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Interviewing bassist stories

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Are you listening to this, Scott?!?
Well, he did say he had to push me to the breaking point first.

Remember that Kony 2012 filmmaker who got arrested running around naked and masturbating in public recently? His friends said he did it because was exhausted, dehydrated, and malnourished.

Scott, I'm feeling tired, thirsty, and hungry. Go turn on the TV!

Whoop-whoop!
 
Well, he did say he had to push me to the breaking point first.

Remember that Kony 2012 filmmaker who got arrested running around naked and masturbating in public recently? His friends said he did it because was exhausted, dehydrated, and malnourished.

Scott, I'm feeling tired, thirsty, and hungry. Go turn on the TV!

Whoop-whoop!

LOL i actually just went and searched youtube to see if you had uploaded anything!:rollno:
 
My Dinner With Nicholas

My pal Roy the bassist and his gorgeous wife Linda had many problems, the greatest being their refusal to communicate. Roy once invited me over for dinner on the same night Linda had made plans for them to go out with their new friend, an astonishingly handsome actor who'd once had a popular TV series. I'll call him Nicholas. My arrival touched off a violent squabble, my two friends each blaming the other for the screw-up. I offered to leave, but neither found that acceptable. The solution, they said, was for all of us to have dinner together. I agreed. Nicholas, however, unexpectedly showed up with two of his friends, a producer at a major studio and a senior editor from a famous trade magazine. They'd just attended a wake for a friend who'd dropped dead at 35 two days before, the second such tragedy they'd endured that year.

This was the cast: a raggedy, marginalized writer; an unhappy married couple trying to break into the Business; and three Players who'd already made it. The setting was a Chinese restaurant in West Hollywood. Roy and I went in my car and Nicholas drove Linda and his friends in his $100,000 BMW, which was fitted with a voice-activated, hands-off car phone, he informed me before I asked. When they walked into the restaurant, Linda was in front, rolling her eyes and mouthing silent obscenities at the other three behind her. She later told me that in the twenty-minute ride from their house, nobody said a single word.

My experience as an interviewer had honed my schmoozing skills, so I led where I could, put at ease where I could, and let myself be ignored where I could. Both the editor and the producer were conversational Black Holes; everything I said to them was sucked up and disappeared without a trace. They sat and stared at me in silence most of the time. I would’ve been happy to just sit and stare, too. We could’ve had a staring contest like back in elementary school, where the winner got to punch the loser on the arm: "You blinked!" Bam. Linda, however, needed to be distracted by constant chatter, so for her sake I kept up my monologue. Afraid I was running out of material, I asked the three Hollywooders about their dead friend.

"He was the rudest, most self-centered person I ever met, but so lovable," sighed the editor.

"He was always talking, never listening, but just the sweetest guy," recalled Nicholas.

"When his wife found him on the kitchen floor, she thought it was just one of his practical jokes," related the producer.

I could just imagine: "Look, honey, I'm dead! Ha-ha! Gotcha again! Hey, what the-- Ow! My heart! Ook! Umph! Gaaaaah..." Clunk.

"Aw, come on, sweetie. Quit fooling around. Honey? Poopykins?"

We eventually settled on the topic of films and television, which allowed everyone to babble on with relief while I took a breather. Nicholas was obviously infatuated with the lovely Linda, so much so that he lost control at one point. Somehow the two other Hollywooders got on the topic of an ancient Chinese military hero called General Tripod because of his purported three-foot Schwanz. Nicholas began whinnying and stomping his foot, screaming, "Could you imagine if he was walking down the street and saw a pretty girl?"

He leaped up in the middle of this crowded restaurant full of grim-faced, elderly Chinese, ran about fifteen feet from the table, turned around, pointed his right leg straight out in front of him at waist level, and hopped back to us on one foot, waving his arms and yelling, "Aaargh! Aaah! Eeyaa!" He sat back down, panting but completely at ease.

Without missing a beat after this appalling spectacle, the producer mentioned that Nicholas had recently made several guest appearances on a prime-time series that I loved. I asked Nicholas which character he'd played. He ignored me. I asked again, more loudly. He pulled his head down into his shoulders, readjusting his grip on his beer bottle. I tried a third time. He squinted his eyes, clamped his lips shut, and leaned forward as if into a gale-force wind. I began asking him over and over, like a parrot: "So whodja play? So whodja play? So whodja play?" He never answered my question, and I ceased to exist for everyone at the table until I stopped pestering him.

