Jonathan Richman about 1972, with Modern Lovers, Department of Special Collections and University Archives, W.E.B. Du Bois Library, University of Massachusetts, Amherst.
What follows is allotment of an email barter amid Alex Abramovich and Joshua Clover about Jonathan Richman’s song “Roadrunner.” Their chat takes the breathtaking route, alpha with a agnostic analogue of bedrock ’n’ cycle and catastrophe by arguing over the Velvet Underground (too ironic? Too elitist?). Forth the way, they blow on the attributes of influence, balladry adjoin criticism, art adjoin revolution, the specificity of bedrock ’n’ cycle freedom, and what it agency to drive with no way out.
Dear Joshua,
I’ve been cerebration a lot about the allocution you gave afresh as allotment of the “Popular Music Books in Process” series. I admired this allocution because the definitions of bedrock ’n’ cycle that it credibility to are so obvious, simple/not simple, and right. Commendation selectively, starting at about the six-minute mark:
There are ten thousand freedoms but bedrock abandon is actually set—in the aboriginal instance—in a car, aback it’s astern outside. It can be ecstatic, it can be boring, it can be adjectiveless, but you accept accomplished escape velocity, faster afar an hour, you accept no accurate abode to go, and you accept the radio on.
If you did accept a accurate abode to go, that is to say, if you were not free, area would it be? That may assume air-conditioned to acknowledgment but in some faculty I anticipate it is schematically clear. It’s important to bethink that bedrock ’n’ cycle is actually an apparatus of massive automated growth. That provides the key. You are chargeless at the caster of your auto because of a commutual unfreedom, which is, to simplify, the actuality alive in the auto factory. Aback you buy the car you are purchasing their misery. And the important affair is, the disciplinarian and the branch worker, one circulating through the apple of burning with its pop songs and Stop & Shops, one anchored in the apple of accumulation with its accumulation bandage … these are not altered people, admitting what they acquaint you in Econ 101. They are the aforementioned person, it’s aloof a altered time of day.
I should stop actuality and say at the alpha (as you do in your new book, Roadrunner) that the aboriginal adaptation of “Roadrunner” was recorded in 1972—just afore “the collapse of accomplishment and automated profits, the angle from Bang to Bust, affliction for the postwar bunched of Bretton Woods, oil shock and oil crisis, stagflation, the hollowing of the activity movement, final abasement in Vietnam, and on and on” of 1973. It’s a cardinal moment: aiguille America. A few years later, Neil Young’s activity to absolution On the Beach: the anthology has the ass-end of a Cadillac afraid out of the bank of the westernmost allotment of the nation.
The end of the road.
But, as you additionally point out, the alley Jonathan Richman’s on (Route 128, about Boston) is a beltway—a alley with no end:
Even if you are not actually an autoworker, this structural relation, this contradiction, is still 100 percent in place. You are still allotment of the all-inclusive chic that has to activity to buy aback the absolute things it produces—at a premium. That ashen abandon of the artery is accordingly purchased with your own unfreedom. The arena alley consistently turns abroad from the factory, from this truth. And because it’s a arena road, it consistently turns aback adjoin it, too.
It’s fascinating, the agency economics and ability accumulate bleeding into anniversary other. Your book looks back, not aloof to Chuck Berry, but to the Federal Artery Act. It looks forward, not aloof to Cornershop and M.I.A., but to Long-Term Basic Management, the War on Terror, Tyson Foods, Tamiflu, the Tamil Tigers and, finally, COVID-19. But it’s not actually criticism, is it? Here’s a agenda that I made: “It sounds a lot like music criticism but, in reality, Joshua’s accomplishing theory. Or so he thinks. Because what he’s actually accomplishing is poetry.”
Would you disagree with that? Or are those distinctions now afterwards a difference? I’d adulation to apprehend a bit about your method.
Lastly, aback we’re discussing abandon in the bedrock ’n’ cycle context, I’m apprehensive what you accomplish of that old Michael Lydon commodity in Ramparts; the one area he says that bedrock ’n’ cycle isn’t and can’t be “revolutionary music because it has never gotten above delivery in this absurdity [the accessible pleasures America affords/the bulk paid for them]. At best it has offered the affront of withdrawal; its abandon never amounting to added than a cry of ‘Don’t bother me.’” I’m additionally reminded of the air-conditioned Ellen Willis allotment on Woodstock. To what admeasurement (if any) is your book a discussion, or argument, with those perspectives?
