Showing posts with label Texas. Show all posts
Showing posts with label Texas. Show all posts

Thursday, August 27, 2015

On Being Denied the Pleasure of Their Company



Most of us — if we had our druthers, as the folks in the Li'l Abner comic strip liked to say — would prefer to die quickly and relatively painlessly when we were at the top of our respective games.

Not everyone is granted that wish, of course, just as it is true that not everyone lives to a ripe old age — but if one does live into old age, he/she is not likely to be as fit or as sharp as he/she was at a younger age. Such a person is hardly likely to go out on top of his or her game.

Most of us, I guess, would like to live long lives, but most people can't live long lives and be as vibrant as they were when they were young. Some can, I suppose, but not most of us. Everything in life, it seems, is a trade–off.

(In a way, I'm inclined to think that Spencer Tracy's character in "Inherit the Wind" was saying the same thing when he remarked, "Progress has never been a bargain. You have to pay for it. Sometimes I think there's a man who sits behind a counter and says, 'All right, you can have a telephone, but you lose privacy and the charm of distance. Madam, you may vote but at a price. You lose the right to retreat behind the powder puff or your petticoat. Mister, you may conquer the air, but the birds will lose their wonder, and the clouds will smell of gasoline.'"

(Perhaps, when the subject is quality of life, it depends on what one considers progress — longevity or never having to contend with diminished abilities.)

My mother was denied the old age that my father has had. Mom was a schoolteacher who died in a flash flood 20 years ago. She and my father owned a duplex in Dallas and rented half of it as an additional source of income. The house had been in the family for decades. It originally belonged to my mother's parents, and she grew up there.

A week or so after my mother died, my brother and I crossed paths with the tenant, who remarked that Mom went out at the top of her game, and I couldn't argue with that.

A few hours before Mom died, she was at a carnival at her school. I've seen pictures that were taken that day. Perhaps there are home videos that were made as well in which I might be able to hear Mom chatting with her students or her students' parents. I can't get that from photographs, of course, but the look on Mom's face tells me she was in her element that day — and, for that matter, all the years she taught at that school. The tenant was right. Mom went out at the top of her game.

While I wish she had been with us longer, it is hard for me to imagine Mom in retirement. I know there were times when the job wore her out, but her work with children always seemed to energize her. I wonder where she would have found a source for that energy in retirement. My guess is that, if she couldn't be paid to mentor children, she would have found some way to do it for free — perhaps in a voluntary part–time capacity at a school or library.

There is a conundrum at play in every human life. See, I am grateful to have that mental image of my mother and not the one that my mother had of her mother in the final years of her life — but I still wish I had not been denied the pleasure of her company all these years.

Today would have been her birthday. It is also the 25th anniversary of the helicopter crash that claimed the life of another — and much more prominent — native of Dallas, Stevie Ray Vaughan. He was considerably younger than Mom, but it could also be said of him that he went out at the top of his game.

And I often wish we had not been denied the pleasure of his company.

Stevie Ray Vaughan struggled with substance abuse issues in the 1980s, but he had straightened up and was clearly on an upward trajectory when his helicopter crashed in southeast Wisconsin 25 years ago today. Each album was better than the one that preceded it, and his last album, "In Step," seemed to be the one that would earn him the acceptance of the mainstream audience.

His debut album with his band Double Trouble was called "Texas Flood," which was the name of one of the songs they played on the album — but it wasn't a Stevie Ray original. Matter of fact, it was a blues standard that had been covered by many artists over the years, but it came to be associated with Stevie Ray. Maybe he played it better than anyone else ever did. I don't know if that is true, but I do know that he played the hell out of that song.

I was in graduate school at the University of North Texas — about 35 or 40 miles north of Dallas — when Stevie Ray was killed, and I remember watching the news reports on the Dallas TV stations the night following Stevie Ray's funeral. The list of attendees read like a who's who of popular music — Eric Clapton, David Bowie, ZZ Top, Stevie Wonder, Bonnie Raitt, Jackson Browne. Those are the ones I can remember off the top of my head. I'm sure there are many I have forgotten.

