[NOTE: This review if for the theatrical release of That Thing You Do…The director’s cut now available as an extra on some DVD packages is a classic example of more amounting to less.]
Except for a couple of key moments, That Thing You Do, Tom Hanks’ breeezy homage to the garage band ethos of the 1960s, exists entirely on the surface. And that’s fine, because, this time, the surface carries a real story and because great care is taken to present it in all its glory.
My favorite moment on that surface, comes when Steve Zahn’s guitar playing wiseacre and general layabout who can’t get a date, hits on the receptionist at the record company his band, The Wonders, has been signed to, and not only ends up with a date, but a quickie marriage in Vegas to a former Playboy bunny who doesn’t forget to hang on to her cigarette for the wedding photo.
If that doesn’t make you laugh, this movie’s probably not for you.
If this movie is for you, then by the time you reach that scene, you’ve been treated to literally hundreds of sharply observed details of Life in America during its most recent Great Upheaval. For once, the focus is on the lives that the maelstrom was meant to disrupt and discard, rather than the movers and shakers. It’s like an inversion of Baby It’s You (the greatest movie about the Sixties).
There, the future is always present–a permanent, nagging challenge to all the conventions that were about to be cast aside. Here, the future doesn’t matter. Not the nation’s future, or–despite an American Graffiti-style coda (to speak of movies that carry the weight of the future) to catch us up on what happened to everybody–those of the characters themselves.
That’s appropriate, too, because, beyond those under-the-skin moments I mentioned (about which more in a minute), all the characters are on the surface of the surface.
They could be anybody.
And that was the Rock and Roll America genius of the garage-band moment itself. The idea that anybody–literally anybody–might have a great record in them. In Garage Band America, it happened over and over, enough to generate enough entries on the Billboard Hot 100 (which plays a prominent role in threading the plot together in That Thing You Do) to fill it for at least a week, but cult-like devotion–even to records that didn’t make the chart–that has lasted and grown over half a century and, occasionally, in the manner of all great American passions, reached extremes about equal parts ridiculous and sublime.
If you laughed at the Playboy bunny holding a cigarette while she married the guitar player of the latest national sensation, The Wonders, from Eerie, P-A in Vegas, then this movie’s for you, even if it doesn’t transcend antecedents like Graffiti and (I’m told) The Commitments. It’s a story worth telling from more than one angle, and this telling doesn’t overplay its hand.
It may be so careful in that last respect that it can’t help representing a shallower take than those others. Such accusations have been made and they aren’t without merit.
But it cuts deeper than its main intention on a couple of levels:
One is the reminder (not always kept at the forefront of the Garage Band Narrative, especially when it’s being referenced as a forerunner of something Really Important like Punk) that, in every band who made it, there was at least somebody who wanted to make it–wanted to live something closer to a dream than a reality without forgetting that it’s the people stuck in boring old reality (be it your dad’s appliance shop or the military) who make all dreams possible.
Two: Those key moments I mentioned above, both of which belong to Liv Tyler.
Once, when she’s the first person to hear the band’s song come on the radio for the first time and takes off down the streets of downtown Eerie, P-A, with a fusion of personal and communal joy that is no longer possible and barely imaginable in this land our dreams have made.
And then, near the end, as the joyride comes crashing down and she finally says You stay away from me to the boy whose love she lost to the band’s brief moment of glory because, in The Wonders, he was the one who wanted to make it.
Those are moments any good actress would treasure–what they meant to Liv Tyler, the daughter of people (Aerosmith frontman Steven Tyler and groupie extraordinaire Bebe Buell), whose lives represented the willful abandonment of the cultural norms so lovingly portrayed here as completely as Trump Tower’s golden toilets define the obscenities of excess, is anybody’s guess.
I hope she’s proud of them. They’re more than enough to keep That Thing You Do from floating away on a sea of nostalgia–and to make it worth watching forever.
