The hour badly spent

When the Claremont Trio — a violinist, a cellist and a pianist — played in McCain Friday night, I faced a special kind of angst: that of writing about musicians without actually knowing anything about music. Fortunately, though, an Expert Vibrato Analyst came along to help clarify the finer points of…well, vibrato and shit. Now we know what a "movement" is! Sort of.

The first piece, Haydn’s Trio in G major, was… well, I don’t remember much of it. The second piece was more modern; Schoenberg’s "Cafe Music." It was faux jazzy; it sounded like a dude in a suit sneaking through dark hallways. I kinda liked it but kinda also thought it felt like a cheap trick? Added just to please the youngs in attendance. The Expert Vibrato Analyst articulated the misgivings perfectly: when jazz isn’t performed by tried and true hep cats, it just sounds funny.

We both enjoyed the third piece: Antonín Dvorák’s Trio in F minor. And the encore — Gallop, the fifth movement of George Bizet’s composition, "Children’s Game" — was an excellent follow up, being that it was (1) upbeat, and (2) short.

Asking people about the music was awesome, as those who weren’t completely comfortable talking about chamber music struggled to sound like they were. "They’re definitely virtuosos," said one kid, adding that he enjoys pieces when they’re "played in minor keys" (ha ha ha, I have no idea WTF that means. I’m dumb. My biggest reason for attending was that the performers are hot). After the show I caught up with Professor AND Mrs. Donald Hedrick: "The playful virtuosity of the encore was fun." He added that he "liked the Dvorák the best. It speaks to my Slavik spirit. It reminds me of Prague (??)," he said (I caught him off guard). Professor Donnelly and his satanic eyebrows hit the nail on the head: "Chamber music scares people."

[Claremont On Tour]

Silver Bullet’s friend Andy is in at least one band, and last night they played at the Malibu Inn (it’s not an actual inn). We picked up Andy’s sister Greta and made the trek up Pacific Coast Highway to Malibu.

The first act was acoustic; skinny black guy — Emory Davis — and his guitar. A girl chimed in for some duets. I liked her voice — it was operatic — but when she wasn’t singing, which was most of the time, she just sort of sat there. Greta was even more annoyed than I.

Gretta’s Jetta: Didn’t he say "she sings like an angel?"
Silver Bullet:   Apparently angels only sing falsetto.
Silver Bullet:   I don’t know about guys in those low-cut V-neck shirts. It disturbs me.

Cattiness or genuine dislike? I didn’t know what to make of any of this either. The guy’s shirt did hang too loosely on him and you could almost see nipple. Oh skinny emo dude, are you trying too hard or not trying hard enough? Does any of this matter? Music is soooo confusing.

 

They finished up and a team got the stage ready for the next band. A guy who looked like Jesus fiddled with some equipment then said "check one check two" into the mic, repeating this about ten times. "All sound guys look alike," Greta said.

After that, Andy’s band — Echo Division — hit the stage.

"I saw them at the Light House a few weeks ago and they were trying to be all pop-ish," Silver Bullet said. "It wasn’t working. They’re ten times better tonight."

True to form, I wasn’t impressed. They sounded kind of dull and the lead singer had this Dylanesque wheezey thing going on.

After a while even Andy started getting bored on the stage, because near the end of their set he started flashing gang signs. Then it was another band’s turn.

"Does anyone know who John Hinckley is?"

The name sounds familiar, but the category I picked tonight was "music for $10" and not "I know something you don’t" so maybe we could get on with the music thing. Hey, just for kicks, why don’t you go ahead and tell us who he is, lead singer? Thanks! Servicey!

Apparently, he shot Ronald Reagan so that Jodie Foster would notice him! It was love! Love drives us mad! That’s what the next song is about! Thanks professor; the lecture was much better than your music. Zing!

"I think these are all church bands," Silver Bullet said.

Makes sense. They all sound like Jars of Clay. You ever hear a rock band in church? They’ve got a captive audience, so they just keep going and going and going with the same languid Guitar Solo Of The Lord until you are begging, begging for the chance to sit down and hear a sermon.

I actually liked the next band. Andy was the drummer in this one. They were loud and upbeat. Then the lead singer wanted to, like, talk to us.

"Who here knows who John Calvin is?"

What is it with these nerdy musicians and their pop quizzes tonight?

Actually, he never explained who John Calvin is; only that "I’m a geek and I write songs about theology." Wankerish, but the music wasn’t bad, although it did not succeed with the stated goal of establishing the moral authority of the church. But this was a tough crowd for that anyway. It’s Malibu! We passed a Scientology church stronghold down the street on the way here.

He strides into the party with mirth and fanfare, as generous with his beer as he is with his condescension.

He has travelled far and wide, to mysterious Eastern lands and exotic European capitals. He has gathered a treasure trove of knowledge and wisdom, which he makes no attempt to hide from you.

