so much faster and I had much more lung capacity.”
• Shortly after going solo, a record label contacted Alvin and said George Jones wanted to record one of his songs. But shortly before he flew to Nashville for the session, the label called back and said recording “Every Night About This Time” would not happen.
“It turns out this song was too country for George Jones,” Alvin said with a laugh before playing the beautiful ballad.
• “Stealing Kisses,” one of the songs Hill later covered, was the last song written for “Bittertown,” McKenna told the audience on Wednesday. The song, like many of McKenna’s, is about the challenges and rewards of “living with one man.”
“It was my first single on country radio, and it got to #28 on the charts, which was a failure then,” McKenna said. “But hey, it was the first time I released something that had a number attached to it.”
McKenna said the Bittertown song “Lone Star” was written about Beck, but she soon realized “this is not Beck’s story whatsoever.” In fact, Beck’s father did the string arrangements for Hill’s “Fireflies” and “he confirmed this,” McKenna said with a shrug. “It’s not his story at all.”
• “Songs are like your children,” Alvin said in introducing “Bus Station,” a vivid yet devastating profile of a couple on the outs. “Some are extroverts and beg to be performed. Others are introverts who never want to leave their room. I care so deeply for this song that I never play it live.”
Alvin said “Bus Station” will be part of a book he “will write … am writing.” And it’s easy to see why, given lines like, “She lies to him/he kisses her/getting tired of love.”
• McKenna’s opener was Hailey Whitters, who has spent a dozen years in Nashville after moving there when she was 17. Whitters, whose second album “The Dream” will come out later this year, was frank about her struggles to make it to Nashville. Still not signed by a label, her self-financed album will feature the beautiful ballad “Ten Year Town,” about a songwriter who has to decide between her dreams and making a living.
McKenna’s fondness for Whitters is obvious, and she brought her on stage for the encore of “Girl Crush” and “Happy People.” In 2016, McKenna became the first woman to win the Country Music Association’s “Song of the Year” award two years in a row for “Girl Crush” and “Humble and Kind,” both of which won Grammys as Best Country Song.
“After this record, I sort of got the golden ticket and they said you can do this now,” McKenna said of “Bittertown.”
“Hailey showed up it my door at 22 and told me she wanted to write a song called ‘Happy People,’ and so we did. That’s what I can do now. She’s just a magical person and I’m so glad we get to share the night together.”
• Toward the end of Alvin’s show, he performed the beautiful ballad “Border Radio,” remarking that it’s “always weird when one of your songs become culturally irrelevant.”
“Now we have iPhones, laptops, even fax machines,” he said. “When I was growing up, 50,000-watt radio stations were a means of communication in a very, very strange way. When I was a kid, I had to go to bed about 8:30 at night, but even at 8 years old I had a secret weapon, a 9-volt transistor radio that could pick up the border radio stations. I was too young to know what poetry was, but I knew that was poetry. I knew then that all I wanted to do was grow up and live this kind of life.”
Today, McKenna and Alvin — songwriters from different coasts with much different career trajectories — are living proof that you can capture lightning in a bottle. And thankfully, audiences in the greater Washington, D.C., area had anniversary tours on the same week to see them relive that time.
I’ve been slammed with work and the joys of owning a 99-year-old house recently, which means my ability to see concerts has been severely compromised. And it’s too bad, because there are a number of shows I’d like to see these days.
A number of new and relatively recent releases have caught my eye and found their way to my Apple Music account, however. I’m really enjoying the latest albums from Hayes Carll, Patty Griffin, Josh Ritter (produced by Jason Isbell), Jack Ingram, Ryan Bingham and Steve Earle. And I can’t wait to hear all of “Breakdown on 20th Ave. South,” the long overdue album from Buddy and Julie Miller. Three of the 14 tracks are available now, and each is stellar.
There are no surprises to be found with these artists, because all are among my favorites. I’m also enjoying Maren Morris’ new album, and Kacey Musgraves’ award-winning “Golden Hour” has snuck into heavy rotation. “Dying Star,” by Musgraves’ husband Ruston Kelly, has remained there since I saw him at The Anthem earlier this year.
Two that you need to seek out and find are “Alive in Tennessee,” a live album that captures what makes Anderson East’s live shows so much fun, and Rhiannon Giddens haunting “There is No Other,” recorded with Francesco Turrisi.
Meanwhile, here are some other music-related thoughts from the past several weeks:
• Your ability to survive a MRI could depend on your tolerance for Lou Reed's “Metal Machine Music” album. I had one recently and hated it, but have to say that hearing punk and metal bands close up over the years came in handy when I was in the tube.
• Quote of the day, from an appearance Bruce Springsteen made to promote the Netflix documentary of his Broadway show: "I think as you get older, that’s what you grow comfortable with: Faith is faith. It’s trust. It’s about all of the mysteries and the answers that you’re never going to come up with…But if you let it be, that’s when you find a little bit of peace. That’s what I’ve found anyway.”
• I saw a music press release that made me realize journalism and P.R. copy editing have really taken a hit over the past few years. Check out this lead and tell me what’s wrong with it: “The late Alex Chilton, former lead singer of Big Star and the Box Tops, will release two new LP’s, Songs From Robin Hood Lane and From Memphis to New Orleans."
I’m pretty sure that Chilton had little to do with the current releases. But with holograms of Elvis, Selena and Prince floating around, who knows?
Jon Dee Graham is nothing if not a realist about life in the music business. As his 60th birthday approaches at the end of February, the acclaimed Texas songwriter is working to raise money to make a new record he hopes won’t be his last.
“Acclaim doesn’t put food on the table,” Graham says. “It’s adorable and I’m touched, but I cannot possibly be more tired of the phrase ‘Best songwriter you’ve never heard of.’”
Graham has self-funded every album he’s recorded since 2012’s “Garage Sale,” selling music and watercolors of bears out of his car when he tours. From now until midnight Wednesday, he is raising money to document a “milestone.” You can make a donation here.
“I’m turning 60 and I never really expected to find myself here,” Graham says by phone from his Austin home. “This is not like grave portent or foreshadowing of anything, but my contacts list on my phone is full of people who are not here anymore. You just don’t know. You never know.”
Over 45 minutes, Graham and I talked about his impetus behind the new album, mortality, his songwriting process, and the state of the music business, among other things. I have long been an admirer of his work. The photos accompanying this feature are from a 2015 show I shot of Graham performing in his weekly residency at Austin's Continental Club; you can see that essay here, as well as another one here.
Here are edited highlights from our conversation. All of the quotes are Graham’s:
The new album
“Potentially this will be my last record. I hope not but what if it is? At my age and the crowd I ran with, let’s just say they were enthusiastic about living (laughs) and a lot of them are not with me anymore. If this turns out to be the last record, I want it to be right.
“I’m not writing a death record. I was talking to Terry Allen a few years back. He was working on a new album and then got stuck. He couldn’t figure out what was wrong and then he realized he was working on a death record. So he scrapped it and started over again. I thought about that when I started this. I’m carefully conscious that I’m not making a death record. My approach is, ‘Let’s say this is your last, what do you want it to accomplish?’”
Life as a working musician
“I have to leave Austin to make money basically. Truly I do. I’ve never played a club that does not want me back. That seems like a small measure but in our business that’s what it’s really about. The audience doesn’t owe me anything. It’s my job to convince them that they need to hear what I have to say.”
Self-funding his music
“I invented crowd funding. ‘Garage Sale’ was done completely on pre-orders. That was the same year Kickstarter launched, and they didn’t have a platform in place that was functional until after I did that album. Now I’ve been doing it on my own for so long that I don’t know there’s any other way.
“I make a record, put it in my car and drive around playing and selling it to people. We’ve done alright by it. We’ve never missed a meal and almost own our house, so it works. It works really well.”
Graham is famous for austerity in his writing. In a lengthy 2013 essay for the Bitter Southerner, editor Chuck Reece marveled at how Graham’s “$100 Bill” has only 28 words. That led us into a discussion about his songwriting process.
“What I learned pretty early on was the stuff that moved me was simple. Not in the sense of the obvious but in the sense that the fewer moving parts a machine has, the less likely it is to break or to do something that’s not its job. … There’s so much to be said for letting the listener’s imagination do what it’s there for.
“I had a writing teacher during my brief tenure at (the University of Texas) who told me, ‘Words are under no obligations to you.’ That is so true because I can write these very simple lines that mean what I want them to mean. Then three different people can listen to it, be deeply moved and it means something completely different to each of them.
“I wish I could say this is how I write my songs, but I can’t because they come at me all different ways. Some of them arrive fully conceived and take about as long to write them as to sing them. Some are like feral cats. You leave a bowl of milk out on the porch and coax them in. Gradually you get to pet them and eventually they come indoors. … Sometimes if I try and write a song before I’m ready or before I can see it clearly enough to catch it, I’ll scare it off.
“My process is I say a prayer and pick up a guitar and a legal pad and see what happens. But that being said, I’m a harsh critic. I’m hard to please. I don’t put a word on the paper unless I believe it. If you go through my notebooks that I use to work on songs, there are not a lot of different versions. There’ll be some aborted versions, and there will be versions that are slightly different, but I know in my heart when I hear the right line. That sounds corny but it’s true. In order for me to write something down I have to believe it’s going to work.”
Superstitions and Faith(less):
At this point, Graham and I talked about how thoughts are at times so quick to disappear, and why capturing a thought is so important, no matter when it occurs. That led into a discussion on superstitions, religion, faith and one of his two best loved songs — “Faithless.”
“Let’s be square about this here. Who knows where this stuff comes from? It is a superstitious process. If I have one of those feelings, what I want to capture is that certain feeling. If I don’t sit down and start to write it, it can leave the tracks and I can’t get it back.
“Faithless — I’ve played it in a couple of churches as well as at a couple of funerals. People get confused with the terms spirituality and religion. Religion is for people who are afraid to go to hell. Spirituality is for people who’ve been to hell.
“Literally the definition of faith is the belief in things unseen. If you can’t muster that up you’re going to have a hard time in this world. It does not have to be the belief in the white robe bearded God. It can be whatever but you can’t live in this world and not realize that something is going on, that something happening that is not you and is not me.
“My friend Hal is an astrophysicist. He said to me once, ‘If I gave you a box with all the molecules you needed you still could not build a tree.’ In that sense you’d be a fool not to have faith of some sort. So much of what happens in our lives and what goes into our lives is necessarily unseen. When they smash atoms in the collider, you don’t actually see the electron, you just see the passing of the electron. With love, friendship, fidelity, loyalty, you don’t see it, you just see it pass through your life. That’s why we need faith.”