I’ve been in a vinyl mood this week. I listened to a couple of CDs as well, but, for the purposes of this list, I’m pretending I didn’t. Until the very end at least.
10) Johnny Bond Bottles Up (1965)
I found this at a local antique store (my town basically consists of such) and took a chance. Had to pull Donald Fagen’s The Nightfly, which I had used the night before to cure insomnia, off the turntable to make room. One thing is for sure. Johnny Bond was way weirder than Steely Dan. This album sounds the way the cover looks. What more recommendation do you need?
9) Kid OryThe Song of the Wanderer (1958)
And while I was there, I spotted this lovely little item, also cheap. I see a Kid Ory item I haven’t heard for five bucks, I’m gonna take a chance.
Ory was best known as a key associate of Louis Armstrong in the days when Pops was reorienting American music and, by exension, American life. This is not that. What this is, is a very pleasant, lovely and conservative jazz record from the fifties, which breezes along as though Bop and Rock and Roll had never happened, and almost as though the searing early New Orleans jazz scene, of which Ory had been such a vital component, never happened either. Music to read and smile by, then, right up until “The Sheik of Araby” comes on, at which point it is time to stop reading but not to stop smiling.
8) The Atkins String CompanyThe Night Atlanta Burned (1975)
Generally referred to as a “Classical Country” album, with the classical part referring as much to Mozart as Bill Monroe or Flatt and Scruggs. However defined, unique in the annals of American music.
This is a mix of standards and incidental mood music composed by John D. Loudermilk, based on his recollection of an old man from his home town who claimed to have learned scraps of what he taught the young Loudermilk from sheet music he found left in a music case (along with the mandocello the case had been built to protect) which had been rescued from the Atlanta Conservatory of Music after Sherman marched through in 1864 and since been lost again in a hobo camp. Loudermilk was wry enough to suspect every single bit of that might not have been true, but he, Chet Atkins, and assembled session players (including Lisa Silver, Paul Yandell and the legendary Johnny Gimble) made an album that deserved to complete the story. There are a few great albums that stop time, but none of them stop time in quite the same way as this one.
7) Iron City HouserockersBlood on the Bricks (1981)
A crit-fave from the late New Wave/Early Heartland phase of Rock and Roll’s decline. Listening now, it’s a lot easier to hear all the reasons they didn’t make it–lack of distinction in the singing, writing, playing and general Zeitgeist (which is derived from J. Geils and Southside Johnny, who did the same things better)–than why so many people were excited in the moment. This is typical fare, and just fine. But on this and every other side, what I hear most is “almost.”
6) Various ArtistsStiff Records Presents:The Akron Compilation (1978)
This was a much better shot at sending Rock and Roll off in a new direction. There’s some failure on this record–songs or sounds that don’t quite finish somehow–but forty years on, it still sounds like something trying to be born on cut after cut. Never released on CD, It’s still the best place to hear every artist here but one. And it’s still the best place to hear that one’s greatest record (which, had it made her the star she deserved to be, might have redefined a lot of things in 1978).
5) The Beach BoysSunflower (1970)
Commercially, the Beach Boys got swept out with the tide around the latter part of 1967. They kept on making great sides, year by year, but this was probably the best album they made between Wild Honey and Love You…and it doesn’t need to take a back seat to much else that was going on in 1970. I’ll take it over Let It Be eight days a week.
Somebody in the marketing department was either asleep at the switch or having their mind seriously altered by drugs. “Cool, Cool Water,” perfectly fine as a trippy album closer, was the least commercial single ever–and I mean ever–released by a major artist. The B-Side was one of the greatest records of their career–and definitive of the era’s often wistful secret ethos, so often lost among the noise. Sleep does these things. So do drugs.
Then there’s stupidity. For hardcore Beach Boys’ fans, a touchstone. For everyone else, a lost gem.
4) Various ArtistsLost in the Stars: The Music of Kurt Weill (1985)
I don’t even remember how I first heard about this record, but it’s still my go-to for Kurt Weill, or just the Weimar mood transported.
