As told to Google
Link to future exciting stuff here
As told to Google
Link to future exciting stuff here
If getting older is leaving childish things behind, and if Christmas is one of those things, this year is about the furthest point I’ve ever been from childhood. Of course every year we’re older. But isn’t that partly the point of holidays, to keep us moored to our younger selves? A box of ornaments we move from our parents’ home to our first apartment, to apartment, to house, to a storage space, to another house. Hanging up a faded glass Santa, you circle back to check in with who you were and how far you’ve come. Having kids you get to rev the whole time machine up again.
But some years are for throwing off the red and green paper chains of Christmas past and just going with what is. You’re unmoored. This year is one of those. Eric and I are in England, the most Christmas-y of places, but his mother is in the hospital and so it’s been Christmas behind glass in our travels back and forth to visit her, glimpses of other people in festive sweaters raising holiday pints through pub windows or hustling along dressed-up sidewalks with packages in their arms.
We arrived last week fully intending to buy gifts, put up a tree and make a nice dinner with Dorothy, Eric’s mum. She’s been in and out of the hospital so much from falls and just being frail, we thought it’d simply be a matter of showing up and taking her home from the hospital. It took about a day for it to sink in she wasn’t coming home any time soon or at all.
So this holiday has been sitting with her talking about things real and imaginary, and trying to figure out what her future is. It’s good we came over – no gigs like the last three out of four Decembers – we need to be here. We get to visit Eric’s daughter and grandkids too, and that is wonderful. My mother died years ago and my dad is hale and hearty so I’ve never been through this and I don’t know how to help Eric work his way through it except to be here.
Did I mention our rental car is candy apple red – with a spoiler?
Every day we drive to Worthing (well, Eric drives – I have yet to work out manual right hand driving) and park in the ridiculously tight hospital car park. Eric parks in the same spot out of superstition. Our hideous red car in that spot holds everything together. We walk past the car park pay station and the hospital restaurant which was called Shoreline (Worthing is right on the sea) when we previously visited Dorothy here, but has now been renamed insultingly ‘the spice of life’.
“Ha ha ha,” I said the first time we saw the new sign. “That would really be the end of all hope wouldn’t it, having to eat a meal in ‘the spice of life’.
Eric promptly renamed it The Bland of Death.
The Bland Of Death became a marker in our twice daily visits to the hospital as we tried to get Dorothy to hold on to the idea that we hadn’t come to spring her and that the hospital staff weren’t likely to bring us all a tray of sandwiches no matter how nicely she instructed them to, as Christmas got closer and Eric and I made a pact with each other we’d get festive another time.
Christmas Day we showed up later than we had the previous few days and one of the nurses said sharply “She was asking for you all morning!” making us feel extra guilty for finally succumbing to jet lag and just sleeping as late as we needed. There were nurses in antlers and they gave the patients a nice Christmas lunch. Eventually we went out for a walk at the beach, which gave new meaning to the word ‘brisk’ – I have never experienced strong winds like that. It wasn’t cold, just punishingly intense. I think we enjoyed being pummeled.
Of course it made me hungry.
“Eric, we need to find a sandwich or something before we go back to the hospital. There’s a BP Station-“
“We’re not having petrol station sandwiches for Christmas! Let’s try to find something better.”
“There’s an Indian restaurant there.” It looked grim.
“What about the Harvester pub?”
“I’m not eating in the Harvester pub.” Understood.
“I hate to say it but – there’s a Toby Carvery over there,” I said, not holding out much hope as I know how Eric feels about the words “gastropub” and “carvery”.
He didn’t disappoint: “We are not going to a Toby fucking Carvery!”
I can’t even have the satisfaction of being mad at him because I know he’s right. Imagine the dullest Denny’s at four AM on some desolate stretch of highway in Indiana or even Wyoming and you’re talking more joy.
