10 Years in Music

Looking back is looking forward.

I’ve been known to indulge in my share of excavating. As I prepare for my next big move, I’ve been looking back, not only on the decade-long 10 Cities/10 Years, but also on my youth and even more recent history. Writing these chapters from my life has been rewarding, allowing me to scrutinize my memories and re-examine pivotal moments in my history, recontextualizing my history as it relates to my present. But there are other ways to explore the past.

One of my favorite tools for documenting my life in real time is Last.fm, a website I’ve mentioned not infrequently in these pages. It’s the simplest of ideas: the website tracks the music you listen to on your various devices and compiles that information into charts and data points. It’s extremely nerdy and entirely unnecessary, and I love it.

I started using Last.fm just a few months before I set out on my decade of travel, so I have a document of all the music I listened to throughout the entire journey from day one: my ups and downs, my relationships come and gone, my periods of depression and moments of hysteria, all of it soundtracked. It’s the kind of thing that I can nerd out over for hours, and often do.

I decided it would be informative to look at my Top Songs charts for the various years of my 10 city project to get a sense of the tenor of each year through my musical obsessions. I’ve taken a snapshot of my Top 5 tracks, so now, if you’ll indulge me, I’m going to take another look back at my project, this time through song.

Call it 10 Cities/10 Years: The Soundtrack.

Or don’t, IDGAF.

1. Charlotte

Charlotte

How predictable. In my first year of traveling, I was still mostly listening to the artists who had gotten me through college, so Radiohead and Rufus Wainwright had been getting heavy rotation for a few years by this point (and still do). “Fake Plastic Trees” was my go-to favorite song for years, though its stature has diminished some over the years.

In terms of evolving musical tastes, The Decemberists were one of the many new artists a friend introduced to me while I was living in Charlotte. Especially in those early days, the Pacific Northwest band was known for their whimsical and eccentric mix of British folk and sea shanties. I was besotted with “The Engine Driver” which has this one verse:

I am a writer, writer of fictions
I am the heart that you call home
And I’ve written pages upon pages
Trying to rid you from my bones

It’s the kind of melodramatic sentiment that I absolutely adored back then. (Eh, still do.)

2. Philadelphia

Philadelphia

Not much had changed in terms of favorite artists, though I was definitely listening to a more varied selection. “Come Pick Me Up” is my all-time most listened song and has never lost its “Favorite Song” status, but by this point I was starting to seek out more obscure artists. Mirah was another new discovery from my year in Charlotte, and she rapidly ascended into the realm of favorites. Though I’ve only followed her career intermittently recently, I was fortunate enough to see her play live just a few months ago at an intimate benefit show for LGBT youth. She was lovely.

Ghosty, for those that don’t know, is (was?) a band from my hometown in Kansas. They played a set at the famous World Café in Philadelphia and I saw them perform. Staying after to talk with the guys, I was surprised when the lead singer said that he actually knew me because he had seen me read poetry back in Lawrence. That was wholly unexpected and kind of cool.

3. Costa Mesa

Costa Mesa

For a time, Beirut was the musical artist I felt most spoke to my increasingly disparate tastes in music. I used to say that if I had any musical talent (I do not), I would make music exactly like Beirut. It’s interesting how, as especially so-called “indie” music has expanded in form and genre, the once unique Baltic sounds of Beirut have become just another common trope. I still enjoy Beirut, but my fervor has lessened considerably.

4. San Francisco

San Francisco

Starting to see some more female artists gain prominence in this list, though none of these three particular artists would be in my favorites. Still, Beth Orton’s Central Reservation did receive considerable play for a few years. “Concrete Sky,” which is off of a different album, features one-time Orton beau, Ryan Adams, so that probably helps explain its high chart position here. It’s also just a beautiful song.

“No Children” is, for me, the perfect song about a doomed relationship, that kind of love where the two people are terrible for each other but still work in a twisted sort of way. John Darnielle is a storyteller, and the entire Tallahassee album is arguably the best novel he’s ever written (though his two actual novels are worth a read). 