Later, I spoke with the producer about a famous writer/director, whom we both despised. I said, "He looks like a Punch puppet. He looks like a troglodyte," and the editor shocked herself by laughing. She examined me closely, trying to see my face under my beard and glasses. Nicholas interrupted from across the table, "Excuse me. The word is troglyte." He winced at me in commiseration. I didn't know what to say, so I told him I was pretty sure it was troglodyte.

"No." He shook his head. "You're talking about a cave dweller?"

I nodded.

"A spelunker?"

Oops. "Uh... maybe not," I stammered.

He scooted forward in his seat, dipping his head in gracious apology. "The word you're trying to think of is troglyte. My economics professor used it all the time."

There was a cesura, uncomfortable for all, so in desperation I said, "Actually, a Trog Light is a low-calorie Norwegian beer." Nicholas glared at me for a full three seconds, then threw back his head and went, "Ah-HAAaa. HAAaa. HAAaa," at the ceiling. Everyone else laughed, and I stole a glance at Linda, who gazed at me with a cocked eyebrow and her ferocious little kitty-cat smile. I knew she was thinking, "You're the coolest guy at this table." She may also have been comparing my tattered K-Mart velcro watchstrap to Nicholas's gold Rollie and thinking, "Too damn bad."

When it was time to leave, Nicholas smashed my hand in his weight-lifter's grip. "Hope to see you again," he lied. I (silently) thanked him for some great material. I always thought my buddies Roy and Linda were too easily star struck. Nicholas was just slumming when he accepted their invitation to dinner, and soon he'd go back to his real friends. When I'd asked him his life's ambition, he said, "I wanna f*ck Winona Ryder!" She had a great rack.

"What's a rack?" I asked, since even that late in life I’d never heard the term.

He hunched over, cupped his hands in front of his chest, and chuffed out the word, "T*ts."

To achieve his pronunciation, you have to clench your teeth, open your lips, pull the corners of your mouth down, tuck your chin into your neck, raise your eyebrows as high as you can, and say it with lots of saliva.

Then wipe your chin, something Nicholas didn't to do.
 
Another classic. The town, and people in it, will never cease to amaze.

Tom, I'm sure everyone keeping track would love to hear a little more about your own playing career. Allow us to interview you.

We've heard a bit about Japan, but what about some other thoughts/experiences from your formative years? We know Shulman and Thunes played a significant part in your development, but who else?

Also, did you ever get to play with anyone you interviewed? An impromptu jam if you will?
 
Another classic. The town, and people in it, will never cease to amaze.

Tom, I'm sure everyone keeping track would love to hear a little more about your own playing career. Allow us to interview you.

We've heard a bit about Japan, but what about some other thoughts/experiences from your formative years? We know Shulman and Thunes played a significant part in your development, but who else?

Also, did you ever get to play with anyone you interviewed? An impromptu jam if you will?
My first bass hero was John Paul Jones. The first Led Zeppelin song I heard was "Trampled Under Foot," which was playing on the headphone music track of a transatlantic flight my family took when we moved to the Netherlands in 1975. I'd never heard anything like it. I listened to it 30 times or so.

I was raised by a strict father who owned the only record player in the house and let us listen to his Mitch Miller albums, but that was all. In the Netherlands I discovered rock and was able to listen to it in the many record stores. By the time we moved to Norway Dad was spending all his time on overseas jobs (he worked for Exxon), so my four siblings and I had an orgy of record buying for the house's only player.

The advent of the Sony Walkman was a lifesaver. The Police were my next favorite band; I learned all of Sting's bass lines except for "Masoko Tanga":

THE POLICE - Masoko Tanga Great B/W shots - YouTube

Impossible.