The music business today
Graham’s youngest son, William, is a singer-songwriter who has a new album (“Jakes”) coming out this month. I’ve seen William open for his dad at the Continental Club. The apple, as they say…
“He’s an amazing, amazing songwriter. He’s the real thing. I feel so bad for him because there’s no infrastructure anymore in music. At least I got in on the tail end. As the empire was crumbling, I still got to walk through the streets of Rome, and it’s helped me in my career to at least have gotten that initial push. If I was starting out again, if I were in William’s shoes right now, I don’t know what I’d really do.
“There used to be artist development. Record labels really didn’t expect to make their money back for the first three records because artists were encouraged and allowed to grow? Who on earth would give Tom Waits a record deal today, or for that matter, Neil Young? These were artists who were nurtured and allowed to move forward in ways that are just actually impossible now. Even if someone wanted to do it, they couldn’t.
“I don’t think I’d still be doing this if what I was doing wasn’t up to par, and I think with William it will work the same way. But the old paradigm is dead and no one knows what the new one is yet. How is any musician supposed to make money, other than touring, when you can pay a subscription fee to Amazon Prime and get any song for free?
“My oldest son, Roy, who is 25, his generation looks me in the eye and says music should be free, in the same sense that beauty should be free. What about the people who have to execute it? What about the people who have to make it? I hope William and his generation figure out how to save music. Between people staying home and not going out as much, and the stranglehold that streaming music has put on all of us, I don’t know how we’re supposed to make it.
“I’m not one of those people who is bitter about it, or pines for the old days. There were a lot of problems with the major labels. Every friend I know who had a major label deal has a horror story to tell. It’s to varying degrees, but they all have horror stories.
“What I do miss is that music used to mean more to people. I find it hard to believe that it doesn’t still. How many times do you hear a song on the radio and go back instantly to where you were when you heard the song the first time. There’s so much value in that. I just don’t think people feel the same way anymore. … Music has become very disposable.”
Wrapping it up…
At the end of the conversation, Graham tells a funny yet profane story. He refers again to his friend Hal, the astrophysicist.
“One of my favorite stories he’s told me pretty much sums up what we’re talking about here. He said that with the best observatories we had that astrophysicists came up with pretty clear mathematical layouts and descriptions of how things worked in the universe.
“Hal said, ‘Then we set the Hubble (telescope) up and we all looked at each other and went, ‘Fuck. We were wrong.’ So we set up a new lens and a new mirror and lens so we could see further. And then we said, ‘Fuck. We were wrong again.’
At this point, Graham laughs.
“So the further you see, the more you realize how wrong you were. It made me realize, ‘Well, hold on Frances, take a few steps back. You don’t know everything yet.’ I’m still teachable after all these years.”
This feature also was posted to Americana Highways. You can see it here.
This story is about the night Pearl Jam's lead singer went Americana, singing a cover of a Jason Isbell song. And how, despite the odds, my wife and I were there to see it.
On Sunday, closing out the Innings Festival in Tempe, Arizona, Eddie Vedder broke into "Maybe It's Time," the song Isbell wrote for Bradley Cooper's character to sing in "A Star is Born."
I was walking back to the spot Jill had saved for us while I shot the first three songs of Vedder's set. After we purchased VIP tickets to see the festival's second day, I sought a photo pass to shoot and write about it. My pitch, which the festival's PR team graciously accepted, was an essay on how seeing Eddie Vedder live was a bucket list item for my wife of almost 23 years.
We traveled from our home just outside Washington, D.C., to Tempe to attend the festival, now in its second year. Our purpose was to hear someone whose voice and songwriting my wife appreciates as much as Isbell, a performer we saw live in several venues last year.
Little did we know what was about to happen.
Released in late 1994, Pearl Jam's "Vitalogy" was a multiplatinum behemoth that completed a trilogy that started with "Ten" and continued with "Vs." The album included several hit singles, but no song was bigger or has had a more lasting impact than "Better Man," an album-only track never released as a 45.
The story of a woman trying to get out of an abusive (physical, emotional or both is not specified) relationship, the song's protagonist fears she'll never be able to leave her partner. Vedder wrote the song in high school and later pitched it to the other Pearl Jam members, but the band initially refused to record it, feeling that it was too accessible for the style of music they were making.
Shortly after Jill and I met, "Better Man" started receiving airplay on the stations we listened to from nearby Greensboro and Raleigh. Trapped at the time in a cyclical relationship with no end in sight, "Better Man" particularly resonated with her during what is described most succinctly as a difficult time.
Fortunately, unlike the song's protagonist, Jill finally got the courage to terminate the relationship. It wasn't too long after that we married and had three children within the span of a year.
Flash forward a decade. Vedder has written the songs for 2007’s "Into the Wild," a soundtrack that is an unlikely — though deserved — hit. Although our fandom doesn't come close to matching that of Pearl Jam's most ardent admirers, my wife always has had great admiration for Vedder's playing and voice, especially solo. "Into the Wild" sealed it for her, and for me too.
Then, in 2009, Pearl Jam released "Just Breathe," one of the three most beautiful love songs we know. (The other two are Isbell's "Cover Me Up" and "If We Were Vampires, further completing the circle.) After hearing "Just Breathe," Jill tells me Vedder is someone she's like to see live.
Trouble is, between kids and busy work schedules, plus scant availability for any Pearl Jam show that plays within reasonable distance, we couldn't seem to make it work.
Enter the Innings Festival.
In 2018, organizers took advantage of Arizona's springtime climate — or what we call May in the rest of the world — and the start of baseball's spring training to throw a music festival at a park overlooking Tempe Town Lake.
When I saw Vedder would headline the second day of the festival this year, I moved quickly (for once) to snap up tickets. With the kids grown and out of the house, we have downsized and are working to check items off the bucket list when time and opportunities allow.
Like other events of this nature, the Innings Festival draws a diverse range of acts as well as a few baseball legends. Last year, for example, the Avett Brothers and Chris Stapleton were headliners along with Queens of the Stone Age, Phosphorescent and The Decemberists.
This year's lineup included Sheryl Crow, Cake and Incubus on Saturday. Sunday's lineup was an eclectic mix as well, with performances by The Record Company (a helluva opener), G. Love and Special Sauce, Jimmy Eat World, Shakey Graves, Liz Phair (strong), St. Paul & the Broken Bones (good in spots but not on their A game), Mat Kearney and Band of Horses (our favorites other than Vedder).
When we arrived Sunday so I could pick up the photo pass, Vedder's soundcheck was coming through the PA. Although he was not singing, he was playing "Better Man." Jill squeezed my hand. She had been waiting to hear this song live for almost 25 years, a sort of closure for something that dominated her life almost half a lifetime ago.
What I like about Vedder's solo shows, based on bootlegs and videos from his sporadic acoustic tours over the past decade, are the variety of covers he chooses to play.
His loose, free flowing Innings Festival set featured, in addition to various Pearl Jam and solo pieces, covers of songs by Warren Zevon, U2, Tom Petty, and The Beatles. He shredded the ukulele on a cover of The Clash's "Should I Stay or Should I Go," followed by Bruce Springsteen's "Open All Night."
Nothing, not even the appearance by Chicago Cubs manager Joe Madden (one of Vedder's closest friends) and several Cubs players "singing" back up on the "Hard Sun" closer, prepared us for "Maybe It's Time."
Vedder's sublime rendering of Isbell's song, a huge headline in music circles on Monday, makes sense. Cooper mannered parts of his "A Star is Born" role, who was from Arizona, on Vedder and met with the singer while developing the character.
But, as Isbell tweeted later, "Holy shit."
Having shot the start of the set, I was making my way back to Jill when the song started and pushed my way through the massive crowd to reach her for the last two-thirds.
There we stood, amid thousands of Vedder and Pearl Jam fans, lost in our thoughts and alone together.
That moment eased the sting a bit when Vedder, for whatever reason, ended his set without playing "Better Man." As I mentioned to my wife, his cover of a song by a writer we so appreciate may be the gateway to the next chapter, allowing us to put those long-ago memories behind us.
"Maybe it's time to let the old ways die..."
This essay, along with more photos from the festival, was posted on the Americana Highways website. For more photos from the various acts, check out my Concert Photography page soon. You also can find photos on my Instagram (@glenncookphotography) and on my Facebook photography page.
• Richard Lloyd of Television: “What is country music? It’s always driven by heartache. Rock & roll on the other hand, often exudes a kind of celebration of rebelliousness and debauchery. But what comes after debauchery? Agony. You can’t have one without the other. They call that big angel, big devil where I come from.”
• Hayes Carll: “I take stock of myself and the world around me and write about it. ... I understand a lot of people look to music as an escape, and it can be really upsetting when it feels like that’s disrupted. But I have a really low tolerance for the people who say ‘shut up and sing.’ It minimizes everybody’s voice. We are citizens, and we are artists.”
• Jason Isbell: "Politics is not a football game, and I think that’s where a lot of Americans make a mistake: They root for one side, and when that side wins, they rub it in your face, and when that side loses, they get really pissed off and saying the game was rigged. It’s not a sporting event. It’s real. Whoever wins, we all have to deal with it, for better or for worse. I did what I could so I was able to sleep at night, no matter who won."
• And finally, the late great Joe Strummer: “I used to be just another guy on the street, but now I’m just another LP on the shelf.”
“Here you go. Want to try and do something with this?”
John Simsen, my boss at the Texas City Sun, was going through the daily stack of mail when he tossed a Rounder Records/Bullseye Blues press kit onto my desk. He knew I was into music, and opportunities were rare to do much regional or national entertainment coverage. Writing a profile on a musician opening for Bonnie Raitt would be a nice change of pace amid the daily grind of cops, obits and meetings.
I called the press contact and set up a phone interview with Charles Brown, having no idea that I was starting an eight-year friendship with a future member of the Rock & Roll Hall of Fame.
Chances are you’ve heard Charles’ music, even though it’s been 28 years since that interview and almost two decades since his death. He is responsible for two holiday classics (“Merry Christmas Baby” and “Please Come Home for Christmas”) that are piped through stores and Starbucks in a never-ending loop from Halloween to New Year’s Day.
The stories behind those two songs are fascinating. But then, Charles had a fascinating life. Our interactions, mostly over the phone, were memorable too.
Yesterday, eating lunch with a friend and freelance colleague, Charles’ version of “Merry Christmas Baby” started playing through the restaurant’s speakers. He recorded the song — as have more than 90 others — numerous times from the 1940s to the 1990s and played it at every concert, no matter the time of year.
My favorite version is the one he did with Bonnie Raitt in the midst of his comeback. You can listen below and judge for yourself, but I think you’ll agree: Charles Brown was one of a kind.
When we first talked, in 1990, Brown was in the midst of a comeback that was getting a huge boost from Raitt, whose own comeback had started the year before with the release of the Grammy Award-winning “Nick of Time.”
