Aside: Music as Sanctuary

The other day Jason Chaffetz (R-UT) said the following on CNN:

Rep. Jason Chaffetz (R-Utah) on Tuesday said Americans may have to choose between purchasing a new iPhone or paying for health insurance.
“You know what, Americans have choices. And they’ve got to make a choice,” the House Oversight Committee chairman told CNN’s
New Day, one day after the House GOP unveiled its plan to replace ObamaCare.
“And so maybe, rather than getting that new iPhone that they just love and they want to spend hundreds of dollars on, maybe they should invest in their own healthcare.”

As you can well imagine, the blowback on social media was swift and deafening.  The one thing you do not want to argue with a poor person is whether or not they deserve something you deem frivolous.  You do not want to kick down, because they’ll kick you right back even harder.  [Noted, he did attempt to walk back the comment, but his follow-up was still basically “you poor folk will still need to go without Fun Stuff if you want to be healthy.”]

Why do I bring this up here at Walk in Silence?  What does this have to do with my obsession with music, anyway?  [And for a very slight few of you: oh god why is he bringing up politics and ruining an otherwise decent blog?]

Well.

Let me tell you a little about my post-college years, from mid-1993 to late 1996.  Yeah, I’ve talked about this before in previous entries, but rarely in detail.  Stay with me on this.

See, when you’re too damn fucking broke, you’ve got student loan debt, the average apartment rent in Boston at the time is around $400-500 a month, your paycheck averages around $200 every two weeks at a job that you don’t necessarily want but is what’s available for someone with little to no business experience, but you’re absofuckinglutely determined to make a name for yourself somewhere in the working world…you do any damn thing you can to make it happen.

You survive on take-out and what groceries you can skim from your parents.  You borrow money from your parents to attempt getting caught up.  You defer those loan payments.  You maybe skip a payment on the credit card so you can buy food for yourself.  You deal with a long-distance relationship because your girlfriend is too broke to stay in town for the summer and has to live with her mom for the season, which means the only mode of contact is writing letters and, very rarely, a phone call.

And because of your committed career choice as a writer, with absolutely no publications to show for it just yet, and you’re still learning the ropes, you know you’ll need a Day Job to cover expenses.  And pretty quickly you know you have no interest in business sales — you dislike trying to sell something to someone that you yourself aren’t interested in (in this case, a telemarketing job selling toll-free numbers to small businesses), and you really dislike the idea of having to aim for a quota in order to keep your job.  You briefly entertain a position doing transcription, but you don’t really have the ear or the speed for that.  So that means you’ll end up working at some blue collar establishment, like an ice cream parlor, or a movie theater.  You’re not above that; it’s what you’ve done for day jobs in the past.

You were on your parents’ insurance until you graduated back in May of 1993.  You don’t even fucking think of entertaining that expense, because you know you won’t even be able to afford it.  Not without cutting elsewhere.  Like moving back home with the family.  They’ll have you, of course, but you’d feel like such a goddamned failure because you graduated with a BA from college and can’t even get a fucking career off the ground, let alone living in a city where all the jobs (what there are of them) may actually be.

So.  No insurance.  Low-paying job.  Hardly any food in the refrigerator.  All your college friends have moved on and left the city.  The only thing that you get by on is a pack of cigarettes that you make last for two weeks or so, water, tea and instant coffee, toast or cereal, and food that you didn’t pay for from your Day Job (hot dogs and soda is a frequent dinner, with a chaser of popcorn).

Your next door neighbor, a guy you know from college who’s living comfortably on his own due to having rich parents (he owns a number of kind-of-expensive toys from Sharper Image to prove it).  He’s your only friend of note at the moment, and even at that point he’s more of a clueless prick than a friend.  He wonders why you won’t come out with him to dinner at that restaurant or to see that movie, even when you tell him repeatedly that you can’t afford it.  He wonders why you won’t splurge on things you need, considering you have a credit card and all.  And because he’s pretty much the only person you know in the city to any degree, he’s your hangout buddy.  And because you don’t know what else to do with your miserable fucking life, he’ll easily talk you into doing things that get you deeper into debt.

