Category: Music

Cousin Mike

I don’t have a particularly large family, but then again it isn’t small either. Each of my parents had two siblings, and they gave me six cousins on my mother’s side and four on my father’s. All of my cousins have an appeal, but lately I’ve been thinking a lot about one in particular.

My cousin Mike (on the right, above) is the oldest on my father’s side. My Uncle Edward’s four children showed musical talent, and family gatherings with them always featured guitars and banjos and singing. Everyone enjoyed it, but music to cousin Mike is like oxygen. He simply needs music to live.

He made his living as a salesperson for a big company that makes a lot of different things for buildings and machines, but whenever he had a spare moment he played music or listened to music or thought about music. He can play just about any stringed instrument, and he’s played in hobby bands throughout his life, often with other family members. He’s played for the past several years in a bluegrass band that plays regionally in the midwest, mostly northern Illinois and southern Wisconsin.

To call it a compulsion is probably accurate, but there’s something of a muddy film that coats the word compulsion. Mike really feels compelled to make music, but music brings him great joy and satisfaction. It’s not drudgery, it’s a light in his life. It’s such a part of him, fused to his identity and the goals that give his life its purpose, that he yearns to do it, so there’s no friction at all with his need to do it.

I envy that alignment, and I hope my writing becomes that for me.

I am sometimes reminded of my brother’s bachelor party when I consider questions like this one. We took Shawn to Las Vegas, where we did the expected shows and gambling and adult entertainment and extravagant meals for a long weekend. It was probably 3am on Sunday morning when I found myself with a couple other friends of his sitting in a lounge cut out of the casino. On the tiny stage was a cover band playing pop hits from the 70s and 80s.

My first thought was dismissive, bordering on disdain.

“How pathetic do you have to be to play someone else’s music in front of six people at a casino at 3am? The effort to practice, the expense of the instruments and equipment, the costumes, the opportunity cost of the time and money invested, and this is the best you can do?”

And then a second though occurred to me (not in time to save me from proving myself a judgmental jerk, of course).

“If they are playing this gig, then it’s obviously worth the sacrifices they’re making. They get to do what they love to do, and someone is paying them to do it. They are performing on stage, playing music with their bandmates, because they want to do this exact thing. And that’s such an admirable trait. Chase your dreams and appreciate the journey.”

I chose to believe that they were living the life they wanted to live, not grudgingly punching the clock on a dream with a different destination.

That Vegas trip was a couple decades ago, and I hadn’t considered my cousin Mike at that time. But thinking about him validates for me the second thought I had on that early Sunday morning: some people are lucky enough to love what they must do.

And I hope to be one of them.

Thunder Road

Thunder Road has been the source of my favorite line in all of music since I’ve had a favorite line in all of music: You ain’t a beauty, but, hey, you’re all right.

But as I’ve been listening to it lately as a middle-aged guy, I’ve been thinking more about the whole song. Not as a part of an album (which is a remarkable whole). And I know next to nothing about music, so my reflection is mainly just about what it says in words.

I find it insightful. It articulates emotions specific to a particular time of life, emotions that feel urgent at that time, but perhaps deceptively so when observed from the distance of middle age, when you know there’s almost always another chance, another opportunity coming. Patience, in other words, is usually rewarded. But I suppose that makes for less compelling lyrics. . . .

The screen door slams, Mary’s dress waves
Like a vision she dances across the porch as the radio plays
Roy Orbison singing for the lonely
Hey, that’s me and I want you only
Don’t turn me home again, I just can’t face myself alone again
Don’t run back inside, darling, you know just what I’m here for
So you’re scared and you’re thinking that maybe we ain’t that young anymore
Show a little faith, there’s magic in the night
You ain’t a beauty but, hey, you’re alright
Oh, and that’s alright with me

The song starts with a start, a door slamming, but immediately makes it clear that our narrator is in love. Soft language follows – “Mary’s dress waves” – with an image that rivals any description of any lover anywhere: “Like a vision she dances across the porch as the radio plays.” What listener can’t superimpose an image of his own love as he hears that line? And then Springsteen invokes one of the great classic plaintive songs of the rock era – Roy Orbison’s Only the Lonely – and begs to be heard: “Don’t turn me home again.”

But then he shifts his tone, challenges his love to confront their future: “Don’t run back inside,” and “So you’re scared and you’re thinking that maybe we ain’t that young anymore.” And then he encourages, cajoles even: “Show a little faith, there’s magic in the night.” And then he professes his love in the most Springsteenian way ever: “You ain’t a beauty but, hey, you’re all right, Oh, and that’s all right with me.” He tells her that he sees her as she is, and that her flawed self is still perfect for him. It’s the most brilliant “I love you” ever, because it acknowledges the puzzle of love, that imperfect beings can be perfect in the context of the right relationship.

