It’s Coming


I’m not that old. There’s no tapioca on my chin. But I’ve inhabited a world of lost souls, shades of a distant reality that rarely showed itself to the average person.

My children will tell their children that they used to go to parades on July Fourth, and they’d see actual WW2 veterans marching in them. They used to have the odd WW1 veteran marching when I was young. When I began working, I used to encounter people who were nearing the end of their working lives –and so their whole lives– and had a passing acquaintance with Civil War veterans.

There were things that were played out right in front of me, anachronisms then, mysteries now, really; as out of step as high button shoes. Hmm. That expression is out of date —high button shoes–I guess I should have said as out of step as 386 intel processors. I’ve spent too long in the mausoleum of words, the library, and I talk like Taft is still president, occasionally, I’m afraid.

Let me talk about construction. You think you understand construction, but you don’t. It’s not on TV. It’s not the same industry or tradition as it was only 30 years ago. It’s a different thing altogether. You just live in the the thing after, so it seems the same.

When I was very young, I worked with old-fashioned persons that were building old-fashioned things for old-fashioned customers in the old-fashioned way. And watching those men and seeing their works gave me a glimpse into the past. That window is shuttered and dark now.

I worked with men that had never used a paint roller. Their working life predated its introduction, and like the elderly and the internet now, they said they’d muddle through without its wonders because they had learned a thing a certain way and that was that. But there were still customers then that refused to let rollers be used in their house, and would pay a premium for the old man to take out his six inch brush — that was a small one– or an eight inch brush, and leave the delicate striations in the oil paint as he brushed the entire wall surface. They are all as dead as the idea now.

They’d all smoke all the time around flammable things and never cause a fire. And they’d drink themselves blind after work, but never miss the following day. They were late if they weren’t 30 minutes early, too. They always carried a newspaper. If someone brought them a phone while they were working (It’s for you.) there was someone dead on the other end of the line.

I’ve sheathed a house with boards. Not plywood. Boards. Cut with a hand saw. No, not a circular saw held in the hand; a hand saw wielded by a fellow that set and sharpened the teeth of his handsaw every week. Some guys never got used to the idea of plywood. I’ve installed wooden lath, skipspaced, so a plasterer could smash his “browncoat” through it, in preparation for the finish plaster to come. Never mind drywall; no sheet good substrate – blueboard, they call it- for the plasterer. Ask a contractor for a bid on such a job now. You’ll hear dial tone before you can finish explaining. You don’t talk to lunatics on the phone, either, do you?

We mixed paint with raw materials in a big barrel. Don’t put in too much Japan Drier, as to much drier makes the paint refuse to dry. It’s the greatest metaphor for modern life I’ve ever encountered, that. I’ve applied lead paint that the owner had saved after it was outlawed, as it was the “only thing”, the expression people long dead used to used as a two word explanation of being unamenable to substitution.

Layed block foundations with persons still hoping that poured concrete wouldn’t catch on, decades after it had? Check. Ladders with wooden rungs? Check. Don’t forget to put linseed oil on them yearly or they’ll rot and you’ll fall off and die. Remember, raw linseed oil is that fabulous stuff the Amish use in poultices and as medicine, taking a teaspoon of it regularly to keep them oiled inside too; boiled linseed oil is poison. Don’t confuse those two. You always use boiled linseed oil in the wooden gutters after you install them. Yeah, I’ve installed lots of wooden gutters, why do you ask? I make the downspouts out of rolled lead flashing. You install them in a rabbet and hold them in with copper nails, and sealed in a bed of tar. The thing you think is a downspout is actually a leader. Get the round galvanized kind if you can’t afford copper.

I could go on like this for a long time. I could be as boring and old fashioned as you’d like. In my day…

But it wasn’t my day. I was living in another man’s day. I was among people who were stuck in amber. You couldn’t always get good advice from such persons. They were flinty and iconoclastic and moody and quiet, and absolutely terrifying in a rage. I’ve seen such men wield plastering hatchets in a fight before. That is a tomahawk fight, ladies and gents. What could I learn from such persons?

Well, I learned a lot, actually. But it was rarely what they were trying to teach me. Because they very rarely could parse out the appropriate from the counterproductive. They couldn’t identify progress. Period. They were just suspicious of everyone and everything. Some still refused to put their money in a bank to the day they died. Many were interesting cranks, but no less cranky for the interesting part.

They taught me the difference between traditional and reactionary. These were men achingly laconic, and as obdurate as stone when challenged with change, but who would lovingly and patiently show any other man the way they performed their craft in the time-honored way. But you’d have to ask in the right way, it was rarely offered; and the best and wisest of them would finish their soliloquy with: “But it’s better now – you don’t need to know this anymore.”

Yes I do.

The Better Brother


Jimmy Vaughan is better than his brother.

Jimmy is the older brother you never heard of. He was playing in the Fabulous Thunderbirds out of Austin Texas all through the seventies. This video is from 1980, and encapsulates the roadhouse vibe perfectly. And people familiar with Jimmy’s younger brother Stevie Ray will hear many phrases they heard later on, transmogrified and supercharged a bit. But not improved.