You’ll make one stop at Beth Israel Hospital one early winter morning early in 1995 when you have an insanely sharp pain in your groin area and you have no idea what’s causing it.  You have no insurance, so when you’re filling out the hospital forms, you say you have no frigging idea how to pay for it, if at all.  You tough it out and decide to be a charity case.  After staying overnight at the hospital (where you’ve been shoved aside and left out in the hallway for hours before some intern comes by and finally realizes you haven’t been seen), you’re told that the pain is caused by an overlong twisted vein that’s been starved of blood.  Not caused by an injury or anything…just a weird medical issue that can happen to any male.  Things are readjusted and you’re given the information that to permanently fix it, you’ll need to have a minor surgery done.

You already know that’s out of the fucking question.  You deal with it, get discharged, walk to the subway and ride home.  You call in sick (no sick time pay, by the way) and take the day off.  [You won’t get that fixed until two years later when it flares up again, and thankfully this time you have insurance to take care of it.  And sick time.]

Eventually this will all come to a head in the summer of 1995, when your original plan to renew your lease in that apartment in Allston falls through.  No roommates (your original roomie moves out, the replacement backs out), no phone (cut off due to overdue bills), hardly any food (which your ex-roommate ate anyway), and still no way to get ahead.

You finally make the decision, say fuck this shit, and move back home with your parents, which you will do for the next decade, just so you can get caught up with bills again and fix your completely decimated credit rating.  It’s the most frustrating, the most depressing, the most goddamn aggravating decision you’ve ever made in your life.

So.

What was all that about, anyway?  And what does that have to do with Jason Chaffetz’s complete lack of empathy?  And why here at Walk in Silence?

Well.

See, there was in fact one thing that kept me from going batshit crazy, from wanting to jump off a bridge, from wanting me to do something truly and colossally stupid.  Something that kept me sane.

And that was music.

Not a day went by when I didn’t have the radio going, or was listening to my music collection.  It was my one splurge.  It was my sanity.  My sanctuary.  I rarely bought new releases, as I could only afford them every couple of months, and a few titles at that.  No, I built up my vinyl collection by digging through the dollar bins at the used record stores around town.  I had a pretty decent collection of classic rock and sort-of-recent releases at a fraction of the cost.

To a lesser extent, I’d also rent movies every couple of weeks from Tower Records.  Those were cheap, maybe a few dollars for an overnight rental every couple of weeks.  Did I feel guilty about that?  Not one bit.  It was how I rediscovered anime which inspired me to try my hand at writing science fiction instead of literary fiction.  It completely opened my eyes and my mind to new creative avenues in my writing, and started me on the path to where I am today.

But the point here is:  music was my sanctuary.  It was one of the very few positives in my life at that time.

Did I make some dumb financial mistakes?  Sure.  We all do at that age.  Maybe I could have sold more of my albums back to the stores for money — something I did a few times, actually — but that was just a temporary, finite answer to an ongoing problem.   It gave me pocket money for one run to the supermarket for food.  Could I have done without the music or the video rentals?  Sure, but I probably would have been a hell of a lot more miserable than I already was.

Music was the inspiration for my writing.  It was something I chose to afford because it gave me something to look forward to.  It was something that helped me feel that little bit happier when I was going through a hell of a deep depression.  It reminded me that there was a light at the end of this very dark tunnel.

And I would not let my finances, or anyone else for that matter, take that one oasis away from me.  No fucking way.

So yeah.

This is why — this is one of many reasons why — when I hear from asshats like Chaffetz who decide that poor people must ‘do without’, even for things such as phones — which keep people connected to the world and help them stay available and contactable for job openings, health screenings, and loved ones — I get extremely angry and my filter goes out the goddamn window.

