homeaboutarchivescommentscontacteverything

What's Love Got to Do with It

From Pathetic Life #1
Sunday, June 19, 1994

Margaret has been hitting me since she came to San Francisco, but it seemed like playful fun. A slug on my shoulder here, a punch on my back later on.

Today she was hitting me harder, and it became genuinely painful. She must have slapped and slugged me sixty times, from Chinatown to the Marina and back again, between kisses and ordinary conversations. The inevitable explosions of temper have always been part of her, but her pounding on me is something new. I have no interest in either hitting back or becoming a battered man.

When I asked her not to hit me, she stopped for a while, but only for a while. When I asked if I'd said or done something since she'd been here, something to deserve her flurries of rage, she mentioned The Fart, and told me again that I know exactly what I'm saying that sets her off. Again I told her that I don't, and again I'm not sure that she even heard me.

The day was frustrating, enough to make me second-guess the whole idea of Maggie and me.

Back at the apartment in the early afternoon, she said she was bored, so I suggested a double feature at the Strand, Point Break and What's Love Got to Do with It.

Yeah, I knew she'd find the Strand disgusting. It is disgusting — it's a run-down movie palace that shows old movies at a cheap price, and caters to a skid row clientele. Many of the customers appear to be homeless, paying the discount admission not so much to watch the movies as to sleep in the seats. Can't blame 'em — it's more comfortable than a park bench, and it's legal, so a cop isn't likely to bust their heads.

I go to the Strand a lot, and at least part of the point of Maggie's visit is to show her how I live, right? That was my thinking, anyway.

And also, in my defense, having Maggie with me in San Francisco has been more expensive than I'd anticipated. The Strand is easy on the budget and really all I could afford. It's $1 for a double feature, so $2 for both of us. Another dollar for four Tootsie Pops and we were set for the evening.

Except it turns out the price goes up after 4:00 in the afternoon, so it was $2 apiece. I always go early, when it's cheaper, so that blindsided me. I'm a gentleman and a big spender, so I didn't complain, didn't ask Margaret to chip in, and still bought us Tootsie Pops. Am I a great guy, or what?

Well, maybe I'm not a great guy. I should've remembered what the Strand is like, before bringing a date. It's full of sleeping and snoring drunkards, and too many talking, coughing, and spitting patrons. For me, that's part of the charm of the place, but Maggie was uncomfortable. Can't blame her for that.

And then, toward the end of What's Love Got to Do with It, as Larry Fishburne was beating the hell out of Angela Bassett, voices in the audience were cheering it on. That's a new low, even for the lowly Strand. I should've taken Margaret out of that place at that moment, but leaving hadn't occurred to me, yet.

"He's beating her up, and these people are laughing at it," Maggie said to me, and again, I should've said 'Yeah, that's disgusting — let's go'. But I didn't. I didn't say anything, and she turned to me and said, "And you're laughing right along with them."

I certainly had not been laughing, or even smiling, and after all of her insults all week, I heard this as the biggest insult imaginable. The perpetually pleasant face and mood I'd tried to maintain during her visit disappeared, instantly. "Don't be a complete asshole," I said.

Maggie was speechless for a long time, before she finally said in a very stern voice, "Don't you ever call me that again."

I was, ah, not at my best. The theater was a hellhole and I never should've brought her, and I had several opportunities to gently lead us out of there, but I didn't, so I know I wasn't blameless. But …

How many times had she called me an asshole since I picked her up at the airport, a week ago tomorrow? How many dozen other insults had she given me in that time? And for what? For hosting her, for trying my best to treat her nice? She's accusing me of sympathizing with a wife-beater, while my shoulder aches from the beatings I took from her today? It's OK for her to call me vile names over and over, but unforgivable the first and only time I've said something mean to her? I was pissed. And maybe I still am.

All these thoughts were bumping into each other in my head, while words came tumbling out of my mouth. "You've been treating me like shit all day and I don't know why," was how I began, but the rest of what I said is a blur in my memory. I do remember her response: she started to cry.

I felt awful, but let her bawl for a minute. This, I think, is why evolution makes the womenfolk tend toward tears when they're distraught; it makes the menfolk feel awful. I put my hand on her shoulder, a gentle squeeze, and futilely tried to turn our attention back to the movie, but mostly I was wondering what she'd say when she again had something to say.

The theater was dark and loud so it took a few minutes before I noticed that she was still crying. And that made me feel awful all over again, but probably not as awful as she felt. If I'd known she was still crying, jeez, I never would've let her cry that long without a few soft words from me.

It was a grand catastrophe of an evening.

I asked if she wanted to leave; she did, so we walked home, six blocks, mostly in silence. I said a sentence every block, trying to find some nice words without actually apologizing, because I didn't think I had much to apologize for. A couple of hours later, of course, I've figured out that I had plenty to apologize for.

And then, when we stepped back into the apartment, Margaret apologized. "I didn't come to California just to treat you so mean. I'm sorry, and I don't want us to fight." She said it so soft and sincerely, it was hard to remember I had even been angry. In a moment when one of us needed to be an adult, she was the adult, and I wasn't.

I apologized, too, of course, and we hugged and cuddled each other to sleep, sexlessly but sweetly.

This is an entry retyped from an on-paper zine I wrote many years ago, called Pathetic Life. The opinions stated were my opinions then, but might not be my opinions now. Also, I said and did some disgusting things, so parental guidance is advised.


← PREVIOUS          NEXT →

9 comments:

  1. Doug, I'm not a Rod Stewart fan, but this entire album is an exception. I enclose a sample song for your retrospective enjoyment.