Boy does it transport to now–even more than to 1985, which I once would have deemed impossible. As often happened with high middle-brow music of an earlier vintage, rock and rollers did better by it than anyone else, in some cases, maybe better than the music deserved. And the truest rock and roller did better by it than anyone. A fine companion piece for The Night Atlanta Burned, which is also born of defeat.
3) Various ArtistsBeserkley Chartbusters Volume 1 (1975)
Cheeky title for a cheeky collection. Unlike the Stiff label compilation above, this is almost entirely reactionary–rock and roll as it might have sounded if it really were made by entirely arrested adolescents obsessed with their older brothers’ record collection. Not without its charms mind you–older brothers tended to have some cool tastes ten years before this happened. I lean towards Earthquake’s heavier take on the whole, but the closest thing to a killer is Jonathan Richman’s “Roadrunner” which almost justifies his rep when he starts speed rapping like the world’s whitest white boy.
There was, so far as I can tell, no Volume 2.
2) Various ArtistsLess Than Zero Soundtrack (1987)
The sound of rock and roll closing down for good. From here there was nowhere to go but Grunge (and from there, no way to go but the Exit). Afterwards it was every man for himself, but this still sounds of a piece. It’s everything the lame movie it supported wasn’t–loose, funky, cynical to a fault. And, at the last minute when the concept of “Loa Angeles” meant anything, definitive L.A., right up to the living end, when the Bangles show up and stomp all over everybody. Certainly Aerosmith and Public Enemy, who are at their sleaziest and most self righteous, (meaning best) respectively. But also “Goin’ Back to Cali,” which has a claim on being the greatest Hip Hop record ever. And even Roy Orbison and Glenn Danzig, who have claims on being peak Roy Orbison (no more need be said) and the greatest Scott Walker record not made by Scott Walker (who made damn few to match it). Even now, it kinda makes me wonder where the world might have gone if the movie had been better. (I can’t speak for the source novel as I haven’t read it. Based on the Bret Easton Ellis novel I have read, I can’t imagine it could have been made into a much better movie.)
1) Marianne FaithfullBroken English (1979)
Disco punk and, to be honest, I never came close to getting it.
Maybe I didn’t get it because it turns large swathes of rock and roll–often the rock and roll I love most–inside out. When I’m listening now, Brenda Lee’s throb, always vulnerable, suddenly sounds like its coming from the bottom of a barrel just before somebody seals the lid. Girl group romanticism sounds like it must emanate from the dark side of the moon. The Rolling Stones’ Some Girls, out the year before and on my CD player the night before I made the deliberate decision to make this the end of this list, now sounds like the Rape Record record they always had in them–the one where they’re finally so bored they could scream, and, for the last time, do.
Perhaps the news of the moment–rapists/harassers/assaulters being turned up and out everywhere you look–has given a tiny, pitiful bit of context to the rest of us that only a woman who had literally crawled out of the gutter of addiction and homelessness after being the Queen of Swinging London (i.e., the World) to ask “Why’d you spit on my snatch?” without succumbing to self-pity or psychoanalysis (if only because one or the other might kill her), could have comprehended, let alone communicated, at any previous cultural moment.
Anyway, after sitting on my shelf for thirteen years or so (the town’s last vinyl store put dates on their price stickers) the find of the year.
And please don’t think I’m anything less than frightened by it.
(NOTE: This is getting to be more like “vocalist of the six months”….It’s been a busy year on a lot of fronts and I’m just getting back in the blogging swing so I hope to start picking up the pace, here and elsewhere. Meanwhile….This is a sequel to the piece I posted here.)
I suspect every white boy who was born around 1960 (like I was) and grew up in the South (like I did) has at least one Lynyrd Skynyrd story.
Most of us have a lot more than one. Sort of a routine litany.
Stories like mine.
