I received a phone call this past weekend. I was at home working on a power point presentation for my class on Tuesday, earphones on as usual, listening to iTunes. A male voice said rather hesitantly "Hello? Uh....I'm....trying to reach ......Glenda Co...co...senza?" When I heard the man struggle with pronouncing my name, I was certain it was a telemarketing call or the Democratic Party calling me to ask for another contribution. So my voice had more than a touch of irritation in it as I said "This is she; who's calling?" There was a split second of silence and the voice said "Uh...this is Slash Hudson." I immediately thought of my friend Mark who loves to tease me about my obsession with rock music and rock musicians. "Mark! Is this you?" I asked laughingly. "No" said the voice. "This is not Mark. This is Slash Hudson." Total silence for several seconds as I absorbed the possibility that this was real. "Hello?" the voice asked. "Are you there?" "Slash!" I exclaimed. Excitement crept into my voice and I could feel my face stretching into a wide grin, a flush beginning to redden my neck and face. "How the HELL did you know my phone number....?" I spluttered. He laughed a little and said he had looked me up on the Northern Illinois University School of Music website. He'd apparently called them on Friday afternoon and told them he was a rock musician trying to get in touch with me about my research so they gave out my home phone. Everyone knows about my research. I talk about it wherever and whenever.
Slash told me he'd been referred to my blogs by a rock musician friend. He was curious about some of the things I'd said in the blogs and felt talking in person would be better than trying to communicate by e-mail. He was flying to Chicago on a Sunday afternoon, spending the next day meeting with various people and hearing a couple of musicians that were possibly going to be performing with him on his tour, and would fly back to LA Monday night. I excitedly agreed to meet wherever, whenever. I'd stand around on the tarmac at O'Hare if he wanted that.
We agreed to meet at Ruth's Chris Steak House at 6 p.m. I knew him immediately although he wasn't of course "in costume" -- he was wearing a heavy sheepskin coat and hat, jeans, boots. Hair tied back. Sunglasses. We shook hands warmly. I was shaking with nervous excitement but he quickly put me at ease with a casual, friendly, and even slightly diffident or shy manner. The hostess seated us in a booth at the rear of the second floor dining room where it was fairly quiet. I had obtained permission from Slash to record his answers to my questions so I set my BlackBerry out on the table between us and we began to talk.
I won't bother with the details of the small talk we started out with. He asked me about my life as a university professor of music education; I asked him about the new album and plans for the tour and about his family. The waitress took orders. Slash and I discussed our experiences with Facebook, MySpace and Twitter. We segued into the topic of my research since my main reason for getting started at all in social networking was to help with my research. I began to record our conversation.
S: So, what is this book you're writing?
G: We want music teachers to use rock and rap music in their teaching. To use the music that their students love in order to teach them about musical concepts. Familiar to unfamiliar. Right?
But we don't train music teachers in the music of rock or rap. History or guitar or technology or drum set. Most of the students come in knowing rock music by certain bands or groups but they don't have a concept of the broadness, the variety of the music nor do they necessarily understand how to connect rock music and what is there in the music to other musical genres like jazz and classical and world music. So this is going to be the first textbook in music teacher education that will try to fill that need.
S: Cool!
G: I've had to learn about rock and rap from the ground up, you know? I'm a former opera singer and a pianist. a choral conductor. I have not listened to rock and heaven knows, I had not listened to rap at all. I've been listening every day for 9 to 10 hours a day, trying to catch up with 40 years of ignoring all this music. This WONDERFUL music.
S: (his face slowly breaks out in a wide smile) And....you LIKE it!!!
G: Yes....No. Like is too mild a word. I LOVE it. I feel DEPRIVED that I've only discovered it all now.
S: Better late than never they say.
G: Well yes. But I could have been enjoying it all these years and I'd feel much more competent writing this text. Through Twitter and MySpace, I've met rock musicians whom I've asked to contribute their thoughts and ideas and knowledge because THEY are the experts. There are four bands who have offered to write original rock pieces for the text, representing classic blues-based rock, alternative rock, rock fusion with hip hop, and heavy metal. I'm SO excited about meeting these guys! All talented and EXCITED to be sharing their knowledge and experience for this text.
S: (smiling broadly and then chuckling) I like your attitude! I had a good theory teacher when I was in high school. Don't have much formal music training beyond that.
[We talk here about his autobiography and the profound effect reading the book has had on me, personally]
S: What would you want me to write about?
G: Wow! Where to start? I guess.....can I tell you WHY you are perhaps my favorite lead guitar player -- not that I've heard them all, you realize? That might give you an idea of what to say.
S: Of course. Say on! Always glad to hear nice things about my music.
G: OK here goes.
You'll agree with me I'm sure that there are thousands of guitar players who play technically well--even brilliantly. There are guitar VIRTUOSOS on every continent by now, I imagine. (Slash was nodding at this).
