BIG SHIT ABOUT
MELTZER He’s
the closest to making a story stay a story while turning
into sequences of just----------t--------------t------------t----------t
jagged lines on a page, zeros and ones or at least
just black squiggly shapes tyepset onto white space-------
------ -------- -------- ----- then then then there’s
there’s there’s things things things like like the
the Pendulum Pendulum Pendulum review review review
of of of the the the Creedence Creedence Creedence
LP LP LP, which which which is is is yeah yeah concrete
rete rete poetry try try,,, rock rock and roll roll
styleyleyleyleyleyleyl…
.. (reverb unit style) but Meltzer rarely writes outright
concrete poetry – what he is really doing almost 90-94
percent of the time is writing actual journalistic
essay prose about things he’s done, events he’s attended,
and what he thinks about things. Y’know, ‘standard’
personal essay material but of course he is still
cutting it up ('subverting,' 'deconstructing,' 'blah,'
'blah blah') with all sorts of unpremeditatedly (though
by now, at least 15-20% meditated) ‘personal’ techniques,
namely the extensive-to-the-point-of-‘method’ use
of slang, and a slang that ends up being so unique
to Meltzer that it becomes (to the ‘average reader’)
sustained gibberish….
I can write
like Meltzer. ‘Rockwriters’ say that other ‘rockwriters’
often ‘write’ like Meltzer, it’s a common thing. I
can do it too, and like any form of imitation, the
flattery can get annoying. The only thing that might
save me when I get to writing like him is that my
intent is different -- hey, we're totally different
people. Meltzer’s intent often seems to be to write,
as Charles Lieurance said, "like an insane person."
However, in the afterword to the 1990 reissue of the
1972 book Gulcher, he reveals that his real
intention was to write like a PRE-SCHOOLER, and indeed,
he can do very well. Okay, I’ll quote ‘im on it:
"Then I remember—thank fuck for something—that
what it was about was KINDERGARTEN. Kindergarten,
y’know, preschool, as sacred writerly First Principle:
everybody, I contended (and still contend), should
go play with mud for a while, fishtank slime, at least
blocks. Stack ‘em, knock ‘em over (piss on ‘em). Splash
paint on teacher’s pantsuit. Throw spitballs. Every
growed-up writeperson, every so-called creative jackjill
(of whatever persuasion), really should get
that 'basic'—or why bother?—am I right?"
This afterword is also published in A Whore Just
Like The Rest, and in Meltzer’s introduction to
that he clarifies further:
"A couple more things should be said about the
context in which most of this dizziness was conceived:
For better or worse, however narrow/broad you wanna
draw the demograph, rock-roll was/is—and clearly was
then—a music earmarked for KIDS, and one of
its bottom-line burdens was thus to arm kids against
their parents and, at a real trench-warfare level,
their teachers. As a rockwriter (or hell: postrock-writer)
it seemed my burden as well: to interpose myself
in there somewhere, to offer a pattern of disobedience
and with it (perchance) a system for transcending
schoolteach authority, its culture, its spell: to,
in the most basic fashion, get in there and muck it
up so that kids, if they followed my example, did
my homework, ha, would never again be COERCED
into unsplitting their infinitives, knowing which
president fought Sonny Liston, or accepting ANY school-hands
as dealt, any classroom/textbook paradigms of anything.
(Though I use the kindergarten model, obviously this
entails the whole damn K through 12.) Hey, I’d
been liberated, time to pass it on."
So gosh,
all along Meltz has been doin’ it….for the kids.