Another grim Indian and a promising looking lit-up Co-op Supermarket that was in fact closed and surrounded by tempting food donations brought us back to the vicinity of Worthing Hospital. We pulled the glaring red car into our usual spot in the car park (Free Parking Christmas Day!) and it was unspoken or maybe one of us had to say the inevitable: we were aiming to eat Christmas dinner or at least lunch in the Bland of Death.
“Oh please let it be open, please let it be open,” I prayed. I said that I thought I might cry if we couldn’t have something to eat in the Bland of Death, and I kind of meant it.
It was four thirty in the afternoon. The cafe had closed at four.
I didn’t cry, I laughed weakly. We ended up driving back to Dorothy’s house, where she’ll probably never live again, to cook our Christmas duck breasts (they cook fast and were delicious) and then drove back to the hospital.
Dorothy was happy to see us. The woman two beds down threw her special Christmas sausage rolls across the floor. Edna in the next bed cried out endlessly for a pair of knickers lost sometime in the 1940’s. Through the darkness we could see our red rental car across the car park, across from the parking arm raised high, waving FREE PARKING FOR CHRISTMAS.
“I imagine you wish you had a different mother-in-law,” Eric’s mother said in a lucid moment.
No I don’t.
“Excuse my language,” said Danny the Subaru mechanic, “but sometimes you need to drive the shit out of this car. Cause you’re not really a driver, are you?”
I felt hurt. I drive! I drive a lot. I love driving!
“Just take it out and really put the pedal down – don’t, y’know, endanger yourself or anybody – and don’t tell the police I told you but – in a straightaway, just get it up there fast and really blow it out…”
I’m not a driver…I’m not a driver? I WANT to be a driver. I don’t want my car sputtering and gapping because I don’t have what it takes to be a DRIVER.
When I paid the bill, Danny’s wife Amy (our conversations are usually along the lines of “Hi Amy, it’s Amy. “ “What can I do for you Amy?”) said sweetly, “Just drive the shit out of it once a week.”
So I did. The first time I felt sheepish and found myself looking over my shoulder. I thought ‘this is a job for my husband.’ He’s always putting the pedal down and has the speeding tickets to prove it. I’m kind of cautious. Sure I’ll drive seventy-five on the highway, when everybody else is, but I don’t want to get in trouble. Not that I can’t be rash. But I felt like I was trying on a new personality the first time I shot up a road not too far from our house.
It felt good. And the car started driving better. I was telling it what to do. I started looking forward to the straightaways.
* * *
“I want to pick up my product,” the man said when I asked if I could help him. He stood by the register of the bookstore/bar towards the end of a quiet Wednesday shift.
“Your product? What kind of product – something you ordered?”
“My product,” he said, already sounding exasperated. I was worried he sought something requiring discretion – hair color, an aid for erectile dysfunction, lacy panties (not that we carry any of those things) so I aimed for discretion in return.
“Kelley the owner knows I was coming in for it,” he said. “It’s a product to sell in the store that you don’t want to carry. I’m picking it up.” He started moving around to the side of the register, craning his neck to look at the shelves.
“If you could tell me what I’m looking for- “
“A product – it could be in a bag, or envelope. It’s a product I made.” He was starting to get on my nerves. We sell books. And toys. And beer and cider. Art supplies Herbal remedies. Was it animal, liquid, vegetable or mineral?
“How big is it?” I didn’t think it was rude of me to ask. “Is it hard, or soft; round or flat? It would really help if I knew what I was looking for.” I told him I’d text the owner and see where his product was.
“You do that,” he said. As I was texting, he asked if she’d responded yet.
“I’m tired of this,” he said. “You people!” He started coming around the register – “I think I see it there, I want to get it.”
“You can’t come back here, I’m sorry, just tell me what you’re looking for!” He kept coming, moving behind the bar. “You have to stop!” I cried. “I’m patient with everybody, but you’re really trying my patience, now tell me what it is you want from back there and I will get it for you.”