You, Jason, do not fucking understand what it is to live your live on the margins with barely a way to get yourself out.  Not one goddamn clue.

You deserve no nice words from me.

Platinum Records

If you haven’t seen my recent post over at Welcome to Bridgetown, I’m currently celebrating the platinum anniversary of my starting a novel (The Phoenix Effect) that would end up morphing into my Bridgetown trilogy.  All this month I will be posting fun things related to the original as well as the trilogy, and I thought I’d do the same over here.

Twenty years ago I was a few months in on my relatively new job as the lone shipper/receiver at HMV Records.  Even though I was one of the oldest hires there (I’m pretty sure I was closer to my manager Tom’s age than the young’uns I worked alongside), I was still feeling my way around.

The biggest change from the years previous was that I had a much closer connection to the music I was listening to.  I was listening to a lot of radio at the time but didn’t have that much money to spend on new releases, but this job let me listen to a lot more stuff (and yes, I may have dubbed a number of cds onto blank cassettes while in the back room, heh!).

But the sounds were changing as well.  The bright bounciness of Britpop was suffering from hangovers and bloating (see: Oasis’ Be Here Now, a solid but WAY overworked album); the American grunge was kind of losing its way (not to mention some of its lead singers to overdoses), and let’s face it: the college rock I knew of then was essentially the commercial rock of now.

That’s not to say the quality (or quantity) of alternative rock was declining…it was merely evolving with the times.  In fact, 1997 featured some fantastic, solid releases from bands both old and new, taking the genre in new and interesting directions.

On a personal level this was a positive and much-needed evolution for me, as I’d been in dire need of a change in my life and outlook.  I’d been broke, angry and depressed for about three years straight, gone through some personal issues that were Not Fun At All, and needed a positive change ASAP.

Not only that, this change in mood is reflected in my writing.  I’d essentially started a new project resurrected from the ashes of one that I had to close down for personal reasons.  And let’s be brutally honest:  back then, I’d had a collegiate view of being a writer.  I was a special snowflake with the Powers of Story [insert sprinkly *whoosh* sfx here] and I wrote Important Life Allegories™.  In reality, however…my writing was crap, I knew it was crap, no one was going to take it seriously, and I was going to need to be a shit ton better than the level I was currently at if was going to get anywhere with it.

So that meant dispensing with the mindset of Writing as Superpower and take it seriously.  Making it a daily process instead of a casual one.  Relearning the basics of story construction.  (This included doing a hell of a lot more reading than before; not just the how-to writing books, but the different genres of fiction and nonfiction I was interested in.  This plan kick-started my habit of visiting book stores on the weekends and, thankfully, a love of reading.)

Music has always been a part of my writing process, and this time it was no different.  This time out I’d be making mixtapes of tracks that would inspire my writing (the four-volume Songs from the Eden Cycle from 1997-8, the sort-of sequels in the early 2000s, and the recent Eden Cycle Sessions mp3 playlists).  Certain albums released during this time would get heavy rotation play on my cd player down in my basement writing nook.  And I’d listen to a hell of a lot of stuff on my fifty-mile commute, which was always a perfect time for me to brainstorm.

I’d made a decision to be a writer quite early in my life, but 1997 was when I decided to take that decision seriously.

Fly-by: Earworm

Sorry, folks…had to head into Concord for the Day Job today, so I wasn’t able to get any music post up.

BUT.

Once I was there, I happened into the little snack shop they have in my building, and they were playing Carmen on the radio.

Which meant I had “L’amour est un oiseau rebelle” stuck in my head ALL MORNING LONG.

Granted, I do love how this aria is basically her trolling Don José something fierce. 🙂

It’s half past four and I’m shifting gears

 

So I ended up buying the new Golden Earring box set, The Complete Studio Recordings, (at a pretty sweet deal — 28 cds for a little over $100, coming out to about $4 a cd) and I’m quite looking forward to giving it a listen.

