The Hurdy Gurdy Man

Ah, the sixties. What was all that about? Let’s demonstrate the gulf between action and repose, ideas and reality, wishing and doing, and vibe and substance.

IDEA! The Hurdy Gurdy Man sure is swell. He’ll show up and bring us enlightenment. And more dope and chicks, I hope:

REALITY. Bagpipes are played in Purgatory. A Hurdy Gurdy plays on a loop while you eat brimstone and get red-hot tridents in the butt in the Big House:

Just say no, kids. And beware public access television. It’s a portal to hell. I know, I’ve been on it.

There is something worse than hurdy gurdy music, Donovan Leitch, or bagpipes, of course. In Satan’s private lair, where he consumes the souls of innocents, tortures state senators, and watches Oprah, he listens to Donovan playing Hurdy Gurdy music on the bagpipes, from the Famous Scottish Musicians double record set.

For all the real hard cases he’s got on the rack, he flips disc two over and gives them Sheena Easton.

One Of These Things Is Not Like The Others

It’s subtle, I know, but my readers are very sophisticated, so someone might spot it.

Did you notice it? Yes, that’s right! The third guitarist is not wearing glasses!

She is, however, wearing a doorknob.

(Let’s Listen To Some) Hydraulic License Rock (Again)

[Editor’s note: First offered in 2006. For all you young kids out there: That’s not George Lucas, Dumbledore, and Grandpa Simpson playing in a band together.]

[Author’s Note: Never mind that; I’m still trying to get over the fact that someone is still playing a sizzle ride cymbal. And there is no editor.]

The quality of this YouTube DailyMotion feed is better than most. (It’s not all that high quality, but everything is pulled off of YouTube after five minutes now.)The quality of the music is too:

That’s Cream re-united and performing “White Room,” probably their best known song. I’ve watched it many times. It occurs to me that it explains a lot about rock music.

Those are old men. Eric Clapton, playing the black stratocaster, has his hair mussed just so as a sop to youth, but they’re old farts. Old farts playing rock music are lame. Cream is not. Here’s why:

The term rock music has been twisted and stretched to cover just about any set of noises organized to sell discs. It’s as if forty or fifty years ago a religion was founded, and you had to get the A and R rabbis at the record companies and radio stations to announce you were kosher, ie: rock and roll, to be consumed.

If there’s anything lamer than old, bald men in spandex still yelping about the discontents of teenagers as if they were still in junior high, I haven’t seen it. “Hope I die before I get old” only stirs the blood if the blood doesn’t require Geritol. You’re not allowed to pick that gauntlet back up and complain about your backache while doing so, too.

Performers used to acknowledge that their shelf life as young rebels “fighting the man” was short, and if they wanted to keep performing afer it expired, they’d have to become part of the nostalgia industry. Listening to Peter Frampton in 1976 is excusable. Listening to Peter Frampton to remind you of 1976 is excusable. Listening to Peter Frampton as anything else is kinda silly.

Cream is a part of a tradition of adult music. they listened to music from America’s black musical tradition, where it is was plenty acceptable to be an adult, and consider adult themes. When they were young, they were striving to be old. Now they are old, and need not strive.

I watched them, and knew that I had seen their like before; but not where you’d think. They were operating their machinery, and I had seen men operate familiar machinery before. I’ve known many men, skilled in the rough arts: masonry and concrete finishing and excavation and demolition and blasting–men past their physical prime, but still tough as nails, and wise; and able to leave any three youngsters in their dust.

They sit in the chair in the excavator, their knobby hands move the levers just so, and they move the bucket with the delicacy of the teaspoon. They wake up tired, and yet they never fade while working, because they husband their energies where the young and strong and dumb flail away and drop out.

They stand in the shade whenever possible, and rest when it is offered, but do not flag.

And they smile at one another at the end of the day’s work, exactly the same smile exchanged at the end of this song; a knowing smile among those who have earned the respect of a fellow adult man.

And the young men watch them and learn.

What Does It Matter What You Say About People?

A man you don’t know is dead.

I know him. Too many dead people just now. Another friend called to tell me, just as he did a month ago for another. It didn’t register until the receiver was replaced. I sat for a quiet moment after, and considered the scythe that takes the winter wheat; the summer; the very stubble in the field.

Fifty-four he was. That’s it. Older than me, but not old, surely? His children are grown enough to be elsewhere. He raised them well enough for them to leave him. Now he’s left them. The second sweetest woman in the world is his wife, and I cannot think of her just now. I don’t have the gas in the tank to get to the end of that road.

I said I knew him. No man knows another, really. We worked together a bit. We did different things at the same time. A kind of respect, perhaps affection, appears in those situations, or doesn’t; because the world is full of those that don’t elicit it — usually more than those that do — or maybe it’s you that comes up short. Once in a while you take a man’s measure and submit to the same in turn and you’re glad he’s there instead of some millstone. He thinks the same of you. That is a man you can work with.

He was easy with a laugh but didn’t constantly stop to jaw. When the world must be physically different at the end of the day, you learn to hate the man that won’t stop talking, or start working — one or the other or both. He kept going. But you can’t keep going forever, can you?

A tradesman can’t get rich but one way. He can work a lot. You can’t work a lot if people don’t like you and you don’t know what you’re doing. He made a comfortable life for his family and even managed a little leisure. I’ve stood in a decrepit building with him at two AM, both still trying to make the world different enough to get our shekels and get our leisure. His is taken from him, now forever; and mine never seemed to arrive.

They took all he had near the end there. Men who do not deign to fill out forms can find anything they want on a workingman’s forms. There is no way to be correct; you can only not come into their line of sight. It’s like a cat and a mouse. You know how it will play out but not exactly how it will be played. They ignored the men who worked just next to him that made no pretense of honesty, ever, because only an honest man has enough meat on his bones to attract their appetite. He tried; that was his mistake.

They stripped him bare and hounded him. They made him into an indentured servant. They told a man that had thirty years of two AM, two AM, over and over, that he had another life of two AMs to make up. To keep them in their ease.

He drank a bit. I might have too, and worse. He walked on feet with the toes gone one after another and tried to fill the hole without a bottom. Theirs,especially; and his. He had a big heart, but not big enough it seems.

I could shake a fist for him now, at some unseen Olympus we dare not tempt in life. There’s no point. He was a man, flawed and funny and kind, and now a kind of contraction has happened to my planet. It is diminished. The electrons still flow through his wires, and the whole universe would travel through those anonymous conduits eventually, if you gave it enough time.

But there’s never enough time. What does it matter what you say about people?

Month: July 2009

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