“I love her,” Brown told me over the phone. “She’s been very good to me.”
By this point, approaching 70, he was nostalgic, grateful, and quick to turn on the charm. He described growing up in Texas City in the 1920s and 1930s, raised by his grandmother, Swannee Simpson, after his mother died when he was 6 months old.
Brown’s grandmother started teaching him church music on the piano when he was 4, pushing him to play more with his left hand than his right. “She liked the deeper sounds you got from your left hand, and said you were taking the easy way out if you spent most of your time on the right side of the piano,” he said. “She’d make me hold my right hand behind my back and play with just my left.”
When Charles was 11, his grandmother took him to “the Rev. Cole’s” Baptist church. Cole, Brown said, was so charismatic that “he had the sisters rolling. They were carrying them out on stretchers.” He also was “jazzing up those spirituals just like the blues, and I was hooked. I wanted to play like that.”
Charles started taking lessons from one of the church members, but his grandmother pushed him to get an education. He graduated in 1942 with a chemistry degree from Prairie View College, worked as a high school teacher for a year, then as a junior chemist at the Pine Bluff Arsenal in Arkansas. Ruled ineligible for the draft due to asthma, he moved to California in 1944 and started playing music.
B.B. King, who I was fortunate to interview in 1991, said he always wondered why Brown chose the life of a musician.
“We were all jealous of him because he went to college,” King said. “He had so many more options than the rest of us.”
Within months of moving to Los Angeles, Brown had abandoned chemistry and joined Johnny Moore & The Three Blazers. In 1945, Brown had his first hit song, “Drifting Blues,” which has been covered several times by Eric Clapton. Soon, musicians such as Ray Charles started copping Brown’s mix of jazz and blues.
“I loved and imitated Nat Cole and Charles Brown,” Charles wrote in his 1979 autobiography, Brother Ray. “I had been stealing their licks and singing and playing like them for years. I had my first hit with a Charles Brown-influenced number, `Baby, Let Me Hold Your Hand'."
Brown went solo in 1948, signed to Aladdin Records and saw his music shoot up the charts. Between 1949 and 1952, his songs spent 103 weeks on Billboard’s Race Chart, including 29 weeks at No. 1.
“I was living it up,” Brown told me, noting that his next-door neighbor at the time was Billie Holiday. “But things change.”
What changed was the music business, as Charles’ smooth, mellow blues/jazz hybrid fell out of favor with the birth of rock and roll. He continued to record throughout the 1950s and 1960s for multiple labels with limited success. Like many African-American musicians of that era, he was prevented from getting royalties to his songs, or sold off the rights to fuel a ferocious gambling habit.
Although Charles didn’t drink, he loved to gamble. He refused to play piano for Sam Cooke’s “Night Beat” album in 1963, noting that he was offered only $75 for the session and “I could make more than that at the track.” Cooke cut the album in four days and featured two of Charles’ songs on it.
Middling gigs and stints as a music teacher and with a janitorial service led Brown to consider quitting the music business by the early 1980s. But a chance encounter with a Steinway piano in one of the houses he was cleaning started his comeback.
“We were working in one of those big houses, and I saw this piano,” Charles told me. “It was a Steinway, and no piano player would turn down a chance to play a Steinway, no matter if you had permission or not. So I sat down and started playing, and the owner of the house found me. She liked what she heard and asked me to play for a party she was having.”
It was at the party, in 1986, that a record executive for a small label asked Brown to return to the studio. The subsequent album, “One More for the Road,” received enough notice to get Brown back on stage, where he struck up a conversation with Raitt at the Blue Note in New York. A longtime fan of Brown’s work, Raitt offered him the opening slot on her tour, which is how we met.
Two hours into our conversation, Brown asked if I was going to the show and offered to leave tickets and a backstage pass for me at will call. Afterward, we met in his dressing room and started talking like we had known each other for a lifetime.
A few minutes into the conversation, someone opened the door and asked if a few people could take a picture. Charles obliged, and into the room walked Raitt, Lyle Lovett, Billy Gibbons from ZZ Top, and Jeff Healey.
If I had been chewing gum, I would have swallowed it then and there.
After the picture was taken, Raitt stayed behind and sat in the chair next to me. “Who the hell are you?” she asked, before Charles made a formal introduction and noted I was from his hometown.
“I love this man,” Raitt said. “If more people were like him, there would be no war. He is just filled with love.”
The day before the concert, Raitt had performed “Amazing Grace” with Jackson Browne and Stevie Wonder at Stevie Ray Vaughan’s funeral in Dallas. I had snagged the wire photo from work and gave it to Raitt.
She sighed. “That,” she said, “was a day I’ll never forget.”
A few minutes passed and Charles had to change and get on the bus that was taking the tour to its next stop. But before he left, he gave me his home phone number and asked me to give him a call when he got back to California.
“It’s always nice to talk to someone from my hometown,” he said.
For the next eight years, every four to six weeks, Charles and I talked on the phone. He’d tell stories about Texas City and the musicians he’d encountered, ask questions about my work and family, and then cut the conversation when it was time to leave for the track.
I saw him perform twice more in Houston before I moved to North Carolina in 1993 and was thrilled to hear he would be touring with Raitt and Ruth Brown on the “Caravan of Blues” tour in 1995.
We met for dinner in Raleigh, and he regaled me and others at the table with tales of love and marriage and music. He talked about betting on the horses, saying simply, “It’s my hobby.”
On the way back, Charles asked how I was doing. Jill and I had met, but we were both going through divorces and the relationship was not yet on solid ground. I mentioned to Charles that “All My Life,” the title track from the 1990 album that led to our interview, was a perfect summation of my feelings for her. I also mentioned that Jill didn’t fully believe me when I told her of the friendship Charles and I shared.
“Well,” he said. “Let’s do something about that.”
Sitting in the hotel lobby, he proceeded to ask for a piece of paper and a pen, then took 10 minutes to write her a one-page note. The note mentioned what I told him about “All My Life” and ended with “Forget my concern, it’s only real.”
I knew it was.
Flash forward four months. Charles is on the road with his small band, playing in Carrboro. He wants to meet Jill, so we arrive for the soundcheck. I asked him to play “All My Life” for us.
“Can’t do it,” he said, picking at the piano. “Don’t like the introduction.”
That night, at the show, he asked the two of us to stand. He told the audience the basics of our story, and of how I had bugged him to play the song. He then told us to look into each other’s eyes as he sang “All My Life” just for us.
Charles and I continued our long-distance phone conversations. Finally financially stable, he had moved into a one-bedroom unit in a Berkeley senior-citizen housing project.
In 1997, he went to the White House, where he received a Heritage Fellowship Award from the National Endowment for the Arts. The next month, he was feted at the end of the San Francisco Jazz Festival by Raitt, Ruth Brown and John Lee Hooker, among others.
In 1998, we talked only two or three times. Jill and I were busy with a toddler and two newborns, and Charles’ health was starting to fade. When the notice came in December 1998 that he had been selected as an “Early Influence” by the Rock & Roll Hall of Fame, I tried to call but could not reach him.
In January 1999, just two months before the induction ceremony, Charles died of congestive heart failure at age 76.
Eight years before, during the meeting in his dressing room, I asked Charles if he had ever been recognized in his hometown. He laughed and said no, but “That sure would be nice, wouldn’t it?”
After writing the story and a subsequent column on him, I thought Texas City would find some way to honor one of its most famous residents, but it took 19 years. Today, a bust of Charles hangs in the Charles T. Doyle Convention Center, and he is recognized annually during the city’s Juneteenth celebration.
Charles Brown’s presence is felt every year during the holidays thanks to two classic ballads — “Merry Christmas Baby” and “Please Come Home for Christmas.”
The list of artists who’ve covered the songs is a “Who’s Who” in music. “Merry Christmas Baby” has been recorded more than 90 times, by artists ranging from Elvis Presley to Bruce Springsteen to Otis Redding and Chuck Berry, to name a few. More than 30 artists have recorded “Please Come Home for Christmas.” Among them: The Eagles, James Brown, Willie Nelson and Bon Jovi.
Released 12 years apart, the origin of both songs is in some dispute. Brown insisted he wrote both, reworking “Merry Christmas Baby” for a friend who needed money for surgery and penning “Please Come Home for Christmas” while being forced to work for a kingpin who ran illegal gambling clubs in Northern Kentucky.
“Merry Christmas Baby” is credited to Lou Baxter and Johnny Moore, the leader of the trio that Brown first recorded with in the mid 1940s. Charles plays piano and sings lead on the song but was denied the writing credit he always claimed he deserved.
“Johnny Moore was illiterate,” Brown told me. “He couldn’t sign his name.”
Brown claimed that he reworked Baxter’s lyrics for a song titled “Merry Xmas Baby” as a favor. Richie Dell Thomas, a friend of Brown’s who I met in the 1990s in Houston, said she remembered him working on the song in her apartment in Los Angeles.
“That song is his as much as it anyone else’s,” Thomas said. “Charles doesn’t lie about that stuff.”
In a December 2017 article in the Smithsonian Magazine, writer William Browning reaches the same conclusion, saying, “At a minimum, I think Brown should have received partial credit for writing the song.”
I did not know the origin of “Please Come Home for Christmas” until I read a 2014 Cincinnati Enquirerarticle by Steven Rosen, who notes that Brown spent time working in gambling clubs owned by the notorious Frank “Screw” Andrews from 1959 to 1961.
By this point, Brown’s star had faded — he had not had a hit since 1952 — and he was in heavy debt due to a lifelong gambling habit. He became Andrews’ house pianist, working with fellow singer/pianist Amos Milburn.
In 1960, Syd Nathan of King Records asked Brown if he could “write something as good as ‘Merry Christmas Baby’.” The result was “Please Come Home for Christmas,” Brown’s last hit as part of a split single with Milburn’s “Christmas Comes but Once a Year.” But on the second song, which Brown claimed was a solo effort, King Records musician Gene Rudd receives a co-writing credit.
Had Brown received proper publishing credit for those two songs — and, if we’re being honest, not gambled as much — the residuals would have left him comfortable financially. But, like other artists who saw potential windfalls vanish without a trace, he didn’t get to benefit from his creation.
I need live music. It feeds my soul. Since my late teens and early 20s, when I lived in Houston, I’ve found myself in bars and clubs, absorbing the sounds of musicians telling their stories and pouring out their souls to crowds large and small. Usually small.
Most of my family doesn’t understand this need; at least I don’t think they do. The music I typically enjoy is miles from the top 40, although I’ve been known to embrace the occasional pop song that is played ad infinitum on the radio. But mostly I appreciate singer-songwriters whose music strikes a common cord with who I am, who I’ve been, or who I wish to be.