In college I discovered Gentle Giant, the Who, and went through a years-long Yes obsession, learning every single song. Bill Laswell was another favorite. I played "Upright Man" incessantly on my upside-down home-made fretless Fender Music Master:

bill laswell - upright man 1983 - YouTube

I put away the bass in college after my punk roommate Joe transferred, and after one night when I was jamming with an impromptu band in one of the music rooms, these music majors came in and started making fun of us. The bassist pulled out a fretless and did a flawless rendition of Pastorius's "Portrait of Tracy." Kind of like a body builder making fun of a five-year-old for not being able to curl 90 pounds. I didn't play with anyone else again until I moved to Japan.

When I left Japan, that was the end of ensemble playing. My long-term girlfriend was a musician, so we played together sometimes, but when that relationship went south, I moved to L.A. and only played by myself until I had to stop.

I was scheduled to jam publicly with one very famous bassist, but he backed out. Although at the time I was very angry at him, life can complicated. I fully understand his reasoning now. Stanley Clarke invited me to jam with him; luckily there were no left-handed bases available.

My left-handedness protected me from invitations to jam. The few lefties I interviewed never made the offer.

The photographer Neil Zlozower--the Über-mensch who saved my interview book by letting me take his irreplaceable negatives to the photo lab--told me that he rarely took private photos, because he took photos all day. I discovered that writing about bassists and interviewing them--especially the brilliant ones--made it harder for me to keep playing, not only because I'd be all "bassed out" by the end of the day, but because I started feeling really mediocre, too.

It's the danger of making comparisons. You should never do it.
 
That is a truly depressing story. Only in Los Angeles...
Don't be depressed. I just looked up "Nicholas." He's doing fine! He looks better than ever. He's literally the finest actor on the planet, because if you saw all the images of him on Google, you'd never in a billion years picture him drooling the word "T*ts!" through clenched teeth.
 
Ok, you got me. Phil Keaggy is awesome but how did he inspire you as a bassist?

When you spend a day with him in his living room, playing music, you learn some stuff. Besides, he has played bass on a lot of his solo work. In my opinion, he qualifies as one of the greatest unknown bassists. He plays imaginative, interesting lines that will challenge, and open up new ways of looking at the instrument. He watched me play and made suggestions on different ways to play what I was playing. He opened up the instrument to me, in ways that are hard to describe.
 
My first bass hero was John Paul Jones. The first Led Zeppelin song I heard was "Trampled Under Foot," which was playing on the headphone music track of a transatlantic flight my family took when we moved to the Netherlands in 1975. I'd never heard anything like it. I listened to it 30 times or so.

I was raised by a strict father who owned the only record player in the house and let us listen to his Mitch Miller albums, but that was all. In the Netherlands I discovered rock and was able to listen to it in the many record stores. By the time we moved to Norway Dad was spending all his time on overseas jobs (he worked for Exxon), so my four siblings and I had an orgy of record buying for the house's only player.

The advent of the Sony Walkman was a lifesaver. The Police were my next favorite band; I learned all of Stings' bass lines except for "Masoko Tanga":

THE POLICE - Masoko Tanga Great B/W shots - YouTube

Impossible.

In college I discovered Gentle Giant, the Who, and went through a years-long Yes obsession, learning every single song. Bill Laswell was another favorite. I played "Upright Man" incessantly on my upside-down home-made fretless Fender Music Master:

bill laswell - upright man 1983 - YouTube

I put away the bass in college after my punk roommate Joe transferred, and after one night when I was jamming with an impromptu band in one of the music rooms, these music majors came in and started making fun of us. The bassist pulled out a fretless and did a flawless rendition of Pastorius's "Portrait of Tracy." Kind of like a body builder making fun of a five-year-old for not being able to curl 90 pounds. I didn't play with anyone else again until I moved to Japan.

When I left Japan, that was the end of ensemble playing. My long-term girlfriend was a musician, so we played together sometimes, but when that relationship went south, I moved to L.A. and only played by myself until I had to stop.

I was scheduled to jam publicly with one very famous bassist, but he backed out. Although at the time I was very angry at him, life can complicated. I fully understand his reasoning now. Stanley Clarke invited me to jam with him; luckily there were no left-handed bases available.

My left-handedness protected me from invitations to jam. The few lefties I interviewed never made the offer.