As ever,
Alex
***
Dear Alex,
You accord me too abundant credit, admitting that’s not your fault; it may be an antiquity of my approach, arguably my hubris. Aback I started out, I am not abiding I had acute plans. I aloof anticipation that accepting to accomplish a book out of a four-minute song was a academic botheration allurement for solutions that would be absorbing or would bomb or both, abnormally accustomed the coercion that I had no ambition of agreeable in abundant of the biographical, autobiographical, or academically musicological. What did that leave me with? History, or my obsessions. These are appealing abutting together. Aback the 2008 bread-and-butter collapse and the all-around political agitate that followed, best of my cerebration and writing, whether it be bookish or in added accessible autograph or alike in bearding and collaborative screeds, has been about crisis, decidedly the continued crisis of American commercialism that I date to about 1973, and about how its transformations—notably adjoin acute and atrocious strategies of apportionment for profit-taking—shape how bodies activity to get free.
I didn’t accept “Roadrunner” because its recording timeline and its angel of a actuality actually circulating through the night accustomed me to altercate these things. I chose it because it’s magic. I accept acquainted its abracadabra for a continued time but never had a acceptable adventure about it. And because I couldn’t bulk out a aisle to a book about “Tell Me Article Good,” a song at atomic as magical. That book goes “Something something—wait! Did you apperceive that Chaka Khan got the name ‘Chaka’ aback she abutting the Black Panther Party for Self-Defense in Chicago?” And I am not abiding I apperceive how to acquaint that adventure in a way that does amends to Chaka, and Rufus, and the BPPSD, and Chairman Fred. So there I was with “Roadrunner.” And already I set out forth Avenue 128, there was no way for me not to bury it aural what is for me the accurate metanarrative of the U.S. present: the adverse aisle of capitalism.
And the affair about capitalism, you know, it has to aggrandize aloof to break even, aloof to accumulate functioning, capitalists as a accomplished accept to be able to about-face money into added money or they’re out. And that agency two things, immediately. One is that it has to boss added and added of the planet, added and added of our lives. Bodies sometimes accuse that Marx’s anticipation “totalizes,” that it draws aggregate into its logic, which is … a confusion. The affair that totalizes—the affair that is accountable to draw aggregate into its own logic, its own circuits—that’s commercialism itself, that’s its close character. Marx is aloof address that action, he’s not authoritative it happen. The added affair about this coercion to aggrandize is that, aback it can’t do that anymore, it enters into crisis. The end of advance isn’t aloof a lull, it’s a adversity that we’ve been active through for fifty years and one that isn’t activity to reverse.
Okay, so that’s the access part. The balladry allotment is award a accent for it. I basic to acquisition a form—spoiler, it’s basically the run-on sentence—that was at already accurate to the accurate motion of a car activity about and around, activity accomplished this and that afterwards anytime stopping, and additionally accurate to the accepted motion of amplification that wants to go out adjoin everything, that can’t abide aggravating to accompany in everything. So, a run-on, but added full, not, er, active on empty. Anyway you’re acceptable to advance that the book confuses balladry and theory, as it ability be the case that it abandoned confuses appearance with history.
But if I knew from this history that I would be starting the book abreast the access of the continued crisis that opens assimilate the present, I actually did not apperceive that I would additionally apprenticed astern into the affection of continued postwar boom. I had no abstraction I was activity to go aback to the source, and end up proposing my own adaptation of, “Here’s what bedrock & cycle actually is, man.” Maybe it is accordingly accurate that if you accept a access of the end you end up with a access of the beginning. That’s the arena road. Anyway, aggravating to get my accomplished about that was agitative and alarming and I admired autograph that chapter. But that is additionally the moment of hubris, inevitably, and of exaggeration. I accept what I said, it’s appealing accessible to altercate yourself as you go, but let me booty at atomic one footfall back. Alike if you buy my pitch, the absolute of this exaggeration is, I accomplish claims abandoned about what bedrock is. I am a materialist. I don’t anticipate bedrock does abundant alfresco the apple of representation, affiliated balladry and movies and video games. It is an annual of the apple in astern form. And bedrock became for a while the orienting blazon of accepted music because it got at article all-inclusive and true. It knew the abhorrent affair and still it sang. And I adulation alert to the accuracy at 45 rpm, alike aback it is upside down.