“You’re an asshole!” he said.
Now I’ve been called some things (not a lot of things, but a few): a slut, a tramp, a bad mother and a dilettante. But I’ve never been called an asshole. I don’t know how to be an asshole. Except for writing songs and some impulsive decisions, I’ve lived like I drive. I wish I’d learned to get angry. Sometimes assholery is required.
It’s never too late to learn.
“NO – YOU’RE THE ASSHOLE,” I said. “I’ve been trying to help you, but you won’t tell me what you’re here for. You can’t come behind the counter. Now get away,” I said, as the bar patrons suddenly started looking on, interested. Blake my co-worker stopped his conversation and came over to see what the fuss was. He handed the man a stack of colored squares like post-it notes. I heard a woman saying he’d brought them into the restaurant where she tends bar too. $40 fridge magnets.
“This place is awful!” the man was shouting now. “It’s the worst. You’re awful. You’re all awful.”
“We’re all awful?”
“Yes, you’re terrible! You’re the worst!” He was grasping his product now and backing out of the store, shouting all the while. I remembered him coming in for art supplies on many occasions, how I went out of my way to be friendly to the jerk and never even got a polite nod out of him.
“You’re an asshole!” he had to say it again.
“NO, YOU’RE THE ASSHOLE.” So I had to say it again.
“I love you, Amy,” one of the regulars said as he pushed out the door hopefully never to return.
“Amy’s nice to everyone,” another customer said.
Somebody else came up to give me a hug.
At least I hadn’t started to cry. That’s the hardest thing – when instead of being mad, instead of righteous, productive anger, the tears come. Like the sputtering of a Subaru.
I clocked out and got in my car. I’d planned to stop off for some cheese and wine to bring home. But I needed to drive.
New album The Old Guys comes out February 23.
“You’re really great at your job,” the young woman said. It was freezing cold outside, a quiet Monday night in the bookstore/bar. Tom T Hall’s The Homecoming, the story of a musician’s life, played in the background.
“You mean BEING A ROCK STAR?” a tiny part of me wanted to shout. The rest of me smiled and thanked her and kept on washing beer glasses, polishing the bar, sweeping the floor. Earlier that day, I’d read fine writing about being on the road by Allison Moorer and Tift Merritt, seen Instagram photos from friends’ gigs in England and Germany and thought – even knowing what I know, how hard touring can be – that other people’s road diaries make me queasy with envy even when I’m out playing: “You had a dressing room?” or “You played at Shank Hall?” Except for when you’re up on stage (“You played on a stage?”) doing your best and giving your everything, that spectre of doubt – that you’re doing enough; that you are enough – is always there.
Am I crazy? I’ve been living for the moment I have a new record together – songs mixed and mastered and sequenced; everything lined up to go to the pressing plant and a release date and somebody to help me do publicity and the cover art and a photo. Now I’m starting to book gigs and it dawned on me just yesterday – this is happening. The thing I’ve been wanting for years (okay, I’ve really been wanting to publish a book, something I’ve never done, but I got involved in the whole agent and book proposal process and the publishing world moves at a speed that makes me think of tablets being chiseled one letter at a time); the thing – new work – that means I exist, that there’s a point to everything. It’s the way I know how to plot the course of my life, in three minute song increments; in multiples of twelve. In record albums. They used to come every two or three years: 96, 98, 01, 03, 05, 08, 10, 12. And then the last five or six years slipped past me. Some touring and playing in Eric’s band, a few solo shows, resurrecting the past a little here and there; working on writing, trying to become an author. I’ve started to compare my career to the walls of Five Guys Burgers & Fries – loads of glowing press, reviews, Best Ofs – and then you check the dates and realize they’re all from the last decade, and blurry with a mix of dust and hamburger grease.
