A Love Story

A few weeks ago I published a piece that for the most part was a meditation on joy, a commodity without which our lives, to put it mildly, would blow. Seeing that I’m a f*cking softie at heart, I’ve decided to turn my thoughts now to another precious emotion, the greatest of them all, for it sustains and usually nourishes life, giving us reason to go on. I’m talking, of course, about love. Sure, The Beatles overstated things when they sang “all you need is love.” But they weren’t too far off the mark, as there is no doubt that the following is true: If an individual doesn’t feel love for at least one other human being (or pet, I hasten to add), they are in a most unenviable position.

Now, I’m not exactly an expert when it comes to matters of the heart. I know that for a fact because nobody in my seven-plus decades of residing above ground ever has asked my advice on the subject. Come to think of it, just about nobody ever has asked my advice on any topic or situation. Man, I should start an advice column called Maybe Neil Sort Of Knows, So Give It A Shot And Ask Him. That would show ’em how deep my font of quasi-wisdom is!

Anyway, getting back on track, what else might I say about love? Well, it’s innate, in most cases blossoming automatically between parents and their children, to mention one obvious example. But it sure doesn’t blossom automatically between everybody. That’s a main reason why it can be so difficult to make true friends, to find a partner to spend your life with, and to keep the fires burning with said partner after you’ve found them. Yup, love is a powerful force, but cultivating it properly requires skills that many do not master adequately, if at all. When we allow love to bubble within us consistently, though, our lives are much the better for that.

Love probably wouldn’t be on my mind so much were it not for the movie CODA, which my wife Sandy and I saw at a cinema early this month a few days after it grabbed the Oscar for Best Picture. It’s still in some theaters, by the way, and is streaming on Apple TV+ too.

CODA is a tale that revolves around Ruby, a high school senior who is the only hearing member of a family of four. She is devoted to her parents and brother and, in addition to attending school, spends mucho hours each week working on the fishing boat that her dad and sibling operate in order to put bread on the table. Whew! This girl, who also sometimes acts as an intermediary between her deaf kin and outside parties, has a whole, whole lot on her plate. Ruby’s life becomes even more complex when she is encouraged at school to develop her vocal skills and pursue a music career. This new element becomes the movie’s fulcrum.

Sandy loved CODA, which is an acronym for child of deaf adults. She thinks it’s very great. Although I found CODA too formulaic to be placed on a pedestal, I enjoyed the hell out of it. It’s an old-fashioned sort of story that I’m certain would move anyone whose heart is not fashioned from stone. Why? Because CODA, at its core, is all about love, the kind of love that holds steady, not wavering even for a moment. What’s more, there’s nothing sappy about the love on display in CODA. A tight screenplay by Sian Heder, who also directed the flick, and four actors who tap into genuine places within themselves, see to that. Hats off, then, to Emilia Jones, who plays Ruby, to Marlee Matlin and Troy Kotsur (Ruby’s parents), and to Eugenio Derbez (Ruby’s music teacher).

I’ll close this love-centric essay on the right note, by presenting Beyond, a love song sung and co-written by Leon Bridges. Sweet and sultry as you could hope for, Beyond very well might put you in the mood to . . . yo, I don’t need to tell you where this sentence is headed. I accept your thanks in advance!

A Decently Joyful Story

It’s an understatement to remark that ours is a perplexing species. Yes, most people might be pretty good at heart for the most part. But you’d hardly know that by the wars that have raged in one place or another throughout recorded and, I have zero doubt, prerecorded history. The latest nightmare, of course, is the Russian assault on Ukraine. It is only one of many post-Second World War examples of cruelty and of refusal, inability even, to live harmoniously. Horrible conflicts in Syria, Yemen, Rwanda and the former Yugoslavia are others. The Russia/Ukraine situation is by far the most worrisome, needless to say, because a f*cking asshole with nuclear weapons at his command, good ol’ Vladimir, is its lead villain.

Okay, I needed to get that off my chest. And seeing that I’m not in the mood to bum myself out any further, nor anyone else, I now will pivot sharply and head into my comfort zone. Sitting there patiently are a song I first heard in February and a television series that my wife Sandy and I watched earlier this month. I kind of have to write about them. Why? Well, they brought me joy. And I don’t take joy lightly. When I experience it I thank my lucky stars, because joy, though weightless and invisible, is a sweet substance that we require at least now and then. Joy helps us feel whole. It is one of the finest things in life.

