Everything Ends

They say that you can’t learn from anyone’s mistakes but your own. I disagree.

I’ve been present for the end of a lot of things. I don’t look like much, so nobody seems to care that I’m in the room when they’re talking about important shit. I was around at the end of the Ramones; the end of CBGB; the end of the music business; the ends of a dozen magazines and print media in general. I’ve watched people make mistakes that impacted countless lives in fundamental ways, including mine, while there was nothing I could do. It’s hard not to learn something from that.

An obvious lesson to take is that everything ends. I once did a design-related interview with a magazine called FPO. At the close of our conversation, the reporter asked me for a quick rundown of publications I’d worked for, so I rattled off a list. More than half of the titles were defunct. Some had gone down in spectacular, even legendary ways, and the reporter said: “That’s like a who’s who of magazine disasters over the past 15 years! I can’t believe one person worked at all of those!”

Well… it’s not like there was anything particularly mystical happening here. If any one of those publications had not failed, I’d still have been working there and would never have moved on to the others. But that’s not how it goes. Everything ends.

One thing I’ve never had much of is ambition. That may not ring true to those of you who’ve been with me since the ’90s, but think about some of the folks I ran with, and my relationship to them, and try to appreciate how I may have reflected certain things about them – like the moon reflecting sunlight. All I’ve ever wanted to do was make my stuff. I don’t really care about anything else. Having a goal, or a passion, is not the same as having ambition.

Goal: I want to make a good record. Ambition: I want to make a million-selling record.

I think a goal is something you can realistically accomplish with your own resources and work, while ambition makes success contingent upon the action of others… the need for them to buy something, or love something, or give us something. We have very little control over that. So little that it isn’t really worth a bother. I can make what I consider a good album by writing songs that have meaning to me, taking the time to craft them into something I’d want to hear, and working for the resources to realize them in the form of a recorded object. What happens with that record once it’s available to other people is, for better or worse, out of my hands.

The lesson I’ve learned working with ambitious people is: don’t get too involved with ambitious people. Just do your thing. The wages of ambition are disappointment and agita for all involved.

I’ve liked the expression “failing upwards” since I first heard it back in 2000, when it was used to describe a shitty coworker who had inexplicably gotten bumped up to middle management. But there’s more to it than the negative. After all these years of watching great endeavors end and fade away, it’s hard not to think of success and failure as arbitrary. We fail upwards, we succeed downwards. The work continues. My wish for all of us in 2012: let’s do our best work.

 

Metroland’s Loose Camera

Last night I watched a Saturday Night Live broadcast for the first time in a while – I usually just cherry-pick on Hulu after the fact. Jimmy Fallon was the host, which is weird because I remember that in one of the dude’s very first appearances on the show, like late ’90s, there was a Christmas Carol sketch with a glimpse of a future in which he hosted the 2011 SNL Christmas episode. Whoa!

Though I haven’t seen much of his Late Night, I do think Jimmy Fallon is pretty funny. I watched him open for Tenacious D at the Town Hall ten years ago with a bit of musical standup that was fuckin awesome. But every time I see Jimmy Fallon on a stage or a screen, I am reminded of this thing that happened back in 1993 or ’94, while I was a student at UAlbany:

I got a call from a friend of mine named Jenn Donovan. Jenn needed a lift to an audition for Metroland’s Loose Camera, a locally-produced sketch comedy pilot that was to air on the Albany FOX affiliate. I was promised dinner if she got the part, so I said of course I’ll drive.

We arrived at some officey-looking building. I don’t remember details; I was a college student so every building that was not a restaurant, bar or mall looked like an office to me. There was a waiting room with two guys sitting in it… one of them was Jimmy Fallon.

A few minutes passed and no one else came in. It began to dawn on me that Jenn and these two dudes might represent the entire pool of potential Loose Camera cast members. Now, I’d been a fan of sketch comedy, particularly SNL, since I was a little kid. And I thought: This turnout is so weak, these TV folks might get desperate enough to hire anyone who can move around and say words… and those are definitely things I can do. With odds this good, maybe I should audition?

Jenn had been given a script to read; I asked her if I could look it over. I’m a little hazy on it now, but I think the sketch was about two mechanics who were either in gay denial or obsessed with masturbating. Either way, the piece struck me as ignorant, cliché and unfunny. I decided there was no way I was saying that shit out loud in front of strangers. I handed the script back to Jenn and hung out in the waiting room until it was time to go.