Jon Dee Graham cuts across all three. His music touches and informs; the honesty with which he writes and plays is something I related to immediately. He writes as a father and a husband who has acclaim and hardships in equal measure. I’ve been a fan for almost two decades, albeit one who has experienced the topics he writes about both vicariously and up close and in person.
Like The Replacements, another band I tried to see but couldn’t manage to connect with live until a few months ago, my attempts to see Graham seemed thwarted at every turn. I’ve caught Dave Alvin, Steve Earle,John Hiatt, and Buddy Miller — other genre-crossing favorites in my ongoing music queue — numerous times. Other than one show in the mid 1990s when he was the opening act, I can’t begin to tell you how many times I missed Graham by a day or a week, seemingly caught in an inextricable conflict that prevented me from making that live connection.
Still, I’ve bought everything he’s released, ranging from the music on mid-major labels (New West) to his self-released material. I made a contribution via mail when I heard of his son’s rare disorder, which led to a live album/DVD that I also purchased and lapped up with the fervor of the fans who’ve seen him live hundreds of times. I’ve read with envy of his weekly 17-year residency at the tiny, infamous Continental Club in Austin, and wondered how I could catch a show at the infamous small club in my home state’s capital.
This past Wednesday, thanks to a fortuitous spur-of-the-moment trip and my wife’s indulgence, I finally managed to see Graham live. In Austin… at the Continental Club … with Jill and I sitting on a former car seat against the wall.
And it was worth every penny, even if the cover charge was only $8. I gladly would have paid much more.
These photos (plus the ones on my Facebook page here) tell the story of that night. They alternate between photos of the club and the groups we saw — Graham with his incredibly tight band, the Fighting Cocks, and his tremendously talented teenage son, William, leading his band, the Painted Redstarts.
The best part for me was seeing my wife enjoy one of my favorite musicians in a club in my home state. The next best was seeing Graham standing on the opposite side of the room, watching his son perform and leading the cheers. Just like any other proud dad.
The first time I tried to see The Replacements, my grandfather died. The second time I tried to see them, almost three years later, my grandmother followed suit. Two years after that, the band broke up.
Given the seeming effect on my family’s mortality, I chalked it up to a curse, a weird piece of karma that seemed on the fringes of a fate that seemed to have befallen one of the most influential groups of my generation.
Of all the bands I listen to, and I listen to a lot, The Replacements are the ones that should have made it. They should have been playing to stadiums of 15,000 instead of clubs of 150 and small venues of 1,500.
On Sept. 19, they played in a stadium — one that held the U.S. Open for more than 50 years and, like the band, is making a comeback of its own as a neighborhood concert venue. Unlike the other times, I was there, despite some hurdles.
But no one in my family died — thank God. And the show was even better than I imagined.
Explaining my lifelong affair with music is difficult. As a writer and photographer, I love songwriters who capture life’s little moments and tell complete, visual stories with smart and clever turns of phrase in 2½ to 4 minutes. I greatly admire musicians — especially guitarists, piano players, and a good horn section — whose passion seeps through every chord change, whether you hear them live or in the studio. And, even though I can’t carry a tune, I appreciate singers who can push the limits of their instrument to bring intense feelings of emotion and release to the songs.
My grandmother, who loved music of all kinds well into her 80s, believed very strongly that the best songs are reflections of their time in a way that's somehow timeless. It’s through this lens that I hear music. How does it relate to a specific era? Does it sound dated, or is does it mean as much today as it did when it was first released?
I’m not nostalgic for my childhood or, even worse, my teenage years or my early to mid 20s when I hear music. I’m looking for timeless, and for the most part, Paul Westerberg’s songs are just that, just like the cover songs the band plays (some successfully; others not so much).
I did not become a Replacements fan until "Let it Be," then became obsessed when “Tim,” their major label debut, was released in 1985. At the time I was just really starting to get into contemporary music, having grown up on a steady diet of Elvis and the 50s groups and singers that my father and grandmother loved.
“Tim” was unpredictable, a mashup of different genres and styles that combined yearning and attitude, disenchantment and hope, anger and heartache, with a sound that ranged from acoustic to punk. You could never tell where the band was going next, but their diversity of styles shaped my tastes in a way that no group has done before or since.
Like too many of the great ones, The Replacements’ influence was much greater than their reach, with only one song approaching the Billboard Top 50 while they were active. They alternated brilliance with self-destruction, always coming this close to success before imploding on themselves in some way.
When they broke up in 1991, it felt right at the time, but wrong nonetheless.
“God, what a mess, on the ladder of success. Took one step and missed the whole first rung.”
I followed Westerberg’s career — in part because he was the chief songwriter and lead singer — the closest after the band drifted apart. I read the stories about the demise of Bob Stinson, the original lead guitarist who was fired from the band for erratic behavior and a Keith Richards-like habit (though, sadly, not professional constitution) of ingesting various legal and illegal substances.
Westerberg stopped touring in 2005 and, despite the reissue of The Replacements’ catalog three years later, stubbornly refused to get the band back together. Chris Mars, the original drummer, became a painter. Tommy Stinson, the teenage bass player, started lucrative gigs with Guns ‘n Roses, among other bands.
It wasn’t until Slim Dunlap, who replaced Bob Stinson as the lead guitarist, suffered a massive stroke a couple of years ago that Westerberg and Tommy Stinson decided to resurrect the band’s name. They recorded a five-track EP to launch the Songs for Slim project, raised more than $100,000 to help pay for Dunlap's medical care, and — just as important — enjoyed it so much that they decided to play together again.
The tour — actually a series of one-off concerts at major summer festivals — coincided with my layoff last May. The timing, along with the easy availability of concert tapes that surfaced as mp3s within days after each show, gave me a chance to listen to the group in a way I hadn’t done since the mid 1980s. And ironically, as I approach 50, the lyrics resonated in a way they hadn’t when I was in my 20’s.
I hoped Westerberg, Stinson, and the replacement Replacements would come our way at some point. When they announced the Forest Hills concert, I had my chance. And, short of family members passing away, I was determined to take it.
Forest Hills Stadium is located in a residential section of Queens. It hosted the U.S. Open from 1924 to 1977 and, despite some renovations and the addition of some seating and a permanent stage, remains the same horseshoe-shaped concrete landmark befitting of the quiet neighborhood.
Concerts were held during the stadium’s heyday, with The Beatles, Bob Dylan, Barbra Steisand, Frank Sinatra, The Rolling Stones, The Who, and Jimi Hendrix and others performing there. The venue was reopened to live music last year, with a strict curfew of 10 p.m. to keep the residential peace, and was a perfect place for an outdoor show just before the official start of fall dawned.
Since taking up photography professionally, I’ve tried to shoot concerts on the now-rare times that I go, partly because of the challenge of live events and in part because I want to capture the groups that I enjoy. The ubiquity of camera phones has made it impossible to police the taking of stills and video, but Forest Hills had a strict policy of no professional cameras.
I tried to contact the promoter, the band, and the stadium, but was unsuccessful. Finally, I just decided to say to heck with it, take my camera and see what happened. Because Jill couldn’t come due to circumstances at home, I was meeting our friend Bernadette at the venue, so I had some extra time.
Arriving an hour before the two openers — Deer Tick and The Hold Steady — began, I was promptly stopped by security and told I couldn’t take the camera in. Rather than take the train back to Manhattan where I was staying — there was no parking at the stadium — I managed to convince security to let me in with the camera, but no battery.
The security guard, a nice guy that I chatted with for a half hour, told me as I left that I could get the battery back if I could somehow manage to swing a press pass. He too had been a photographer and sympathized with my situation.
Walking in, I looked around the stadium and thought back to all of the events and history that had occurred there. Readers of this blog know that I’m fascinated by history, an interest that dates back to my grandmother and dad. I walked over to Guest Promotions and talked to the two women sitting at the table as the sun set, talking to them about the stadium, the musicians that performed there, and my desire to photograph my favorite band. They too were sympathetic, but said they could not give me a press pass.
Instead, they did me one better, giving me a sticker that allowed me to go to the VIP tent and score free beer and food. I showed it to the security guard, noted my dumb fortune, and he fished the battery out of his pocket.
“I guess it’s your lucky day.”
Lucky, indeed. The pass allowed me to walk through the floor area and snap away, although I also wanted to experience the band from my vantage point in the lower bowl (which happened to be close to the VIP tent). When I returned to my bleacher seat off stage left, I had a stack of photos on my SD card and the feeling of finally being close to the band I could have seen almost 30 years before.
That allowed me to sit back (and stand from time to time) and listen to The Replacements perform their catalogue of should-have-been hits. This time, however, it felt like a valedictory lap as the crowd sang along to a band firing on all cylinders. Song after song, anthem after anthem, I found myself moved during each verse chorus verse.
I could never be a music critic. I love what I love too much to pick things apart and I dismiss the stuff I don’t like with barely a passing glance. A flubbed lyric here, a missed chord there — it means little to me if emotion and passion are in its place. Watching The Replacements become the rock stars they once ached to be, seeing the faces and hearing sing-along shouting of fans old and new, was more than worth it.
In early 1955, my 14-year-old father went over to his girlfriend’s house on a Saturday night. A few minutes after he arrived, and was sitting on the girl’s living room couch with her parents in the other room, the phone rang in the hallway.
It was my grandmother, and she wanted to talk to Dad.
My father was mortified — the Methodist version of teenage guilt in the 1950s — but dutifully went to pick up the phone.
“Turn on the Louisiana Hayride,” my grandmother said. “I just heard this guy perform and he’s coming back in a little while. He’s going to change everything.”
The “guy” was Elvis Presley.
Music has always been a huge part of my life, even though I can’t sing, dance, or play an instrument. A good song, no matter the genre, appeals to my artistic sense as a writer and storyteller. Finding a compelling, talented new artist or group brings with it a sense of discovery and wonder.
I have a profound appreciation for artists of any kind who are willing to lay it on the line for their passion. This is true for my children, and is one reason I believe so strongly in being honest through my writing and imagery.
I get my love and appreciation of music from my father and paternal grandmother, who died in 1989 at age 83. In addition to being a packrat and chronicler of life, my grandmother was an explorer when it came to music. When she was almost 80, I came home from one day and found her watching “The Last Waltz,” the 1976 documentary of The Band’s final concert. She thought it sounded interesting, although she had trouble understanding Bob Dylan.
Grandmama could whistle a symphony or add a jazz-like hum to a country song. She loved to sing at church, and her cousin Bessie told me she loved to dance, especially during her single years in the 1920s that she rarely discussed.
In the 1950s, the radio was always on, and Saturday nights — with few exceptions — were devoted to the Louisiana Hayride. The show was broadcast from the Shreveport Municipal Memorial Auditorium, 60 miles from where my grandparents lived in East Texas.