I thank Greg Roberson, the Memphis drummer who came up to do some recording with Eric three years ago and said “Amy, what have you got? Let’s record something.” That was the start of this album The Old Guys that is finally finished and coming out February 23. 2018. I thank Eric my husband and producer for telling me “It won’t happen unless you show up.” Yep, this is like an award show speech, only the award is the one I’m giving myself – to still believe I can do this; to convince myself that anyone else will be interested; to care so much that the caring is its own reward.
One year before I turn sixty, and there’s no more music business, for me anyway. Or I don’t know how to find what’s left of it. I don’t know how to do anything but what I’ve done for thirty-five years now: write some songs that say how I feel, bring them to life so that feeling comes back again and again, and share them. I remember being twenty-eight, the age my own daughter is now, and saying “There’s no way I’ll be doing this – riding around in a van, playing in bars – when I’m FORTY.” Forty seemed the real there: that magic moment when all childish fantasy would fall away and wisdom prevail. So I had a kid. And realized I couldn’t stop. That being a mom meant even more reason to hold on to the artist part of myself, because that was what helped me make sense of being a mom. Of everything. As the parenting part has receded now it’s…this business of being older. And I thought I was “older” twenty years ago!
So maybe I am crazy. It’s the only way I know how to be, when I’m not pouring beer for people, or cooking meals, sweeping the floor, polishing the bar. Writing and dreaming of that moment when some girl says “You’re really great at your job” and I say “You mean this?” (gestures at guitar and microphone).
The Old Guys will be released February 23, 2018. Tour dates coming soon. In the meanwhile I’m playing a benefit for Planned Parenthood at Bell House Brooklyn with Cindy Wilson of the B-52s & Kaki King, Wednesday December 6. And pouring beer & selling books.
Eric and I came back from Madrid last night. It was a wonderful trip, too wonderful to write about, really – how to find inspiration in a good time? Then this morning I was combing through my purse and my fingers closed around a small, dusty, irregularly-shaped object.
It was a sunflower seed. I rubbed it, and remembered:
Waiting to board our flight for Madrid, a news story comes on the TVs at JFK, a van striking a crowded bike lane in Manhattan. Where did they say? Where? I ask Eric, thinking of my daughter out in the city. She just posted a photo of herself walking a dog, for sure Manhattan. Eric thinks it’s the Upper West Side. I feel bad to say I felt relieved “oh she wouldn’t be up there.” Then learn it’s downtown, west side. I text her, are you okay? Sometimes I wait forever to hear back from her when I text but she answers immediately that she’s fine. How awful for the people who lost their loved ones, out for a stroll or leaving work on a beautiful fall day.
Coming from the airport into Madrid, we struggle trying to communicate with the driver. His English is as nonexistent as our Spanish. For some reason, Eric tries French – “Ah, c’est plus facile!” the driver exclaims. He was born in Casablanca and French is his native tongue. Suddenly we are buddies, pals. It reminds me of our time in France, how I liked hearing Eric speak French and the way it made it easier for me to learn. Those years weren’t easy, but they were special. It brings that back to me a little, being here in Europe again. We’ll always have…Cussac.
Check into our servicable hotel and take a nap before going out for a stroll. I’m tainted by my relationship with New York forever into feeling that cities kind of work on a grid and if we just go down this one street, well it’s pretty much parallel to that street, and so by turning left here we should end up there – a sure fire way to get lost. A sure fire way to end up – climbing a wall into what seemed like a traffic island but is in fact a giant fountain with Neptune at its center. For the moment the fountain is dry but as we scramble across to the other side, I start imagining the two of us limping back to our hotel drenched and sheepish. “Run, Eric, run!” I shriek, beginning to panic. We climb down over another wall and across a few lanes of traffic, unscathed but a little less sure about where exactly we’re headed.