There’s the “Come to think of it John, I never have seen you drunk on your ass,” story and the “You better not let any of those Alabama boys hear you say that” story and the high school talent show story and the “girls cried when Elvis died and boys cried when Ronnie died” story (now there’s one common to all!) and the speakers blasting “Sweet Home Alabama” in the softball field parking lot story and the “My second husband never listened to nothin’ but country and Lynyrd Skynyrd” story and probably a few others I’m not calling to mind just now.
But I’ll leave those aside and let one story suffice.
It’s the summer of 1979 and I’m working in the girls’ camp at the Southern Baptist Convention Center in Ridgecrest, North Carolina. Nice social experience, dreary job. There were five of us on that particular assignment (all college boys), plus two camp cooks.
The cooks were brothers–Texas born and raised, worldly, early thirties, mostly-reformed rowdies, a year or two apart in age. The older one was a Type B, cool, calm, collected. The younger was a Type A, charming, witty, talkative, possessed of a temper which he worked hard at keeping in check. (The one day he lost it, he took a swing at his brother, missed, then let go an animal yell and ran out the door. He came back about five minutes later, soaking wet. He had jumped in the lake where the campers took canoeing lessons, shirt, shoes and all, as we used to say. He apologized all around. Seemed to have gotten it out of his system. Us younger lads–when we got over our mild shock–sort of looked at each other and nodded rather sagely. No word needed to be spoken. He was clearly what we had suspected all along–even before we knew he and his brother had played in rock bands and once opened for the Animals in front of ten thousand people somewhere in Texas. He was, undoubtedly, a product of The Sixties!)
Type A going off and Type B’s modest reaction–“He gets a little belligerent some times but he’ll be alright”–were pretty definitive elements of their respective characters.
But what really defined them was that they had been intimates of Lynyrd Skynyrd–part of the inner circle via their friendship with Skynyrd’s last drummer, Artimus Pyle. The only way they could have been any cooler was if, say, one of them (Type B, naturally) had been asked to be the road manager of the band’s next-to-last tour–the one right before the one that ended in a plane crash that killed Ronnie Van Zant, guitarist Steve Gaines and his sister, backup singer Cassie Gaines.
Naturally, we all wanted to know why Type B didn’t take the gig.
There were two simple reasons.
Reason One was that his daughter had just been born and he wanted to spend time with her.
Reason Two was that he was told one of his main duties would be keeping Ronnie out of fights.
The way he told it, it was pretty clear Reason Two would have been enough, if Reason One hadn’t existed.
If he had been around enough to be asked to be their road manager, he had certainly been around enough to know that–at least some of the time–Ronnie Van Zant was who we all thought he was.
* * * *
When Lynyrd Skynyrd released their first album in 1973 (Pronounced Leh-nerd Skin-nerd‘), Ronnie Van Zant became an instant, virtually official, representative of a part of the population which had been judged by the content of its character for at least a century before Martin Luther King said we all should be and been found permanently wanting by everyone but themselves.
Hillbilly, Redneck, Cracker, White Trash. Hard to find an honorific in there.
And that was just the neighbors talking.
By the time Van Zant died in a plane crash four years later, he and his band had managed to demonstrate just how difficult such stereotypes are to shake. Deepen them, shred them, laugh at them, live for them, die for them and still, your most devoted fans and your bitterest detractors will insist on thrusting them right back on you.
When the music was playing, though, Skynyrd transcended such contradictions again and again. Then and now.
Ronnie himself was the essential reason for the transcendence. And his singing–Chuck Berry’s sly intonations riding in, around, over and under the moral undertow of a Delta man, with the mythic weight resting now on the former, now on the latter, often within the context of a single line–was the reason within the reason.
Not to say that the whole package wasn’t definitive. We live now in an age when the likes of the Who or Led Zeppelin are routinely going around accepting things like Kennedy Center Honors. If Elvis Presley, or even Hank Williams, had lived long enough, it’s not hard to imagine them racking up similar signifiers of middle-brow acceptance.
I can even imagine a future where “hard-core” rappers get the same treatments. Ice Cube maybe. Or Chuck D.
