Sunday, March 27, 2011

#16: The Last Boy: Mickey Mantle and the End of America's Childhood by Jane Leavy

I tend to shy away from anything with "end of America" in the title, as usually the text turns into an overblown piece of sentimental foolishness. Not so this book; most of that is due to the subject, but no small part is due to the organizational scheme of the author. In all, this is a highly recommendable book.

Leavy organizes the text around 20 days in the life of Mantle, with a single day in 1983 in Atlantic City as interludes between sections. We see Mantle in various stages:
A. The "Commerce Comet", a whole ballplayer who could run and hit with power who is in the majors by age 19.
B. The "Whiskey Slick" with Whitey Ford and Billy Martin
C. The "Hero" who plays hard at all times
D. The broken down drunk, reduced to glad-handing rich assholes in Atlantic City.
E. A man with only a name to give

I knew most of the stories of debauchery; the impact on Mantle's marriage and friendships is palpable. What kind of father was he? One of his sons said "absentee"; later they were reduced to drinking buddies. I can relate to that, as at the end of my father's life, it was a shocking realization that the best times I spent with my dad involved swilling beer in a shitty bar.

The life Mantle led after baseball was truly sad. A seemingly endless round of drinks and golf with autograph sessions thrown in; he did not lose his sense of humor, however. Mantle sent Barry Halper, "legendary" collector of memorabilia (shady character) who made millions off of old ballplayers like Mantle, Musial and Mays, a bag of shit from his deathbed. Following his liver transplant, he asked Halper "Hey Barry, did you get my other liver?" Mickey Mantle from 1972-1990 was beset by parasites, hangers on and cursed with his own weaknesses. I got the feeling that he never got used to being "Mickey Mantle" and wanted to be "Mick" but never knew how.

Leavy does not neglect mantle as a ballplayer, and this is where the book turns from great to excellent. The discussion of injuries and the physics of Mantle's swing are first rate. Playing hurt is one thing; playing the better part of a season and a half with a torn ACL is something completely different. Playing in the world series with a hole the size of at least a golf ball in your hip following an abscess removal borders on superhuman. One of his teammates said "He did most of this to himself, but he still played." Right on. Mantle comes across as an honest, genuine, hard working and hard drinking player, fully aware of how he may be screwing up the lives of his family and his own. This doesn't make him a tragic figure, and Leavy leaves that romanticism for other writers. It simply makes him human. That's a trite and common thing to say, but not many humans could have kept up with Mantle in is prime on or off a ballfield.

Wednesday, March 16, 2011

#15 The Night Beat: A Shadow History of Rock and Roll by Mikal Gilmore

The Barenaked Ladies did a song in the 1990s called "Box Set". In it is buried this tight lyric:

All the people want is what I used to be
When I try to play something new, all they want is 1973.

Imagine my complete surprise when no less a Rock Legend (capitalized) than Mick Jagger throws out this statement during an interview with the author: "Well, the fans want to hear what we were. I mean, if they admit that we have gotten old, they have lost their youth." Gilmore goes on to argue that the Stones reached their apex in the early 1970s (ending with Exile on Main Street) and I could not agree more. But the larger question remains, so what if the Stones have not released a Stones-like album in close to 40 years? Yes, yes, "Mixed Emotions" is not "Start Me Up" which would have been an outtake on Let it Bleed. So what?

Gilmore has been a feisty rock critic for many years, and the book is a collection of observations, opinion pieces and general thoughts. The objects are quite varied, and I will follow his example in this review. In general, the pieces on the Allman Brothers, The Clash and Van Halen are worth the price of the book.

Bob Dylan
Even in his 60s, the second time Gilmore interviewed him, he seems like a regular guy doing irregular things. My favorite Dylan quote is "I didn't write all those songs, I just wrote them down." He sounds like there is something moving through him; perhaps this is the conversion to Christianity, I don't know. Dylan is not the inveterate dick that he was in the biopic with Blanchette and Ledger; in this text he is in full bloom as an artist talking about his craft.

Lou Reed
In discussing a solo album of his, Gilmore quotes Reed as yelling at the audience "So? What is wrong with tasteless jokes? Fuck you!" In counterpoint to Dylan as "regular guy" artist, Reed sounds like a superdouche. Yes, yes, you wrote "Perfect Day" and hung out with Warhol and the rest, but you have not recorded a decent song since "Love is Chemical." Claim "artistry" and fucking with people above all else; Captain Beefheart and Frank Zappa did that also, better than you and without being assholes. Give me "Trout Mask Replica" over anything that the Underground did. That's right, I said it. Gilmore's interviews give the artists the chance to really speak; when Reed does, it sounds like that whiny jerk off in your high school who claimed he is a 'tortured genius" only to write bad poetry in community college English classes.

Sinead O'Connor
For many reasons, this was one of the best pieces in the book. I have never thought much of O'Connor's music, but I gained a real respect for her in these pages. She is not the preachy ass that I was conditioned to expect. She seems quite surprised to be famous; no less surprised than her producers.

Heavy Metal
Gilmore profiles Dave Mustaine of Megadeth, who is a 24 karat asshole. He is not, however, a sell out. This separates him from the stinky, vomitous, overindulgent mass that is Metallica. The description of fans dancing around bonfires at a concert in Texas is wonderfully written and makes you want to be there.

Van Halen
Three Words: David Lee Fucking Roth. Who else could get away in 1983 with saying "How can you say I don't like women? I LOVE women!" Then there is the groupie that, when asked of her opinion of the band says the normal boilerplate-this-band-is-awesome stuff, and then says "And every single one of these guys knows how to get DOWN!" She then proceeds to get double teamed by Diamond Dave and Alex Van Halen. At the radio station the next day, DLR bestows the "Hotel Award" on Alex, then dry humps a female fan in full view of 300 people on live radio. Such awesomeness was Diamond Dave. For those of you who cared about Van Halen after Sammy Hagar got on board, I direct you to Diver Down or Van Halen II for some real action. When Dave went solo, the soul of Van Halen went with him. The interviews and stories in Gilmore's text bring a very sordid, wish-I-looked-that-good-in-spandex chapter of Reagan's America to life.The pure, unadulterated disco ball like brilliance of Diamond Dave makes you wish he never left. Eddie's take? "Dave understands the entertainment and marketing angle."

The Clash
Joe Strummer gets special mention here; when asked about revolution and what it means, he thinks hard and says simply "it means keep going no matter what". These are words we could all agree with.