The photographer Neil Zlozower--the Über-mensch who saved my interview book by letting me take his irreplaceable negatives to the photo lab--told me that he rarely took private photos, because he took photos all day. I discovered that writing about bassists and interviewing them--especially the brilliant ones--made it harder for me to keep playing, not only because I'd be all "bassed out" by the end of the day, but because I started feeling really mediocre, too.

It's the danger of making comparisons. You should never do it.

Thank you for sharing Tom.
 
A Night in West Hollywood

My friends Roy the bassist and his gorgeous wife Linda invited me to a restaurant in West Hollywood, where we met a reporter from the National Enquirer and her two friends Jim and Bill, a gay couple. The reporter was waiting for her new boyfriend, Terrance, who was late.

We went into the restaurant and were seated at a big table. Everyone except for me immediately started drinking. The reporter, Julia, asked the waiters if we could hold off ordering until her boyfriend arrived. The drinking continued.

After about twenty minutes, a blond man walked in. He looked like an utter psycho. He was smiling, and his eyes were feverish. There was something smeary and deformed about his face. Seeing him gave me a jolt of fear. He marched over to our table and sat next to Julia. This was Terrance, an ex-pat Brit. He shouted, "Gimmie a f*ckin' drink, somebody!" over his shoulder at the waiters. This was a very upscale restaurant, quiet and homey.

Linda suddenly said in a loud voice to Jim and Bill, the gay couple, "I hate f*gs. You'd never know it from looking at me, but I'm really conservative."

Jim said, "I'm a Republican and I don't hate f*gs."

"Why do you hate us?" asked Bill. He was drunk and amused.

"Because you always say things to women like, 'Eeeeeew, get that stinking p*ssy away from me! How can you have one of those disgusting things?'" She put up her hands in a warding-off gesture, mincing and squirming in her chair and using a screechy falsetto.

"Is someone gonna give me a drink or what?" Terrance roared.

Our waiter came over and took Terrance's order. Everyone else asked for another round. When he got his vodka tonic, Terrance drank it all in one gulp and handed the glass back to the waiter.

"Another," he demanded. The waiter left and returned in about 10 seconds with it. His fresh drink in hand, Terrance turned to Jim and Bill. "So, you're f*gs? What, like a couple, like a man and woman?"

Bill--who was bearded and powerfully built--said, "No, honey, we're both men."

"F*ckin' sick if you ask me," Terrance said.

"That's why I didn't ask you," Bill answered.

More drinks were brought, but no menus. I started wondering if I'd died and gone to hell, where I'd have to spend eternity with drunks raving about f*gs.

Linda finally turned to Roy and snapped, "Why aren't they serving us? We've been here an hour already. If you had any b*lls you'd go tell them to serve us!"

Roy laughed into his glass and said nothing.

I got up and went to the waiters' station. This was West Hollywood, so I knew that every single man working there was gay. I found the young waiter who was serving us drinks and said, "Look, you've seen that I'm not drinking or taking part in any of the conversations, right?"

He hesitated and said, "Yeah."

"So, could you just tell me: Are you boycotting that table?"

"Absolutely."

"Okay. Thanks."

I walked out the door without saying goodnight to anybody. The next time I saw Roy and Linda, they didn't even mention it.
 
Arthritic_Tom said:
A Night in West Hollywood

My friends Roy the bassist and his gorgeous wife Linda invited me to a restaurant in West Hollywood, where we met a reporter from the National Enquirer and her two friends Jim and Bill, a gay couple. The reporter was waiting for her new boyfriend, Terrance, who was late.
...
I walked out the door without saying goodnight to anybody. The next time I saw Roy and Linda, they didn't even mention it.

You dealt with that better than I could have. That kind of small-minded bigotry makes me crazy. I have an 8-month old, and I've already said on many occasions that I don't care if she grows up dropping the *occasional* f-bomb, but if she says crap like 'that's so gay' or uses words like 'n*gger,' I'll flip all over her. I just have no threshold.
 
You dealt with that better than I could have. That kind of small-minded bigotry makes me crazy. I have an 8-month old, and I've already said on many occasions that I don't care if she grows up dropping the *occasional* f-bomb, but if she says crap like 'that's so gay' or uses words like 'n*gger,' I'll flip all over her. I just have no threshold.
The waiters were doing fine. Serve them drinks but don't even bring them a menu. Roy, Linda, & Co. stayed for almost two hours and ran up a massive booze tab but never got to eat! It was the perfect punishment. Made them look like boorish animals not worthy of attention.

