Channeling Rudolph

I find this whole “Rudolph the Red-Nosed Reindeer” thing hideous. Figures it was an advertising salesman that came up with the idea.

OK, so you’ve got this reindeer whose sole crime is that he’s a little different from the other reindeer. For this sin, he’s tortured by all the other reindeer.

In other words, they act just like human beings. It’s a goddamn allegory!

I can’t really say if this is an accurate picture of what actual reindeer would do. I’m pretty sure a reindeer wouldn’t even notice if another reindeer had a different color nose, let alone do the reindeer version of tarring-and-feathering him.

But I’d be willing to bet that even if they noticed, the reindeer wouldn’t be sneering. The only real question is whether that shiny red nose would be useful to Rudolph in his quest to survive. If it was, then red noses might get selected for, and soon all reindeer would have them.

And we wouldn’t have to listen to this stupid song every Christmas.

Unlike reindeer, humans have this irresistible twitch called judgment. For many things, judgment is just fine and has helped us do a little surviving of our own over the years. But it likes to venture into places where it shouldn’t stick its … well, its nose.

And when it does, it often manifests as cruelty. It’s totally unnecessary. It’s what the Zen guys call “extra.”

But enough of this. Now I come to the thing about this song that really bites. (That’s me having a spasm of judgment.)

These reindeer go on and on making Rudolph feel like a big pile of caribou shit. They laugh and laugh and never stop picking on him. But then something unexpected happens. The big guy shows up. The guy with power. The guy who chooses which reindeer get to pull his sleigh.

Now, Rudolph’s got no power of his own, so the other reindeer feel like they can get away with murder. But when Santa comes along and gives Rudolph his seal of approval, “then all the reindeer loved him.” Then all the reindeer loved him.

Fuck you, reindeer.

The reindeer are nothing but courtiers, and you don’t need to read Castiglione to know what sons of bitches those courtiers were.

Now Rudolph’s the toast of the town, but only because the reindeer don’t want Santa to know what assholes they really are. You gotta figure that the very hot minute Santa leaves the room, suddenly the reindeer aren’t loving Rudolph so much anymore.

And this is the song that’s playing ad nauseam to our children 24/7 every December?  Has been playing 24/7 for the last 50 years?

This explains a lot. It really does.

Aaaaah ... Raspberries!

When I was 4, and in kindergarten (early admissions), I was standing in line one day with all the other munchkins waiting to get into the little room where the cubbie holes were where we kept our coats.  It was recess time, and we were champing at the bit, to say the least.  Word made it down to the end of the line, where, as we were queued up alphabetically by last name, I was slouching like the hoodlum I was even then, that recess would be delayed by five minutes.  Five whole minutes!  An eternity in kindergartener time.  So I did what any self-respecting Bowery Boy would do: I filed a protest.  My protest took the form of a loud utterance: "Aaaaah ... raspberries!"

Within a few seconds, one of the teachers had made her way down the line and stopped.  She crouched down to my eye level.  "What did you say?"

"Aaaaah ... raspberries!" I repeated, with a goofy smile, thinking it was just about the coolest thing I could say under the circumstances.  She was kind of hot, and I thought I might impress her with my derring-do.

But before I knew it, I was being hustled down to the main floor, and the headmaster's office.  I was told to sit in one of the big leather chairs in the room where the headmaster's secretary sat, giving me a look of keen suspicion.

"What's the problem?"

"Paul seems not to understand the proper way to behave in class."

"What'd he do?"

"He said, 'Aaaaah ... raspberries!'

"Ah ..." replied the secretary, clearly pleased.  "I see."

Before too long I was summoned into the headmaster's office.  Mr. Grant was an Episcopalian minister and a heavy smoker.  He was pretty much a nice guy, but he had a bit of fire and brimstone left in him, as when he would ask a pupil who had given him a shaky and noncommittal answer to a question like "Why did Moses lead the Israelites to the Land of Milk and Honey, "Are you asking me, young man?  Or are you telling me?!"

Anyway, he and I chatted for a few minutes in a pretty friendly way, mainly about fruit and the proper way to talk about it, but what neither of us knew was that, prodded by the deeply offended teacher, the secretary had called my mother to come and take me home.  I was to be sent home for this offense.

Since I lived right down the street from school, it didn't take her long to show up.  Mr. Grant and I had just gotten to the subject of peaches when there was a knock at the door, and the secretary popped her head in to say, "Mrs. Spillenger is here."

"What?" said the headmaster, clearly a little confused by what was going on around him.

Then Mrs. Spillenger walked through the door, and the conversation, slightly Thurberesque by any standard, led us all to understand that I was being sent home because I had said, "Aaaaah ... raspberries!"

During the five minutes this exchange took, I was, as they say, shitting a brick, because, as would often be the case in later years, I felt I had transgressed in some mysterious way that I would never truly comprehend.  But my mother, one of whose finest moments this was, spent these minutes struggling in vain to keep from bursting into laughter, a fact that was not lost on Mr. Grant, who clearly felt he'd been left holding the bag for the insane whim of a couple of women whose sense of propriety had been incomprehensibly violated by my outburst.

