Dedication
To the loving memory
and the spirit of
Susan Rey Blancha Tallarico
CONTENTS
Title page
Dedication
Semiprologue
1
Peripheral Visionary
2
Zits and Tits
3
The Pipe That Was Never Played
4
My Red Parachute (and Other Dreams)
5
Confessions of a Rhyme-a-Holic
6
Little Bo Peep, the Glitter Queen, and the Girl in the Yellow Corvette
7
Noise in the Attic (Snow Days)
8
Ladies and Genitals . . . I’m Not a Bad Guy (I’m Just Egotestical)
9
The Hood, the Bad, the Ugly . . . Hammered with Hemingway
10
Food Poisoning at a Family Picnic
11
Getting Lost on Your Way to the Middle
12
Where You End and I Begin . . . Again (the Goddess)
13
Trouble in Paradise (Losing Your Grip on the Life Fantastic)
13.5
The Bitch Goddess of Billboard
14
Holy Smoke, Quest for the Grand Pashmina, and the Big Chill of Twenty Summers
15
To Zanzibar and Back
16
Falling in Love Is Hard on the Knees
17
Take a Walk Inside My Mind . . .
Acknowledgments
Index
About the Authors
Credits
Copyright
Permissions
About the Publisher
SEMIPROLOGUE
If you’re a hammer, everything looks like a nail.
If you’re a singer, everything looks like a song.
Life is short. Break the rules, forgive quickly, kiss slowly, love truly, laugh uncontrollably, and never regret anything that makes you smile.” We’re not quantified; there’s no chart of desire. When the roaring flames of your heart have burned down to embers, may you find that you have married your best friend. Hunch, conjecture, instinct . . . a blind allegiance to anything can get you killed, and always remember . . . sing as though no one can hear you; live as though heaven is here on Earth. Here I want to say something deep and meaningless, like “To thine own self be true,” but in truth, the first thing we have to do is KILL ALL THE LAWYERS.
When I was a kid and in a gang, my so-called best friend, Dennis Dunn, would slam me in the arm and say, “Pass it on, motherfucker!” So I turned to Ignacio and punched him in the arm and said, “Pass it on!” Ignacio turned to Footie and punched him in the arm, and Footie punched Raymond, who in turn . . . punched me again. It’s all about fighting for position. Later on in life I was to find that being in a band was not too different. Only in my new gang, Brad punched Tom, Tom punched Joey, Joey punched Joe, and Joe punched me (in the mouth), and that’s the sweetest way I can tell you what happens in every band that ever there was (at least those that lasted more than ten years and got the chance to manifest the light).
I remember once my mother telling me, when I said I wanted to be like Janis Joplin: “If you manifest the light, you will become a dartboard for others’ fears, doubts, and insecurities. And if you can handle that, Steven, my little skeezix, you may have your Blue Army.” And guess what? I got both barrels! I also wish to articulate at the outset here, neighbors and ne’er-do-wells, that my life’s journey has not taken me to a place to defile, demoralize, or damage anybody. . . . So all of you who have ruffled my feathers and done me wrong for being an inquisitive child or an oversensitive pain-in-the-neck artist, remember, just like they said about Mongo in the movie Blazing Saddles, if you shoot Steven, you’ll just make him angry.
When you’re young, you experience everything for the first time, and because it’s happening to you so matter-of-factly, it just is . . . and you argue your way through it. In midlife, you question fucking everything, and so much energy is wasted questioning the whys of it all. You want to find that angel of thunderstorms that will put out your internal fire. You start to believe that you made it through six decades because there is an angel on your shoulder.
That’s why I’m a songwriter—because I’ve lived through the changes of not knowing ANYTHING . . . to knowing EVERYTHING . . . and now at sixty-three I’m back to NOT KNOWIN’ NOTHIN’. And when your mind is free of so-called knowledge, it is now set free to use its imagination. Like Albert Einstein once said: “Imagination is more important than knowledge.”
Radio plays your song; the melody is so catchy that it crawls inside of the people listening and changes their Everything. They start singing it! You got into them. You made love to them. You got into their soul . . . and vice versa. It’s like Vuja Dé, and that’s when the miracle manifests . . . you’re trading faces, places, spaces, and graces.
