Saturday, July 19, 2008

The ballad of El Burrito

In the beginning, my dad never actually intended to become a photographer. He went to UMKC in the late 60s/early 70s and got his degree in English (!) and economics before becoming a traveling salesman. He got his start when he shot a few polaroids at a wedding, more out of curiosity than anything.

When he started his business my grandfather told him that he'd never make money taking pictures; he told him that he should get a "real" job.

A couple years before that, and before his stint as a salesman, Dad'd had a "real" job in San Jose at a gas station on the outskirts of the city, near the desert. He wasn't sure what he was doing there, exactly; he'd moved to Cali with my mom to check out west coast living for a while.

On his first day of work, he asked the guy who'd been running the place for eleven years when the last time was that he'd been robbed. Guy says, we've never been robbed.

Two weeks later, at two o'clock in the morning, a shirtless man is standing over my father (facedown in the candy aisle) with a machete to the back of his neck telling him to count to twenty-five; if you get up before twenty-five, I will come right back here and kill you dead. The man ran out the door.

Dad didn't quit this "real" job, though.

His next brush with crime came a couple weeks later, in the afternoon. It's hot. Dad's mopping the aisle next to the foodstuffs when he notices a Mexican migrant worker standing nervously in front of the microwave. Dad asks if he could use any help, and the guy doesn't reply. He starts fidgeting. Dad walks over to him and looks in the microwave and realizes that the man is trying to microwave approximately forty burritos at once.

Dad laughs. "You have to do them one at a time."

The migrant worker doesn't say anything, and Dad makes hand motions. One at a time.

At this, the migrant worker immediately flings open the door of the microwave and dumps all the still-cold burritos into a plastic sack and sprints out the door without paying.

Dad runs after him.

With a baseball bat.

My father had a scholarship offer to play tailback at Brown. He was an all-state sprinter. But the little short guy with a plastic sack full of burritos actually starts getting away. There's a Buick with five passengers (three in front, two in back) out in the parking lot with the engine running and a door open, everyone from the car shouting for him to ondele.

When he realizes that he won't catch him, Dad stops, cocks his arm, and hammer-tosses the baseball bat instead. 

He misses the guy-- but he hits the car. BANG. And the driver, who must have been thinking my dad had a gun, immediately panics and punches the gas-- neglecting to make sure that his buddy had actually made it inside the vehicle.

Hombre was being dragged down the street, one hand on the handle of the door, the other on the trailing bag of burritos. He wouldn't let go of either. The driver only figured out what was happening a block later, stopping long enough to get his buddy in the car.

My father watched them drive away. It was 1973. He had a "real" job. He was getting minimum wage.

Monday, July 14, 2008

A Song for You, pt. II

I have a longstanding hypothesis about relationships-- some of you may have heard this before-- that no matter how much two people like each other, there's always one person who likes the other a little bit more. It's not original thinking, nor is it probably a revelation to any of you, but the theory goes that whoever likes the other person more is inevitably the one that gets dumped.

(It's just another of my idiot-proof dating theories kind of like the one I have about knowing when people like you: when someone's into you, they don't make excuses about not being able to hang out; they find a way to make it happen. Add booze, stir, simmer, voila. Your gut is never wrong, folks. Trust it.)

(p.s., Here's another for the road: if you know they like you-- you can tell-- then they are the one that's more into you. If you find yourself asking your friends to interpret mixed signals, you are more into them. Sorry. The more you know!)

Anyway, in that line of thinking-- about who likes who more-- the people who write songs are inevitably the kind of people who always like the other person more.

Think about it. Which set of these generic lyrics I just made up right now would you think are more common?

I've been thinking about you
Wondering how you've been
Don't want to see you with that other man
I want to see you again

Or:

That girl from the coffee shop is kinda cute
I dunno though
I'm not sure I'm feeling it
She's been calling a lot
I think I'm gonna go nail my ex

Exactly.

Of course, the most astounding thing is how cool musicians are in this country when the vast body of their work consists of the kind of clingy sentiments that drive a normal person's significant others away.

For instance, let's say you're trying to win someone over. Pragmatically speaking, what's the best way to do it-- telling them how you feel? Hell no! That's romantic suicide and you know it. Every single one of your friends will tell you to pretend like you're not interested. You have to run away a little bit, not write love songs, you dork.