5. Chicago

Chicago

My fifth year was, at times, arduous, as you might recall, so it’s not really surprising that the songs that got the most airplay in that year were in large part downcast affairs. I adore Neko Case’s entire oeuvre, and I consider her song, “Star Witness,” to be one of the defining songs of 10 Cities/10 Years (I’m frankly shocked at its absence on these lists). Although “Don’t Forget Me” is a Harry Nilsson cover, she definitively makes it her own.

Yeasayer’s “Tightrope” stands out from the other songs on the chart with its propulsive and infectious rhythms. It appeared on the Dark Was the Night charity compilation (along with Iron & Wine’s “Die”) and was basically the standout track from two discs of excellent but mostly similar sounding indie rock and folk music. Worth tracking down.

6. Nashville

Nashville

In the wake of a bad break up in Chicago, Nashville’s list consists of a lot of old favorites; comfort food, I suppose. Ironic that the one Adele song that I was really into that year was actually one of her more upbeat tracks. Also, “Dear Chicago”? How on the nose could I be? (Granted, it’s a fantastic song.)

7. Seattle

Seattle

Ryan reclaims the top track, but this time with a song that was never officially released. Both “Karina” and “Angelina” appear on the famously unreleased 48 Hours (bootlegs are available, obviously), which was scrapped in favor of Demolition, a solid but ultimately less cohesive album. I’ve said this elsewhere but, after Heartbreaker48 Hours is Ryan’s greatest album, and the fact that it has never officially been released is a tragedy (a few songs appear on Demolition). “Karina” is his most sympathetic and piercing character piece and deserves to be loved by millions. 

Otherwise, this list clearly reflects the counter-intuitively sunnier times I was having in Seattle. Also, funny to note just how much Childish Gambino has evolved as a writer and performer since those early days. “Freaks and Geeks” is still a banger.

8. New Orleans

New Orleans

This was another hard personal year, but still a year with a lot of partying, which is nicely exemplified in the dichotomy of Justin Timberlake and a pair of The National’s bleakest songs. The Divine Fits’ “Shivers” splits the difference, an old school proto-punk cover with the lyrics:

I’ve been contemplating suicide
But it really doesn’t suit my style
So I guess I’ll just act bored instead
And contain the blood I would’a shed 

Considering my state of mind that year, the song was clearly speaking to me. (The song also includes one of my all-time favorite lines of shade: “My baby’s so vain / She’s almost a mirror”.)

9. Boston

Boston

I’d been a fan of Death Cab for Cutie since college, and yet, somehow, I had never bothered to acquire their most critically acclaimed album, Transatlanticism. I rectified that in Boston and soon after became enthralled with the eight minute centerpiece. I was also still obsessing over Hurray for the Riff Raff, a folk/mixed genre band from New Orleans that you should also be obsessed with. Get on that.

(Also, yes, Justin Timberlake made the list two years in a row; no shame.)

10. Brooklyn 

Brooklyn

And then came Brooklyn. Kanye West is an asshole. Kanye West is too full of himself. Kanye West lacks impulse control. All true. Also true: Kanye West can produce some amazing music. When Boston roommate, Emily, helped drive me to my tenth and final city, “Power” literally started playing the moment we passed the city limit sign. There couldn’t have been a more thematically appropriate song for that moment.

I had a brief fling with a French girl when I first moved to Brooklyn; my infatuation with The Stills’ french-language “Retour a Vega” lasted much longer. At the same time, I fell absolutely head-over-heels in love with HAIM’s debut. Their latest release is very good, but I still play the hell out of Days Are Gone.

Goddamn right JT threepeated.

Album Credits

Notably, while many of my favorite artists are represented in these lists, there are plenty of others that don’t appear (no Sufjan Stevens, no Elliott Smith, no Spoon, no Rilo Kiley), while a number of artists who I barely listen to anymore (Night Terrors of 1927, really?) showed up.

