More than twenty years ago my first husband died. Shortly afterword, I got a call from an acquaintance, a former member of the Seattle Lesbian & Gay Chorus. For some context, I had been a founding member of the chorus and had served on the organization side in various aspects. At the time of Ray’s death, I happened to be the Chairperson of the Artistic Direction Committee. This former member supposedly was calling to offer condolences. However, scarcely seconds after the words “Sorry for your loss” left his lips—while I was still replying with some comment about his thoughtfulness—before he launched into a complaint about an incident that had happened two years previously in the chorus, specifically in the Artistic Direction Committee.
He had submitted a set of lyrics to the committee for a song that he hoped the chorus might sing in an upcoming Pride concert. In order for us to have performed the song, the chorus would have had to hire a composer to come up with music to accompany the lyrics, and an arranger to convert that melody into four-part harmony and some sort of accompaniment. As it happened, two years previously when those lyrics had been submitted, I had also been on the committee, serving as the secretary of the committee, and I remembered the meeting where we had evaluated music suggestions that had been submitted for consideration. And I remember reading the lyrics and being underwhelmed—it wasn’t just that it was rather trite poetry of the kind you might expect someone’s grandparent to stick up on the wall somewhere, but it had ended on a defeatist note about staying in the closet rather than being out.
So it had been one of the pieces eliminated early by the committee. We had a very limited budget to hire composers/arrangers, and we all agreed this thing wasn’t worth it.
I was a bit stunned to be sitting there, listening to this guy who had decided to use my recent bereavement as an excuse to bring out this ax to grind, and was trying to figure out how I could possibly respond, when he made the comment that crystalized the real problem. He said, “I don’t know if you know what it’s like when you just really, deeply, sincerely wish to have had your music published, but you never got to go to school to learn music theory or how to arrange music because your family couldn’t afford it. I don’t know if you know how much it hurts that someone who knows how to do that won’t turn the words you’ve written into a song for you.”
He didn’t say that he sincerely wished to make music. No, what he said was that he sincerely wished to have music that someone else made but that he could take credit for produced.
I understand the frustration of not being able to do the whole package. I’m not very good at the art side of things, so if I go the indy publishing route, I’m going to have a difficult (and expensive) time getting good cover art for my books. While arranging is a different skill set than writing music or creating lyrics, it’s something you can learn without having majored in music in university. And particularly when one is in their fifties (as this guy was) and had supposedly been trying to become a songwriter for decades, how can he think it’s okay not to have ever even learned how to read music (yes, he was the kind of chorus member who could only learn the part if someone who could read music sang the melody in his ear).
Some would say I don’t have proper sympathy because I took band and orchestra and various vocal classes in high school, and for one year my major in college was music education (I changed majors a lot: math ed, music ed, communications, journalism, then back to math without the ed part…). But the reason I was in so many different musical groups playing so many different instruments back in the day wasn’t because my family paid for lessons for each of those instruments. Public school teachers taught me to read music and how to almost play the viola and later to play the trumpet. But I taught myself how to play bassoon, ephonium, trombone, french horn, flute, bass clarinet and a bunch of others. And while I’ve only finished full arrangements of a few songs over the years, no one taught me arranging, I taught myself.
I’m not saying that finding teachers isn’t worth it, but I am saying that if you want to be good at something, you have to be willing to work for it. Yes, it is harder for those of us who come from working class families. There are many social, financial, and other systemic barriers to many opportunities in this world.
But there is a point where you need to realize that before you can be a star, you have to learn how to make music (or how to write a story, or how to draw a picture…).
Some people never get that.
And some of them are people who seem to have successful careers in the arena which they aren’t really very good at. These folks have enough privilege to fail their way into middling success. Because of connections and so forth, these guys (it is most often a white guy from an upper middle-class or better background) get jobs where they have some responsibility to create (or direct the creation of) something, and they screw up in various ways, they make promises they can’t keep, but they have an assistant (almost always a woman) who cleans up for them. Anyone who has worked in a large office knows this woman: she may have a title like Executive Assistant or even rarely Office Manager, but the upper management people she reports to clearly think of her as a secretary; but she’s the one that actually makes everything happen. She knows how to work projects through finance. She “cleans up” the boss’s presentations. She smooths things over when morale is down or people are angered by things the boss said or did. She finds solutions to the contradictory instructions.
It doesn’t just happen in boring corporate locations. Lots of people in creative positions are just like those bosses. They make decisions that contradict other things they’ve said. They order people to do things that won’t actually work. They write scripts full of clunky dialog, if that’s part of their project. And other people “clean things up.”
That’s how you get someone who can’t direct an interesting movie to save his life being paid to make one loser after another. It’s how you get best-selling authors who throw temper tantrums when someone writes a critique of their work who are flabbergasted when someone holds the page in front of them and shows them that yes, that passage did come out of their work. That’s how you get senior partners at law firms who had an extensive and impressive record as a prosecutor, when deprived of their phalanx of assistants making blatantly incorrect declarations of the law and actually further incriminating their client in television interviews.
And sometimes, apparently, it’s how you get someone clueless enough to use a supposed condolence call to whine about why other people won’t compose and arrange music to accompany their mediocre poetry.
If you really want to be a rock star, you have to learn to rock and roll. Otherwise, you’re no different than a lip-synching puppet.
1 thought on “Wants to be rockstar, doesn’t want to make music, or How did he even get that gig?”