If he didn’t talk down to you, he wouldn’t be saying anything at all.

So there you are, in his massive apartment on Saturday night, watching him sink into a frantic guitar-plucking trance.

The girls with long hair and gypsy skirts whirl and dreidel around him, hipster ballerinas shitting their small-town angst. He ignores them.

The others languish on the couch, heads propped up on cushions, on shoulders, on curiosity. He ignores them too.

Like this, he’s caught up a zenlike blissful dismemberment. His body fades into nothing, just hands and ears, whipping everyone around him, hornists and dancers and bored onlookers, into a froth of masturbatory coolness.

But you’re getting into it too, and he doesn’t sound half bad, actually, and maybe you could party even longer, maybe even forever, just as long as he doesn’t open his mouth again.

I’d been picturing this moment in my mind the second I came here and saw the band: their dark suits, their swing-dancing wingtips, the trumpet and the sax, and every time it runs through my head it goes like this:

"Hey, let’s dance."
"Whatever. I’m leaving.

But the band’s been at it for an hour, ta-tum tum ta-tum tum, and they are kicking ass, and I’m tapping my feet and swaying my head, and for some reason I got all dressed up tonight; new hairdo, favorite shoes, favorite tie, favorite shirt, and I just can not help myself. It’s now or never. I turn to Madeline and ask her.

"Oh, I have no rhythm." That’s not the point! This is Auntie Mae’s, not Soul Train.

But is this one of those times when I’m supposed to be a man and just go for it? I can never tell. So I make for her hand and she moves them both under her bottom. "No means no." Umm, it’s a dance, not a rape, but point taken.

It is never "one of those times."

She gets up to use the bathroom and while she’s gone a couple of girls walk by, going into a holding pattern right at the empty bench.

"Uh, sorry. Someone’s sitting here."
"That’s okay. I don’t want to sit there anyway." The way she says it makes the word there point at me and stick its tongue out. Saucy! As she walks away, I notice a tramp stamp: a ship’s helm (I guess it’s so the seamen know where to go).

Madeline comes back and the band is still going. The helmsgirl flutters back this way, onto the dance floor, with Jimbo (That guy knows everybody). They are dancing and the song winds down and the band announces their next one:

"This is a song by Duke Ellington. He still has it doesn’t he!" That makes one of us. I turn to Madeline again.

"Should have come here with a different girl." Duly noted.

And fifteen minutes later they start up another number, with that tempo again just right, ta-tum tum, called "Let’s drink wine." I know now if I can’t find someone to dance with me on this one I’ll be a miserable failure, sitting here with a stupid twisty hairdo and a stupid black shirt and stupid jolly-roger vans and stupid polka dot tie. I turn to the curly-haired blonde on the barstool next to me.

"Hi there. My name’s Swingie McJazzhands."
"Hi! I’m Anna."
"Nice to meet you Anna. How are you? This band is great, aren’t they?"
"Yeah, I love it."
"Would you like to dance?"
Oh, I can’t. My friend and I were waiting for someone and now we’ve gotta head out."

True to her word, they skedaddle up the stairs and out the door, presumably to a better, albeit torturously jazzless, party.

Jimbo’s on the floor with that girl again. There is exactly one other person here who I already know, and she is sitting front and center, so what the hell, might as well take another crazy chance and ask her. So I do. A moment later I take her by the hand and we start swinging and grinding like we were born for this night.

Ha ha, just kidding. She shot me down too.

Earlier today, Collegian writer and looker-awayer Adrianne let us in on her favorite workout songs - angry breakup music! But who wants to think about some douchey ex while you tone up? For me, a healthy part of the grieving process is to ignore the ex and fixate on pornstars. Therefore, I’ve selected a few choice tunes which I think are better suited for pumping iron.

James Brown: "Payback"
I don’t know about you, but something about remembering to walk up to someone and kick his ass really spurs me to go that extra mile in the weight room. Plus, you know, the song is uhh, funky (I’ve gotta practice saying that right).

Duke Ellington: "Sentimental Love"
The reason I go work out in the first place is to seduce hot chicks. What does it matter if I can do so after I leave or while I’m still there? Smooth jazz puts everyone in the right mood. I hate when I sidle up to some skinny blonde Jessica or Megan with my very best line ("Baby, don’t act like you don’t remember me") and she tasers me. Who would taser me to smooth jazz?

Theme song from Terminator 2: Judgement Day
That reverb of solid metal set to a sober military rhythm reminds me of what lies in store for me, and for all mankind: watching Sarah Connor Chronicles on veoh.com. There is no fate but what we make for ourselves.

Dance Dance Revolution techno music
Because, to tell you the truth, I’m not at the gym. I’m in the Stuni game room. Playing Dance Dance Revolution.

80s Pop music.
Don’t judge me.

What is it about Thursdays that, by early evening, right as screenwriting class ends, makes me feel hollow, torpid, and dissatisfied?