I could have done this kind of list with my Top Artists or my Top Albums and gotten some very different results. For instance, these were my top albums from my year in Charlotte:

Charlotte Album

All five albums came out between 2005 and 2006, yet only one, Picaresque, is represented on the most played songs. I suspect that I was still getting to know these albums and thus listening to them straight through instead of just cherry picking my favorite tracks.

I chose to look at my top songs instead of albums or artists because I think they reflect my moods in those years more accurately. The album lists lean heavily towards recent releases, and my top artists stay pretty static from year to year (Radiohead and Ryan Adams are almost always in the top spots). By contrast, my ever-changing top song lists across my ten year journey illustrate not only an evolving musical taste, but they also provide insight into my mental state in those particular years.

Perhaps this sort of thing is only interesting to me (if so, you probably aren’t still reading, so who cares), but if you have a Last.fm account, I recommend taking a gander into your own past. Maybe you’ll learn something about yourself.

Epilogue

For the completists in the continually dwindling crowd, I’m including my second and third year lists from my time in Brooklyn. As I’ve written about previously, the music of Songs: Ohia carried me through a very difficult post-project year, hence The Lioness charting so many tracks. And then, this current year’s list is a result of my concerted effort to seek out more diverse artists and voices, in particular more women. 

Brooklyn (Year 2)

Brooklyn 2

Brooklyn (Year 3)

Brooklyn 3

Ideally, the list will continue to evolve every year because I will continue to evolve. In that way, these charts serve both as a document of the past and a challenge for the future. Who knows what my playlist will look like after a year in Spain? I look forward to making fresh comparisons next August.

St. Roch Blues: A storm rages in New Orleans

Chapter VIII

[Names have been changed]

“I love you,” I whispered. Perched on my chest, Ava repeated the words back to me.

A little over a week later, she broke us up to be with someone else.

This story is, as all of them are, more complex, but in the next weeks, as I obsessively replayed the movie in my mind, these were the only two plot points that mattered.

We met in Chicago when we were both in long-term relationships. Like my own relationship at the time, Ava’s was perpetually rocky, and so we confided in one another about the circumstances of our dissatisfaction, as friends.

Then she visited me two summers later. Newly single, she and another friend, Nadie, came to explore Seattle, beauties sans commitments. On the first night of their visit, having given them my bedroom for their stay, I was preparing to sleep on the couch when Ava came into the living room, bent over, and kissed me on the lips.

I’d never had a woman make the first move before and it caught me quite by surprise. The following day was spent exchanging furtive looks until that night, with Nadie gone to bed, Ava once again came to me. A couple days later, the two of them returned to Chicago and that was to be the end of it.

Do Not

The Air

New Orleans is far and away the most idiosyncratic city of all I’ve lived in, a village from the past thrust haphazardly into the future, with a personality so distinct that, at times, it could feel like a foreign country. It was exhilarating, but also wearying.

I avoided Hurricane Isaac by three days, but not the damage. Almost all of New Orleans outside the economic hub of the French Quarter was without power. With temperatures in the 90s and humidity thick as taffy, I sweated through my first weekend, unable to sleep, crushed by the atmosphere.

Like many of the inhabitants of New Orleans, my new roommate, Donatella, was not locally grown but had nonetheless embraced the city as her one true home. She did her best to give me a proper welcome, greeting me with a shot of vodka the moment I stepped out of the taxi before bar hopping me to the French Quarter. Insistent air conditioners whirled in the Quarter, but there was no escaping the  oppressive heat.

Southern DecadenceI wasn’t suffering alone. The entire city was on edge, even with Southern Decadence providing a festive aura of greased up, naked men dancing in the streets. My first night, I tagged along with Donatella who was tending bar at the AllWays Lounge, a home and performance space for the proud mutants and outsiders of New Orleans. Nudity and liquor were flowing, but the move and the heat had melted my energy.

“One second,” Donatella commanded after I told her I was calling it a night. Reaching under the counter and into her bag, she came back up wearing her radiant, incorruptible smile and holding out a box cutter. “Take this. Just in case.” The darkened St. Roch neighborhood was no place to walk without protection, especially on a roiling September night.

