Posts Tagged ‘North Olmsted’

Basement Songs: The Who, “Baba O’Riley”

The Whomobile was a 1978 Oldsmobile Delta 88 rustbucket my dad  purchased in 1984. By the time I got around to driving it in 1985, its roof was covered with Bondo to fill the gaping wounds that allowed water to drain into the passenger seats. One spring day, during the end of my sophomore year, I asked my father if I could paint a flag on the roof of the car. The idea was a whim and I doubted he would agree. To my surprise, he asked which flag.

Visions of “Dukes of Hazzard” filled my head and I suggested the Confederate flag. He immediately said “no.” You see, he had taught in Georgia during the ’60s, and the racism he saw firsthand still left a sour taste in his mouth. That flag was an ugly reminder of the past and he wasn’t about to drive around town with it painted on his car. Thinking fast, I spat out “How about the Union Jack?” He thought a moment. “The flag of England?” I shrugged, sure. He curled his lower lip in approval and simply said, “okay.” It took me a couple of weeks to complete the paint job. It wasn’t perfect, but close enough. The Whomobile was born.

I have to give credit to my close friend, Sally, who gave the car its name. For more than a year, that rusting piece of metal on four wheels drove through town with the Union Jack and the question, “Who Are You?” painted in 12-inch letters on the trunk. My dad never complained or asked me to cover it up; I personally believe he got a kick out of being seen in it. Perhaps it made him cool. I’d like to go on to describe the many crazy adventures that took place in the Whomobile, but the truth is, there weren’t that many. Mostly, it was “the car,” a symbol of individually amongst my friends. It was a part of my image and became a symbol of who I was. And yes, I liked the thought of being perceived “cool.” Trust me, I was not. (more…)

Basement Songs: Michael Stanley Band, “Lover”

My sophomore year at Bowling Green State University, I attended a performance by an African dance troupe. I don’t recall much of that show, save for the troupe inviting the audience on stage to dance along with them during their final number. Self-conscious, I remained stuck in my seat while other free spirits joined them, undulating to the accompanying percussionists beating on the stretched skins of hand-crafted drums. To this day, a small part of me wonders what I would be like had I participated in the communal dancing. Later that night, back in my dorm room, emptiness settled in. Watching those performers connect with their heritage through an art form made me think I had no roots. I’m a white Anglo Saxon dude with German/Scottish/Irish blood in me. Though I knew that my “people” dated back to the American Revolution, I felt like a mutt with no homeland. Although I would eventually leave my room to resume a typical college existence, I couldn’t shake this feeling for years. It wouldn’t be until Julie and I dove into the madness of Los Angeles that I would come to realize that, indeed, I did have a homeland. Instead of the open plains of the African wild, my landscape was the paved, tree-lined streets of North Olmsted and the Cleveland suburbs where I grew up. And the tribal rhythms I longed to have beating inside my heart did exist. The musical foundations of my life weren’t the chants and drumming of Africans; they were the musicians and artists I heard on the radio when I was an adolescent, adopted children like Bruce Springsteen and Pat Benatar — and native sons the Michael Stanley Band.

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