And why not? Heck, George Jones made it that far, whiskey bones and all.
You can be sure, though, that if that airplane had somehow stayed in the air, no such accolades would have ever been in the cards for Ronnie Van Zant. Not even if he had tried.
Which he wouldn’t have.
* * * *
Well, it’s always courting danger to ponder alternative universes, but, all in all, I’d say at least a few assumptions are safe.
First off, if your plane goes down the week you are releasing an album where you sing lines like “you won’t find me in an old folks home” and “whiskey bottles, brand new cars, oak tree you’re in my way,” and you are fond of telling anyone who will listen that you won’t see thirty, then a plane falling or not falling hardly means the fate you are courting won’t find you some other way.
Of course a lot of so-called punks, from Pete “Hope-I-Die-Before-I-Get-Old” Townshend on down, used to brag about being on the same sort of journey, and some still do. Some even follow through. But none of them were/are really philosophical (or any way off-hand) about it. Their brag came from a place Van Zant never thought of visiting. He didn’t say he wanted to die before he got old, just that he would–big difference, and, if you don’t want to admit it, wait til the next world comes and you can be sure that if the Void don’t care to explain it to you, then either John Calvin or Lucifer will be waiting to step up for a word with you please.
So much for “first off.”
Second off–and more significant–is that Van Zant grew up in my world.
Just the other side of the tracks I was just this side of, maybe–but my world all the same.
And I know this much.
You can run away from it. You can never really leave it.
It was a world where everybody had a more than sneaking suspicion that the Devil decides–and, if everybody carries certain sneaking suspicions around with them every single minute of every single day, then the habits of suspicion (and the beliefs those habits both spring from and reinforce) are bound to linger.
You can run away from all of that. Sure you can. Plenty have.
But you can never really leave it all the way behind.
Ronnie was definitive–definitively “us” even when “us” was me, who never did get drunk on his ass and learned to turn the other cheek when he was nine–because he never tried to leave anything behind–never once tried to run away from who he was, even though he knew what he was up against.
He had liberal views but none of the Liberal’s version of arrogance (condescension). And, lacking bluster (the Conservative’s version of same), he had no place to hide away.
So he was never going to be “home.”
Maybe that was why home worried him so much–became the source of his two great themes.
Home as haven. Home as trap.
In an age when nihilism was already running rampant everywhere except the middle of the road (which meant it wouldn’t be long before it was there, too–1980 to be exact), he clearly expected to pay for his sins.
Pay he did, ultimately.
Here’s what else he managed along the way.
* * * *
In a little over four years, between 1973 and 1977, Lynyrd Skynyrd recorded five studio albums plus an epic live double and another album’s worth of out-takes and demos.
All were worthwhile, most were great. That string of rapid-fire greatness made them virtually the last mainstream rock and roll artists to work at such a white-hot pace while sustaining both a creative vision and a wide audience. The difference between their dozen or so radio staples–a number matched or exceeded by only a handful of bands in any form but especially in the “classic rock” format, where only Led Zeppelin (the Beatles of the form) produced so many in such a short span–and whatever you think their worst side is, was minuscule. The vision could seem narrow, no doubt.
But once you stepped inside it–once you got past the cracker facade–it was bottomless.
They set the parameters of that vision, and primed the expectations of their core audience, on the first two tracks of their first official release (Pronounced Leh-nerd Skin-nerd). “I Ain’t the One” was hard rock at its slyest (and hardest). “Tuesday’s Gone” was a wistful ballad, nearly as mythic as it was mournful and mysterious. Plenty of fine bands have lived on much narrower turf for decades. Skynyrd would be pushing and shifting and re-setting their turf–digging ever deeper–until almost literally the day they went down (in a plane Aerosmith had refused to fly in) and Ronnie’s death ended the band’s meaningful existence as anything other than a cash cow being milked for the very qualities–cheap nostalgia, boogie-for-its-own-sake–he had always disdained.