The next time we pass the fountain, I notice they have stretched red and white hazard tape all around the perimeter. I picture CCTV footage of two late middle aged morons’ ungainly clamber and sprint being the straw that broke the camel’s back – “Ai ai ai, we can’t have this – get out there with the tape, Jose Luis…”
We’re in Spain for Lindsay Hutton’s sixtieth birthday bash. Lindsay is Scottish and lives midway between Glasgow and Edinburgh, but Madrid is his heart and soul, the place he comes to have fun and feel free. Lindsay, Eric and I are roaming the streets of Malasana neighborhood. What at first felt like another of the world’s great cities in a postcard-on-a-rack kind of way begins to come alive for real as Lindsay shows us his fave spots, like an Eggleston photo shows you Memphis. It’s in the details; knowing where and when to look. We sit in a tiny bar with cool seventies decor: “Gosh, how do these places stay in business?” We’re the only customers. “Don’t worry,” Lindsay says. “This place will be packed in a few hours.” It’s almost midnight. I take his word for it.
I’m sipping vermouth in Bodega de la Ardosa. Vermouth in Madrid is a revelation! Served on ice with a slice of orange. I’ve gotten some great tips from this Eater article and drinking vermut is one of them, accompanied by ham and anchovies and roasted artichoke and…the servers are so nice, after working hard to learn French I just wish I had spent some time learning Spanish. Rather than upselling, they dissuade us from ordering too much food. “If you want, you get more later, okay?”
Lindsay is spinning records at the Weirdo Bar. It’s one of the rock and roll bars all over this part of the city with name and aesthetic like you are in a garage rock Disneyland – Taboo, Angie, Madklyn, Tiki – not cleaned up but just those essential elements of the fairy tale and the only thing missing in this picture is you, preferably in a striped or band t-shirt, black jeans, unwashed hair with a pint glass in your hand.
The room is packed with friends, faces from years of gigs here and there swimming before my eyes. Lindsay plays Sonny & Cher’s “It’s The Little Things.” I shout along with him and the record, thinking of the Skeletons from Springfield Missouri who covered this song. I raise my glass to the late great Lou Whitney and dear departed friend Jim Wunderle, drummer Bobby Lloyd Hicks also, Springfield buddies who are suddenly in the Weirdo bar with us, singing along too.
We spend a day finding coffee (good), finding food (great), getting equipment and songs together for the Friday night party. I wish I had more clothes to choose from but we packed one suitcase between us and it felt like a fun challenge to travel light (always with one eye towards finding some fabulous Spanish thrift store scores).
Standing in a bare bones cafe, cash only, I’m waiting for Amy Allison to come back from a bank machine. We’ve just eaten a crazy, delicious meal or snack, the type I would never have back home – cold white wine, a platter of jamon, the Spanish national treasure, another platter of cold potatoes nestled in pillows of fluffy garlic mayonaise. Hot chorizo, action-packed green olives. Anything else I asked for on the menu they were out of. The proprietress has not smiled once, and continues to not smile as I wait. But I ask her if I can have some sunflower seeds from the little bowl by the cash register and she grudglingly nods. They are so salty, I almost choke and not wanting to be rude, surreptitiously place the rest of the handful in my purse.
A half hour before it’s time to play, we’re hungry again. No time to find a real place to eat, we slam fresh juice and muffins at the most beautiful McDonald’s I’ve ever seen, just around the corner from the club. Hey it wouldn’t be a real gig without some hardship! I love how even in McCafe, in Madrid there is always fresh orange juice.
Me and Eric are onstage with Amy Allison. She’s singing Walking To The End Of The World and for one second I feel like Johnny Cash guitarist Luther Perkins. Amy is one of my favorite singers, songwriters and just the most delightful person. The sound of her voice stops a room, stops time – it’s a treasure, like her songs that stay embedded in your mind.
Eric and I haven’t played a set together in a while now – we’ve played his stuff and we’ve played my stuff but Eric & Amy is almost a nostalgia act due for a revival sometime soon? Here in Madrid we’re the old team again, I remember how lucky to sing with this guy I am, the way our guitars mesh and when we play Do You Remember That, it’s our story being sung along to by a good many members of the audience. I’ve had the chance to experience that with Whole Wide World a lot, but for my own song? We played it as a gift to Lindsay but it was a gift for me too.