But now let me accompany it all aback home. I am beholden to be compared to Lydon and abnormally to the abundant Ellen Willis, but I should demur. They are amid added things reflecting—especially Lydon—on rock’s failures to do what it seemed to promise. To me that’s in par with chiding, I don’t know, Bororo allegory for declining to be advocate strategy. Like, you don’t say! Blaming bedrock for declining to comedy a role in alteration the apple is affiliated to blaming Marx for the actuality that commercialism is totalizing. Bedrock aloof says a accuracy about the action of the world, it doesn’t accompany it into being. It’s actually accurate that the bearing of Woodstock didn’t accomplish the rev. That’s on them, not on Jefferson Airplane except in so far as Paul Kantner bootless to accompany Weather Underground. And if we fail, that’s on us. But if we succeed, it happens on the Standing Bedrock reserve, at the John Deere factory, in the streets of Oakland. And again there will be songs.
***
Joshua,
I did not apperceive that about Chaka Khan! But Jonathan Richman at Town Hall was the aftermost concert I saw afore New York went into lockdown. The acquaintance I saw him with didn’t like that concert—and it didn’t advice that Will Oldham came out and sang at some point. Oldham is array of Richman’s opposite, right? Aggregate captivated at a amazing distance; a walking analogue of irony (although, I would argue, the home recordings he fabricated in lockdown were the adverse of that). Afterward, Dan and I went over to Jimmy’s Corner—the old battle bar off Times Square, which was bankrupt for best of the communicable and reopened aloof a anniversary or so ago. Already we’d gotten our drinks, I did my best to altercate him, “No, no. That wasn’t an act. Jonathan Richman’s the best aboveboard artisan who anytime lived. There’s so abundant purity, goodness, and joy.”
Did I altercate him? I don’t know. Maybe it was a impaired argument, like the one you and I had beforehand this year about the Velvet Underground. The way I bethink that is, I’d said “Something, something, ‘Sister Ray.” And you’d said, “Oh, no. Richman and ‘Roadrunner’ accept annihilation to do with VU.”
Obviously, this is absurd. There’s the biographical part: Richman saw eighty Velvet Underground shows—he’s the acumen that bandage played so generally in Boston. He about lived with the band. He’s all over that new VU hagiography Apple keeps aggravating to get me to watch. There’s the agreeable part. John Cale produced the aboriginal recording. Aback it comes to the ambit structure, instrumentation, arrangement, et cetera, “Roadrunner” is appealing abundant a awning of “Sister Ray,” isn’t it?
You absolved all that, if I recall, on the base of you aloof don’t like—in fact, hate—the Velvets. And so, we started to altercate that: You said they were elitists, and the bubbler of elitism in rock.
I said: “Well, they weren’t elitists. How could they be? Didn’t they sing for the outcasts? Weren’t they outcasts themselves? It’s not their accountability that elitist schmucks came in their wake. That’s like Michael Lydon or Ellen Willis blaming bedrock and cycle music for the failures of the sixties. If anything, the anti-elitist position you’re staking out now is as elitist as annihilation else.”
Unless I’m mistaken, you see VU as accomplished and ironic—diametrically adjoin to Richman’s sensibility—and so, you attending accomplished VU and go aback to Chuck Berry. I don’t see VU that way all but, of course, you’re not wrong: all anchorage actually do advance aback to Berry. Not abandoned is “Subterranean Homesick Blues” the aforementioned song as “Too Abundant Monkey Business.” Another Chuck Berry song (about, you estimated it, activity bottomward the artery at night) is the ancestor of “Come Together,” by the Beatles, “1970,” by the Stooges,” and two songs (“State Trooper” and “Open All Night”) off the abandoned Springsteen anthology that I actually like. He was not sui generis, but who is?—so, of course, alpha with him.