You can hide ‘neath your covers and study your pain
Make crosses from your lovers, throw roses in the rain
Waste your summer praying in vain
For a savior to rise from these streets
Well now, I ain’t no hero, that’s understood
All the redemption I can offer, girl, is beneath this dirty hood
With a chance to make it good somehow
Hey, what else can we do now?
Except roll down the window and let the wind blow back your hair
Well, the night’s busting open, these two lanes will take us anywhere
We got one last chance to make it real
To trade in these wings on some wheels
Climb in back, heaven’s waiting on down the tracks

The song gains momentum in the second verse, as Springsteen makes his case for change. First he paints the futility of the status quo: “You can. . . Waste your summer praying in vain for a savior to rise from these streets.” He points out his love’s passivity, waiting for someone else to change her circumstance, which becomes perhaps a little ironic when he subsequently presents himself as a non-heroic savior of sorts. And he frames his question as a both a gamble – “With a chance to make it good somehow” – and no choice at all – “what else can we do now?”

His pitch then is for escape, for throwing off the frustration of their current situation for the uncertainty of leaving it behind, betting that “heaven’s waiting” somewhere down the road. And without a particular destination to offer, at least not yet, he focuses on the feeling of the journey: “roll down the window and let the wind blow back your hair.”

This is youth speaking, impatient for change, believing anything is better than this current situation, willing to chuck it all because he hasn’t built up enough of an investment to consider keeping it. He’s a have-not-wants-more. And now he’s selling his solution to the woman he loves, a woman who seems to be hesitant to embrace it.

Oh oh, come take my hand
We’re riding out tonight to case the promised land
Oh oh oh oh, Thunder Road
Oh, Thunder Road, oh, Thunder Road
Lying out there like a killer in the sun
Hey, I know it’s late, we can make it if we run
Oh oh oh oh, Thunder Road
Sit tight, take hold, Thunder Road

The chorus distills all the relevant pieces into a few lines. It’s a stirring argument to be sure, especially when paired with the music, ratcheting up the intensity, building energy beneath the words. He won’t go alone: “come take my hand.” His urgency grows – “Hey, I know it’s late, we can make it if we run” (yet another great, great line!) – and the non-specific destination shimmers in the distance: “. . . the promised land.”

Well, I got this guitar and I learned how to make it talk
And my car’s out back if you’re ready to take that long walk
From your front porch to my front seat
The door’s open but the ride ain’t free
And I know you’re lonely for words that I ain’t spoken
But tonight we’ll be free, all the promises’ll be broken

He finally gets to the one line in the song that’s forward looking and specific, the promise of what the future will look like once they’ve made their escape: “I got this guitar and I learned how to make it talk.” And he follows it up with his hard close: “my car’s out back if you’re ready to take that long walk.” He recognizes that it’s a long walk – a tough decision – for her, and he’s a full-discloser too: “The door’s open but the ride ain’t free.” If she joins him, he sees it as a commitment, to him, to his escape, to the future he sees. He acknowledges that he hasn’t made an explicit commitment to her – “I know you’re lonely for words that I ain’t spoken” – and he still doesn’t, telling her instead that this act of escape will be a paradigm breaker, a self-evident act of commitment so that no explicit promise of love is needed.

There were ghosts in the eyes of all the boys you sent away
They haunt this dusty beach road in the skeleton frames of burned-out Chevrolets
They scream your name at night in the street
Your graduation gown lies in rags at their feet
And in the lonely cool before dawn
You hear their engines rolling on
But when you get to the porch, they’re gone on the wind
So Mary, climb in
It’s a town full of losers, I’m pulling out of here to win

Curiously, he continues selling past the close, digging into Mary’s psyche, recounting her history. She’s had other opportunities: “. . . ghosts in the eyes of all the boys you sent away,” and those lost opportunities haunt her, those suitors screaming her name “at night in the street.” She hasn’t gone, perhaps because they didn’t treat her well – her “graduation gown lies in rags at their feet” – but by morning she regrets it, only to find it’s too late: “But when you get to the porch, they’re gone on the wind.” The message is laid bare: “So Mary, climb in.” Don’t face more regret in the morning. “It’s a town full of losers” – there’s nothing for you here. Come with me, because “I’m pulling out of here to win.”

What I’ve missed for the many years I’ve been listening to this song is that it’s not really about Springsteen and his act of escape. Rather, it’s a sensitive portrayal of Mary, the tension between her fears and hopes, the story of a soul caught between wanting more but not sure how to get it. It’s Springsteen talking, but throughout he is not just aware of Mary, she is the protagonist of the song. He is merely the vehicle of her potential happiness. And, interestingly, we don’t know how her story ends by the end of the song – I like to think she left with him, but who knows? After all, her history suggests otherwise. Still, it’s Springsteen, and with a song that builds so relentlessly and irresistibly to its crescendo, I can’t imagine she deflates that energy by denying it.