At three in the morning we went out with Amy and our friends Jon and Karen from NY, hitting the only spot still open that might serve food. The food was peanuts, but the swanky cocktails surely had some vitamins and it was a different kind of Madrid crowd, where we got to be the slightly obnoxious ones, a feat that would’ve been impossible at Wurlitzer where the volume of music and pint glass-sized gin and tonics required a commitment to hardcore partying I don’t think I possessed as a twenty year old let alone now.
It took most of the next day to walk a few blocks to find breakfast. Entered a random cafe and Jon and Karen were just finishing coffee and pastries, and then Amy Allison appeared. Funny how these things work – even in a huge city, when you’re one of a group traveling for a shared purpose you tend to move almost as a single organism. We all have walk-on roles in each other’s TV show “Holiday in Madrid”.
Eric and I decided to spend a little time at the Prado – I know it’s one of those “a day isn’t anywhere near enough – it would take a lifetime to see everything!” places but really an hour and a half was enough for Goya’s Black Paintings and a couple really weird statues I can’t get out of my head. It was fun and no big surprise to see some other partygoers in the galleries, like we’d taken over the city. Of course the pressure to have the ultimate experience is off because I go to every city, good restaurant and museum fully expecting to return someday.
I’m watching Suzy y los Quatros play a fun, rocking set at the Wurlitzer Bar, all part of Lindsay’s Sesentafest. Lindsay is the connecting tissue between musical acts and fans and factions from Sweden to Seattle, and Madrid which he calls Mad-toon in the best Scottish accent is his favorite place and now he’s made it all of our favorite place as two hundred of his friends have gathered here to make merry. Oh wait, he’s up there on stage! This is such a blast. Oh shit – he’s stage diving, going over backward into the crowd. I’ve never participated in that type of thing but it’s Lindsay, I HAVE TO. I can’t let him drop. It becomes my mission to provide one of the pairs of upthrust arms keeping him aloft.
Wow, he seems like not the biggest guy AT ALL but he’s really heavy! Come on people, pull your weight here, WE CANNOT LET HIM DROP. I’m sweating way more than I ever do at the gym or yoga – is there a stage dive workout class like there used to be punk rock aerobics? Because this is hard. Aren’t we supposed to hand him off to the throng of people toward the back of the club?
Phew, he’s been passed back and now forward and deposited back on the stage. The festivities won’t end with our dear friend and host riding through the streets of Madrid in the back of an ambulance.
I met Lindsay almost two decades ago in Glasgow, after playing my first Scottish gig ever. That night, a girl threatened to beat me up in the ladies room of Thirteenth Note club, and drunken football fans harassed and terrorized me until morning at the B&B where I was staying – pre-cellphone and no phone in the room to call for help. I didn’t realize this was my initiation into the Scottish fraterni-sorority, similar to hazing – they break you down to let you in and once you’re a part of it, that’s settled, you’ll keep coming back forever. Lindsay has been like a guardian angel to me since then. He’s made sure I never have to go back to that B&B. He ran the Cramps fan club and Next Big Thing fanzine and he’s done it all for love. He’s one of the kindest ways people like me – people without “people” – can keep getting back out there. People without people need people. He’s our people.
We rock to the Nomads, a cool Swedish band Lindsay’s told me about for years, they are clearly warriors who’ve done this forever and make it matter. The Dahlmanns played a tight set earlier, they made me smile with their up version of Dancing With Joey Ramone, it felt like a dream to hear my song from a spot in the audience. And a quartet of cute women from Norway called Reine Laken played a brief set, hanging on for dear life as they don’t do gigs often. I loved their joy and enthusiasm – it reminded me that the Raincoats were probably that very moment playing a set in NYC in celebration of the 33 1/3 book about their classic first album. I thought of how they really lit the fire for me, that this isn’t about doing it right (though you try to as very best you can) but doing it real – that’s what will always matter most. I couldn’t be in two places at once but for a second it almost felt like I was.