Father of four children (loves of my life), a songwriter, got a doctorate at Berkeley and another one at UMass, Boston, a poet, a painter, a drug addict, and a person who learns something new on a daily basis, from the Malibu Home for the Recently All Right to having dinner with Sheikh Nion in Abu Dhabi . . . and now . . . an author? You gotta be kidding! RoMANtics. SeMANtics. Exotic, neurotic, you got it! Does the noise in my head bother you . . . yet? Yeah, really? I’d say we’re off to a good start.
S.T.
CHAPTER ONE
Peripheral
Visionary
I was born at the Polyclinic Hospital in the Bronx, March 26, 1948. As soon as I could travel my parents headed straight out of town to Sunapee, New Hampshire, to the little housekeeping cottages they rented out every summer, kind of an old-fashioned bed-and-breakfast deal only it was 1950. I was put in a crib at the side of the house. A fox came by and thought I was a cub, grabbed me by the scruff of my diaper, and dragged me into the woods. I grew up with the animals and the children of the woods. I heard so much in the silence of the pine tree forests that I knew later in life I would have to fill that void. The only thing my parents knew was that I was out there somewhere. They heard me cry in the forest one night, but when they came up to where I was, all they saw was a big hole in the ground, which they thought was the fox’s den. They dug and dug and dug, but all they found was the rabbit hole I’d fallen into—like Alice.
Trow-Rico Lodge and the lawn I was mowing when Joe Perry drove up, summer of ’69. (Ernie Tallarico)
And like Alice I entered another dimension: the sixth dimension (the fifth dimension was already taken). Since then, I can go to that place anytime I want, because I know the secret of the children of the woods; there’s so much in silence when you know what you’re hearing—what dances between the psychoacoustics of any two notes and what reads between the lines is akin to the juxtaposition of what you see when you look in the mirror. My whole life has been dancing between these worlds: the GOAN ZONE, the Way-Out-o-Sphere and . . . the UNFORTUNATE STATE OF REALITY. In essence, I call myself a peripheral visionary. I hear what people don’t say and I see what’s invisible. At night, because our visual perception is made up of rods and cones, if you’re going down a dark path, the only way to really see the path is to look off and see it in your peripheral vision. But more on this as we progress, regress, and digress.
When I finally got pulled out of the rabbit hole, my parents brought me back to the third dimension. Like all parents they were concerned, but I was afraid to tell them that I have never felt more comfortable than being lost in that forest.
; In Manhattan we lived at 124th Street and Broadway, not far from the Apollo Theater. Harlem, man. If the first three years of your life are the most informative, then surely I needed to hear that music, and I was inspired by the noise coming out of that theater. It had more soul than Saint Peter.
A few years ago I was back at the Apollo, and saw the park where my mom had pushed me in my carriage. My first visual memory is from THAT PARK: trees and clouds moving above my head as if I were floating above the earth. There I am, a two-year-old astral-projecting infant. At age four, I remember going to get a gallon of milk with two quarters, walking with my mom hand in hand through passages and corridors of the basement of our building and through tunnels into the adjoining building where the milk machine was. I thought I was . . . God knows where. I might as well have been on Mars. Ah, it was the mysterious world of childhood, where someone is always leading you by the hand through a dark passageway and into a brand-new world just waiting for the child’s overactive imagination to kick in.
My mother lit the fire that would keep me warm for the rest of my life. She read me parables, Aesop’s Fables, and Rudyard Kipling’s Just So Stories. Children’s tales and nursery rhymes from the eighteen hundreds, nineteen hundreds: “Hickory Dickory Dock,” Andrew Lang’s The Nursery Rhyme Book, Hans Christian Andersen, Helen Bannerman’s Little Black Sambo. So great! Never mind the “Goose That Laid the Golden Egg!” My mom would read me all these stories every night at bedtime. But one night when I was around six, she stopped.
Happy days—Mom and me and Crickett, my Toy Fox Terrier, 1954. (Ernie Tallarico)
“You gotta learn how to read ’em yourself,” she said. Up until then I’d been reading along with her as she pointed to the words. We did this for months until she knew I kinda had the idea, then suddenly there’s no Mom looking over my shoulder. She just left the book by my bed and I became distraught. “Mom, I wanna hear the stories. Why won’t you read to me anymore?!” I said. And then one night I thought to myself, “Uh-oh, now I gotta get smart.” Naah. . . . I’ll just become a musician and write my own stories and myths . . . Aeromyths.