    John

    https://www.youtube.com/watch?v=KlFPDi1B-jM

    ReplyDelete
  2. Really? Not a Rod Stewart fan? Sometimes he gets silly and no, I don't think he's sexy, but I'm a fan.

    That song is a favorite, too. Margaret is one of the few people in Pathetic Life who didn't get her name changed for publication, so she really is/was Maggie. The song is largely Rod-specific, but a few of the lines really resonate with me, post-Maggie...

    All you did was wreck my bed
    And in the morning kick me in the head
    Oh Maggie, I couldn't have tried anymore

    ReplyDelete
  3. It's really easy to get confused about how pop/rock music has changed over time if we think in terms of songs instead of albums, that is in terms of 45 RPM records instead of 33 1/3 RPM records and compact discs. Everything changed in a fairly short period of time when (primarily teenagers, about 60% girls) buying 45 RPM singles turned into slightly older young people (middle to late teens, slightly more boys than girls) buying 33 1/3 RPM albums.

    This revolution in the way music was produced, packaged, and consumed happened very quickly: the most turbulent time was between late 1965 and early 1967 (with outliers here and there). Until then, albums were considered by labels, producers, artists and music fans to consist of one or two hits and a number of "filler" songs. That all changed in this timeframe: The Beatles recorded and published Rubber Soul, Revolver, and Sgt. Pepper, The Beach Boys recorded and published Pet Sounds, the album-like single Good Vibrations, and almost managed to record SMiLE, Bob Dylan recorded and published Bringing It All Back Home, Highway 61 Revisited, and Blonde on Blonde, The Doors recorded and soon published The Doors, and The Moody Blues recorded most of Days of Future Past in this timeframe and published it soon after. Singles no longer mattered except for 13-year-old girls who became the primary buyers of individual songs. The action was in the deep cuts. I noted five groups that led the revolution from singles to albums: soon there were dozens, then hundreds of groups and individuals who were producing fully realized albums and still a few "singers" like Pat Boone who aimed their music marketing at premenstrual girls.

    This event is called the album revolution, and it lasted until CDs, and then streaming enabled practically unlimited packaging. Music produced in this era needs to be analyzed and understood with reference to the album on which the music appears.

    The music of Rod Stewart's that I enjoy is on the album "Every Picture Tells a Story". From the song "Every Picture Tells a Story" to Stewart's rendition of the Tim Hardin classic "Reason to Believe", this is Stewart at his best.

    A look at the individuals and bands recording during this period will confirm this analysis of popular music history.

    John

    ReplyDelete
    Replies
    1. Interesting. I always learn something when you write about music.

      Never got past hearing most albums as 'hit' and 'filler', but even my ear noticed a few albums that challenged that — Pink Floyd's Dark Side of the Moon and The Wall, mostly, along with those you mention.

      As you know, I'm musically and otherwise unwashed. Raised on Top 40 stations, I think of bands as makers of songs, but almost never as makers of albums.

      Don't give up on me, baby...

      Delete
  4. There are other kinds of albums that have periodically remained popular throughout the rock era. One of these is the tribute album. I think my favorite tribute album is a compilation of Fats Domino songs published in 2007. The proceeds from this album were used to get Fats relocated after he lost everything in Hurricane Katrina in 2005. The idea for the album came from the unearthing of a cover of Fats' "Ain't That a Shame" recorded by John Lennon in 1975. The rest of the songs were recorded in 2007 by (to name a few) Paul McCartney, Tom Petty & the Heartbreakers, BB King, Elton John, Buddy Guy, Dr. John, Bonnie Raitt, Robbie Robertson, Robert Plant, Randy Newman, and Willie Nelson. The list is at least twice this long. The album served the dual purpose of setting Fats up to continue his retirement in comfort, and to remind everybody that Fats had been writing, producing, and singing rock and roll since 1950. Fats was a modest and rather shy writer and performer and McCartney and the rest of the performers thought a curtain call was in order for a man who had contributed so much to music in the second half of the 20th century.

    You will not find any filler on this album.

    John

    ReplyDelete
    Replies
    1. Bunch of songs all by Fats, eh. Sounds like a pleasant musical interlude. Man, that's a long album — hour and a half. Right now I'm watching a movie, but when it's finished I'll give it a listen. Heck, the movie sucks, maybe it'll be before it finishes.

      And I love Dr John. He was usually in the right place, but it must've been the wrong time.

      Delete
    2. I most definitely enjoyed listening to the Fats covers. Turned it off to sleep, but turned it on again when I woke, and all of it rocked, thanks.

      Delete
    3. There are a few singers/bands/performers who seemingly can't perform a bad song, or perform a song badly. Obviously, this is very much a matter of taste, but I've never heard a Fats Domino song that I didn't enjoy. I've never heard a Louis Armstrong in any of his configurations (solo, Hot 5, Hot 7, that didn't make me want to sing along, dance along, or at least clap along. Even my favorites, Leonard Cohen, Joni Mitchell, Dr John as you point out, early Dylan, have some lousy songs that I choose not to listen to. But when Sacthmo plays and sings, or Fats plays and sings, they got me from the first bar. In my dotage I've even grown to enjoy Hello Dolly. Never thought that would happen.

      John

      I think

      Delete
    4. Never knew it until now, but I guess I'm a big Fats Domino fan. There wasn't a song on that album that I didn't like.

      I've always enjoyed Mr Armstrong singing "Hello Dolly," but never been able to make it through the movie, because the rest of it is such nothingness next to the song.

      Also, not to drop names, but Satchmo and I have a laxative in common.

      Delete

🚨🚨 If you have problems posting a comment, please click here for help. 🚨🚨