They’re a band I’ve always wanted to hear more of, especially since their history reaches way back to the early 60s.  Most of you know them from their two US hits “Radar Love” (one of the best 70s bass lines ever) and “Twilight Zone” (one of the most memorable early 80s MTV videos).   I owned their Cut album for a long time and absolutely loved it as a kid.  I never got around to picking up more of their albums though, as they were often hard to find and were never a big draw in the US.

Still, they’re considered the Netherlands’ biggest rock band and what I have heard of their early stuff I quite enjoy.  Including their amazingly ridiculous yet fascinating seventeen-minute prog cover of The Byrds’ “Eight Miles High”.

It’s going to take me a while to sift through this collection, but I’m looking forward to it!

Recent Music Purchases, February Edition

I’m quite enjoying how 2017 is panning out musically so far.  There’s some really solid tunage being released, and even more to come in the next few months.  Looking forward to it!  In the meantime, here’s some more stuff that’s been getting lots of play on my PC lately, hope you enjoy!

Spoon, “Hot Thoughts” single, released 20 January (album coming 17 March).

Arcade Fire, “I Give You Power” single (feat. Mavis Staples), released 20 January

The New Pornographers, “High Ticket Attractions” single, released 27 January (album coming 7 April)

Japandroids, “Near to the Wild Heart of Life” from the album of the same name, released 27 January

Big Wreck, “One Good Piece of Me” from Grace Street, released 3 February

Porcelain Raft, “Big Sur” from Microclimate, released 3 February (I am hella obsessed over this album at the moment…)

Dutch Uncles, “Big Balloon” from the album of the same name, released 17 February

The Verve Pipe, “Cup of Tea” from Villains – Live and Acoustic, released 17 February (really, go get this or the original, it’s a phenomenal record)

Light Reading: Ed Ward’s ‘History of Rock & Roll, Vol 1’

I’ll be honest, I’ve kind of ignored the origins of rock music for longer than I really should have.  I’m quite familiar with rock in the late 70s and 80s, having lived through it, and over the years I’ve read a lot about how the 60s shaped and influenced rock music and vice versa.

The 50s and earlier, however?  I have a very thin basic knowledge at best.  Of course I’m familiar with the classics everyone else knows…the early Elvis tracks on Sun Records, the handful of Jerry Lee Lewis songs, the usual Chuck Berry riffs, and thanks to the Beatles, the not-quite-hits that got a second life as covers.  But that’s about it.

Ed Ward’s The History of Rock & Roll, Vol 1: 1920-1963 is a fascinating read in that it’s not a memoir of that era but a streamlined chronology of numerous events, people and performers that helped shape the music genre we all know today.  There’s no concrete starting point to rock music — it evolved over a long period of time, inspired and influenced by all kinds of different regional styles of music.  And thanks to radio’s own evolution from providing entertainment (such as the comedies and the dramas, and the aural productions of plays) to focusing more on shorter popular music, these regional sounds were heard nationally, informing and influencing even newer sounds.

If you’re familiar with how current styles of rock evolve within the last twenty to thirty years, this will make total sense; the Ramones begat the UK punk movement begat the moody post-punk sound begat American college radio begat 90s alternative, for instance.

The writing isn’t bland, even though Ward promotes this work as a textbook of sorts.  On the contrary, he delights in amusing asides (Screaming Jay Hawkins gleefully admitting to not remembering recording his signature song “I Put a Spell on You” because he was completely drunk at the time), conservative backlashes (label owners creating a ‘good music’ subgenre of Sinatra-inspired saccharine music from the likes of Frankie Avalon), weird moments in rock history (the bizarre popularity of Alvin and the Chipmunks), producers and promoters milking a trend as far as they can (death songs like “Teen Angel”) and so on.  His overall theme seems to say that no one in the music business really knew what the hell they were doing half the time, but as long as they made money and the kids loved it, then why complain?