First up is Broken Heart, a tune by The Fiestas, a New Jersey vocal quartet (and at times a quintet) that inhabited the worlds of doo wop and rhythm and blues. I’m certain that just about everyone knows this group, if not by name then by their song So Fine, which was released in late 1958 and which I love. So Fine became a smash hit a few months later and receives substantial airplay to this day.

Little did I know that The Fiestas were more than So Fine. Little did I know, that is, until one night last month when a SiriusXM radio channel delivered Broken Heart to our ears while Sandy and I were at home having dinner. Man, in an instant I was hooked. I stopped chewing to let the song give me some thrills. And, via YouTube, I’ve listened to Broken Heart a bunch of times since that evening.

Subsequent research taught me that The Fiestas, whose career lasted into the late 1970s, scored a medium-sized hit with Broken Heart in 1962. Which is why I’m surprised I’d never heard it before. Such a song! Sure, its exuberance belies the warnings about love that are embedded in the lyrics, but who cares about that incongruity? I mean, you don’t run across singing as majestic as this very often. Lead vocalist Tommy Bullock soars, hitting notes so fluidly, so gleefully, he almost brings tears to my eyes. And his partners wrap their voices around his with precision and power. I’m listening to Broken Heart as I type this sentence. Am I feeling joyful? Damn straight! Without further ado, here’s Broken Heart:

Let’s move on now, joyfully, to Anxious People, a Netflix mini-series (six episodes of about 30 minutes each) set and produced in Sweden and based on a novel of the same name by Fredrik Backman. Backman, by the way, is famous, having penned the international bestseller A Man Called Ove.

Sandy and I knew almost nothing about Anxious People before dialing it up, and are pleased as punch that we took the leap. It’s a whimsical tale centered around a group of folks who find themselves held hostage, in a loose sense, by an inept bank robber, and the police investigation that follows. I’m tempted to divulge a whole lot about Anxious People, multi-layered and fascinating as it is. For me to do so, though, would be a crime on my part, as telling too much would spoil the show for anyone interested in giving it a try.

So, I’ll add but a few more handfuls of words. To begin, are there flaws in the series? I, who can be picky to a fault, didn’t find any. The plot lines unfold and interweave deliciously, and the characters, nearly all of whom are laden with foibles and self-doubts, ring true. What we have here, then, is a gentle story that warmed the hell out of my heart. When the final episode reached its end I was filled with joy that carried over to the next day.

Boys and girls, that’s a wrap. I’d be happy to learn about who or what has given you joy of late. Till next time!

Bruce Springsteen’s Bringing Me To Broadway!

What can you say about Bruce Springsteen that hasn’t already been said? Not much, that’s for damn sure. The guy, after all, is an icon. An idol. And for good reasons: he’s talented as hell, smart as a whip, down to earth, and has been working his tail off in the music biz for over 50 years. Shit, his work ethic is unparalleled. And it hasn’t waned. He’s 71 years old, for crying out loud, yet has more energy than just about any teenager.

A scene from Springsteen On Broadway (photo by Rob DeMartin)

His latest project? He’s about to revive Springsteen On Broadway. An intimate one-man performance in which Bruce sings some of his songs and tells stories about his life, the show originally ran from October 2017 to December 2018 and was a huge success. When it reopens on June 26 at the St. James Theater, it will be the first Broadway production to be staged since COVID shut down New York’s theaters 15 months ago. Bruce is leading the charge to help the city return to its glory days!

Dig this: I personally know Springsteen a little bit. That’s because, unbelievably and from out of the f*cking blue, he showed up at my door in mid-2017, offering to make me — a nonentity in possession of zero musical talent — a member of his mighty E Street Band. “You’re shitting us, right, Neil?” I hear a chorus of doubters ask. Yo, ye of little faith, would I lie? You can read all about it by clicking here.

Alas, a band member I never became. I would have if the group had gone on tour, but tour it didn’t. Springsteen On Broadway and coronavirus saw to that. As a result, I was certain that Bruce had forgotten all about me.