Mom used to tell me of a man she’d seen on the Steve Allen Show, in 1956 when I was eight. His name was Gypsy Boots. He was the original hippie, a guy who lived in a tree with hair down to his waist and who promoted health food and yoga. Gypsy was the protohippie. In the early thirties he had dropped out of high school, wandered to California with a bunch of other so-called vagabonds, lived off the land, slept in caves and trees, and bathed in waterfalls. I was totally seduced by that lifestyle. Boots’s message was this: As primitive as his world seemed, he wanted people to think that he would live forever. Hey, he almost did, dying just eleven days before his ninetieth birthday in 1994.
Next in my life came a bohemian composer named Eden Ahbez, who wrote a song called “Nature Boy” (which my mom heard on a Nat King Cole record). He camped out below the first L in the Hollywood sign, studied Oriental mysticism, and, like Gypsy Boots, he lived on vegetables, fruits, and nuts. My mom sang that song to me before I went to sleep. I’ll never forget how it made me think that I was her nature boy.
The song tells the story of how one day an enchanted wandering Nature Boy—wise and shy, with a sad, glittering eye—crosses the path of the singer. They sit by the fire and talk of philosophers and knaves and cabbages and kings. As the boy gets up to leave he imparts the secret of life: To love and be loved is all we know and all we need to know. With that Nature Boy vanishes into the night as mysteriously as he had come.
Unfortunately the people who own the rights to “Nature Boy” won’t let me publish the actual words to the song in this book (still, you can just Google them), but I promise it will be on my solo album come hell or high water.
Then there was Moondog. What a fantastic character, a blind musician who dressed up like a Viking with a helmet and horns and a spear to match. He hung out on the corner of Fifty-sixth Street and Sixth Avenue. I saw and smelled him every morning on my way to school. Oddly enough, he lived up in the Bronx, apparently in the woods, back behind the apartment buildings I grew up in. Was that a coincidence or was that God secretly telling me, “Steven, thou shalt become the Moondog of your generation”? Or at least the leader of a rock ’n’ roll band.
What I heard about Moondog was that he wrote “Nature Boy,” but what do I know? Maybe Eden Ahbez is Moondog spelled backward. . . .
My mother’s birth name was Susan Rey Blancha. At sixteen she joined the WACs (Women’s Army Corps). She met my dad while they were both at Fort Dix in New Jersey during World War II. One night he had a date with a woman who was rooming with my mom. The roommate stood him up, and instead he was greeted by my mother, who happened to be playing the piano at the time. My dad walked over to her and said, “You’re playin’ it wrong.” It was love at first fight! They got married and had lil ol’ Lynda, my sister, and lil ol’ me came two years later. Ha-ha! That’s my mom, that’s my dad, and that’s why I’m so fuckin’ detail-oriented—and such a maniac. I got the traits that I don’t want and the ones I do. Because you’re an offspring, you pick up those traits unconsciously, in case you haven’t noticed. You become your mom!
My mother, Susan Rey Blancha, at eighteen in 1932. (Ernie Tallarico)
So that’s how I happened, 1948, a rare mixture of classical Juilliard boy meets country pinup girl, who, by the way, looked like a cross between Jean Harlow and Marlene Dietrich with a tinge of Elly May Clampett. And if God’s in the details—and we know She is—then I’m the perfect combination. I’m the N in my parents’ DNA. So now, if anyone’s mad at me and calls me a dick, I know they really mean Fort Dix. My daughter Chelsea always thought God was a woman from the day she was born. It was so nurturing hearing that from a child, that God would have to be a woman, that I just never questioned it. (No wonder I keep watching Oprah.)