Heading back to the hotel we bumped into friends who were going off in search of churros and chocolate, the thing to have when you’re needing something other than alcohol at three in the morning. After a half an hour or so walking in a general direction, sniffing the air for sugar-dusted fried dough, we started to resemble that group of bleary survivors in the Poseidon Adventure, bumping into another group or two of bedraggled revelers on rain-slicked cobblestones, greeting each other with one word: “Churros?” I expected a hellish KFC-stye counter bathed in fluorescent light but when we finally found the place, it was dark green and wood paneled and glamourous and snooty, with photos of celebrities lining the walls and porcelain cups of the richest chocolate. Each of us dunked and raised our swords of crispy deliciousness, individual Excaliburs, all kings and queens of Madrid fated to come back. The only thing missing was Lindsay, who was at the Wurlitzer club still rocking. But I plunged an extra churro deep into the chocolate, pulled it out and lifted it high, then ate it for him.
It had become a little bit a of a holy grail for me – to find a clip of my appearance on Late Night with Conan O’Brien. I began to wonder if it had ever really happened. And then the other day – it found me! I was looking for a good live version of Eric and I playing Tom Petty’s Walls and, down at the bottom of clips from dimly lit house concert appearances and sweaty club shows recorded on cellphone cameras angled to maximize every pockmark, flesh roll and wrinkle, I saw “Amy Rigby 2000 Oct 5”. That date felt familiar…a copy of a copy from somebody’s VCR…paydirt!
Nearly twenty years since glory was almost mine. I thought I remembered it all so well – the call that came a few days before, announcing a guest cancellation and could I be in New York City that coming Thursday by 2 PM? It just so happened I would be on tour promoting my new album and had a show in the city that very same night! Sure, me and my band would be in Cleveland the night before, but no problem, we could sleep a little while and drive the eight hours in time for setup and soundcheck, tape the show and be at the old Joe’s Pub for linecheck and gig at 8 PM.
Yep, I remember it like a crazy dream: checking out of a motel on Interstate 80 at 6 AM as another random musician friend happened to be checking in for the night. I remember making a stop at my former Shams bandmate Amanda Uprichard’s shop on Lafayette Street to pick up a dress to wear on TV. I remember the deluxe spread of sandwiches and treats backstage in the Late Night studio and how nice and professional everyone was. I was permitted only one of my own musicians on the show, so I asked guitarist Steve Allen to accompany me on Cynically Yours. The Late Night band, Jimmy Vivino and Max Weinberg and company, had worked up a note for note recreation of the doo-wop style backing on the album version of the song and we ran through it. I was amazed how good they sounded.
Then – the part I forgot, until I watched the video just now:
“And what was the thinking behind this?” The Late Night hairdresser held a wispy piece of my wispy hair between his elegant fingers as if bad layers were catching. He twisted it this way and that, fluffed my too-short bangs; poufed the back and let out a huge sigh. He widened his eyes at his own reflection. “I will do my best.”
I was going on TV in five minutes.
Who amongst us hasn’t suffered a bad haircut? This certainly wasn’t my first. But why – why – had it come just days before my first and very likely sole appearance on late night television? And why wasn’t I cool enough to just…do nothing at all about it, instead of letting a stylist pouf me even more hopelessly, with no time for it to settle?
I’d remembered feeling terrified as I stood in my spot waiting for Conan to announce me. I’d remembered getting through the song pretty well, and the thrill of being asked to sit on the Late Night couch. I’d remembered Conan admiring my green Greco guitar and proudly showing me his Gretsch backstage. I’d remembered Paul my drummer having a run in with guest Jackie Chan in the men’s room.