….Tim
Ellison of San Diego, who writes a hell of a lot like
Meltzer in his zine Modern Rock Mag, said in
a letter to me (which wasn’t written so much like
Meltzer) that he thinks Meltzer is totally repeating
himself and hasn’t created anything as good as his
‘good’ stuff for fifteen years….okay I’m re-and-perhaps-misinterpreting
your letter here a bit through memory, hi Tim, but
I disagree, I think Meltzer is still doing all kinds
of good stuff, such as the John Cage review and the
fairly devastating piece on the LA Riots ("One
White Man’s Opinion") and what I believe to be
his stone masterpiece, the San Diego Peep Shows and
Piano Bars thing, to name just three, and really I
enjoyed the last half of Whore Just Like The Rest
more than the first--it’s laid out more or less chronologically,
and the early stuff is just too ‘DADA,’ too ‘concrete,’
it’s fun for what it is, i.e. it’s fun TO LOOK AT
and to think about like a good comedy sketch on TV
is fun to think about, but there isn’t as much ‘insight
payoff’ – which Meltzer can deal out in spades – as
there is in the later stuff.
To
say it another way, I’ve always admired Meltzer’s
early work but not in a way that I care to read every
word. Like with Burroughs -- even if you make it through
Naked Lunch, are you really gonna read every
word of The Soft Machine AND Nova Express
after it? (Okay, I read every word of all three but
in retrospect I can't say I needed to.) The Aesthetics
of Rock really is concrete poetry when it comes
to reading every word, because most of it is made
up of intentionally obtuse philosophy-of-rock jive,
tunneling through one basic statement of purpose with
thousands of phrases that end up being zeroes and
ones (figuratively not literally). All of these sequential
words, which you could read, or, if you just
unfocus your eyes a bit, instead merely appreciate
as artful black lines running across many many pages
that spell ONE WORD, a vast kabbalistic word which
some say cannot be spoken aloud, and other people
pronounce as "OM," and still other people
haven’t even ‘learned’ yet, dig, but of course they
too ‘feel it’ during quiet times and certain periodic
rites like daydreams, sex, cooking/eating, deep conversation,
familial love, celebrations with music, drug experiences
(including things like aspirin and caffeine), etc.
etc. and here’s some tiny extracts from that ONE VAST
WORD as Meltzer spells it (looked at with a micromicrominiscope),
two examples, back to back footnotes on p. 61 (Da
Capo, 1987):
73. His [Ray Charles’s] only blues relapse
occurs on Crying Time in the form of dead-mother/lost-sight
sadness. And maybe (occasionally) in his seemingly
enforced isolation to the problem of working his way
out of other guys’ songs which deal in content with
his general recent (past-perplexing) scene, "Yesterday"
("wait a minute!") and "Eleanor Rigby"
("died in the church and was buried along with
her name, nobody came, all the lonely people…")
in particular.
74. "Will the moon still hang in the sky, when
I die" ("Ballad of You and Me and Pooneil"
by Jefferson Airplane) focuses standard rock necrophilial
vision in a conceptually imperceptible temporal modality.
This forced naïve extension to the non-reiterative
locates functional necrophilia/renaissance (actually,
suddenness of vision of persistence/ continuance after
conceptual gap of a priori inattention) in
death/posthumousness iteration.
A WHOLE
LOT of the book is like that, hard to fathom but rhythmic
– ‘jive’ is really the best word, or what I meant
above by ‘slang.’ With The Aesthetics of Rock,
and many short pieces from around that time (like
"Recent Reinstantiations of Flea-Flop in the
Mustard Tusk Scene," pp. 43-52 in Whore Just
Like The Rest), Meltzer was goofing on the ‘slang’
of the philosophy undergraduate, or more specifically
the possibilities implied by the ‘slang’ of the philosophy
undergraduate, and his goof was to write reams of
philosophical jargon about rock'n'roll, injecting
it with beat-spirit rhythm to make it 'rock' as per
the subject. The end result doesn't end up making
much sense but that’s Meltzer’s point all along, because
how rock works is indescribable, because it is "OM,"
it is the sound of one hand clapping, it's the river
you can't step into twice…..which is what I mean by
his book The Aesthetics of Rock, when read
sequentially, taking shape on the printed ‘readerly’
page as one long "OM" from the spirit of
the universe, which, we all know, as vast as it is,
is still just an "O" and an "M."