For more than a decade, the Hayride was second only to the Grand Ole’ Opry in importance among country and western singers. Elvis, who famously was rejected by the Opry for being too, well, out there, was signed by the Hayride and made numerous appearances on the show from late 1954 until December 1956.
Presley, as we all know by now, was different, and it was during this time that his fusion of country and western, gospel and rhythm and blues became early rock and roll. His presence and influence on teens, especially during the late 1950s, was undeniable. It certainly had a lasting effect on my father, who collected Presley’s music along with every other artist from that era that he could find.
Dad, especially in his later years, seemed to regress to his teenage days in his tastes. When I was growing up, his eclectic record collection was housed in a six-foot wide, coffin-like wooden cabinet that held the somewhat flimsy turntable on the right side.
The albums included some of the era’s more modern music — The Beatles, Rolling Stones, even AC/DC and Aerosmith — along with Rodgers & Hammerstein soundtracks and a little too much Mario Lanza and Johnny Mathis for my taste. After my Grandmother died, Dad begrudgingly moved into the CD era, but would still turn back to obscure 45s by singers and doo-wop groups from the late 1950s.
Still, Elvis seemed to top them all.
The first concert I remember attending — at age 6 — was an Elvis show with my parents, grandparents, aunt and uncle at Hofheinz Pavilion in November 1971. Three years later, for my second concert, the mom of a childhood friend took two of us to Rodeo Houston to see Presley perform before a then-record crowd of more than 44,000 in the Astrodome.
The first album I owned was the Camden budget release (remember those?) “Burning Love and Hits from His Movies, Vol. 2,” purchased in part because my father loved the single. (The movie cuts were not the best, hence the budget release.)
Like my dad, I was hooked by “Burning Love,” the last single Presley placed in the top 10 before his death, but sadly, I didn’t realize that publicly declaring my love for the song was cause for me to lose cool points on the elementary school playground. (In my defense, I was smart enough to know that jumpsuits are definitely not the fashion statement any second-grader wants to make, no matter the era.)
Several months later, seeing my growing interest in Elvis and wanting to bond with his son, Dad took me to Parker Music on Ninth Avenue in Texas City, thumbed through the albums on the rack, and pulled out Presley’s 1956 self-titled debut. He bought it that day and later gave it to me as a present.
To really understand what made Elvis the king, he said, I needed to go back to the very beginning.
1956 was a crazy year for the former truck driver from Memphis, between constant touring, multiple (and controversial) television appearances, and making the movie “Love Me Tender.” Even if you’re not a fan, watch the documentary Elvis ’56 and you'll see how that one year changed everything, both for Presley and for those who listened to him.
By year’s end, Presley had outgrown the Hayride, although he had one more show in his contract. The show, held at the Hirsch Youth Center at the Louisiana Fairgrounds on Dec. 15, was attended by tons of screaming fans, including my father and then 51-year-old grandmother.
The story, like one about my grandmother’s Presley discovery, was somewhat legendary in my family. My grandmother went for the music; my dad went to look for girls. Because neither drove, my grandfather begrudgingly took them, complaining all the way.
My grandmother recalled the show fondly, although it was tough to hear amid the screaming. And apparently my dad found the girl, because her name is written inside the 50-cent program that my grandmother bought.
We still have the program, which would be worth about $200 except for the girl’s printed address in ink on the center spread, but my father could never remember what happened to her.
Twenty-one years later, on Aug. 16, 1977, I was sitting in the waiting room at the Tyler Chest Hospital when we got the news. My grandfather was hospitalized with the emphysema and COPD that killed him four years later. My aunt and I were waiting for my grandmother to bring him to the lobby.
“Elvis is dead.”
I was stunned. I didn’t know what to do or say. My grandmother and aunt took me to the Gibson’s in Longview that evening and we purchased “Moody Blue,” the blue LP that was Presley’s last major release. There were some decent songs on it, but it was nothing like the stuff I heard from 1956.
Over the years, I’ve remained an Elvis fan. If you can sift through the dreck, and there is plenty of that, you will find so much music that is worthwhile. In the earliest sides, going back to the beginning, you can see the influence that continues to resonate today.
There is so much to choose from, and it has all been packaged and repackaged so many times that it’s tough to find out where to start. But a couple of years ago, I found something special.
The five-disc box set, “Young Man With the Big Beat,” features the complete 1956 masters, as well as alternate takes and three short live shows, one of which was previously unreleased. That show happens to be the Dec. 15 concert at the Hirsch Youth Center in Shreveport.
The audio quality is not the best, but every once in a while, I put it on my CD player, close my eyes, and am transported to the auditorium with my dad and grandmother.
And that means more than you know.
About the Photos:
Top: Cracked plexiglass on top of the Elvis picture at Sun Studios in Memphis, September 2013. Upper middle: Photos taken of late 1920s programs saved by my grandmother. Middle: Photo of Presley in Dallas is part of an exhibit at Graceland, his Memphis mansion. Lower Middle: Elvis-related memorabilia collected by my family over the years. Bottom: The original 1956 program and the cover of RCA's "Young Man With the Big Beat."
I can’t put a finger exactly on when I became a Lou Reed admirer — fan is a word he alternately would have loathed and loved. But I'm sure he would have appreciated that I came to admire his music — or at least a great deal of it — in backward fashion.
My appreciation started, I guess, when a neighbor passed me “New Sensations” in the mid 1980s, roughly 20 years after Reed founded the Velvet Underground and more than a decade after his only hit ("Walk on the Wild Side").
At the time, I was living in Houston’s museum district, an area that opened my eyes in ways my parents had always feared. But in the grand scheme, it was a quiet rebellion; I sat on the fringes of a bohemian lifestyle while working nights and going to school during the day, unsure of what the next chapter would bring.
Lou Reed’s music — along with that of X, R.E.M., the Talking Heads and, somewhat belatedly, The Replacements and The Clash — pointed me in directions that clashed with the grounded emotional reality I experienced growing up. I still find those directions intriguing and exciting, especially from a distance. To this day, I can quote Reed’s 1989 album “New York” verbatim, and find myself looking for the very characters he describes when I walk the city’s streets.
My last trip to New York was in late October, the day after Reed died of liver failure at age 71. In the brief time I was there, I made sure to find a minute to walk to the Chelsea Hotel, where a makeshift memorial with candles, flowers and notes had been placed at the entrance. Someone also put a small plastic Ziploc with a powdery substance among the memorial items.
While I stood there, a woman bent over and moved it out of sight. Another woman said, “He wouldn’t have cared.”
Two doors from the Chelsea, painters were finishing work on the bright orange and green sign for a new 7-11 that's opening on West 24th Street. On that note, I get the feeling Reed — always the social critic of cool — would have had something caustic to say.
Or maybe not. I’m not sure.
Moving backwards: My first exposure to Reed's music and the Velvet Underground came the summer before my freshman year in college, when I picked up and consumed Edie, the biography of socialite and Andy Warhol muse Edie Sedgwick. Masterfully presented in an oral history format by Jean Stein and editor George Plimpton, Sedgwick’s story is part of the bigger tale that was New York in the mid to late 1960s, a tale that also included the Velvet Underground.
For a brief period, Sedgwick was the brightest star of Warhol’s voyeuristic faux reality show, so captivating that she inspired Bob Dylan to write “Just Like A Woman.” But within five years, she was dead of a drug overdose at age 28.
Edie never stood a chance, given the Warhol-level indulgences and the Sedgwick family tree — a generationally unstable lineage with a history of great wealth, mental illness, breakdowns, and suicide.
At the time, I did not understand why someone with so much would piss everything away in a drug- and alcohol-induced haze. Thirty years after reading the book, I still have trouble reconciling her path toward self-destruction, although I’m more understanding than ever of the causes and of how fragile life can prove to be.
Just after finishing Edie, I met and quickly became good friends with Brian, a fellow student at the University of Houston. I didn’t have many male friends growing up — it’s always been easier for me to talk to women — but we formed a bond that lasted for more than 20 years. He was like the older brother I never had.
When we met during my freshman year, Brian was a sportswriter at the university newspaper, an erstwhile English major on the slowest possible path to graduation. He was putting his life on the right path, he said, in the same sentence claiming he had been so stoned that he could not remember his last three years of high school. Going back to school at 23, he said, was his chance to make something of his life.
Brian, who was five years older, and I bonded over sports, music, movies, and journalism. We talked about New York and he handed me my first copy of the Village Voice. For a naive kid from Texas, this seemed like a big deal.
Over time, I learned of the struggles he had growing up. He was the oldest child of alcoholic parents involved in a toxic, codependent relationship. Brian had identified his parents’ issues and tried to work his way through them, but life proved to be a constant struggle to get over his self-created humps.
For a time, our lives paralleled. We participated in each other’s weddings. He had children. I had a child. Then I moved from Texas to North Carolina, and naturally the time between our conversations lengthened, buoyed when I returned and we managed to connect in person.
He did not understand why I left my first marriage, at least in the beginning. I did not understand why, if he was as miserable as he claimed in his relationship, he did not do the same. Brian insisted that he could not leave his children, no matter how many times he wished his parents had divorced when he was growing up.
A few nights ago, I found a Fresh Air segment devoted to Lou Reed’s life and legacy. The primary interview subject was Bill Bentley, Reed’s publicist from 1988 to 2004 — no easy task given the songwriter’s notoriously prickly nature.
The program, which featured clips of interviews with former band members and others close to Reed, was an intriguing listen. But one quote in particular stuck with me:
"Lou's whole contribution to rock 'n' roll was — at the very start of his career he said, 'You should be able to write about anything.' Anything you could read about in a book, or talk about in a play, he felt should be in a rock 'n' roll song,” Bentley said. “He set that out as his No. 1 goal: to change the parameters of what rock lyrics could be.”
And he did, writing honest pieces about life on the fringes, with New York as his backdrop and muse. To the listener with a pop ear, much of his music can be tough sledding, although he wrote some cool pop songs. (I’m not a huge fan of feedback and extended drone, and “Metal Machine Music” is almost as bad to me as “Having Fun with Elvis on Stage,” for many of the same reasons.)
The riches for the reader, and occasionally the beauty, are found in the lyrics. The best are three- to 10-minute short stories and poems bursting with vivid characters and the spectre of tragedy lurking nearby.
Like his parents, Brian had a love-hate relationship with alcohol and the blues. He fought his demons, but the demons fought back. Eventually, in 2005, he and his wife separated — apparently for good this time. He also took a leave of absence from his job.
No matter how many times I asked him to call if he needed help, I had to initiate the conversation, and for a dozen years we spoke every four to six weeks. In 2005, however, we talked only three times — once when I went back to Texas, and at two other points on the phone.