That urgency–the sense of constant movement within what seemed, on the surface of the very loud, often spine-rattling noise, to be such obvious restrictions–sprang almost entirely from Van Zant’s genius as a writer, bandleader and, especially, vocalist.
* * * *
The writing part was, by all accounts, pretty mystical itself. Van Zant’s band-mates have described composing sessions as often amounting to them working up a riff while Ronnie wandered down by the lake and, at some point when they were getting on toward an arrangement, he would walk in and have the lyric in his head, ready to go. Working, in other words, the way Quincy Jones has suggested is more typical of jazz musicians and rappers, though, if you substitute arrangements for words, and the parking lot for a lake, it also sounds like a typical Elvis session.
There’s some significance to that, I think.
There’s a point at which this sort of “process” becomes well known and can be self-consciously imitated. In jazz, this had probably happened by the mid-sixties or so. In rock, it had certainly happened by the late seventies. In rap, maybe a decade later.
It might not be a coincidence that stories of loosely run sessions are found most frequently when the musicians spring from America’s two traditionally despised demographics–blacks and poor Southern whites–or from someone who is specifically trying to imitate them.
These are also the demographics where concepts like the posse, the gang, the crew, the extended family (which might be based on blood relations or simply communal associations, generally developed no later than high school), take their strongest hold. Among these two groups, that hold tends to trump everything that tries to break it–including fame, fortune and common sense.
That’s probably because they are the two groups who are most purely and deeply defined by a physical and psychic space they are bound to defend, generation after generation, in order to retain any cultural identity at all.
Better a cultural identity that catches you in a trap, the reasoning goes, than none at all.
Once an “out” group accepts that it can never really be “in,” then “we are who we are” tends to be the most reliable fallback position. Once the acceptance becomes truly ingrained, then you don’t even need to fall back, because the wall is something you learn to keep your back against to begin with.
Out of that, what are you going to get except the far edges of the blues, honky tonk, rockabilly, gangsta rap and, for the purposes of this particular discussion, Southern Rock?
And inside each of those concepts (yeah, they’re musical forms, too, but, at their furthest reach, never just that) you get an occasional genius.
Ronnie Van Zant ended up being the principal genius of Southern Rock in part because his singing brought so many vital elements of those other concepts together in one place to a degree that was matched by very few others–all of whom (Bessie Smith, Elvis Presley, Ray Charles, Merle Haggard, James Brown, Al Green) have received far more accolades (not only from places like the Kennedy Center…and not only because most of them lived a lot longer).
That’s how it is with genius and concepts.
The concepts you can predict. The genius not so much.
It goes its own way.
* * * *
Of course, as with all the others I mentioned, hanging a label on Ronnie Van Zant and his great band is a bit of a trap in itself. The labels end up being technically correct and fundamentally ridiculous in the manner of calling Romeo and Juliet a teen romance or The Searchers a western or Adventures of Huckleberry Finn an especially fine example of Southwest Humor.
Some artists are just born to turn the cliches of form and formula on their heads and, inevitably, to put new ones in their place.
The way Van Zant went about practicing his particular acts of subversion was always rooted in a voice that was a perfect match for his lyrics–lyrics that, like the now-lilting, now-growling, now-shouting voice, held edges that were forever cutting both ways. So “Lord knows I can’t change,” (from “Freebird,” the career-defining closing track from their first LP) seems almost mock-ably straightforward until you actually listen to it being sung, after which it becomes impossible to tell the difference between the brag it so obviously seems to be on its face and the somewhat (though only somewhat) bitter confession of loneliness and isolation it surely is underneath. And that’s before you get to the next album’s second cut, “I Need You,” which plays like a sequel that promises everything “Freebird” denied, unless, of course, it’s denying everything “Freebird” promised.
And all of that is before you even get around to singing, you know, “In Birmingham they love the governor–boo, boo, boo,” and having the folks who love you without reservation completely agree with the folks who hate you the same way that you must be a big fan of “the governor.”