What makes Meltzer "Great IMHO" is that
if you dip into the "OM," frame by frame,
say on page (as Meltzer himself suggests in the Foreword)
"204, 66, 148, 155, 222, 142 (paragraph 2), 156,
86 (footnote), 318, 312, 146, 130, 256, 236, 220,
181, 173 (paragraph 2), 308 (paragraph 3), 322, 261
(footnote), 284," on any of these pages, at any
moment, he is capable of peeling off some prose that
sticks to the wall and hums. Such as what is probably
his most infamous paragraph, at least from the first
half of his career; the ‘thesis statement’ of his
essay on Are You Experienced? by The Jimi Hendrix
Experience. Approx. 5-6 pages long, it was originally
published in Crawdaddy magazine, and then edited
into Aesthetics on pp. 224-230. In Whore
Just Like The Rest, it is reprinted alone, a much
punchier presentation. Said infamous paragraph:
Okay, let’s work on a logic of ascent/descent
that’s more fun and even less fun than Fitch proofs
or Nelson Goodman or even the famous Aristotle. Man
like we can be so high that the high is irrelevant
and so systematic that system crumbles so we might
as well be structurally ready and readily structural
so we can guarantee a good time for all total awareness
freaks. Of course A and not-A. Of course, of course.
Although she feels as though she’s in a play, she
is anyway. I can pick your face out from the front
or behind. It really doesn’t matter, if I’m wrong
I’m right. And some people like to talk anyway, like
Paul McCartney in The True Story of the Beatles:
"John propositioned me. He told me that he thought
the group could do nicely and anyway it was a lot
of fun. He didn’t talk about the possibility of turning
professional. It was me, I think, who realized that
skiffle could easily lead to some useful pocket money
so that we’d be able to date the girls and maybe get
a few clothes for ourselves. Remember, though, we
were very young…" (a peculiar quotation for a
paragraph on logic). Enter: Jimi Hendrix, pre-literate,
post-articulate, proto-logical, bi-lingual (at least
English and American), plurisignative. His major logical
contribution: (A pubic hair B).
The A pubic hair B correlative is illustrated by Meltzer
with a line drawing that I’m not going to show you
in this article, ‘cause I’ve already spoiled enough,
and you should see the rest for yourself.
Now?
Now. I’ve maybe, in about 40-60 various 5-60 minute
‘sittings’ I’ve had with Aesthetics of Rock,
read the equivalent amount of pages/words as
the whole thing (346 pages), but there are still whole
pages, whole book-chunks, that I probably have never
even looked at. For example, just two days ago,
I read a great paragraph about Ornette Coleman and
jazz-as-rock that I had never noticed before:
But Blue Cheer is outdone cacophony-wise
if not volume-wise by Ornette Coleman's great Free
Jazz, which had eight guys (including the late
great Eric Dolphy at his most honk-oriented) just
wailing for half an hour and occasionally coming together
for a theme reminiscent of "Swinging On A Star"
just for polar contrast. The late great John Coltrane
tried to top this with his Ascension session
but just about didn't, so in this year of Blue Cheer
Free Jazz is making its way into ordinary record
store windows for the first time (released around
1960/61/62). A letter in Downbeat a while back angrily
suggested that the people buying Ornette-Dolphy-Coltrane
stuff just have to be teen-age rock and roll fans
because the chaos affinities were obvious, whereas
the letter writer himself, who had been raised on
the tasteful bands of yore, was still buying and loving
good wholesome Count Basie. It's nice to see such
distance as genetically possible within jazz itself.
This easily generalizable distance allegory just about
makes jazz elgible for consideration as not only a
source of the music of rock but as holder of membership
within rock as a foreshadowing and continuing subset.
Okay,
this little treatise might have started as a review
of A Whore Just Like The Rest, which I highly
recommend to anyone with eyes, but it really ended
up as a quote-fest from The Aesthetics of Rock,
which is probably my least favorite of Meltzer's books.
Still, as you can probably tell, it contains much
insight for those willing to subject themselves to
it. I hope I haven't gone beyond the bounds of propriety
by quoting all this stuff, and I hope it'll inspire
you to read this guy yourself, and buy his books so
that he'll make some royalties, and that sort of thing.