Chelsea Anna Tyler Tallarico on our rope swing, Sunapee, New Hampshire, 2008. (Steven Tallarico)
Mom was a free spirit, a hippie before her time. She loved folktales and fairy tales but hated Star Trek. She used to say, “Why are you watching that? All the stories are from the Bible . . . just six ways from Sunday. Get the Bible!” And I thought, “Oh, boy, that’s just what I wanna do after I’ve rolled a doobie and I’m smokin’ it with Spock.” And by the way, that’s why teenagers today go, “Whatever!” But you know—and I can only admit this in the cocktail hours of my life—SHE WAS RIGHT!!!!! Isaac Asimov’s I Robot, Aldous Huxley’s Brave New World, that’s where they got their inspiration. In the same way that Elvis got his sound from Sister Rosetta Tharpe (I dare you to YouTube her right now), Ernest Tubb, Bob Wills, and Roy Orbison. And they, in turn, begat the Beatles and they begat the Stones and they begat Elton John, Marvin Gaye, Carole King, and . . . Aerosmith. So study your rock history, son. That be the Bible of the Blues.
I was three when we moved to the Bronx, to an apartment building at 5610 Netherland Avenue, around the corner from where the comic book characters Archie and Veronica supposedly lived (I guess that makes me Jughead). We lived there till I was nine—on the top floor, and the view was spectacular. I would sneak out the window onto the fire escape on hot summer nights and pretend I was Spider-Man. The living room was a magical space. It was literally eight feet by twelve! There was a TV in the corner that was dwarfed by Dad’s Steinway grand piano. There’s my dad sitting at the piano, practicing three hours every day, and me building my imaginary world under his piano.
Me and Dad, 1958. It did snow more back then. (Ernie Tallarico)
It was a musical labyrinth where even a three-year-old child could be whisked away into the land of psychoacoustics, where beings such as myself could get lost dancing between the notes. I lived under that piano, and to this day I still love getting lost under the cosmic hood of all things. Getting into it. Beyond examining the nanos, I want to know about what lives in the fifth within a triad . . . as opposed to DRINKING a fifth! I’ve certainly got the psycho part . . .
now if I could only get the acoustic part down (although I did write a little ditty called “Season of Wither”).
And that’s where I grew up, under the piano, listening and living in between the notes of Chopin, Bach, Beethoven, Debussy. That’s where I got that “Dream On” chordage. Dad went to Juilliard and ended up playing at Carnegie Hall; when I asked him, “How do you get to Carnegie Hall?” he said, like an Italian Groucho, “Practice, my son, practice.” The piano was his mistress. Every key on that piano had its own personal and emotional resonance for him. He didn’t play by rote. God, every note was like a first kiss, and he read music like it was written for him.
I remember crawling up underneath the piano and running my fingers on top of the soundboards and feeling around. It was a little dusty, and as I was looking up, dust spilled down and hit me in the eyes—dust from a hundred years ago . . . ancient piano dust. It fell in my eyes and I thought, “Wow! Beethoven dust—the very stuff he breathed.”
It was a full-blown Steinway grand piano, not a little upright in the corner—a big shiny black whale with black and white teeth that swims at the bottom of my mind and from a great depth hums strange tunes that come from I know not where. 20,000 Leagues Under the Sea had nothing on me.
Later on, I went back to visit 5610 Netherland Avenue. I knocked on the door of apartment 6G, my old apartment. It had been years, and the man who answered was drunk and in his underwear and undershirt.
“Dad?” I asked. He cocked his head like Nipper, the RCA dog.
“Hi, I’m—” I started to say.
“Oh, I know who you are,” said he. “From the TV. . . . What are you doin’ here?”
“I used to live here,” I said.
“Well raise my rent!” said he.
So I went in and looked around, and doesn’t it always seem that the apartments we all grew up in are so much smaller compared to how they felt thirty years ago? My god, the kitchen was tiny, four by six! The bedroom I grew up in with my sister, Lynda, and my parents’ master bedroom facing the courtyard—you couldn’t have changed your mind in there, never mind your clothes. How the hell did my father get a Steinway grand into that living room? So weird seeing this very tiny apartment with an even smaller black-and-white-screen TV on which I’d watched in wide-eyed abandon shows like The Mickey Mouse Club and The Wonderful World of Disney, which premiered on October 27, 1954. So between growing up at three underneath a piano and seeing my black-and-white television world turn into color by the age of six, that was enough right there to prepare me for life. I couldn’t wait to jump into the middle of it.
Does the Noise in My Head Bother You? Page 1