As we walked back home, I gradually realized that I was not, in fact, in serious trouble with the authority I feared most.  In fact, she was grateful for the entertainment.  It was one of those rare moments when I felt we got along like a couple of drunken sailors, and I would refer back to this in later years from time to time as an example of something that didn't happen much but was pretty cool when it did.

All of which somehow reminds me of the Republicans' opposition to the "public option" in the health care reform bill.

I can't recall a time when these clowns -- and I use the term only out of herculean restraint -- the word that came immediately to mind was far less charitable -- when these clowns haven't droned on and on like soused fanatics in some little Tangiers watering hole about the sacred and infallible wisdom of "the market."  We must not interfere with the "natural" operations of the market.  The market will sort all this out.  Government is full of stupid bureaucrats who want to control us, while the market is an instrument of freedom.  Blah, blah, fucking blah.

You can't have government regulation of corporate shenanigans because that will put a damper on the free operation of the market, which in the end will always tend toward justice and equity.  Blah, blah, fucking blah.

OK, this is their line and they're sticking to it.  Fine.  Except that they don't always stick to it, do they?  When it comes to massive bail-outs of floundering banks and investment houses and automobile manufacturers that can't figure out how to survive the ... what shall we call it, if not "the market" -- when it comes to this, all of a sudden the market isn't so bloody infallible anymore, is it?

Well, all right, what's a little hypocrisy among friends?  Let's not be too quick to judge.  

But wait.  There's more.  We must not offer the American people a "public option" -- a health insurance plan underwritten by our tax dollars -- because that would lead to something "socialist" like state-run health care.  (Oooooh....)  Just like what they have in that quintessentially pinko nation, Canada. 

But we all know what's really at stake here, don't we?  The Liebermans of the world are all terrified that a public health care plan would be so popular, so attractive to scads of Americans, that the private health insurance companies, whose executives have made obscene amounts of money for decades by charging huge premiums but refusing to pay even the most innocent claims -- that these companies will not be able to compete.  They will lose business.  They will lose the monopolistic strangle-hold they have on our health care system.  Oh dear me.  They might even have to start lowering their premiums and covering more conditions.  

In other words, Republican politicians fear that they might have to play by the rules of "the market."  They fear free competition.  But I thought that the market's natural selection was supposed to weed out those companies that need to be weeded out.  Hmm.

So, here's what I have to say to the Republicans mouthing these dreary public option-bashing platitudes:

Aaaah ... RASPBERRIES!! 

The Much-Anticipated Halloween 2009 Song

So we drank a few beers, my kid, the squeeze and me, and then we had a few more, and before we knew it, Franz was at the piano and I was fooling around on the computer and Lu was telling everyone how she was tone deaf but she didn't care anymore.  And he said, Should we try to sound like the Beatles, and Lu laughed, thinking there was no way in any case, but I just smiled and said, Let's not tryto do anything, let's just play some damn music.

And so that's what we did, we played, and that's what this is, some damn music, and we weren't after perfection and we didn't care if anyone sneered.  We just had a fine time and a memorable night, and when it was all over we ate some peanut butter cups, and then went to bed and dreamt of Liverpool.

Personnel:

Franz Spillenger: piano, vocals, synth horn section; Leslie Schwerin: vocals, laughter; Me: guitars, bass, drums, organ, lead vocal

Your Brow Is Sweatin' and Your Mouth Gets Dry

Believe it or not, I once attended banjo camp in Colorado with Pete Wernick, a personal hero.  I was heavy into the banjo then ... but that's another blog entry (aka "story").  Anyway, this 14-year-old kid came in one day and played this banjo instrumental like wildfire without a shred of performance nerves.  I was amazed, and of course jealous.  Pete told me later that if you played a lot in front of other people before you started puberty, you'd never have stage fright.  I thought that was maybe true, but at least a good line.  I've always had a bit of stage fright up there and I've never gotten to the point where I could totally relax on stage.  It's gotten better over the years, but never been totally cured.  Maybe I got puberty young...

But as I digitize these old cassette recordings of mine made between the ages of 14 and 19, I hear an earlier me that was in many musical respects completely unafraid.  There's no perfectionism in it, no need to "get it right."  All I wanted to do was play, and the tape recorder seemed to be easily forgotten as I got into the song.  It makes me aware of how much more brittle one can become in certain respects as one gets older.  Maybe it's that we didn't know anything back then, didn't have anything to compare what we were doing to.  Maybe the joy of making notes come out of the guitar was enough.  That's the beauty of garage bands -- the whole garage band phenomenon.  Of course it mostly sucks!  And it doesn't matter.  It was never about being professional.  That's what punk was trying in its own way to recapture.

Anyway, it's ironic that one of the songs I recorded back then was The Band's "Stage Fright."