The Clouds

As had been the case with some of my previous moves, a budding romance distracted me from the difficulties of adjusting to a new locale. This year, it was Ava.

Ever since Seattle, we’d been exchanging daily texts and emails, with plans for her to visit in October. Built upon a three-year friendship, our relationship blossomed quickly. In discussing the future, it was suggested that she move to New York City where she could further her fashion career. It meant more time apart, but after seven years of travel, two didn’t seem so long. To have a beautiful woman waiting at the finish line felt like a perfect, Hollywood ending.

Meanwhile, even though my savings went a long way in New Orleans’ cheap economy, I wasn’t taking any chances. I accepted the first job offer I received, working at one of New Orleans’ most mismanaged 4-Star restaurants. The nightmare conditions were due almost entirely to the GM, a ladder climbing egotist who ruled disinterestedly as the restaurant’s sommelier, yet rarely made appearances in the presence of a customer.

That job taught me that New Orleans rewarded free-spiritedness and penalized a work ethic. As the year progressed, I naively believed I’d be rewarded for dependability, but instead, my coworkers enjoyed their holidays off while I served an empty dining room. I should’ve heeded Donatella’s warnings. She encouraged me to look for less regimented employment in the essentially citywide, gig economy. Alas.

The Wind

I suffered through the heat until it broke in October. The city came alive again as it prepared for its second favorite holiday, Halloween, AKA warm-up for Mardi Gras. I explored the city with my roommate, but the party generally came to my door. Donatella’s irresistible personality drew in everyone, and so our apartment was a hive of varied and interesting strangers blowing through. Almost literally.

St Roch AvDonatella had sold me on the “shotgun”-style house, a floor plan that abandons hallways and fourth walls for an unbroken passage from front door to back. In my roommate’s perspective, this nurtured a free-flowing, open, and creative living environment. Fine in theory, but in practice it meant no privacy.

My room was the only route to the kitchen from Donatella’s room. I erected a partition out of thick sheets, but even with flimsy doors between our separate spaces, all barriers were essentially ornamental. Sound carried indiscriminately. With Donatella being a fully realized, independent, and carnal woman, I went to sleep many nights with headphones affixed to my ears.

Work drained my spirit and home didn’t provide the rejuvenating solitude I needed after spending the day with people. New Orleans was exhausting me, and not in the fun way.

For this reason, Ava’s daily messages and looming visit were my sole source of restoration in those early months. When she finally did arrive at the end of October, we had the kind of sublime reunion so rarely enjoyed by long-distance lovers. Seeing New Orleans – its towering churches, the Museum of Art, the street performers – with Ava’s fresh eyes made the city beautiful. There was no awkward acclimation period, no time wasted on rediscovering our groove. Laying together after reacquainting our bodies, we spoke of our love.

But she couldn’t stay. On my own again, real life nullified the highs of our romantic weekend,  each day proving anew that the Big Easy cared nothing for my worsening mental state. My daily notes to Ava grew increasingly despondent, and so, when in early November she told me she couldn’t keep the relationship going, a part of me expected it.

The Trinity (Cropped)

The Storm

I couldn’t even reel in private. Donatella walked into my “room” just as I hung up with Ava. She was kind enough to offer a comforting hug and invite me out to drown my sorrows in booze. Strangely, that night I turned down her invitation.

Depression was overwhelming my entire being. I knew it was too much to count on Ava to shoulder my burden, so while the breakup devastated me, I understood. Until, that is, the inevitable Facebook post of Ava with her new boyfriend some weeks later. Now there was an acute sense of rejection to go with my loss.

For a time, Donatella was an unbelievably gracious source of comfort. When I had to work from 9 am to 11 pm on Thanksgiving – the one holiday I celebrate – she greeted me upon my return with a bear hug and a plate of leftovers. She then escorted me out for drinks and lively karaoke performances (her, not me).