After Stevie Ray's death, the city of Austin, Texas, erected a statue in his memory, showing him wearing his trademark poncho and holding his guitar at his side standing by the river. Some folks didn't like it. I liked it well enough, I suppose, but I think I would have preferred for him to be holding his guitar in his classic pose on stage. To me, the guitar looked a little too much like a gun at his side — until you got close enough to examine it.

I thought it was ironic, in this the 25th anniversary of his death, that we got so much rain this past spring, and the river flooded the area around the statue. At the water's peak, Stevie Ray appeared to be standing on water.

Talk about your Texas flood.

Yes, Stevie Ray Vaughan went out at the top of his game, but you can still feel the loss for the rest of us. He was 35 when he died. He would be 60 if he had been permitted to live. At the time of his death, he had been putting out several records/CDs that soared on the charts; one can only imagine what the future held for him. Hey, 60 is a whippersnapper compared to Bob Dylan, the Rolling Stones and Paul McCartney, all still out there playing to packed houses in their 70s.

What else might Stevie Ray have done in the last quarter of a century? I don't know, but I'm sure he would have been an influence on popular music. "In Step" would have been his breakthrough album, I'm sure of it, and I'm equally sure it would not have been his last. The entire musical landscape might be different today if he had not died.

"After he cleaned himself up, by 1990, he was back to playing guitar in a ferocious way," Jason Hanley, senior director of education for the Rock and Roll Hall of Fame and Museum, told the Milwaukee (Wis.) Journal Sentinel. "Who knows what he would have done next?"

One thing I do know — if you like blues rock, then you owe Stevie Ray Vaughan a special debt of gratitude. Every day, really, but today in particular.

Saturday, April 05, 2014

Art Imitates Life



I have admired Goldie Hawn and Steven Spielberg for so long that I can't recall a time when I did not admire them.

My admiration for Spielberg probably began 40 years ago shortly after he released his first theatrical feature, "The Sugarland Express," which starred Hawn and was based on a true story. It made its theatrical debut on this day in 1974.

It was perhaps a year later when I saw it — not long before "Jaws" premiered.

As Roger Ebert wrote, though, "[L]ike so many things in Texas, it seems like a fantasy anyway."

That's true enough. I've lived in Texas for the last 18 years, nearly 22 years of the last 26, and I visited here for a long time before that. Both sets of grandparents lived here so my family spent many holidays here.

Even though I did not grow up here, I feel I have a pretty good understanding of how things are here. And there is a surreal quality to some things that happen here, like the case of the woman in Houston who was charged with trying to hire someone to kill the mother of her daughter's cheerleading rival.

Or the time the Texas Seven escaped from prison and remained on the loose during the Christmas holidays.

Whenever something like that happens in Texas, you can't help but shake your head and wonder what they were thinking. How in the world did they think they could get away with what they were trying to do?

Many years ago, I recall, there was a television commercial that sought to boost Texas tourism. Its catchphrase was "The rules are different here."

Sometimes you've got to wonder if there are any rules.

I guess that is how it was for the original couple in the story.

I've heard nothing that indicates the atmosphere in the police car occupied by the couple and the patrolman was genial. I don't know if everything in the movie was literally what happened — I do happen to know that some liberties were taken; more on that later — but I get the feeling that it wasn't all that far from the truth.

"The actual event took place in 1969," wrote Ebert, "and the young couple involved got a lot of sympathy from the folks along their route. Spielberg uses the story to comment on the ways Americans have of turning events into happenings."

That much certainly hasn't changed.

Remember when O.J. Simpson was the prime suspect in his wife's murder but had not been charged yet? Remember the low–speed car chase involving the Bronco in which Simpson was a passenger and perhaps two dozen police cars that were following it?