I’d remembered watching myself on a TV behind the counter of the original Original Ray’s Pizza on Sixth Avenue when the show aired later that night. “Huh, that’s you,” a guy said and then: “Gimme a slice, not too hot.”
I expected to watch this video thinking “aww, sure I was at least forty but forty was still kinda young, right?” I remembered how I felt like Rodney Dangerfield when the audience laughed in the right spots. ” I remembered it all, but not the part where I looked like a cross between Joyce from Three’s Company and a D minus on a Student Hairdressing Exam – Medium Length Wavy Division.
Is this what’s called a humblebrag? Maybe so. What good would it be to find the clip if I couldn’t share it?
But how can I share it without apologizing for looking kind of like a dork?
And reminding myself I got my wish by finally finding this clip of a proud moment in my life. Would it have been better to have it only as a memory stored in my head, where I looked more sassy, less shy, hit every line just right, and my hair was perfectly imperfect, instead of …this?
Maybe not. Then I couldn’t measure what a long way I’ve traveled since then. How lucky I am to still be doing this.
And how, it being from the year 2000, we were still kinda living in the nineties. Doesn’t that excuse any style error? Things were still real then, man – we didn’t know any better.
Tom Petty was my guy like I bet he was your guy. Bob Dylan is too godlike to be that guy. Listening to Bob is like looking at a locomotive streaming through a staggering sunset: how the hell did that happen, and how lucky am I to be here to see it? you shake your head wondering. Tom was the guy standing there raising his can of beer to that glory. He gave the whole scene scale and perspective, so you could be part of the majesty too.
If that sounds too humble for the excellence of what he did, consider the part of the picture just out of the frame – he’s balancing on a guard rail, at the edge of a cliff. In cowboy boots. Yep, he didn’t make all the hard work it took to be there our problem. It only dawned on me when I read Warren Zanes excellent biography of TP this time last year: in addition to the talent, that level of commitment, an absolute belief in the medium of music. The sacrifice and selflessness, along with appetite and ego, it took to get there and stay there.
But Tom wasn’t always right. I thought Tom got it wrong a few years back, and it kind of pissed me off.
It was that adorable, maddening scene in the Runnin Down A Dream documentary where Stevie Nicks is saying “and I said c’mon Tom, let me join the band” and Tom says, granite-like, “THERE ARE NO GIRLS IN THE HEARTBREAKERS.”
I walked around for days fuming after watching the movie. How could he say that? How could he deny Stevie? And all of us – the scenes between them, their performances together, are emotional highlights of the film.
THERE ARE NO GIRLS IN THE HEARTBREAKERS.
So that’s how it is, huh? Keep your crappy boys’ club! I kept thinking, like I’m ten outside my brothers’ pup tent in the woods. One of them stands sentry with a cheesy Gunsmoke rifle. I want in that tent, even if they’re only in there passing around Sgt. Rock comics. I want in that club!
But here’s where Tom was wrong. I thought about this a lot last night, as we waited through the agonizing few hours where maybe, maybe he was going to make it. I thought about it off and on through the hours after it was announced by his family that he was dead and I tried to sleep and kept waking up thinking “damn”.
There were always girls in the Heartbreakers!
Starting with American Girl, Tom Petty’s songs (or Petty & Campbell, but Tom’s lyrics) often focus on female characters. They aren’t objectified, and they aren’t caricatures. There are details that make them living, breathing women and they are usually in the process of busting out, finding themselves. Free Girl Now; Swingin; Mary Jane’s Last Dance. Walls from the She’s The One soundtrack could only be about a girl.Wildflowers.
Fill in your own here. He couldn’t have Stevie in the Heartbreakers, because that job belongs to all of us. The male rockers had their archetypes up there, but that softy Tom, that romantic Southern boy, let us gals write our own roles. We got to decide who we could be, rocking and free.
Anyways, it’s a theory. It’s the best I can do today, knowing that Tom’s gone.