The last conversation, in June one weekend evening when I was working late, seemed like old times. We didn't talk much about families, but had a passionate discussion about sports and music. The Houston Astros were making a run that eventually would land them in their first World Series, and now that I lived near Washington, D.C., we trash talked about the Redskins/Cowboys rivalry. We finished the call saying we needed to have more talks like that one.
In early September, two weeks before the Redskins/Cowboys game on Monday night football, I called his office and was told he wasn’t there. I also called his apartment, but got no answer.
On Sept. 19, the Redskins won 14-13 on two huge plays. I thought about calling again, but was leaving for a meeting in Las Vegas that week and decided to wait. While in Vegas, I received a call from a mutual friend who told me the news.
Brian hadn’t seen the game. In fact, when had I called his office earlier in the month, he already had been dead for two weeks. He had taken his own life, apparently so miserable, tortured, and hopeless that he decided to leave his sons behind after all. His soon-to-be-ex had buried him with no obituary notice and no calls to his friends.
Apparently no one at his office knew what to say either.
I’ve thought many times about Brian, but standing outside the Chelsea Hotel and its many ghosts last month, I felt his spirit more strongly than I have in years. Listening to the Fresh Air program, I felt it again. And I feel it every time I think of Reed's song “Perfect Day,” one thing that prompted me to write this sort-of eulogy eight years too late.
It’s easy to be lulled into the lyrics at the start of the song, “Just a perfect day/drink Sangria in the park/And then later/when it gets dark, we go home … Oh, it's such a perfect day/I'm glad I spend it with you/Oh, such a perfect day/You just keep me hanging on.”
But then the song turns dark: “Just a perfect day/you made me forget myself/I thought I was/someone else, someone good.” And even darker still with the refrain at the end: “You're going to reap just what you sow/You're going to reap just what you sow.”
If you know me, you know how much I love music. All kinds, live or studio. Ones that play to the masses — there’s nothing better than a good pop song — and ones that draw a handful to each show.
My primary requirement is that the majority of the instruments be played by humans, not machines. Also, as a writer, I greatly appreciate anyone who can tell a story through words and/or emotions. The best performers can do both.
Here are a few other thoughts I’ve had recently…
• I'm an Elvis fan. Not a member of the cult, but one who recognizes his appeal, talent, and ability to cut across generations. (I'm also a big fan of the TCB band. Damn, they were good.)
• Have you ever listened to an album and wondered, "What were they thinking when they chose THAT as the first single?"
• Jon Dee Graham has long been one of my favorite artists, in part because he’s so freaking smart about the small things in life. Here is a quote in which he paraphrases Bruce Springsteen, another favorite:
"Springsteen was here for South By Southwest and, the one thing that he said that really just killed me, because once again, it proves to me that artists are all the same…he said you must have absolute confidence and you must doubt completely, and you must be as brave as possible but you need to worry all the time, and you need to know that you're the best act in town and yet at the same time know in your heart you suck. And that's it, right there, that's it."
• Milkduds and Merlot: Sounds like the end of a long day, the name of a country song ... or both.
• And finally, a belated RIP to Etta James, who died in mid January. This song is not one of her best known, or even one of her best, but it’s definitely one of my favorites.
“The story of our lives. Written page by page. Careful what you write. You gotta read it all some day.”
When I was a child staying at my grandmother’s in East Texas, inevitably I had to take food to Mrs. Douglass’ house.
I viewed this as penance for some yet-to-be-committed sin, in part because Mrs. Douglass and I had nothing in common and I was not interested in a career in the pharmaceutical industry at age 11. At this point in the story — Mrs. Douglass was a white haired, frail widow in her early 80s — conversation revolved around the variety of doctor’s appointments and prescriptions she was taking.
Mrs. Douglass was inevitably polite — although bitter about her lot in life, it seemed to my childhood self — and she always seemed to enjoy my visits. The pattern rarely deviated: I sat on the couch and, after a 30-second description and acknowledgment of the home-cooked meal my grandmother had made, listened to her describe her various ailments and what they prevented her from doing. After 15 or 20 minutes, I was escorted to the door and told to come back soon.
“I never want to be like that,” I told my grandmother more than once.
She nodded, pursed her lips slightly, and gave me a half smile.
“You can give away some things. That you never will get back. One piece at a time. And you never will get them back.”
My father-in-law is 80. Over the 15-plus years I’ve known him, the conversational window has narrowed considerably. At one point we could talk about photography; recently he barely looked at the pictures I showed him, even though most were of his grandchildren. At another, he could provide you with a dissertation examining the merits vs. the weaknesses of any sport involving the University of North Carolina. Now he barely talks about his beloved Tar Heels.
The relationship Jill and her brother have with their father is fractious, prickly, and tense. This is nothing new, but rather an extension of feelings that have been there since childhood. The undercurrents of lives that constantly overlap and occasionally intersect are never far from the surface.
Jill (I know) and her brother (I’m sure) have spent countless hours trying to figure out the enigma who is responsible for their place on this planet. And while it’s not my place to say what they think, I believe it comes down to this: Don’t mistake gratitude for kindness.
Like Mrs. Douglass, Bob’s life seems to revolve around two things — his visits to the doctor and the various prescriptions that he is taking to extend his life. He too is bitter, so focused on those things that he doesn’t seem to care about much else.
Recently, I drove to Boone as part of a Virginia/North Carolina trek that also involved parents’ weekend at Nicholas’ college (more about that in a separate post). Jill and her brother are trying to see Bob at least once a month and this gave me an opportunity to help.
Bob appeared grateful. He appreciated my taking him to the doctor and taking care of the things he has on a never-ending list. He talked of wanting to leave the assisted care facility to return to his house full time, although he’s not in good enough health for that to happen.
His charm with others not close to him remains intact. The person who has cut his hair for years spoke of his wit (and his love for Carolina sports). As he shuffled through the lobby, where a community band honked through the “Gilligan’s Island” theme at a 5:30 dinner concert, a couple of his fellow residents perked up, said hello, and waited for his acknowledgment. He gave them a nod, but didn’t sit with them.
Meanwhile, his temper simmered just below the surface, and he struggled not to bark or bellow. His temper, while infamous, is not something his children talk about, and you can tell he struggles to control it.
On more than one occasion, I’ve heard Jill mention that her father is not a kind man. I didn’t see it fully, however, until this visit, when I realized all along that I had mistaken gratitude for the kindness I had hoped to see.
“You need a strong heart. You need a true heart. You need a heart like that in a world like this. So you don’t get faithless.”
Four years ago, on Sept. 11, my second “mom” passed away. In many ways, she had died 3 1/2 years earlier.
If you follow this blog for any period of time, you will discover that I had two sets of “parents” — my biological ones and Fran and Bill, who lived across the street from us growing up. We moved into my childhood home on 22nd Avenue in Texas City when I was 4, and my parents became fast friends with the couple across the street and one house over to the left.
Much more than my parents, Bill was my personal familial enigma, although unlike Bob we reached a much more peaceful resolution in the end. With my mom facing a much more difficult juggling act (work, kids, sick husband) than any of us knew, I often turned to Fran for advice and support.
And Fran freely dispensed it, in what my mom called her “Yankee” way. (Ironically, it took me a while to realize that mom’s definition of Yankee includes the south side of Chicago.) Fran was always quick with an opinion and never afraid to share it, whether it was about my choices in music or literature. Unlike my grandmother, she didn’t partake in the rock and roll era (more about that in a future post, too).
Like my father, Fran had health issues for much of her adult life, and it took me some time to realize just how much she relied on Bill for everything. Without children of their own, all they had was each other, even though they treated us like their kids.
Fran marched in lock step with her Catholicism, never missing a mass and politically aligned largely with its beliefs. But after Bill died in 2004, she started questioning everything, including her own belief about the end of life.
One afternoon, during one of my 14 trips to Texas in 2007 to see my dad in the hospital, I stopped by Fran’s house for a visit. She was using oxygen, largely confined to bed or her chair.
Like Bob and Mrs. Douglass, most visits with Fran at the time were conversations about doctors, her various caregivers, and her medical treatments. The conversations had narrowed so much that a person I once could talk to at any time ran out of things to say in just minutes.
But on this mid-May day, we sat in her bedroom, went through pictures of the kids — unlike Bob, she remained interested — and talked about life’s trivia. She even endured a song I could not get out of my head at the time — Jon Dee Graham’s “Faithless.”
She put her head back on her chair and listened, eyes closed.
“In the deep blue dark down under. Tell me what you’re thinking of…”
“The things we find. The things we lose. The things that we get to keep. Are so damn few. And far between. So far between…”
She teared up, but rebounded at the conclusion.
“You need a strong heart. You need a true heart. You need a heart like that in a world like this. So you don’t get faithless.”
For a moment, she seemed more confident. “That’s how I feel on so many days,” she said. “I get so frustrated. It’s so easy to do.”
Fran told me how much she enjoyed the visit. I gave her a kiss and let myself out. In less than four months, she was dead.
Three weeks ago, Jill and I were in Austin, and I convinced her to see Jon Dee Graham with me at the Continental Club. She enjoyed the show, so much so that she agreed to see Graham again with me on Tuesday night in a solo outing at Hill Country Barbecue in D.C.
An encore appearance with one of my musicians, twice in three weeks no less, is a first in our 19 years of marriage, so that’s saying something… But it also is deeply gratifying, given that our music tastes often differ.
Like many musicians I enjoy, Graham does not draw huge crowds (their loss) and his fans are ones who come to listen and experience the music. At a couple of different points, clusters of 20 somethings dressed in corporate suits and ties were shushed and shooed away because they were more interested in their conversations being heard over the music.
Despite the rude nature of some in the crowd, what impressed me most is that Graham provides the same quality show and songcraft whether he’s playing for 15, 50, 150, 500, or 1,000, solo acoustic or with his band the Fighting Cocks. That’s the mark of a true pro, and something others would do well to heed.
My wife’s words rang through my head, at times louder than the music: “Damn those stigmas.”
As parents of a child who has mental health issues, one of our largest fears is that she will use drugs and alcohol to self-medicate. Mental health and substance abuse are linked in another way, through the stigmas that prevent many people from talking about them openly and publicly — as the illnesses they are, not just the poor choices we make.
A new organization, Facing Addiction, is working to change that perception. And they took a huge step Sunday with UNITE to Face Addiction, a five-hour rally and concert that drew thousands from across the U.S. to the National Mall Sunday in Washington, D.C.
The audience, a vast majority of them recovering addicts or people who had lost a loved one, slowly grew throughout the damp and dreary day. Many carried signs with pictures of loved ones who had been lost to addiction; others were there because they are in long-term recovery. They cheered each of the artists, but individual songs or performers brought many to tears, especially when The Fray — a personal highlight, along with Isbell — performed “How to Save a Life.”