Of course Jimmy is an editor, a syncretist himself. You can hear all sorts of people in there, in a huge mashup of Texas and Chicago and Mississippi blues. But there comes a point where the derivations have been blended and tweaked and stacked and distilled to where they can honestly be called original. Jimmy is standing on many people’s shoulders. His brother stood on his.

It was easy to be impressed by Stevie Ray Vaughan. He was flashy. But all flash must be subordinated to the propulsion of the song forward, or it’s frosting on a turd cake. Later in his career, before he died, SRV figured that out, and calmed down enough to be musical first, and a machine-gun hero second, and so was able to push farther than Jimmy by finally emulating him properly. Move the song forward. Don’t interrupt it to show off. The guitar must thread through it like a string through a Christmas garland. There’s usually Christmas garlands from fourteen years ago decorating the roadhouse stage – in July — to give you the hint.

I used to see both brothers now and again in roadhouses, and eventually in theaters. It’s hard to describe the feeling of paying a couple of bucks and standing right in front of that and letting it wash over you. The crowd would always act like a big organism – single celled, not thinking — reacting to stimulation as one, aligning their rhythms as purposefully as the worn stripe on the pavement that passed by the shack into the darkened distance. Going somewhere unseen, together without planning. Moving and standing still.

Beer comes in its own glass. There is no worry about ruining your good shoes because you don’t have any good shoes. You never have to ask because everybody dances with everybody else. The fights are for amusement. The big Fender Twin’s tube’s reflected glow illuminates the back wall all it’s gonna get. Jimmy Vaughan reaches down with his extended pinkie, and spins the volume knob without thinking, and makes his lilting interjections come forward or lay back to taste.

Always to taste.

Friday Fun

Why do people climb mountains? Because they are there, is the famous rejoinder. But it’s more than that, of course. I’ve gone around plenty of mountains in my day. It’s things that capture your imagination that get you working feverishly, sometimes seriously, sometimes just for fun. Just being in the way doesn’t always do it.

The best stuff is always when people make serious fun out of the serious stuff. Or you can go the other way, and watch people spend two forty-hour weeks making costumes for Star Trek conventions.

All that said, I have no idea what to file this bad boy under:

I know:
KEWL

Zarex


If you know what Zarex is, then you might have seen those Drive-In Movie shorts before. When I was very young, our parents would put us in our pajamas, then pop an enormous supply of popcorn made with kernels from a big bag, in a huge pot on the stove with a puddle of corn oil in the bottom. Then they’d get out a big plaid cylindrical steel Coleman cooler, and mix the Zarex fluid with water– a sort of human antifreeze beverage –and put it in screw top glass bottles in ice, and off we’d go to the Drive-In theatre in the Rambler station wagon.

It’s difficult to describe the Drive-In theatre experience. Everybody knows what it is, because even the current i-Pod generation has seen it used as a cultural metaphor in innumerable television shows and movies. But I know who Gisele Bundchen is. That’s not the same as knowing Gisele Bundchen.

A trip to the drive-in was a sort of amusement version of the Bataan Death March. A frivolity endurance test. Now that I think of it, I saw The Bridge On The River Kwai at the drive-in, so maybe that’s not as crazy as it sounds.

A movie was still a luxury for us. A movie theatre was generally too expensive to bring a family of six to. And standards of decorum were not yet in disrepair, so our parents would never think of bringing the youngest of us to a place where our natural childish fidgeting would annoy other moviegoers. And parents didn’t abandon their children much to strangers then. We all went everywhere, or didn’t go. People yak on the phone during movies now, and yell at the screen; my wife and I had to listen to a toddler yammer continuously behind us during an opera recently. I shudder to think of what it’s like at the movies now.

It’s fun to think of such anachronisms as the Drive-In movies, but let me assure all of you — it was a dreadful way to get your amusement. Everything is so much better now. Back then, you couldn’t see. The audio would be delivered on a speaker that makes a bus station announcement sound like Bang and Olufsun’s best. You could suffocate, and look through the fogged, pitted windshield, or you could open the windows and be eaten alive by the mosquitoes. The movies were mostly bad, and generally not first run anyway. The projection was almost always sketchy. Your brother was always bugging you — like any car ride. It’s difficult to describe the feeling of spilled Zarex congealed on a vinyl car seat.

Why would people brave all that, just to get their amusement?

Because it was marvelous, all the same.

Googlewhack Is Amused

I’m stupid busy today. It’s good busy though, so no complaints.

I have some experience in the music business. I can assure you that it’s counterproductive to try to understand what attracts the majority of people to any given piece of music. It just doesn’t lend itself to analysis much. It’s like a kind of vivisection to try to pull something as ephemeral as pop music apart. The poking around in there always kills it.

My older brother once told me that everybody has one song in them. It’s one of the reasons everybody thinks they should be on-stage in an arena – they do indeed have the goods necessary; for 2 minutes 30 seconds, anyway. After that, it gets sketchy.

Anyway, it’s hard to describe the kind of frenzy playing a cover of this song used to elicit in a college age person at one time. Not very many of them had any idea what the lyrics were, really, but that’s common. This guy that wrote it made the ultimate good career move in surly rock: he killed himself. It lends a certain cachet to your ramblings and mumblings in the world of “everything sucks and I’m here to sing about it.”

But he had one song in him, that is for certain. It even works in this format. Enjoy.

Month: October 2006

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