Mayhem Band Quotes

The Stereophonics were nice guys and we got along fine, though the differences between us were marked. Before they played they would practise their harmonies by playing the Extreme song ‘More Than Words’, with the whole band singing along with Kelly, the singer, and his acoustic guitar. For our pre-gig ritual we would sniff as many poppers as we could and listen to ‘Raw Power’ by The Stooges at ear-splitting volume.

The theme of music making the dancer dance turns up everywhere in Astaire’s work. It is his most fundamental creative impulse. Following this theme also helps connect Astaire to trends in popular music and jazz, highlighting his desire to meet the changing tastes of his audience. His comic partner dance with Marjorie Reynolds to the Irving Berlin song “I Can’t Tell a Lie” in Holiday Inn (1942) provides a revealing example. Performed in eighteenth-century costumes and wigs for a Washington’s birthday–themed floor show, the dance is built around abrupt musical shifts between the light classical sound of flute, strings, and harpsichord and four contrasting popular music styles played on the soundtrack by Bob Crosby and His Orchestra, a popular dance band. Moderate swing, a bluesy trumpet shuffle, hot flag-waving swing, and the Conga take turns interrupting what would have been a graceful, if effete, gavotte. The script supervisor heard these contrasts on the set during filming to playback. In her notes, she used commonplace musical terms to describe the action: “going through routine to La Conga music, then music changing back and forth from minuet to jazz—cutting as he holds her hand and she whirls doing minuet.”13 Astaire and Reynolds play professional dancers who are expected to respond correctly and instantaneously to the musical cues being given by the band. In an era when variety was a hallmark of popular music, different dance rhythms and tempos cued different dances. Competency on the dance floor meant a working knowledge of different dance styles and the ability to match these moves to the shifting musical program of the bands that played in ballrooms large and small. The constant stylistic shifts in “I Can’t Tell a Lie” are all to the popular music point. The joke isn’t only that the classical-sounding music that matches the couple’s costumes keeps being interrupted by pop sounds; it’s that the interruptions reference real varieties of popular music heard everywhere outside the movie theaters where Holiday Inn first played to capacity audiences. The routine runs through a veritable catalog of popular dance music circa 1942. The brief bit of Conga was a particularly poignant joke at the time. A huge hit in the late 1930s, the Conga during the war became an invitation to controlled mayhem, a crazy release of energy in a time of crisis when the dance floor was an important place of escape. A regular feature at servicemen’s canteens, the Conga was an old novelty dance everybody knew, so its intrusion into “I Can’t Tell a Lie” can perhaps be imagined as something like hearing the mid-1990s hit “Macarena” after the 2001 terrorist attacks—old party music echoing from a less complicated time.14 If today we miss these finer points, in 1942 audiences—who flocked to this movie—certainly got them all. “I Can’t Tell a Lie” was funnier then, and for specifically musical reasons that had everything to do with the larger world of popular music and dance. As subsequent chapters will demonstrate, many such musical jokes or references can be recovered by listening to Astaire’s films in the context of the popular music marketplace.

Don’t fuck with an old lady, you shitty kid,” I yelled. “I have a lifetime of asshole tricks up my sleeve. They’re all right behind my Kleenex and my emergency Advil.” Mind you, I was doing all this in no bra, sweatpants, and leather slippers with shearling lining. “Sara,” I asked, “when we all get together for dinner in a restaurant, do you think other people see a group of old people having dinner instead of—us?” “Yeah,” she said after she thought for a moment. “Yeah, I think they see old people.” And that’s a trip, because when I look at Sara, I still see Sara. I see Sara as she was at twenty-seven. She hasn’t changed to me. Most of my friends haven’t changed, in my opinion. Jim lost his hair, but so what? Lots of guys shave their heads. Sandra has a couple of gray hairs in her long, jet-black hair. And yet, some of our friend group has died. From heart attacks. Pancreatitis. Liver failure. Drug overdoses. Suicides. Cancer. Aneurysms. We were stunned by each of those deaths. Honestly, drug overdoses and suicides are almost easier to take than pancreatitis and heart attacks, because those diseases rarely happen to kids our age. And then one day, your body stops working. It can be sudden, like throwing out your back while shaving your legs, and it just never goes back to normal. You live the rest of your days with a “bad back.” Then there’s the opposite; there’s the creep. In your thirties, a nerve pings in your hand, like someone has plucked a rubber band inside it. It’s startling and odd. In another five years, your hands start to tingle a little bit when you’re typing, and you buy a pair of hand braces to wear at night. In the next five years, you can’t open a jar, and in the five years after that, they suddenly fall asleep and you have to elicit a hearty round of applause to no one to wake them back up and make them functional again. And no one prepared me for that. I noticed that my nana’s fingers were oddly formed, racked with arthritis, but she never explained that they hadn’t always been like that. She never told me that once, a long time ago, she had hands just like mine, until she felt that first ping. And that’s the weird thing. As a young person, you assume all old people were just always that way—unfortunate. They came like that. And, as an old person, you think that young people surely understand that yesterday, you were just like them.

Twas the night before Christmas, at a town in the South, A band of ex-Confederates gathered, down in the mouth; That the black man was now free, they felt was unfair, An abomination they’d address with terror to spare; Crosses they’d burn with white hoods on their head, Spreading their message of hate with horror and dread.” Yes, ringing in the season with Yuletide cheer, the Ku Klux Klan was officially organized in Pulaski, Tennessee, on December 24, 1865.

Creating art allows us to beat the odds and find immortality, without having to do the whole Doctor Faustus thing. Though Brian Wilson and Mike Love no longer collaborate and Carl and Dennis Wilson are gone, they are all still together on the radio late at night, where they join voices and are young and golden and beautiful forever.

The sheer predictability of life in an American suburb left me hoping—somewhat irresponsibly—for a hurricane or a tornado or something that would require us to all band together to survive. Something that would make us feel like a tribe. What I wanted wasn’t destruction and mayhem but the opposite: solidarity. I wanted the chance to prove my worth to my community and my peers, but I lived in a time and a place where nothing dangerous ever really happened. Surely this was new in the human experience, I thought. How do you become an adult in a society that doesn’t ask for sacrifice? How do you become a man in a world that doesn’t require courage?

In the end, all of them look like I’m an ’80s rock god that’s been fucked every which way by the entire band of Black Sabbath.