Wrong! When my phone rang one evening early this month, none other than The Boss was on the other end.

“My man! Bruce here. It’s been a long, long while since we talked.”

“Bruce? Hey, it’s great to hear from you. How have you been?”

“Good, man. Real good. I’m always busy, you know. Wrote four songs this morning, for instance. They flowed out of me like a sweet mountain stream. Then I practiced the guitar for an hour. After that I was on the phone all afternoon with the director and stage crew of the Broadway show I’m bringing back in a few weeks. How about you? What have you done today?”

My throat seized up for a second. What had I, a stumbler through life, done? Well, as is often the case, taking a superb dump was the only thing that had invigorated me at all. Some might be afraid to reveal such an intimate detail to others, but I count myself as one of the brave. Bruce wasn’t the least bit fazed by what I told him.

“Neil, I know where you’re coming from. Once in a while I go through uninspired spells too. Listen, I feel bad that you haven’t gotten a chance to perform with my band. I want to make it up to you. What I have to offer would get you off your unmotivated ass, other than when you’re taking dumps, of course, and put you smack in the middle of the spotlight.”

“Does this have something to do with Springsteen On Broadway?” I asked.

“Indeed it does. Neil, I want to tweak the show a bit. Mostly it’ll remain the same — heartfelt, quietly powerful — but I’m going to add an interlude where I tell a couple of drummer jokes. The audience will love the change of pace. Here’s the deal: You’ll wander onto the stage right after I finish singing Thunder Road. I’ll introduce you and announce that you’re my straight man. Then I’ll say, ‘Neil, what do you call a drummer who breaks up with his girlfriend?’ You’ll shrug your shoulders to indicate that you don’t know. ‘Homeless!’ I’ll yell. Next I’ll ask you, ‘What’s the difference between a drummer and a savings bond?’ You’ll shrug again. I’ll bellow, ‘Only one of them matures and earns money!'”

“The crowd, I’m positive, will be roaring with laughter,” he continued, “and as they do you’ll bow and make your exit. Sound good?”

What? That’s it? Bruce, how about giving me at least a couple of lines of dialogue? I mean, I’ve never been on stage before, but I know I could handle that.”

“Baby steps, brother. Baby steps. For now, this is the best I can do,” Bruce replied. “And it’s the opportunity of a lifetime. You never know where this kind of exposure might take you. Are you on board?”

Only a fool would have answered no.

(Please don’t be shy about adding your comments. By the way, in 2018 a performance of Springsteen On Broadway was filmed for Netflix. If you have Netflix, do yourself a favor and watch the show if you haven’t yet. Springsteen thinks and feels deeply. He’s something else.)

Sue Miller The Novelist Got Me Thinking: Uh-Oh!

Who am I? Deep inside, I mean. For that matter, who are any of us? Man, those are questions I don’t think about too much. They make my head spin. You wouldn’t think they would, though, considering that my college major was psychology, some of whose branches attempt to help humans find answers to such concerns. I liked my psychology courses, and did pretty well grade-wise in them, but I guess that psychology and I never clicked meaningfully enough. We didn’t waltz together as a loving couple. At no time, then, did I see a psychology-based future for myself in my crystal ball. In fact, sad to say, when I gazed deeply into that glass hunk I didn’t notice any future career at all. Alas, with college degree in hand following graduation in 1969, I trod a long and winding road halfway to nowheresville, scrambling with little sense of direction to find steady employment and a decent-paying job.  Oy vey summed up my situation and prospects nicely.

Thank the baccalaureate gods above, the ship began to right itself a number of years later, the proverbial pieces starting to fit together. And in the end pretty much everything worked out quite attractively for me. But looking back on it all from five decades later, maybe I’d have found steady employment and a decent-paying job a whole lot sooner had I been more attuned to examining and answering the foreboding question, “Who am I?”. Not to mention another question, to which we’ll turn our attention shortly, that wasn’t at all on my radar screen in those days of yore.

In any event, here I am today, rolling “Who am I?” and its like around in my brain because of a novel I snatched off the shelf in a local library a few Fridays ago. Not paying attention to the hour of the day, I arrived at the library only 10 minutes before closing time. I realized this when the lights began to flicker, a signal to pack up and get out of Dodge.

