Shitfire

I know two things about Lake Havasu City: the London Bridge is there, and its namesake body of water (a reservoir that’s built up behind Parker Dam) is popular with spring-breakers. In my head it’s grouped with about a dozen other rest stop towns and cities sprinkled around Arizona – convenient places to stop for food or gas on a roadtrip, but offering no reason to venture off the main drag. It’s not that the traveler forgets that people live, work, go to school, and have families in places like this- do the usual things that everyone does- it’s that there’s no reason to think of it in the first place. You pick the cheapest gas station, find the least offensive fast food joint and continue on your way. It’s jarring when the routine is broken.

Route 95 was closed that night when I passed through. I suppose I could have tried to navigate through some side streets to find a way to bypass the car accident but it would have been complete guesswork, driving in the dark on unfamiliar roads. I took the lead of most of the other drivers in front of me and turned off into a park to wait while the road was cleared. In an instant the scene changed from one of chaos to one of unexpected sentimentality. In one moment I was caught up in sirens, flashing lights and pissed off drivers, in the next, a little league baseball game. Like I said, jarring. Lord knows what the players and spectators were thinking as a parade of headlights entered a parking lot just beyond the outfield fence. I do remember what I was thinking about: my Pap, and a little league game of my own.

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Love

If there’s any Christmas song out there that comes close to being universally liked it surely must be Darlene Love’s version of “Christmas (Baby Please Come Home)” from A Christmas Gift to You from Phil Spector. There are a handful of “the thing you like is problematic” thinkpieces written every year about the album but I don’t sense there’s any mainstream backlash to it or the song. (The last track on the album, “Silent Night,” is unlistenable, but would be even without the knowledge that Spector is a murderer. The album’s influence is stronger than ever. Of the handful of newish Christmas songs that get regular mainstream airplay, just about every one of them blatantly rips off Spector’s arranging/producing style, down to the predictable bari sax solo.) When the performance is good I guess it’s easy to overlook some things. A few singers have covered “Christmas” since, but what’s the point? No way they do it better.

44 years or so later, Love would finally cut her own Christmas album, It’s Christmas, Of Course. There are a couple of misses sprinkled about, but Love is still in fine voice. Some of the power may be gone, but her phrasing and instincts are better than ever. One of the standout tracks is a cover of The Pretenders’ “2000 Miles.” To say her performance is an improvement over the indifferent sounding original is a huge understatement. A good performance makes the song better – who knew? Another track on the album, her version of “What Christmas Means to Me” came on while I was sitting alone on Christmas night, watching the clock approach midnight…

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Santa gets stoned

Why not Rotary Connection? That’s a question I ask myself more often than, well, everybody. But it often comes up around mid-November, when radio stations (at least 2 of them where I live) switch to 24/7 Christmas music. The playlists – even between rival stations – are so similar, so repetitive and limited, and are sprinkled with songs that have no Christmas content (“Baby It’s Cold Outside,” “Winter Wonderland,” “Let It Snow,” “Jingle Bells,” “Sleigh Ride,” etc.), that I wonder, why not throw something else into the mix? Why not Rotary Connection?

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Classical or Pop?

Dear Melvin (age 11 and 1/2),

Thank you for your letter and your question. Let me tell you, if you plan on spending any time in a music school when you grow up, it is a question you will encounter many times. It’s a good way for a professor to kill time in class, to “start a dialogue,” and, on the surface, it seems important and thought-provoking and something all good musicians should spend time pondering. It’s none of those things, but that’s beside the point.

So, dear Melvin, what is the difference between classical music and popular music?

If you hear a piece of music and ask, “Who wrote that?” it’s classical.

If you hear a piece of music and ask, “Who sings that?” or “Who’s playing that?” it’s pop.

Yours truly,
Dave