Plus, I don't know if you've ever been to West Hollywood, but almost every single guy there is built like Arnold Schwarzenegger in his prime. They're pretty tough.
 
It's always nice to discover you're on exactly the same wavelength as another person. Connection is what makes life worth living. It's especially gratifying when you connect with an artist whose work you admire. You feel privileged that someone with such creativity thinks the way you do.

I went to Venice to interview a bassist who had a decent career, but always should've been much more famous. He drove us from his house to his favorite restaurant.

As we cruised along, a skateboarder came down the middle of the street, straight toward us. He had the regulation black T-shirt, baggy shorts, backwards baseball cap, and cocky 'tude, standing upright and calling attention to himself with a theatrical nonchalance, but he looked to be about 50.

Right as I marveled that a middle-aged man would dress with such a lack of dignity and spend even a second of his life on a teenager's pastime, the bassist said, "Get out of the way, old boy."

I burst into laughter and he smiled. We had a great interview.
 
A Night in West Hollywood

My friends Roy the bassist and his gorgeous wife Linda invited me to a restaurant in West Hollywood, where we met a reporter from the National Enquirer and her two friends Jim and Bill, a gay couple. The reporter was waiting for her new boyfriend, Terrance, who was late.

We went into the restaurant and were seated at big table. Everyone except for me immediately started drinking. The reporter, Julia, asked the waiters if we could hold off ordering until her boyfriend arrived. The drinking continued.

After about twenty minutes, a blond man walked in. He looked like an utter psycho. He was smiling, and his eyes were feverish. There was something smeary and deformed about his face. Seeing him gave me a jolt of fear. He marched over to our table and sat next to Julia. This was Terrance, an ex-pat Brit. He shouted, "Gimmie a f*ckin' drink, somebody!" over his shoulder at the waiters. This was a very upscale restaurant, quiet and homey.

Linda suddenly said in a loud voice to Jim and Bill, the gay couple, "I Yohate f*gs. You'd never know it from looking at me, but I'm really conservative."

Jim said, "I'm a Republican and I don't hate f*gs."

"Why do you hate us?" asked Bill. He was drunk and amused.

"Because you always say things to women like, 'Eeeeeew, get that stinking p*ssy away from me! How can you have one of those disgusting things?'" She put up her hands in a warding-off gesture, mincing and squirming in her chair and using a screechy falsetto.

"Is someone gonna give me a drink or what?" Terrance roared.

Our waiter came over and took Terrance's order. Everyone else asked for another round. When he got his vodka tonic, Terrance drank it all in one gulp and handed the glass back to the waiter.

"Another," he demanded. The waiter left and returned in about 10 seconds with it. His fresh drink in hand, Terrance turned to Jim and Bill. "So, you're f*gs? What, like a couple, like a man and woman?"

Bill--who was bearded and powerfully built--said, "No, honey, we're both men."

"F*ckin' sick if you ask me," Terrance said.

"That's why I didn't ask you," Bill answered.

More drinks were brought, but no menus. I started wondering if I'd died and gone to hell, where I'd have to spend eternity with drunks raving about f*gs.*lls you'd go tell them to serve us!"

Roy laughed into his glass and said nothing.

I got up and went to the waiters' station. This was West Hollywood, so I knew that every single man working there was gay. I found the young waiter who was serving us drinks and said, "Look, you've seen that I'm not drinking or taking part in any of the conversations, right?"

He hesitated and said, "Yeah."

"So, could you just tell me: Are you boycotting that table?"

"Absolutely."

"Okay. Thanks."

I walked out the door without saying goodnight to anybody. The next time I saw Roy and Linda, they didn't even mention it.

I've always thought that there are SO many valid, decent reasons for disliking a person; their race or sexual orientation shouldn't even merit scrutiny.

If you're nice to me, I'll be nice to you. Pretty simple.
 
From my unpublished second interview with Scott Thunes, which took place May 4, 1997.