First thing: one more hour of Spanish this week. It’s actually not so bad - Ms. Diaz is much more simpatica than she seems; but last semester’s god-awful class left a bad taste in my mouth and I’m probably just still just still dry-heaving it.

Second thing: the few people I do know here tend to become scarce all weekend, and there are no new episodes of anything on the tubez, leaving me with nothing to do except write.

Except I can’t, because (third thing) by now I just feel cold and dead inside; no imagination, no oomph, so I end up basically napping from Friday night to Sunday afternoon. Then Sunday night I scramble to finish the homework I put off.

This list is on my mind, halfway through a gin & tonic - extra lime - when the Communist Spy sends me a text.

If you’re not doing anything right now you should join us at Kathouse.

Cigarette in hand, I pound down the drink, dash out the door, and am at the Kathouse in five. I’ve never been here before. The Communist Spy and her cadre of five other girls - Darcy, Leshia, Maureen, Katie, someone else, and a Gentleman who Travels With Katie - are here to see a band. Of the six girls in the group, 9,340 of them have hooked up with someone in the band. The Spy motions for me to take the corner seat, next to her.

"Took you a while."

"I was at Auntie Mae’s."

"You smell like Auntie Mae’s." (In Kansas you can still smoke indoors and Mae’s has a basement, which, aside from the absurdly cheap drinks, is why I like it there).

While I’m waiting for a drink the guitars fire up. It’s funny; all week long, you think to yourself how badly you just need company; the violent jolt of social contact might inspire "emotions," "longing," "happiness," or something. How going day after day with this feeling of isolation makes you feel like a dismal failure; that you should just get out more and be around people.

But then on Thursday night you find yourself in a big dark room, resenting the three-dollar cover charge, the band working the crowd with skill and confidence sharply reminding you that you’re about 3,000 years old, the dizzying pockets of sparse lamp light, the watered-down drinks, the throng of blondes fenced around the barkeep like tube-topped Vikings laying siege to the coast. And the barmaids who ignore you. All of it just grates inexplicably on your nerves. You can fake it for a while; ten, maybe fifteen minutes, before you have no choice but to slink away, find the exit, and disappear into Friday morning.

Piano Man: This is the best Collegian profile I’ve ever seen. First, it’s got a punny headline. Smarmy bastards like me lrrrve puns. Next, Adrianne leads with a scene:

"Wingfield’s instrument - the piano - sits toward a back corner with empty space surrounding it. Students and faculty members gather around the piano each day. A slim man dressed in dark pants, a dressy jacket and wire-rimmed glasses, Wingfield, performs piece after piece and serves as the musical vehicle as he accompanies students and faculty members each day."

So cinematic!

She proceeds with a deep, thorough portrait of campus microcelebrity Bill Wingfield, pretty much writing with as much style as Wingfield plays the piano. By the end, I vaguely got the idea of how awesome it is to be around Bill Wingfield. Then I remembered I have no rhythm, musical talent, or even anything funny to say about this article, so I hit the bars.

[Update: I just passed Adrianne on campus and she did that thing where you look at someone then pretend to be looking somewhere else, INSTEAD of just mutely nodding or waving hello, while you pass. I used to be like that too, but then I turned 15. Imagine being in a newsroom with a "grown woman" who acts like a high school brat. Still, this was a good article.] 

If you could transmute silk into music, it would sound like the violin.

What I like about classical music: I can listen to it even when I’m not listening. With, say, rock or rap, I need to tune it out to gather my thoughts. But with violins, it’s different.

This is a blessing.

The Modigliani string quartet, four men, black shoes, black suits, black hair, and white ties; all of them, all at once, suck in their breath, lean back, like throwing a punch, and with a flourish, strike the fist note.

Violins playing is like looking at the world through a waterfall.

Tonight, this is a curse.

My mind wanders. I think of you, what you told me last week. "I don’t want a relationship." What does that mean?

The artists sway with their rhythm. One melody swings around, piggybacking another. Distilling one long note into the emotion of a lover’s voice. Pure and so frail, just like life.

Did I want a "relationship?" What made you think I did?

The sound of the music, now like an oak tree, full and sonorous. Low, like a hungry animal.
Now as high as a songbird in the morning. Dainty and light, like petals.

And why not a relationship? Are you too lazy? Too selfish? Are you seeing someone else?

Sometimes the one on the left likes to put his ear all the way up to the violin, like it’s whispering secrets to him.
For the faster bits, his hand moves frantically, like a sewing machine, like he’s slicing meat.

So hungry.

Is it me? Am I not worth the space on the bed? The jabbing interruption, occasionally, of my voice in the room? The hours in the morning with me and only me? The hand, lost inside mine, when we sit together in the dark?

And sometimes, he leans into the violin’s neck, all the way up to the scroll at the tip, as though he might fall off the end of the note.