Facing Addiction, a recently formed organization that has been working to focus attention on the cause, organized the rally. Officials with the organization say addiction affects one in three households and 85 million people in the U.S. It also cuts across all class, socioeconomic, and racial lines.
Among the speakers: U.S. Surgeon General Vivek H. Murthy; Michael Botticelli, a recovering addict who now is director of the White House Office of National Drug Control Policy; and syndicated talk-show host and surgeon Mehmet Oz. Others included Emmy Award-winning actress Allison Janney, whose role in the sitcom “Mom” drew loud cheers; and former U.S. Rep. Patrick Kennedy, who is battling a family legacy of substance abuse and mental illness.
The biggest piece of news at the event was when Murthy, surrounded by three of his top staff, announced that his office has commissioned the first-ever Surgeon General’s report on alcoholism and addiction.
And the numbers are there to justify it: Overdose is now the leading cause of accidental death in people under 50. Stigma or not, that is a sobering fact.
A few thoughts on music from a 50-year-old white guy… (Photos are mine, too.)
I’ve spent my life trying to explain to people why I enjoy the music I like, and (usually unsuccessfully) why they should, too.
Leave it to Jason Isbell to explain it better than I could: “It’s punk, but it doesn’t sound like punk. It’s punk with different instruments and different songs.”
Isbell then goes on to explain, “It’s people who are trying to do the right thing. When it’s at its best, it’s people trying to make music because they love music, and they’re not trying to swindle anybody, they’re not trying to get rich and famous immediately, they’re trying to make music that goes back to their roots, they’re trying to have some credibility, they’re trying to be authentic.”
I recently saw Isbell at the UNITE to Face Addiction rally in Washington, D.C., where he was on the bill with Joe Walsh, Sheryl Crow, Steven Tyler, the Goo-Goo Dolls, and The Fray, among others. As a freelancer, I received a press pass to take pictures at the event, but my primary interest was seeing Isbell live for the first time.
All afternoon, I found myself telling people about Isbell’s music. Despite critical acclaim, especially for his last two albums, and growing awareness, many in the crowd didn’t know who he was.
“Just listen,” I said. “Then you’ll know.”
I turned around to look at the crowd during “Cover Me Up.”
I wish I could be a music critic or a concert photographer. I love capturing live events and think I’m pretty decent at it, but I'm not sure I'd be the most objective critic (if there is such a thing). I know what I like, what I don’t, and even though I’m open to anything that catches my ear, I’m reasonably sure my opinions wouldn’t gibe with much of what passes for criticism these days.
That said, here are some things I’ve heard recently that I’ve enjoyed and put into heavy rotation:
• Nathaniel Rateliff and the Night Sweats: “SOB”
The best, most unrepentant song I’ve heard since “Rehab.” It brings a smile to my face everytime I hear it, and the video is terrific. Their self-titled album gives me the same warm feeling that “St. Paul and the Broken Bones” did last year.
• Tommy Stinson: “Can’t Be Bothered”
I’m a huge fan of The Replacements, but only recently have gotten into Stinson’s solo work. This is his latest, a single from a yet-to-be-delivered album, and it’s really good. It made me go back and revisit Bash & Pop’s “Friday Night is Killing Me,” the first Stinson solo effort and best album that came from The Replacements ashes. That is, until Paul Westerberg delivered “Mono.”
• Keith Richards: “Crosseyed Heart”
“Live at the Hollywood Palladium,” an out-of-print live album from 1988, remains in my rotation because it represents the best of what made the Stones great. And that, at least for me, is Richards. His new album is more of the same, which is plenty good.
• Dave and Phil Alvin: “Lost Time”
The follow up to the brothers' “Common Ground” is better, more lived in, and always welcome, although I find myself yearning for an album by Dave and his Guilty Men lineup.
• Amy Helm: “Didn’t It Rain”
On what is an admittedly male-centric list, the solo debut by Levon’s daughter more than holds its own. Terrific harmony, nice songwriting, and a couple of cuts that feature Helm’s late father on drums.
• Ryan Adams: “1989”
Everyone it seems has an opinion on Adams’ track-by-track cover/reinterpretation of Taylor Swift’s multiplatinum album. No matter what you think about Swift, and I’m an admirer of her talent (although I could do without the rest), Adams’ effort ranks up there with his best and ballsiest work.
• William Harries Graham and the Painted Redstarts: “Foreign Fields”
Damn, this is good, and Graham is at least 20 years younger than anyone on my current list. Jon Dee Graham’s son contributes an album that is nothing like his father’s work musically. And when it’s this good, who cares?
Great quote: “I suppose that I didn’t know what I would become, but I always wanted to be extremely brave and I wanted to be a constant reminder to the universe of what passion looks like. What it sounds like. What it feels like.” — Lady Gaga
Like I’ve mentioned before, I’m a huge fan of The Replacements, and saw them twice on their all-too-brief (though highly entertaining) reunion. Still I couldn’t help but laugh after reading this comment recently: The Replacements and REM were the Beatles and The Rolling Stones for the fucked up.
An EP not on my earlier list but also worth mentioning is Glen Hansard’s tribute to Jason Molina, the Songs: Ohia and Magnetic Electric Co. singer/songwriter who died two years ago from alcohol-related complications at the age of 39.
“It Was Triumph We Once Proposed: Songs of Jason Molina” is Hansard’s five-song tribute. It includes loyal covers of two of Molina’s best-received compositions, “Hold On Magnolia” and “Farewell Transmission,” either of which makes the entire EP worth owning. “Farewell Transmission” is especially melancholy and beautiful, and a reminder of how too many musicians leave us too soon.
To see Molina perform “Farewell Transmission,” just click on the video. (Song starts at the 1:20 mark)
Great quote finale: From Jason Isbell, pretty much summing up my attitude toward writing about music in this or any other space — “I’m happy [for] anything that’s given me more of a home to do what I like to do.”
Pat Conroy’s death last week brought back a tide of strong memories. The first was when I read the “Lords of Discipline” in high school, and the second was when I saw Conroy at a talk/book signing in Greensboro almost two decades later.
Like “The Great Santini,” perhaps the book he is best known for along with “The Prince of Tides,” Conroy’s “Lords of Discipline” draws upon the author’s struggles with the military’s hardness, born of traditions that encouraged prejudice and misogyny in the Vietnam-era South.
Published in 1980, the book was being made into a film a couple of years after “Taps,” another fictionalized drama about a military school. As I’ve often done, hearing about a movie based on a novel makes me want to read the book before seeing the film, so I picked it up.
What “Lords of Discipline” taught me was how hard it must be to do a novel justice on the big screen. Even though the film was OK, there was no way it could capture the depth of Conroy’s work, or the (occasional) pulp of his prose. The book captured a South I had long heard of, but never wanted to be part of, in such a way that I became determined never to experience it.
This has been a terrible winter for artists, and the world of classic rock-era music has been particularly hard hit. Add to that list author Harper Lee and actor Alan Richman, and it has been seemingly a never-ending roll call.
In the first three months of 2016, we’ve lost Beatles producer George Martin, David Bowie, Glenn Frey, Dan Hicks, Vanity, Keith Emerson of Emerson Lake and Palmer, Maurice White of Earth Wind & Fire, Paul Kantner and Signe Anderson of Jefferson Airplane.
In some ways, the deaths of most of those who passed away should not come as a shock, given the hard living that many of those musicians lived during the substance-fueled 1960s, 70s and 80s. Bowie, still working until right before his death, was the exception, even though he had been battling (quietly except to those closest to him) cancer for 18 months.
The reason, I think, that the long list of deaths surprises and gives me pause is because each of these artists was popular during my childhood. And with each passing, that childhood recedes further into my life’s rear view.
One singer’s illness, in the midst of everything, caught my attention. Joey Feek of the country duo Joey+Rory, whose public battle with cervical cancer was chronicled every step of the way by her husband, died this month at the young age of 40.
I didn’t know much about the couple or their music. In fact, I’ve heard only a few of their songs, which are pretty enough (especially their cover of Townes Van Zandt’s “If I Needed You”), but not cutting edge or truly memorable. What caught my attention was their openness about the illness, the way Rory Feek wrote about and cared for his wife and young daughter as Joey moved into hospice care.
There is something wrong about a person having to suffer in such a way, especially just a couple of years after having a child with Down’s Syndrome. But the grace and dignity they showed throughout is both commendable and memorable, and will outlive the songs they leave behind.
Pat Conroy wrote about life, death, family, dysfunction, mental illness and life as a military brat in the South. He too was open about all of his family’s foibles, so much so that many of his relatives would no longer speak to him.
He joked about this at the speech and book signing I saw him at in Greensboro, when he was promoting “Beach Music.” I had the chance to see him when Sarah Bullock, one of Jill’s co-workers and a second mother to her in many ways, invited me to come along.
Conroy’s sense of humor, always bubbling under the surface despite his lifelong struggles with depression, was in fine form as he told stories about his father meeting Barbra Streisand, and writing. When I mentioned, during the book signing, that I had worked as a newspaper editor before moving into communications, he complemented me on “escaping my career choice.” He then signed my copy of The Lords of Discipline — a hardback I bought that day, with the phrase, “For the love of words and books.”
Seeing Conroy was a highlight of my seven-plus years in North Carolina, and it’s rare that Sarah or I fail to mention it when we see or speak to each other. I still have the book, and last Christmas, Sarah sent me Conroy’s last work — “The Death of Santini.”
My grandfather liked to say he was an “Okie from Muskogee,” having lived in the Oklahoma town for a period before moving to East Texas with my grandmother. I remember him telling me this numerous times, especially when Merle Haggard’s signature song came on the radio.
Haggard, who died last week at age 79, wrote “Okie from Muskogee” in 1969 after he became frustrated with anti-military, pro-sex and drugs protests that helped define the Vietnam era. The song, released three weeks after Woodstock, became a Number One hit as angry, proud conservatives embraced and latched on to its lyrics.
I’m not a huge Haggard fan, although I greatly admire his body of work and his ability to write about a hard scrabble life that included a stint at San Quentin, five wives, alcohol, drugs, bad business decisions, and battles with the IRS. Reading the many tributes written in the wake of his death, what I find most interesting is how he constantly evolved in his stances while tapping into the frustration of conservative whites piqued by changing morals and values.
Interestingly, Haggard’s death came just a couple of days before Bruce Springsteen decided to cancel a concert in Greensboro, N.C., to protest the state’s passage of HB2 – or the Public Facilities Privacy and Security Act. The law, passed during a hastily scheduled legislative session by an increasingly conservative General Assembly, discriminates against transgender people and the LGBT community.