After tiring of Kajun’s Pub, she used her key to let us into the closed Allways Lounge. Under a soft, orange glow, we sat together at the empty bar’s piano, shoulder to shoulder, neither one of us knowing what we were doing, and riffed for hours. From our staccato notes emerged restorative, shattered music. I felt weightless for the first time in months.

We walked home with the rising sun, raw with emotions. That night I’d seen the darkness in Donatella that she mostly covered by emitting light like a strobe. She opened up about a history of abuse, a wound still tender, both from the pain she had endured and the guilt she felt for another victim left behind. Her heavy and intimate confession underlined a growing platonic affection between us more substantial than anything I’d had with Ava.

Naturally, it didn’t last.

The Wasteland

The Devastation

Years of itinerancy had taken their toll. I was unable to make the simplest human connections knowing that in a short time I’d be gone, a barely remembered name popping up in a newsfeed. People were temporary and I was a ghost. Ava’s disappearance had been particularly crushing; for a brief time, I’d fooled myself into believing in her permanence.

Amplifying this instability were the unending guests passing through our doors. Donatella signed us up to host  couch surfers. I’d wake up to unknown out-of-towners on the couch; sometimes they were bar patrons she’d met the night before who’d taken her up on an offer of a place to crash. If I had had a door on my room, I might have found the rotating cast of strangers vaguely endearing.

The depression would not relent. Under a confluence of factors, no one cause, my mind had become a tempest, volatile, erratic, boiling over one moment in manic rage, then leaving me hollow and weeping on my floor. I couldn’t even feel in possession of my own emotions.

It’s easier, now, to accept why Donatella lost patience, but at the time it was just one more battlefront, our once close friendship degenerated into screaming matches. It was a cruel irony that a woman who welcomed everyone and readily accepted any sexual, gender, or racial identity, found my illness so intolerable. Perhaps it just hit too close to home.

And yet, no one hates a person with depression more than the person themselves.

In December, distraught over everything – my job, my home, my broken heart, myself – I resolved to end it. Suicide had always hovered in the back of my mind, a personal nuclear option, but now, I woke up and went to sleep contemplating it. I made a plan: At month’s end, I’d throw myself off of the Crescent City Connection into the Mississippi River. The thought of sinking brought me rare moments of peace.

I suppose I gave myself a buffer, in part, because my brain goes through cycles and I knew there was a possibility I could still rise out of stark misery. Instead, each day, I felt worse. I became a practical mute at work and stayed offline, falling further into isolation. When no one seemed to notice, I took that as confirmation of my worthlessness, justification for my choice.

Marianne noticed.

On an evening in mid-December, my D.C. friend from college appeared on the caller ID. Surprised, I almost let it go to voicemail, but succumbed to curiosity.

“Hey,” she said in her hesitant, unassuming way. “Hadn’t seen you post lately, thought I’d check how things were going with you.” Without hyperbole: Marianne saved my life that night.

I didn’t admit to her what I planned to do, probably attempted to sound lighthearted and casual, but after we talked briefly, I hung up and bawled. For once, the tears brought relief. Such a simple act; Gomorrah spared for the benevolence of one friend.

Life on the Bayou

Clear Skies, Again

Life didn’t immediately improve. Climbing out of the depths is a process.

My rift with Donatella grew apace and after five months, I relocated to a new apartment in Mid-City with co-workers. The job remained a drudge, but an incredibly lucrative one. I earned more money serving the well-heeled of New Orleans than I’ve ever made at any other job. I could pay to see a show or buy a necessity without checking my bank account. I reached my savings goal so easily that I gleefully quit my job a month and a half early.

Despite my mental state, NOLA gave me extraordinary, one-of-a-kind experiences: waking up early on Fat Tuesday to drink Irish coffee in a crowd of colorful costumes on Frenchmen Street; sinking into mud while watching Fleetwood Mac at Jazz Fest; dancing upstairs at Blue Nile and being kissed by a stranger; feeling the city’s incomparable rhythms pulsing from every street corner. Hell, even the graphic gay porn playing on the TVs upstairs at Phoenix Bar was delightful in its own way.