So it goes
One thing you learn, hanging out in Calvinist air–love and hate never do much nuanced listening.
So what can a genuinely poor boy do?
Become the only white blues singer whose voice carried no hint of either strain or homage? Claim the music in the off-handed way that a dozen or more singers leading equally fine blues-based bands–singers as great as Gregg Allman or as committed as Eric Clapton, fronting bands as great as the Allman Brothers or Cream–could only dream about? Cry for home every time you hit the road and cry for the road every time you come home? Maybe at the very same time make it sound like you never cried in your life? Make it sound like you’ve lived every single moment in the moment and never regretted a thing….unless it’s every single moment you weren’t thinking about the past or the future?
Celebrate with warnings?
Switch sides in the middle of a song?
Make it sound like “oak tree you’re in my way,” is you talking back to somebody (some preacher’s kid maybe) who is trying to make you see the error of your ways and then make it sound like “one hell of a price for you to get your kicks,” is you talking to somebody you are tying to save–somebody who may or may not be your own self?
Well, you could do all that. If you happened to be one poor boy in particular.
It’s not something that could have been easily predicted. With “art” you only know what’s possible once somebody reaches the limits.
We know what a “western” can be because John Ford existed. That’s true whether you like John Ford or not. We know what “country blues” can be because Robert Johnson existed. Ditto and so on and so forth.
We know what a poor white boy can actually do with what he himself called “the black man’s blues” because Ronnie Van Zant existed.
And so on and so forth.
* * * *
He couldn’t have come from anywhere else. God knows we know, because we know how many others–from here, there and everywhere–have tried.
He couldn’t have come from anywhere except the only part of White America which never expects to assimilate and the only part that knows that whether they just don’t want to or just don’t think it’s possible isn’t a secret they are likely to share even if they come to some conclusion about it themselves.
I don’t know whether Ronnie Van Zant came to any conclusions or not and I won’t pretend I could have found out by asking him in some parallel universe where he did live to see thirty and I used my contacts with the camp cook who almost managed one of his tours to meet him somehow. I doubt his ever-supple management of his own duality–the relationship that had to exist between man and persona that was probably necessary for him to get as far as he did, to claim any audience at all in his own moment or have any claim on the future he knew he wasn’t going to live to see–would have been set aside for my sake.
You live with your back to the wall and–live or die–you give up certain things to gain others. You can’t sing the blues the way Ronnie Van Zant did–the epic, eternal way–and retain your ability to let down your mask so you can explain things to the preacher’s kid.
Or live to see thirty.
* * * *
The manner and timing of Ronnie Van Zant’s death worked to ensure that the element of caricature which clung to him in life–clung no matter how diligently he tried to shed it, how deftly he put it to use as necessary camouflage–clung ever so much tighter once he wasn’t around to be diligent and deft and nuanced about it.
You want a single, reliable watchword for the deep, abiding contempt that college radio, or hip commentary, or thousand-dollar-a-plate fund-raising dinner attendees for either political party or just plain old Liberals-Who-Aren’t feel for the great unwashed?
“Lynyrd-Skynyrd” is all you need.
You need a similar word for the “nostalgia” of second husbands, or Conservatives-Who-Aren’t, or for anyone who thinks they’ve found comfort for the world view that truly believes this world would be a better place if, for starters, black people and “pencil pushers” just learned to stay in theirs?
Say the same.
I suspect no amount of asking people to listen closer will ever change this.
The need to be better than someone else is deeper than any ocean and, sometimes, being the voice who warns ignorance against itself and turns every easy assumption on its head doesn’t mean you are going to reap any easy reward.
Sometimes it just means there is only going to be one of you.
And, sometimes, being the only one means there is no safe haven, even in death.
So forget the “punks.”
If you really want to know what it’s like to never quite fit in–and to know you never will–then Ronnie Van Zant’s your man.
Rest in peace if you can, brother.
Rest in peace if you somehow found a place where they’ll let you.