"To my mind, it's an attempt by people who cannot stand the progress our country has made in recognizing the human rights of all of our citizens to overturn that progress," Springsteen said in a statement announcing the cancellation. "No other group of North Carolinians faces such a burden."
Driving through North Carolina earlier this week in a truck that had only AM radio, I heard “Okie from Muskogee” in tribute to Haggard and wondered what he would have thought of the state’s latest legal action. After all, U.S. politics are the most strident they’ve been since Vietnam, and Haggard already had come too close to the flames of controversy more than once.
“I write from common knowledge, current knowledge, collective intelligence,” Haggard told author R.J. Smith about “Okie from Muskogee” in 2000. “At the time I wrote that song, I was just about as intelligent as the American public was. And they was about as dumb as a rock.”
I wish everyone could evolve like that over time…
The photos above are of my grandparents around the time "Okie from Muskogee" was released. The video below is of my favorite Haggard song, a duet with Willie Nelson on "Poncho & Lefty." (Seeing Townes Van Zandt, who wrote the song, in the video is a nice touch.)
For some reason, I’ve been having trouble writing about the death of Prince. So many words have been said and so much purple ink spilled that there really isn’t much more that I can contribute.
But damn, that dude was talented. All you have to do is watch his Super Bowl halftime show.
No matter what you thought about Prince, he was a visionary in the music world. Like David Bowie, he mixed fashion, androgyny, funk, and throwback rock and roll into an always fascinating stew.
The results pushed the entire music industry in directions it did not anticipate; who would have thought he could almost turn Tipper Gore into a Republican? (If you don’t believe me, look it up.)
I wish 2016 would just let up when it comes to the deaths of people I’ve admired and appreciated as a fan of music and the performing arts. If I was a popular performer in the 1970s and '80s, I'd be more than a little scared. (Unless my name was Keith Richards, of course.)
Here are some excerpts from a Rolling Stone interview with Paul Westerberg after Prince’s death. The two were acquaintances who played the same clubs in Minneapolis; Westerberg also recorded at Prince’s studio, Paisley Park, after The Replacements broke up.
• He was like a ray of light in a very cautious place. He was a star. He made no bones about it. He was glitz to a place that wasn't used to it. I remember a little scuffle broke out in front of the stage one night and Prince said, "Stop fighting, you'll mess up your clothes."
• People like to paint him as a reclusive this or that; I think he was genuinely truly, truly shy. But one thing says a lot about him: I was there making a solo record a few years later, and I got a message that said that my friend had just died. I was truly rattled, and the next time I went back into the studio, he had filled it up with balloons. Now I'm gonna cry.
• I've spent more time with Bob Dylan, and I've got to say that I was more in awe of Prince. I can't think of anyone better – an all-around composer, musician, guitarist, star, showman, the whole package, anyone better. If Elvis wrote all of his songs and played guitar, it still wouldn't quite be there.
• When I got word today, I was trying to write a song. I put it down. I found myself walking up to the store, and I bought myself a handful of colorful clothes. I was just drawn to do something that he would have done.
My favorite post on this topic:
If you give us back Prince, Merle Haggard, David Bowie and Alan Rickman we will gladly give you the top 4 presidential candidates in return.
This is appropriate song, given the type of year we’ve been having.
"Elvis Presley wouldn't have been Elvis Presley without Scotty Moore."
Of all the musicians who've died this year, this may be the toughest one yet. Scotty Moore, who played lead guitar on all of Presley’s biggest hits of the 1950s and early 1960s, died yesterday In Nashville at age 84.
Moore and bassist Bill Black were part of Presley’s original band that started on Sun Records and moved over to RCA in 1956 after cutting a string of singles that are now considered the foundation of rock and roll. Even though the two left in a money dispute in 1958, Moore returned after Presley’s Army stint ended in 1960 and continued to play for him all the way through to Elvis’ comeback special in 1968.
The following year, Presley (without Moore) recorded “From Elvis in Memphis” and started touring again regularly for the first time in almost a decade. Ironically, his “From Elvis in Memphis” producer, Chips Moman, also died earlier this year.
The list of musicians that Moore influenced and the genre he helped develop is staggering. Among the guitarists who cite him as a direct influence: Jimmy Page, Keith Richards, and the White Stripes’ Jack White.
Take a moment and watch Presley perform “Trying to Get to You” with Moore in this clip from the 68 Comeback Special. Presley started off acoustic, then traded guitars with Moore and lit the place on fire.
I’ve always admired and appreciated X, the L.A.-based band that straddled the world between punk and country and remains incredibly relevant. They were part of the great Sire Records roster in the 1980s that also included Lou Reed, Talking Heads, The Replacements, The Blasters, and Los Lobos, among others, and X’s first four albums are considered classics.
As much as I enjoy those albums, which featured the original lineup, I’ve always had a soft spot for “See How We Are,” the 1987 album that includes Dave Alvin’s “Fourth of July” and the terrific title track. In the wake of the election, “See How We Are” has become my earworm.
Recently, on Facebook, I decided to ask my friends which hit song best describes the Cold War flashbacks we’ve been having since January 20. My suggestions were R.E.M.’s “It’s the End of the World as We Know It” and Billy Joel’s “We Didn’t Start the Fire,” but they came up with a fascinating playlist that includes:
• Sting: “Russians”
• Billy Joel: “You May Be Right” and “Big Shot”
• Gary Jules: “Mad World”
• Gus Black: “Today is Not the Day to F--- With Me”
• Eurythmics: “Sex Crime”
• The Clash: “Rock the Casbah”
• Nena: “99 Red Balloons”
• Tears for Fears: “Everbody Wants to Rule the World”
• David Bowie: “This is Not America”
• Talking Heads: “Life During Wartime”
The more I thought about it, I realized X had another appropriately titled song — “I Must Not Think Bad Thoughts.”
As tributes pour in about the death of David Bowie, a recurring theme resonates about this boundary pushing and genre-bending artist: He was always living in the moment and looking to the next.
At the same time, Bowie seemed to enjoy revisiting his past, especially over the past few years. Whether it was a calculated business move, an ongoing assessment of his place in popular culture, or a combination of both, it has been an fascinating journey.
Bowie’s back catalog has been recycled and repackaged so frequently that even his earliest box set (“Sound & Vision”) has been remastered and re-released on two different labels. Over the past two years alone, we’ve seen more best-of sets and a massive 12-disc look at his first five (very heady years) on RCA.
This repackaging is typical for someone approaching 70 who had not performed live in almost a decade. But Bowie was far from done.
Two days before his death at age 69, Bowie released his most recent CD, “Blackstar,” which long-time producer Tony Visconti called a “gift” about his approaching mortality to his fans. “Lazarus,” an Off-Broadway continuation of "The Man Who Fell To Earth" featuring old and new music from Bowie, has been one of the hottest tickets in New York since it opened in December. In terms of buzz, it is almost as hot as “Hamilton,” another genre-bending musical currently in New York.
Putting music, or any art for that matter, into the context of its time and place has been a lifelong fascination. I want to know about the musicians the artists are working with, who the artists are influenced by, and what makes their creative juices flow. In the end, for me at least, context matters as much as the words, rhythms and beats.
With Bowie and his mentor, Lou Reed, the leap for readers stops at the doorstep of Alejandro Escovedo, who has worked with Visconti on his last several CDs and cites both as giant influences on his career. The reason I like Escovedo and admire the work of Reed and Bowie so much is that they always are looking to try something new with little regard for the genre. Regardless of whether you enjoy the result, you have to appreciate their restless and boundless approach to creativity and art.
It is ironic that both Reed and Bowie likely died from liver cancer, an end result of decades of hard living that both had overcome. Escovedo has dealt with the health effects of Hepatitis C that were caused by years of heavy drinking.
Fortunately, Escovedo is mostly healthy and taking care of himself, based on all available reports. But you just never know.
Starting with a Memory
I started to work on this tribute, as most of these things begin, working from a memory. Not of seeing Bowie live, which I did in Houston on the 1988 “Glass Spider” tour, but of a museum exhibit.
Last Christmas Eve, my wife and I were fortunate to see the “David Bowie is Now” exhibit at the Museum of Contemporary Art in Chicago, the only U.S. venue to host the show that has traveled the world since 2013. We were in Chicago with the rest of our family to see our son perform in a show, so getting a ticket was an unexpected treat.
If anyone deserved a museum exhibition devoted to his style alone, it was Bowie, but this was much more, proving to be a multimedia feast for the eyes and ears. It also was a fascinating history lesson, showcasing his artistry and chameleon-like nature while providing excellent, thought-provoking insight into his career. Afterward, I found myself reaching yet again for one of those retrospectives to see what I had missed.
My only wish is that I could have taken pictures, but they were strictly verboten, and security was tight. I understand why, and wondered at the time if I could have done it justice, given how difficult it is at times to get good images in museums. At the same time, I’m sure copyright and intellectual property were not the only reasons Bowie refused to allow photography. If anything, he was always the one in control of his ever-shifting image, right until the end.
In 1991, I was fortunate to have an hour-long, one-on-one interview with B.B. King at a hotel in Houston. The interview covered much of the terrain you'll see in the various tributes to the blues legend, but I have three random — though distinct — memories from that day.
First, King had the biggest hands of anyone I've ever met, with the possible exception of Muhammad Ali (that's another story). Just huge, with a diamond on his left hand that could have paid for my college education.
Speaking of college, I asked King about Charles Brown, a blues pianist from Texas City who started around the same time and was then enjoying a revitalized career thanks to Bonnie Raitt. King said he always wondered why Brown chose the life of a musician. "We were all jealous of him because he went to college," King said. "He had so many more options than the rest of us."
Finally, King said his only option was to work harder and longer than everyone else. "This is what I do," he said in a matter of fact manner. "I don't play golf. I can't imagine playing golf."
Forty years ago today, I was sitting in the lobby of Scott White Hospital in Tyler when I heard the news: Elvis Presley was dead.
I’ve written about my family’s history with the King of Rock and Roll, but this Places entry is related to Graceland and Sun Studios in Memphis, where more than 100,000 visitors have descended to mark the annual Elvis Presley Week. I made the pilgrimage in September 2012 and took these (and countless more) images while basking in the city’s musical history.
Elvis-related tourism is worth an estimated $600 million annually to Memphis’ economy. Graceland is second only to the White House as the most visited home in the U.S. Sun Records, where Presley, Jerry Lee Lewis and Johnny Cash (among others) made their first singles, draws 160,000 visitors a year.
As Mojo Nixon once said, Elvis is everywhere. Go here to see my 2013 essay, “My Grandmother, Dad, and Elvis,” and here to see the rest of the album.