I thought of "The Sugarland Express" when I saw that — because "The Sugarland Express" has an ongoing chase that is very similar. As in the movie, folks lined the highway to see Simpson go by. I don't remember exactly, but there were probably some people who held up signs encouraging him — just like in the movie.

But I'm quite sure that the movie chase involved more than two dozen police cars.

The chase wound through all sorts of small towns along the way, and the hijacked police car went through slowly, giving the couple a chance to bond with the locals and even get a few creature comforts.

At one point, the option of bypassing a community was discussed, but Hawn wouldn't hear of it. She wanted to see the people, and she wanted the people to see her.

(I mentioned earlier my admiration for Hawn. I must confess that I wasn't so much an admirer of her acting as I was an admirer of her anatomy. What can I say? I was a young boy when I first saw her on Laugh–In, and I've always had something of a crush on her, I suppose. I don't think she is a great actress, but her performance in "The Sugarland Express" was exceptionally good.)

The line of police cars was led by a captain played by Ben Johnson. His character claimed never to have killed anyone in 18 years of service, and he wanted to keep that record intact. He was a straight shooter in his dealings with the fugitive couple, and I can only hope the real–life couple had someone like him with whom to negotiate.

In the movie, Hawn's character helps her husband (William Atherton) break out of pre–release prison farm so they can go retrieve their 2–year–old son from the foster home where he has been placed. Her husband only had four months left on his sentence, but Hawn's sense of urgency and threat to leave him convinced him to go along with her plan.

They hijacked a police car (and the patrolman in it), and they were off on their trek across south Texas.

Before that, they also hijacked an elderly couple's car in one of the best scenes in the movie.

But they ended up in that police car after they crashed the old folks' vehicle. I don't know if that really happened or not.

But back to the liberties that I know were taken ...

Probably the greatest one was the fact that the wife in the real story didn't spring her husband from jail the way Hawn did in the movie. He was already out.

But that part of the story wouldn't have made "The Sugarland Express" what it was.

Actually, "The Sugarland Express" wasn't very successful financially. It made a profit of less than $10 million over its budget. I'm guessing that came as a surprise to Spielberg, given the fact that movie audiences who flocked to see "Bonnie and Clyde" and "Easy Rider" only a few years earlier no longer seemed to have much of a taste for movies with sad endings.

Seldom has Spielberg been accused of misreading the popular mood, but, when he has, he usually comes back even stronger the next time out.

Perhaps that image got its start 40 years ago. Spielberg's next project (for the same producers) was "Jaws," which made more than $470 million.

Friday, August 09, 2013

The Special Magic of Music



"Look out any window
Look out any open door
Look out any window
See what's going on
In the world around you."


Bruce and Jonathan Hornsby

Twenty–five years ago today, I started working for a midsized daily newspaper in north Texas.

That sentence really doesn't do justice to the wide range of emotions I was experiencing on this day in 1988. Some background information probably is in order.

I grew up in Arkansas, went to school there, and I had been working there ever since finishing my schooling (or so I thought). My life was there. My friends were there. And, by 1988, I felt like I had a few things going for me — not everything I had hoped for but some things. I was working for the newspaper I had dreamed of working for since I was a boy. It didn't pay as well as I guess I had hoped it would, and I had been looking for alternatives in 1988, but that didn't change the fact that I was proud to be a part of that organization.

My parents, both natives of Texas, had moved back there a few years earlier, and my mother was helping me in any way she could think of to find a more significant job. She offered suggestions, which were of little help, frankly, from a distance — but her ideas did help me stay focused.

Mom was better at identifying options in her own territory, and she encouraged me to move to Texas. If a better job could not be found, I could go to graduate school and find some sort of temporary job to make ends meet.

By the summer of 1988, I had been accepted by the University of North Texas' graduate program, and I had been offered a job at the Denton newspaper. It felt like the planets were moving into line.