My wife is seven years younger than me, and in many ways it doesn't matter.  But in some ways it does.  To be born in 1956 meant you were listening to the transistor radio when The Supremes' "You Can't Hurry Love" came on.  You were at Jones Beach and listening to "Good Lovin'" or "Tracks of My Tears" or "Strawberry Fields" when they were just out, and so there was a real, concrete connection between the song and your life that people don't have when it's their older sibling's music they've discovered or (worse yet) they hear it on an "oldies" station.  It's weird and very cool to realize that a lot of the songs I was playing had come out within a year or two of my learning them.  I had no idea I was cutting edge!  I was just playing the music I liked.  I was cool and never knew it.

 

This Would Not Be the Last Time

One thing I know for absolute certain is that this is not me playing that Keith Richards lick.  I didn't know how to play it then, and I barely know now.  But it's pretty cool that as rough-hewn as this is, it's completely rock and roll.  Even when (or especially when) the mic falls down.  I can still smell the sweat of all those boys in a room trying to be rock gods.  

I think that's my unsatisfactory guitar break.  I was trying ... that's all I can say.  I was giving it what I had.  Which really wasn't much!

Lost in Space

1972 was a very good year.  Now Glenn Govier will correct me on this, I am sure, but this feels roughly like 1972 to me.  Garage band aesthetic standards (and I don't mean the software!), Neanderthal technology, but a sense nonetheless that what we were doing was mighty swell.

I'm not sure where this got recorded, maybe upper Manhattan / the Bronx somewhere.  Definitely somebody's room.  Don't know who's there, but I hear somebody welcoming my brother Clyde at the start of this recording.  And I'm sure Glenn's there.  And I'm pretty sure that's me singing the David Crosby part.  And doing that perfect Stephen Stills chord change on rhythm guitar.  People still don't get that change right, and I got it right, at like 16.  I guess you had to be there.

Purchase, 1976, Chris Limber and Me (aka Redum and Weap)

 

Rediscovered ancient cassette tape, should be dust but managed to squeeze some bearable audio out of it, though slow.  And we'd been doing some serious drinking.  

When I was in high school, I thought, and everyone who knew me, thought I'd be a musician.  My mother was horrified.  Good.  That's what plans like those are for.  Freak out mama.  Anyway, I spent more time playing my spanking new Guild D-35 than going to class.  I was in a number of bands, played with a number of people, and slowly got better.  I think.

Somehow I got convinced to go to a liberal arts college for a while, and that's how Purchase got me.  And while I was there, music became more like a hobby than the burning passion it had been in high school.  I guess that's what college is for.  Burn that shit out of you.

When I got to Purchase, I played and sang with a number of humanoid entities -- first with Cathy Intartaglia, now Cathy Intartaglia Hirsh, who had a really beautiful voice.  In 1975 (I think) I returned to Purchase after dropping out for a while and living in Minnesota, and I started playing with actor and all-around bon vivant Chris Limber.  We clicked pretty much immediately and played a few coffee houses around campus before we stopped playing, I'm not sure why.

This cassette recording is not notable for its musical quality or beauty or anything like that.  But to me it sounds like we were having fun.  And we were.  And finding that after 33 years is pretty damn cool.

Rediscovering My Books

Whoever you are, I fear you are walking the walks of dreams,
I fear these supposed realities are to melt from under your feet and hands,
Even now your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from you,
Your true body and soul appear before me,
They stand forth out of affairs, out of commerce, shops, work, farms, clothes, the house, buying, selling, eating, drinking, suffering, dying
Whoever you are, now I place my hand upon you, that you be my poem,
I whisper with my lips close to your ear,
I have loved many women and men, but I love none better than you.

--Walt Whitman, Leaves of Grass, with an introduction by Christopher Morley and illustrations by Lewis C. Daniel, Doubleday Doran, 1940.  Dusty, oversize, green woven covers.  I've always kept it with my Dore Dante and Basho's Monkey's Raincoat.

The Passions of James Wesley Voigt

You can find some strange things out there if you have time on your hands and a head for meaningless trivia.

Consider the song “Angel of the Morning,” which those of us of a certain age may remember from 1968.  If we’ve got the nerd gene, we know that recording was sung by Merrilee Rush, more or less a one-hit wonder.  If we’re nerdier still, we know that the song was written by a guy named Chip Taylor, whose birth name was James Wesley Voigt.  Yes, that Voigt.  Chip Taylor is Jon Voigt’s younger brother.  Let’s not get into what a mental case Jon Voigt is.  Maybe later.

But wait.  There’s more.  The verse and chorus of “Angel of the Morning” both start with a simple chord structure: 1-4-5-4-1.  The song is a ballady thing, but if you speed up that chord progression and give it a rockier beat, you have a song that sounds a lot like the infamous “Wild Thing,” which was a big hit for The Troggs two years earlier (and then Hendrix at Monterey in ’67).  

And who was the writer of "Wild Thing"?  Bingo.  Chip Taylor.  Same guy.  And you probably never even heard of Chip Taylor.  But he wrote two AM classics from the sixties and he seems to go for that 1-4-5-4-1 chord progression.

And he’s Angelina Jolie’s uncle.  So put that in your pipe and smoke it.