Determined not to leave empty-handed I moved quickly down the fiction section’s M aisle, which is where I was standing when the lights started doing their thing. My eyes darted here and there and landed on books by various Millers. Should I try something by Andrew Miller, whom I never heard of but whose volumes were emitting vibes that appeared to be meshing happily with my own? Or one of Henry Miller’s opuses, HM being a hip and bawdy cat I’ve plenty dug over the years? Nah, I wanted a female author. In the intellectual, not the carnal sense. Which is why I grabbed a few of the novels by Sue Miller off the shelf and scanned the synopses on their inside covers. I knew of Sue, she of the bestselling The Good Mother and The Senator’s Wife, and made my decision pronto. Home I went with The Lake Shore Limited sitting beside me in the car.

Sometimes you win, sometimes you don’t. In this case I won, because The Lake Shore Limited is a fine, fine book. If you are in search of a handsomely-wrought creation whose characters act and talk and think believably, it might be for you.

The Lake Shore Limited not only is the name of Sue Miller’s novel, it also is the title of a play set within the novel. What’s more, it is a real-life passenger train that connects Chicago with several cities in the northeastern United States. The play, which is seen through the eyes of various characters in the book, is the novel’s fulcrum. Its powers cause them, including the play’s author, to take good, hard looks at themselves and in some cases at those in their immediate orbits. All find within the play circumstances that resonate with or parallel their own lives.

Wilhelmina “Billy” Gertz, the novel’s main character, is a playwright living in Boston when the book opens. The year is 2007. Her latest product, The Lake Shore Limited, is in performance at a small Boston theater. And gaining strong reviews. Billy felt compelled to write the play, which she battled with for years trying to discover what she really wanted to say, because her once-boyfriend Gus had perished in one of the planes that demolished the World Trade Center on 9/11. Billy’s play tells a tale of an emotionally-numb man, Gabriel, waiting for Elizabeth, his wife, to return from a trip. She is travelling on The Lake Shore Limited. For many a moon, he and Elizabeth have not exactly been the happy couple. In no real sense are they together.

But life can change fast. The Limited has been targeted by terrorists, bombs ripping through it as it reaches Chicago’s Union Station. Gabriel’s soul-plumbing, while he waits to learn of his wife’s fate, reveal him to be more alive than he or the play’s audience expected.

Moving back and forth in time, Miller lays out the lives, past and present, of Billy, Leslie (Gus’s sister), Rafe (who portrays Gabriel in the play), and Sam (Leslie’s friend and Billy’s pursuer). We view events and encounters through their differing perspectives. And we learn that each character often isn’t too certain of the solidity of his or her perspective to begin with.

Which, to me, sounds like the way things are in real life. That’s one reason I enjoyed The Lake Shore Limited as much as I did. Its players come across as true flesh and blood. Miller’s novel also is layered delicately and precisely, which makes it rich. And ripe for discussion. Care and concern, unbridled love, grief, selfishness, infidelity, deception . . . these primo examples of the human stew are on full display in the novel. Maestro-like, Miller elegantly weaves these themes and emotions through her pages.

Not to downplay those just-mentioned examples, two of the things that have stuck in my mind like glue about The Lake Shore Limited even more are the “Who am I?” question and another question with which it goes hand-in-hand. Miller doesn’t dwell on them, but I felt them running as undercurrents in her novel. Billy, for instance, thinks of herself as a semi-loner. And, I believe, she knows that not only is it her insecurities that lead her in the loner direction, but that trying to overcome them by adopting a less-defensive approach to life might result in a jump in her happiness quotient.

And Sam, a successful architect, can only feel bad about how he failed pretty considerably as a parent when his children were young. They, now well into adulthood, and he don’t have world-class relationships. “Who the heck am I?” I can envision Sam asking. “What do I need to do to change my course?”

Billy and Sam . . . I can relate. We homo sapiens are emotional and malleable creatures, open to improvement and expansion, and vulnerable to blows. Yes, “Who am I?” is a biggie as questions go. But even if you find the answers to it, you’re not going to bloom enough if you don’t get around to examining, and acting upon, “What sort of person do I want to be?” too.