Anyway, Jenn got the part; so did Jimmy Fallon and, I guess, anybody else who bothered to show up and read. She never bought me dinner, though. I didn’t watch Metroland’s Loose Camera when it aired – I was too pissed off about the dinner.

A year or two later, I was living at 1011 Madison (since razed by Saint Rose), one floor below a fellow named S. Dion Flynn. All I knew about my upstairs neighbor was that girls never stopped coming to his apartment, and he played “Blackbird” on an acoustic guitar every night at 8 right above my living room. Maybe whichever girl came by at 8 really liked that song, I dunno.

I wasn’t aware of this at the time, but Dion had once been the singer for a band called Empire, which included John Delehanty on guitar and Sirsy’s Rich Libutti on bass. He’d also been a cast member on Loose Camera.

One day Dion mentioned to my roommate Mechno that a new sketch comedy show he appeared in would be airing on public access. I don’t remember the name of the show. Wait, yes I do – 40 Whacks! So Mike Keaney whipped us up a big batch of his signature dish, plain spaghetti with some bread crumbs in it, and we all gathered round the TV.

Sure enough, there was Dion – opposite Jimmy Fallon in that mechanics sketch from the Loose Camera audition, repurposed… nay, regifted for us by the masterminds behind, apparently, both shows. It still wasn’t funny, but I guess Dion and Jimmy were good in it!

So there you have it: another chapter from my never-to-be-published autobiography Shit That Would Turn You White. Merry Christmas!

 

Next Year

Sevendys’ “Duck And Cover” was my final release of 2011. I’m happy to see this year go, to be honest. Yeah, it was a great year for me musically – I was able to implement the Single of the Month program; revisit old four-track jams as Green Plaid Recordings; release a studio album (on 8-track tape!), a massive live album, and some of the best and most fun-to-make music of my life with Sevendys. But on a personal level, 2011 really blew. I plan to use the arbitrary changing of numbers on a calendar as a metaphor for ALL kinds of shit… bring on the new year.

2012 happens to be the 20th anniversary of Skyscape’s formation. It’s probably safe to say you can expect some brand new Skyscape material next year… at least a couple of singles. And we’re having a birthday party for the band in Albany on Saturday, February 4 – right around the date we began rehearsals for our first gig back in 1992. Dom and I are set to perform an acoustic set at Hudson River Coffee House, my new favorite haunt and a great place to see a show. Several former and current Skyscapers will be in attendance, and in fact it seems like the gig could turn into a full-on electric set with rotating band members. I’m pretty psyched to see everybody, regardless of whether they pick up an instrument!

On March 3, the Hanslick Rebellion will play our first show since 2008. That’s also in Albany, at Valentine’s. The circumstances must remain a secret for now. We’ll be working on new recordings throughout the year, as well… you may see a single before too long.

And sometime next year, you will get another new full-length solo album from me. This one’s called Failing Upwards and it fulfills the promise I made back in 2009, when I released the sampler CD I AM JED DAVIS!

I AM… was put together so I’d have something to bring out on tour with me; it featured a couple tracks from each of my next three planned studio albums. Of those, The Cutting Room Floor came out in 2010, and Shoot The Piano Player this year. Failing Upwards (represented on I AM… by “Invisible Girl”, “The Bowery Electric” and “Run Don’t Walk”) completes the trinity. It’s by far the record of which I’m proudest, and I can’t wait to get it into your hands. You’ll see that later in the year.

Oh yeah… more Sevendys in 2012, too! We’ve still got a handful of tracks to wrap from our 2011 sessions, and we’re hoping to record more as soon as schedules permit.

ONE MORE THING
I’m playing a solo set at Valentine’s on New Year’s Eve, as part of the B3nson/Swordpaw “Last NYE” event. Joining me for this auspicious occasion: David Schulman (Plastic Party) on guitar, Dan Maddalone (Barons in the Attic) on bass, and Ryan Stewart (Sgt. Dunbar and the Hobo Banned) on drums. I am very excited to play with these guys, though I’m a little concerned that we may ROCK SO FUCKIN HARD that the apocalypse descends early, thereby preventing me from bringing you all of the awesome music mentioned above. We’ll be careful.