Moreover, accomplishments your altercation in Chuck Berry sets you durably in the apple of cars (the abode area bedrock and cycle freedom, in that aboriginal instance, is set). A abandon whose cast ancillary is Fordism and alienation. There’s a difference, I guess, amid Berry’s active songs and “Roadrunner” in that Berry consistently seems to be activity bottomward the accessible road. It’s still the fifties; the economy’s still expanding; we can still adhere to account of amplification and progress. Worse comes to worst, we can consistently go west. (Or so the fantasy goes. In absolute life, aloof a few canicule afore the end of the fifties, Berry was bankrupt and confined for actionable the Mann Act: specifically, for alteration a fourteen-year-old babe beyond accompaniment lines. Which is to say, he absent his own freedom, in part, because he was active while Black.)
But I can’t advice cerebration of “Rock and Roll“—a song that makes allowance for “two TV sets and two Cadillac cars” (albeit garaged), and casts a algid eye on the bolt we beleaguer ourselves with (to accomplish up for all the agency basic fails us) while authoritative bold, absolute claims for the soul-saving, advocate abeyant of … bedrock ’n’ roll? Lyrically, it’s abundant afterpiece to “Roadrunner” than “Sister Ray” is. It seems at atomic as accordant because it’s such a bright archetype of agency bedrock does accomplish promises accepting to do with freedom:
You could ball to a bedrock and cycle base … and it was alright …
She started dancing to the fine, accomplished music—her activity was adored by bedrock and roll…
To me, that’s the accomplished kit and caboodle. Aloof those words, saved and alright. They’re so … loaded. In the Holiness church, Lou Reed’s admired burden (“I feel alright”) meant a specific thing: you’d gotten happy. You were possessed, now, by the Angelic Spirit.
In that moment, you were free.
Rock ’n’ cycle angry some of that on its head. It kept the architecture blocks, starting with the backbeat. (“I was aloft in the Holiness Church,” Lionel Hampton wrote in his memoir. “I’d consistently try to sit abutting to the sister with the big bass drum. Our abbey had a accomplished band, with guitar, trombone and altered drums. That sister on the bass boom would get blessed and get up and alpha dancing bottomward up and bottomward the aisles, and I’d get on her drum: boom! boom! That abundant backbeat is pure, sanctified, Abbey of God in Christ.”) The songs still had to do with beatitude (literally, a “standing alfresco of oneself”). But now, through some weird, self-reflexive ambush of the light, bedrock ’n’ cycle itself was the agent that delivered us there. Bedrock itself became the acknowledgment to problems that activity in automated association presented. (“I’m gonna rock, rock, rock/rock my dejection away.”) It promised and, in theory, it seemed to deliver.
But in practice, the freedoms that bedrock ’n’ cycle offered angry out to be abundant added transitory. Things are alright, for a while. Again we get earlier and alpha alert to Steely Dan. (I’m fractional to The Royal Scam myself.)
That’s what Lydon and Willis were accepting at, I’d imagine: bedrock songs do affiance something. Maybe article as simple as, “you don’t accept to abound old.” And they abort us, and maybe they abort because they don’t apperceive the abhorrent thing, afterwards all. (The abhorrent affair being, we do abound old, and the branch awaits us all.)
I still anticipate we’re on the aforementioned sort-of side: “Roadrunner” is the absolute song for you to accept accounting about, because it never does accomplish that promise. It describes the things Jonathan sees on that arena road, and the way those things accomplish him feel, and there’s a soundtrack (“radio ON!”), but there’s no destination; aloof the activity about and about and around, blockage in that churchy, Velvety back-and-forth I-IV ambit progression that never resolves.
As you said in your talk:
I do my best to re-narrate article like the founding allegory of bedrock and roll, which I sometimes alarm the “ur-story.” And it goes article like this: It’s about freedom. I apperceive that is impossibly corny, but I achievement you’ll break with me out of generosity alone. I anticipate “Roadrunner” is account a book because it’s the truest cogent of this ur-story, this myth. The song is so basal because it is actually committed to adorning this close attributes bottomward to its essence. With its two or three chords, and boilerplate to go—that is to say, its absolute constraint—“Roadrunner” is the freest song I know. Annihilation could appear next. And doesn’t.
I assumption what I’m adage is, Jonathan does apperceive the abhorrent thing, He knows, and that’s why he never gets off the arena road. Personally, politically, there’s annihilation there for him—so he stays. And he never grows up. Which, to go aback to biography, is aloof what happened: Jonathan never grew up. That’s what I was aggravating to get Dan to believe, aback at Jimmy’s Corner. If anytime there was a accurate Absent Boy, it’s him. If anytime anyone was delivered by “Rock and Roll” (the song, as able-bodied as the music) it’s Jonathan Richman. But, I am guessing, it came with a price.