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Killer Joe: The Song That Gave Me Pause

You know, I’m not exactly the poster boy for being cool. I mean, the last time that a hot chick couldn’t keep her eyes off of me was . . . was . . . was . . . yeah, now I remember. I was about two years old, being pushed around in a baby carriage. “Oh, he’s absolutely adorable,” the girl cooed, bending down to get a better look and never taking her gaze from mine. Wow, that was the best!

But I’ll tell you something. I do know how to be cool once in awhile. Like when I hear a great tune on the radio, one so finger-snapping and head-bopping fine that I can’t contain myself. Just watch me as I rise from the sofa and strut across the living room, the dining room, the kitchen and back again. Fingers snapping. Head a-bopping. Cool, man, cool. It happens now and then.

Killer Joe. That’s the tune that got me off the couch one recent evening. As usual I was doing not much of anything, except half-listening to the radio and counting the number of Cheez-Its crumbs stuck to the sofa’s cushions. I had counted 87 of them when — POW! POW! — Quincy Jones’ version of Killer Joe came on the air. It sounded spectacular. Next thing I knew, I was stepping.

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Killer Joe, a jazz standard, was composed around 1959 by jazz saxophonist Benny Golson, who has written many other songs (I Remember Clifford, Whisper Not, Stablemates) covered by scads of jazzbos. And Benny’s 1960 recording of Killer Joe is absolutely ace (click here to listen). Benny put the tune on wax with The Jazztet, the group that he co-led with trumpeter Art Farmer, and it came out on their album Meet The Jazztet. But Quincy’s KJ is better. It’s just too, too much, though it took me awhile to settle permanently into that opinion (click here to listen). I like it more than The Jazztet’s version because it has more slinky sizzle. Quincy himself didn’t play on the tune, which is from his 1969 album Walking In Space. But he arranged and conducted it and hired some monster guys to send out the sounds. Ray Brown (bass), Hubert Laws (flute) and Grady Tate (drums), to name a few.

To me, Ray Brown’s confident, strutting upright bass is the key to Killer Joe. From the opening bass lines straight through to the song’s end, Ray Brown is walking the walk. He’s under control, yet swaggering. He’s keeping things tight and tense, but jaunty too. And Tate, his steady high-hat cymbal work somehow loose as a goose, ambles arm-in-arm with Brown. Beyond the purring Brown/Tate engine, I couldn’t get enough of the airy flute solo, the piercing trumpet interludes and the pleading voices of the female chorus. Man, my fingers were snapping big time as I did my household shuffle.

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It wasn’t till the next day, though, relistening to the song on YouTube, that I paid attention to the lyrics that the ladies sing. “Killer Joe, don’t you go/Hurt me slow, please Joe.” Whoa, what did that mean? Is this a song about physical abuse? Had I been slow-marching and bopping to a composition that contains a really nasty notion? It took me a good long while to grasp the meaning of the words. They don’t paint a pretty picture, but I believe that the hurt referred to is emotional, not physical. Killer Joe (the character, not the song) is a cad, a heel, a self-absorbed jivester whom some women just can’t resist. Smitten, they know it’s a certainty that he will leave them. And that their hearts face a sad destiny: to be broken. The ladies want to be let down easy, not hard.

Now, The Jazztet’s recorded version of KJ basically is an instrumental piece. It has no lyrics, though Benny Golson felt the need to open the proceedings with a spoken introduction to let the world know that KJ ain’t a swell guy. Nine years later, on Quincy’s version, lyrics, brief as they are, were added. Who wrote them? I’ve scoured the Web, coming up unsure as to the answer. Could have been Golson, could have been Jones, could have been both or neither of them. Regardless, Quincy’s 1969 take on the song expanded Golson’s equation. What had been an instrumental description of a me-first, ponies-playing ladies’ man became deeper, something to ponder. Quincy Jones’ Killer Joe is a swinging statement tempered with reminders about how doleful and strange and complicated life can be.

Speaking from my me-first perspective, it’s a good thing that Quincy’s KJ isn’t about women who like their bad boy to whup them. If it were, into the deep freeze it would go, never to be listened to again. I’d be a chump to support any tune that goes that far to the dark side, even if it grooves like a champ.

But all is well in my music world. Onward!

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