Cracked by Mother Nature and enshrined by ineffectual governance, the city’s splintered infrastructure can’t hide that underneath it all, NOLA and her people are big-hearted and dynamic. Still, like that friend who always knows where the party’s at, sometimes you’re just not in the mood to answer her call.

Which is to say, I’d take any opportunity to visit New Orleans; I’ll just never live there again.

In the summer, New Orleans’s suffocating heat and humidity returned, but planning for Boston invigorated me. After only one more year, I would finally arrive in the Promised Land.

 

 

Keep Reading: Chapter IX – Boston

5 Songs I’m Loving Now – 02/12/14

Hurray for the Riff Raff – The Body Electric

Of all the artists I experienced during my year in New Orleans, nothing stood out to me like the band Hurray for the Riff Raff. While HFTRR is technically a band, it’s really the heart and brainchild of Alynda Lee Segarra, a Bronx-raised woman (and self-described “queer”) who led the true vagabond life before landing in NOLA and making it her home. The music she writes doesn’t sound timeless, it sounds old. And that’s why I love it. It’s not a hip re-imagining of a bygone musical era or an attempt to merge genres, it’s just straightforward country/folk. The new album, Small Town Heroes, dropped on Tuesday and it’s already on heavy rotation in my playlist (along with their previous album of originals, Look Out Mama), especially this track, a feminist reworking of classic revenge songs. I worry that if Alynda finds the success and recognition she deserves, the infamously insular Crescent City music scene might reject her as a sellout, but the fact is, the world deserves to know what New Orleans has known for years: Hurray for the Riff Raff is the real deal.

Janelle Monáe – Primetime (ft. Miguel)

R&B doesn’t get much sexier than this. Janelle Monáe has been finding fascinating new corners of this original genre for a while, but this song aims straight and true at the classic center. There are questions that swirl around Monáe’s sexual preference, which is bound to happen with someone who’s as coy as she is on the subject, but whether you’re male or female, straight or gay, or somewhere in the middle of it all, this song is pure seduction. Miguel’s guest verse amps it up, but everything comes down to Janelle, part Android, part fantasy, all woman.

Lorde – Tennis Court

This 17-year-old girl from New Zealand sold a bunch of albums, won some Grammys and earned accolades as one of 2013’s most buzzed new artists. And good for her. She’s goth, a little weird, a little different, and very young. Who knows what will come of her career? Plenty of prognosticators are already analyzing her potential career trajectory (“Will she be Avril Lavigne or Fiona Apple?”), but for this moment in time, she’s just a young woman writing incredibly infectious songs with lyrics that betray a maturity beyond her years. “Royals” was the first song that broke here in the US, and if that had been her only single, I’d probably never given her a second thought. It wasn’t until I heard “Tennis Courts” that she grabbed my attention, enough for me to purchase her album and realize that whatever happens in her future, there’s no denying, she has a wealth of talent.

Phantogram – Don’t Move

This is one of those artists whose catalog I’m largely ignorant of, but the songs of theirs that I do know (this and “When I’m Small,” in particular) suggest to me that this is the next band with which I should invest some serious time. Their sound comes across like a spiritual niece of Portishead, and while I know they’ve been around for a few years, something tells me that their real breakthrough could still be just around the corner. Or, maybe not. It’s kind of hard to tell with an artist of this ilk, which makes them all the more interesting. Whether or not I do come to embrace their whole oeuvre, this song will, at least, always be a welcome addition to my playlist.

Cyndi Lauper – Girls Just Wanna Have Fun 

I’m gonna come out of the closet on this one: I love this song. I really always have. In my mind, this song is about as good as pure pop songs get. “Girls Just Wanna Have Fun” has been recorded by plenty of artists over the years, but Lauper’s version will always be the one I love the most. That’s probably because I was born in the 80s and I have an older sister, but I really just don’t think there’s any denying that when this song comes on, you feel good. It might not be a song about the fortunate ones, but it is a song about all the girls (and women) I love.

Hurray for the Riff Raff - Small Town Heroes