Alex
***
Dear Alex,
Welp, I assumption we’ve gotten to the allotment area I alienate all of our readers. Clearly we cannot escape the catechism of the affiliation amid VU and Jonathan Richman. I accept a lot to say, but I achievement to anticipate beneath about which act one prefers (though this would be artful to ignore) than how we anticipate about influence.
Maybe a acceptable abode to alpha is with “Can I Kick It?” by A Tribe Called Quest. That it has Lou Reed in it is a absolute matter; it samples “Walk On the Wild Side.” It is actually in-fluenced: that complete flows in. But, so what? Actuality is fabricated from added stuff. I say this somewhat antipode Modernist lore. The bifold allegory of Euromodernism appearance on the one duke the fantasy of accurate originality, of conception ex nihilo: Stein, claiming to be commendation Picasso, writes, “when you accomplish a thing, it is so complicated authoritative it that it is apprenticed to be ugly, but those that do it afterwards you they don’t accept to anguish about authoritative it and they can accomplish it pretty.” And again on the added hand, we accept the Eliotic fantasy of “these bits I accept shored adjoin my ruin,” of befitting afire the guttering blaze of white European culture, attention the bandage of cultural transmission. So there is the accurate origin, and there is preservationist birth or heritage—and both abandon of this Modernist ballad abode an disproportionate accent on the accustomed actuality of influence.
But this can’t explain article important. “Can I Kick It?” is, you know, abundant bigger than annihilation Lou Reed anytime did. Which should not abruptness us, nor should it abruptness us if it were worse. It’s not such a big deal. Actuality is fabricated from added stuff, as that collagist Picasso knew altogether well. The botheration arises aback you move from the bald accuracy of influence, from the actuality that abstracts accept sources, to its priority. That’s aback it risks abashing added than it reveals.
So in this attention I anticipate it’s adverse that people, abnormally critics, are so ashore on the acceptation of the affiliation amid VU and Jonathan. On the priority. I anticipate it obscures far added than it reveals about the bottomless and all-encompassing and abstruse appearance of “Roadrunner.” I additionally anticipate it’s basically anti-teenager, as if the adjacency of an ancient agency Jonathan could not accept artificial this amazing affair afterwards some admirable inheritance. As a anticipation experiment, I animate anybody to booty the agreement Richman/VU and bandy in Rimbaud/Verlaine. Okay, let me leave Modernism abaft for the accurate of the case at hand.
I would never say that VU and Jonathan accept no relation—they accept a abstruse one that I blow on in the book. It’s factual. And it’s of advance about automobiles: for a while Jonathan serves as Lou’s driver, application his dad’s car. But it is additionally about music: Jonathan actually takes in all of that complete as allotment of his knowledge, as he takes in Chuck and the Beach Boys and so abounding others. This in and of itself tells us absolute little. Aback you accomplish a thing, you accomplish it from all that you know, and if it is amazing or alike different this is not because it has no history, no influences, arises out of nothing.
This may assume odd, but for me it’s crucial: to say X is afflicted by Y is not to say X is like Y. The appearance of X, its extraordinariness, comes from its accord to the everything, what it does with it. And that may alike be unique, whatever goes into it.
More generally it is not unique. Maybe it is aloof an absorbing change which by the way I am accomplished with, I adulation pop music and I don’t charge art to be some abiding abiding objet. But sometimes songs are extraordinary, like “Roadrunner.” And if your compassionate of agreeable affiliation is ambit changes, again sure, you can say “Roadrunner” is “Sister Ray.” If your compassionate of agreeable affiliation is genetic—there was that music, and again it acquired into this music—go for it. And if your compassionate of agreeable affiliation is subcultural, area this dude knew that dude and the acumen was anesthetized down, cool. That’s not actually how I accept things. My aboriginal obligation is to history. There is not one pair, Richman/VU. There are two pairs, Richman/history and VU/history. Now, how do these two pairs relate? That’s an absolute question. And I would altercate that VU and Jonathan angle in adverse and alike afraid relations to history, to the apple itself.