I didn't really have a long–term plan in mind. If I had, I would have realized that about the only thing you can do with a master's in journalism is teach, and teaching was not my long–term objective in those days. Don't get me wrong. I've enjoyed working with students, sharing with them the things I have learned over the years. I hope it will make them better journalists.

But, even though I have now been teaching for close to one–eighth of my life, I'm not sure if that is where my future — or what is left of it — lies. Consequently, that degree may not have much real value in my life. I don't know yet.

Anyway, I decided to take the plunge for grad school. I gave my two weeks' notice in mid–July, and I made the move on August 7. In between, I picked up a few albums, and I listened to them a few times before my move, but I didn't really listen to them until after the move was behind me.

I wasn't sure at the time if I was doing the right thing. I guess it's normal to have such doubts. I had a vague idea of what I was getting. I would be living close to my parents and my brother for the first time since I was in school (and, ironically, I would be going back to school at about the same time that I moved so close to my family) and in an area with which I was pretty familiar. After all, I'd been visiting Dallas all my life. It seemed like my best option.

But, fairly quickly, I discovered that, for many reasons, living someplace is not the same as visiting the same place. After the move was over, I could look around my apartment and see all kinds of things that were familiar — but they were in new surroundings, and those surroundings didn't include my friends back in Little Rock.

My life had changed, and there were many times when I thought it wasn't for the better. I wanted free time in the evenings, which I had, but my friends were more than 300 miles away. When school started up a few weeks later, I discovered that my evenings would be taken up with an entirely new preoccupation — graduate school and the demands of each class.

My job was the same and yet different, too. I was doing the same work for the newspaper that I had done before — but my new job was at an afternoon newspaper whereas I had spent the last 4½ years working for a morning newspaper.

The difference between them was, literally, night and day.

For the latter, I worked nights; the hours changed a bit over the years, but typically I went to work around 3 p.m., and my shift ended around midnight. On high school and college football nights, it was not unusual for my shift to go on until 2 or 3 in the morning.

For the former, I had to be at work by 5 a.m. in order to finish putting together that afternoon's newspaper. Trying to function for the first month or so was like trying to cope with a never–ending case of jet lag. I would find myself at home in the afternoons, totally uncertain what I should be doing. Half of me said I should be getting ready for work, and the other half reminded me that I had already been to work.

It was during this time that I listened — really listened — to the records I had purchased in the weeks before my move. (In hindsight, I probably should have waited until after my move to purchase those records. Those vinyl LPs were pretty heavy, and I didn't need the additional bulk.)

The most prominent probably was "Scenes From the Southside," Bruce Hornsby's followup to his Grammy–winning debut album, "The Way It Is."

It's hard to describe my mindset at that time. Somewhere in my mind, I think I always expected to move back to Arkansas. I had never imagined my life being anywhere else. I guess I figured my exile to Texas would be temporary.

And, too, I think I was in kind of a state of disbelief. I had left behind what had always been my dream job for a very uncertain future.

Well, here I am, 25 years later, and I haven't been back to Arkansas except for visits. I haven't lived in Texas the whole time, either — I lived in Oklahoma for four years — but my exile has lasted a lot longer than I dreamed it would.

Most of the time, I suppose, that doesn't bother me, but there are times when it does ... like football Saturdays and occasions when my thoughts return, either through reverie or by force, to the days of the past.

And today, on the 25th anniversary. I remember how I felt on that first day — anxious, exhilarated and then totally astonished to be finished with my work by 2 in the afternoon! Then I went home, stretched out on my couch and fell asleep!

Heck, I had been up since shortly before 4 a.m.

When I woke up, I listened to that Bruce Hornsby album, especially the track titled "Look Out Any Window." I listened to it over and over. I thought of the friends I had left behind, some of whom are deceased now, and I thought of the future, much of which has now played out in my life. I can only hope there is more to come before I check out.

Life goes on within you and without you, George Harrison wrote. I never really knew what that meant until 25 years ago today.

That is the special magic, the special power of music.