But I've learned that to play rock guitar requires a far more complex set of skills and talents than I would EVER have thought before I began this research. There is, for one thing, the question of amps. Until I read your book, I had NO idea that the amp you use had any bearing on the sound result whatsoever. I didn't even know that strings matter that much or the guitar itself, its shape and configuration. I mean, I know those things matter with classical or acoustic guitars. Of course. But I didn't know that they are also crucial elements with electric guitars. Ignorance of course on my part. But I daresay 90% of the population are like me. Certainly I know most of my music education colleagues at other institutions do not for the most part know any of this.
By now I've listened to at least 50 rock guitarists. And while it's true I only began listening with focus and attention to rock music 6 months ago, we're talking hundreds of hours of listening over that time. AND: I've heard so MUCH music in my lifetime. I worked for Carnegie Hall Corporation in the early 80's. One of the perks of working there was that we could go -- free -- to any concerts. I saw & heard some of the best symphony orchestras in the world. Not to mention all the operas my voice teacher gave me free tickets to -- the Metropolitan Opera, front row. And I worked 3 years for Leonard Bernstein and during that time, heard TONS of great theatre, jazz, and classical music the world's great artists. I'm telling you this not because I want to brag but to assure you that my ears are well accustomed to hearing music of all sorts and by perfomers whose skills range from school kids all the way up to the world's finest. I think my opinions are valuable and valid.
S: Yeah! I'd say they are.
G: So here's what I think of YOUR guitar playing. It's technically fine. But there are undoubtedly guitarists in the world who can play technically up to your level; maybe beyond it, I don't know. But I've listened to your music a lot. And your guitar playing is different from any other that I've heard. I'm going to use a metaphor. Compare a painting by Van Gogh with a Japanese painting by a Japanese master artist. You'll see that Van Gogh's artwork is dramatic, forceful. Vivid colors; swirling patterns; brushstrokes so broad they are almost crude. Van Gogh's paintings make you want to look at them and you feel the excitement the turmoil of the artist and of his worldview. Van Gogh's paintings are centered on the artist. On Van Gogh himself.
The Japanese paintings on the other hand are painted with brushstrokes so fine and delicate yet so strong and confident that you are drawn INTO the painting. Into the scene there. You long to be in that place. You lose yourself in a Japanese painting because the delicate power of the images and brushstrokes inspire, excite, stimulate but also whisper "come in; I won't hurt you; you will find joy and peace and inner strength here". And the Japanese painting does not focus on the artist; rather the artist has served the beauty and power of the image created.
Slash, your music is like that Japanese painting. There is a fine-ness about your playing. You have a touch that is truly remarkable. It can be so sweet and expressive yet never weak or passive. Your music invites us, the listeners, caresses our ears and embraces, cradles our hearts. Your performance does not draw attention to YOU the player. Rather, you invite us into a beautiful little world you create with your music. Always, I feel that you serve the music, the musical texture, the music-making of your bandmates. You serve but you lead. I think your music-making reflects a deep sense of compassion and tenderness in your soul, your innermost being.
I wonder if it's hard for you at times because I'm sure other musicians, lacking your sensitivity and finesse, can easily trample on your finer instincts and perhaps even try to bring them down.
[There is a moment of silence. Slash is staring at me, we've both stopped eating and drinking during this last monologue of mine.]
S: You are making these judgments from LISTENING? You've not seen or heard me perform live even?
G: Yes. Well, you know, I've adjudicated many choral groups by listening to them on tape. You start to perceive a kind of "sub-text" if you will. You start to understand a musical performance's 'affect' or aesthetic merely from the aural image -- from listening only.
S: Hmm, yeah. (he is looking bewildered)
[more silence]
G; Well, so, having heard all that. Would you write about playing music, playing guitar to provide some insight into what goes through your mind when you are creating music or performing it?
S: (thinking, silent) Hmm....uh.....yeah....but.....can I think about this? Umm...I can send you something in writing. Maybe by e-mail. Give me your private e-mail address and I promise I'll send something. [I write it down on one of my business cards]
G: I could say more about your performances but I know I talk too much!
S: No, no. Not at ALL, Glenda. Really. I'm fascinated. Flattered too. But I'm not good at quick thinking about anything as important as this.
G: I'm glad you are on Twitter. Messages about your every day life. It gives a nice idea of what the life of a famous rock star is like, behind the scenes. I enjoy reading them.
S: Maybe I'll start following you and we can stay in touch that way. [looking at his watch] Meanwhile: I'm meeting an old friend of mine at 8:30 so I have to get going.
G: Thank you, Slash! You'll never know how appreciative I am of you contacting me and for the lovely dinner.
S: Even though you're not a red meat person, eh?
I drove home in a fog of delight, remembering every word. My 15 minutes (or actually 2 hours) of ....well not fame ... but close. I'm waiting excitedly for his essay. He's sent me an e-mail telling me he'll be sending it soon. He's very busy getting ready for the tour. Making arrangements. They are coming to Chicago! I can't wait.
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