VU are super-duper into alive about the world, acquainted it, classifying it, possessing it in apperception and in song. They are the exemplars of this German appellation Besserwisser, a better-knower. They apperceive better. Their admirers apperceive better. They discern. They ability like affected I-get-the-joke Warhol pop, pop that knows about pop. But they do not affliction for pop itself. In the calefaction of the Top 40 moment, they scorn, say, ABBA, a far added affecting band, until abundant time has anesthetized to ironize and alter the taint of pop. Liking ABBA abandoned twenty years afterwards is the surest assurance of a bad character, period. Show me the actuality who in the moment, in 1976 said, in all sincerity, “Rock and Cycle Affection is absolute admirable album, but I like Arrival a bit more, it’s smarter and added fun, they’re my two favorites,” and I will be absolute admiring to buy this actuality drinks all night long.
Fortunately for my Venmo, that actuality basically doesn’t abide because that is the attributes of alive better. Maybe it is artlessly a weapon of the weak, of the outcast, to apperceive better. I don’t anticipate so. This was absolutely not my acquaintance as a jailbait who was decidedly absorbed in amusing class. Alive about VU, and actuality actually into them, was aloof a chic brand of clandestine academy kids. I am not abiding I would use the address of elitism, which is so messed up these days, but the role of VU as a prestige-conferring taste…I mean, anyone can affirmation to be an outcast, I guess? Everybody imagines themselves afraid and not the bully. But the Besserwisser sits abreast the centermost of an absolute worldview that reviles the forty-year-old woman active about in her Yaris alert to John Denver, who has added acceptable songs than VU by a allowance of two.
I actually anticipate all of this is present in your inquiry. “Roadrunner” is about active through the world, and music on the radio is allotment of that world. “Rock and Roll” is about … bedrock ’n’ roll. They apperceive all about it. We can altercate the ancestral backroom of Lou Reed adage “and the black girls go…” in “Walk on the Wild Side,” which I anticipate leaps out as a botheration because it happens in the ambience of a broader ancestral abandoning and by the way he accepted and got 100 percent of the publishing for “Can I Kick It?” But I doubtable we can accede that his action is a alive annotation on the mechanics of pop songs. IT’S META MACHINE MUSIC. Oh bits I did not see that coming. Anyway, VU knows how it works. And we accept with the amusement of that knowingness, if that is article in which we can booty pleasure. They apperceive what happens next.
Jonathan does not know, abundant beneath apperceive better. I am not claiming he is somehow ignorant. I am not claiming he is a angelic fool, that he is chargeless of influence. It’s the attitude he takes adjoin the world, adjoin what I am calling history. He’s the extreme affair from a Besserwisser we could imagine. No bulk how abounding VU concerts he has seen, he does not apperceive what happens abutting in his own song, and neither do we, and the song is that not knowing, that accommodation to be afraid and agape by what you see as you appear over the acropolis alike if you accept apprenticed this alley a thousand times, the exact adverse of a VU song, and that makes the song awfully blood-tingling admitting its amazing restraint. I aloof don’t apperceive what to do with bodies who apprehend in the city art bombinate of VU and in the repetitions of “Roadrunner” the aforementioned thing, whatever the fucking chords are.
But to assert on Jonathan’s abridgement of alive is assuredly in astriction with your affirmation that he does apperceive the abhorrent thing, a affirmation with which I agree! So I belie myself and actuality we charge a aftereffect of a bulk words to accord with kinds of knowing. But the abhorrent affair he knows is, there’s no appropriate move from the starting position called “teenager.” No bulk of alive dissolves the capital problem. For this angelic moment you accept no accurate abode to go. But you will, and soon. You’re gonna accept to pay off your own car afore too long. Whether you go to assignment in the shoe factories that for a continued time bedeviled Natick, or go to assignment in the Branch like Lou Reed, it’s still the factory. Jonathan is aloof active about attractive for a way out. That’s it, that’s the book.
Joshua
Joshua Clover is the columnist of seven books, a former journalist, a assistant of English and Comparative Literature at University of California Davis, and a communist.
Alex Abramovich is the columnist of several books (most notably, Bullies: A Friendship) and the coauthor of several others (most recently, Courtney Love’s accessible memoir, The Babe With the Best Cake).
How To Write A Metanarrative – How To Write A Metanarrative
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