Think about this: for every awesome love song you know, there is a person out there that that song was written for, and they wish their creepy guitar-player ex would just stop calling them. Bon Jovi, you're eating up all her texts.

If there's an exception to the rule, it's that rappers maybe seem like they're not all that sentimental-- they're too busy tappin' dat ass, I guess-- but I think they're actually dating geniuses. Rappers feel pain like everyone else. But what better way to drive up their stock with the ladies and get revenge on the woman who toyed with their hearts than to brag over national radio about all the hotties that are climbing all over them at the club? Brilliant.

Anyway, I guess there's something to be said for music in that it can turn the inherently uncool into Al Green's "Let's Stay Together." 

Sunday, July 13, 2008

A Song for You

I haven’t written a song since my junior year of high school or so, which I guess seems odd since I'm both a musician and a writer.

I think I remember the process of what usually happened when I slapped something together: first, I would find a neat chord progression on my guitar, and then I’d make some weird, shrill singing noises with my voice for a while to find a melody. This is a hugely embarrassing yet suprisingly effective process. I had a real knack for finding catchy hooks, and I had a lot of fun doing it.

Then, I would spend about five minutes writing words. Immortal, immortal words.

Let’s check out bits of this little gem I just found nestled amongst the tabs of popular songs in the bottom of my guitar case. Witness the magic of “Spanish Senorita,” written around the time I was a freshman in high school:

Spanish senorita… I hear you calling my name
What is it now?
Spanish senorita… What is this game?
You tempt me now.

Nevermind that at that point in my life I had never actually met a real, living person who spoke Spanish—I had written a fuckin’ song and I was gonna sing it. I needn’t have ever actually touched (or talked to) a woman to know real love.

There’s a recording of this song floating around somewhere on my hard drive at home, but I’m too scared to listen to it. I don’t want to remember. I don’t think I developed any kind of taste in anything until I was, oh, a sophomore in college. (C’mon, I’m from the country. It took me a long time to catch up with everybody.)

But I feel better looking at the lyrics of the Lil’ Wayne and Rihanna songs currently on top of the charts, and it makes me think maybe I missed my calling:

You look so dumb right now,
Standin' outside my house,
Tryin' to apologize,
You’re so ugly when you cry,
Please, just cut it out.

Powerful stuff. In light of that, I think “Spanish Senorita” has aged rather well.

Spanish senorita… I bid you farewell
You’ve broke my shell, like them.
Spanish senorita… time to mend
This is the end.




The fact is that most song lyrics are woefully inartful when they’re separated from the music, at least compared to the bewildering aesthetic and cognitive shit-show that constitutes most poetry. Lyrics often convey only a simple message, and lack the general elusiveness that characterizes most literary writing.

Even opera—which seems to have some kind of irrevocable membership in the country-club pantheon of “high” art—has libretti that are dreadfully cliché at worst, and cheesily straightforward at best.

But it’s not fair to separate lyrics from music, because that’s taking away half (or most) of the message. 

What does “Stormy Weather” mean when you take away Billie Holliday’s nuanced delivery? What is “Satisfaction” without Mick Jagger bouncing around that little guitar hook in the background (“dah, dah… dah dah dahhhh…”)? And for that matter, what’s a Wagnerian hero tenor without his 100-piece orchestra?

Taking lyrics out of context is like taking a great piece of literature and then trying to determine its quality by looking at its one-paragraph synopsis on Wikipedia. You'll just realize that most books are basically about people screwing and dying, kind of like songs are all about love/breakups, and that’s not very original, is it? But that’s life. Everyone feels pain, everyone smiles. Unoriginality at the foundation of art is inevitable because life is unoriginal at its foundation.

So when you separate story from storytelling, lyrics from song—message from delivery—you miss that crafty flight from inescapable cliché, and I think that process of evasion is actually the foundation of anything we consider “artsy.”

It would be like writing a generic speech for Barack Obama and also having it read by President Bush, circa 2007; one delivery would have been full of the transcendent rhetoric of hope, while the other would be a tired re-tread from a lame-duck politician who is six months from being a persona non grata. 

The point is that content matters, but the delivery counts just as much; lyrics are just a vehicle for expression, and lyrics by themselves are like intercontinental flights that don’t have any passengers.

In conclusion: you are allowed to write crappy lyrics if you’re W.A. Mozart, Rihanna, or Barack Obama.