In addition to this, Ward doesn’t completely focus on any one artist for an extended length of time; this is all about the chronology of the history.  It puts things into a wider perspective, showing just how many different sounds and events unfolded at the same time.  (I did not know that the careers of Elvis Presley and Carl Perkins pretty much started off within a month of each other, for instance; in fact, Elvis befriended Carl early on and helped get him an audition at Sun.)  He also includes the other popular genres at the time: country, soul, folk, and jazz.  While they weren’t lumped in with the emerging rock genre, they were part of its inspiration and were closely related enough to warrant further investigation.

It’s definitely a fun and very informative read, especially if you’re a music nerd like myself.  It’s also inspired me to investigate this period of popular music a lot more closely than I have in the past.  I’d like to check out those pop singles of yore, those jazz albums and whatnot, and hear for myself how they informed and inspired the popular music we all know and love today.

 

On a side note:  I still find it kind of mind-bending when I compare this kind of chronology with my own experience.  While reading this I was reminded of the Sha Na Na variety show that was on TV in the late 70s; they were essentially covering those old 50s pop songs that were twenty or so years old by then.  In modern times: that would be me doing a cover of Oasis’ “Wonderwall”…which I still think of as relatively recent in my own personal timeline!

New Sounds: Cosima

I love finding a new musician to latch onto.  Sometimes it’ll be a track that I’ve heard on the radio station I’m listening to.  Other times it’ll be a featured artist at a music blog.  And yes, sometimes it’ll even be a band that randomly started following me on Twitter.

It was an article from September in the music blog The Line of Best Fit that introduced me to Cosima, a singer from the UK whose songs are haunting but lovely in that Cocteau Twins-meets-Massive Attack sort of way.  I keep coming back to them, wanting to hear them again.

She’s just getting started — she’s only got a few singles and an EP out right now — but I highly recommend picking it all up, because it’s all phenomenal stuff.  Her new track “To Build a House” is her best yet.

Go and check out her music.  Highly recommended.

Writing Session Tunage: What Next?

NOTE:  HEY KIDS!  Speaking of writing, I have an e-book coming out this Friday!  The Balance of Light, the third book in the Bridgetown Trilogy, will finally get released in just a few short days!  Come on over to Smashwords and check it out!

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anime-writing-gif

Of course, you all know that I almost always have some sort of tunage going during my writing sessions, especially when they’re back here in Spare Oom.  Even as I type this, I’m listening to Elbow’s latest album, Little Fictions.

You also know that there have been certain go-to albums that I’ll play, especially if I’m working on something related to the Mendaihu Universe.

But now that that particular project is complete…now what should I listen to?  Good question.

Meet the Lidwells! is about a musical family, and once I get to the bulk of the writing of this project, I’m sure I’ll be listening to a lot of 90s alternapop to fit with the band’s sound.  I’ve got a lot of that stuff in my collection, thanks to my time at HMV, but I can also let SiriusXM’s Lithium station do the work as well.

Other than that, my project options are wide open.  I’m thinking maybe a standalone Mendaihu Universe book or two.  And for some reason, I’ve decided that I need to listen to a lot of LOUD music for those.  The plot ideas I have for these involve a lot of emotional and societal tension, so something twitchy and irritable would fit quite nicely.

Something like the alt-metal of Caspian for instance:

…or something nice and crunchy from Deftones.

I’m sure I’ll temper it with some quiet moody stuff like I always do.

Either way, it’s time to change up the writing session soundtrack big time.  I’m not sure what I’ll be listening to in particular, but I’m keeping my options open.  Some of my favorite writing session albums come to me purely by accident — an album I haven’t heard in years that just happens to fit the mood of the scene, or a new release that clicks with me right from the first listen.  I still absolutely adore Failure’s Fantastic Planet (it’s still on my gym mp3 player after all these years), but I’ve got to start listening to more than just the same things.