Q: Help me out. Some people might feel almost like they're threatened by-- You said you and Georgia are a self-contained unit. Some people are threatened, almost, by self-contained units, because it seems like you don't need anybody else. You know what I mean?

A: Yup.

Q: So how do you--

A: So you mean, how do I try to interact with people, knowing that they think we're--? Wow. Well, it's difficult at times, because I want everybody to be as happy as I am. And I am-- I'm not threatened, but-- And that's not what you asked. I understood where the "threatening" is coming from. But I'm trying to access it from my own--

Q: Just keep talking.

A: Yeah. Okay. The whole idea is that whatever you're doing, whatever those people are doing who are coming into my universe and seeing how happy I am, I don't-- I must force myself to not to play it down, because it is the most important thing that's ever happened to me. It's one of the rarest things in the world that I've ever heard of, a happy marriage, let alone two people who never argue. Two people who don't have that constant, underlying tension. And if it is there, I jut say "Please show me what it is." I have absolutely no problem with finding out what's going on.

I know I'm sublimating tensions from a million years ago, and I know it reflects interestingly on our relationship in that a bunch of my subtexts are being played out every day. But if I have to talk about them, I can. I don't know exactly what all of them are, and I don't know how I'm keeping her down, or what have you. But from an external standpoint it is very difficult for me to, to make sure that I am always being exactly as happy as I am. I am consciously aware of the fact that most people don't have what we have, and I have to play to them. I know--I know--that people who come into my universe think, "They must be hiding something." So sometimes it's very difficult, because we really aren't.
 
I've always thought that there are SO many valid, decent reasons for disliking a person; their race or sexual orientation shouldn't even merit scrutiny.
To me, disliking a race or sexual orientation makes as much sense as disliking elbows or foreheads.

At the height of my career in music journalism, when I was going to parties and CD launches and clubs almost every week, I was astonished by what people said in my presence.

When Gene Simmons asked me about my background, I started to rattle it off: European, Mexican, possibly some black--

"Nobody sees that," he interrupted. "You're a white guy."

So they said things they figured couldn't possibly offend me, because I was part of the tribe. As though my skin color and sexual orientation made me one of them. Well, I never felt like more of an alien than when I was among white heterosexuals in the entertainment industry.
 
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To me, disliking a race or sexual orientation makes as much sense as disliking elbows or foreheads.

I LOL'd. Literally.

At the height of my career in music journalism, when I was going to parties and CD launches and clubs almost every week, I was astonished by what people said in my presence.

When Gene Simmons asked me about my background, I started to rattle it off: European, Mexican, possibly some black--

"Nobody sees that," he interrupted. "You're a white guy."

So they said things they figured couldn't possibly offend me, because I was part of the tribe. As though my skin color and sexual orientation made me one of them. Well, I never felt like more of an alien than when I was among white heterosexuals in the entertainment industry.

An interesting thought. The assumption that you fit into their "framework" because of your skin color and sexual orientation, the thought process that THAT is the litmus test that must be passed in order for Tom to be "one of us" (and therefore it's okay that we tell these jokes - he won't be offended or hurt), is insulting, amusing, and in a way, elevating - all at the same time.

It must be a strange feeling to experience such a disconnect with a group of people, to be amused by and repulsed by them at the same time. And uplifting to know that you'll never be like them. "Fitting in" isn't always a good thing, and I think that on some level, we all know this.

One hears the phrase, "Only in L.A." quite often. To me, this is....a rather fitting turn of phrase for this situation.

W
 
As I said before, I hadn't read my interview book since 2001. Over the past few days Ive been reading it again. This is one of my favorite parts of the Gene Simmons interview, even though he mimicked my dorky laugh. For some reason I find mimicking a person's laugh an especially cruel thing to do, probably because our laughs are involuntary, unless we retrain ourselves to go, "AHAaa. HAaa. HAaa." Making fun of a laugh is like making fun of a speech impediment, I think.

By the way, here's a secret: I have a ferocious stammer. I'm a stutterer, like Porky Pig. I overcame it through sheer willpower. Hey, what better business could a stutterer with an indestructible fear of failure go into than the interviewing business?

Guitarist Bruce Kulick joined in as we discussed the value of knowing which precise instruments were used to record songs.

The next two pages are in the next post.
 

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