Circa 2006(ish?), I’d been working on a book about punk rock at my publishing gig and was chatting about it with my dad at one my semi-regular visits to see him in his nursing home.

His brain had been altered in funny ways by his strokes. The slurred speech and loss of function on one half of his body were the most obvious/typical/expected. Some people were shocked by his outbursts of anger and assumed that they too must have been a result of the strokes; I struggled to adequately convey to those people that, no, that was actually the same old Terry, his temper just exacerbated by his frustrations with his new physical limitations. His anger categorically was not a personality change stemming from brain trauma. (Though, I guess, depending on how you look at it, the loss of his ability to mask that anger probably was a side effect of his brain changes. At any rate.)

But, the one change that did seem chemical (or borderline spiritual) was that some kind of mental door had opened to his deep, personal past, and he found he could remember things that he hadn’t thought about in years. Often it was nothing profound–one afternoon he went on a jag telling a series of jokes that he’d probably learned as a five year old. But on that day, as I was talking about how interesting I was finding the New York punk history I’d been reading about in the manuscript, he casually mentioned, “oh, I always really liked and respected Tom Verlaine’s playing.”

My mind = blown.

I didn’t grow up with the rock and roll affinities that a lot of folks my age did. My dad had always been mostly a jazz guy (with some doo-wop and other 50s-era “oldies” thrown in for good measure). Sure, he introduced us to “Good Vibrations” and a few of the Beatles’ earliest singles on 45, but there was certainly no Stones, no Zep, no Floyd. He gifted my brother some Hendrix recordings when my brother started to learn to play guitar, but I don’t remember ever hearing Jimi around the house prior to that. Not that my dad outright avoided guitar–he liked shredders like Pat Metheny and Joe Satriani, but also Jose Feliciano and Christopher Parkening. He prized technique and technical wizardry, no matter the instrument, his Virgo sun basking in all that exactitude.

Oddly, this was also where I think his masculinity felt most safe asserting itself. He was SO sensitive in so many ways, but he really got off on high-testosterone demonstrations of “chops,” exclaiming over complicated time signatures and outrageously high notes and ridiculously fast fingering the way I assume other dads enthused about sports stars’ athletic prowess. So, in that sense, Tom Verlaine–a guy playing extended, complicated, thinky solos in jazz-inflected modes–wasn’t exactly anathema to my dad’s sensibility.

It was just more–when in the hell and where in the hell was my dad listening to Tom Verlaine? My dad knew Television?? This square, accordion-playing, Polish-American nerd from Indiana knew about Marquee Moon?! When had that happened and where had I been and why hadn’t I known? Why was this information suddenly coming to light now?

The great joke being, of course, that I needed to learn about Television myself before I could be impressed with my dad knowing about them. Only took me til I was about 27, so, good job me being both a dick and a snob about it.

*

Brian and I had seen Television play live once before, in the spring of 2014 at the Metro in Chicago. It was an excellent show, and I even included it in my 2014 year-end zine on my short list of favorite concerts of the year. As far as I can remember, none of the players talked to the audience that night; in fact Verlaine even seemed borderline aggrieved by being on stage in front of a crowd at all. But that in no way diminished my enjoyment of the set; in fact, it kind of instantly catapulted the band into a weird personal pantheon of artists like Dan Bejar (aka Destroyer) and Stanley Kubrick whom I love specifically because of the way deadpan presentation combines with extreme technical precision in their art to create a sort of ecstatic tension between heart and mind.

And because the show was so brainy, and their engagement with the audience so limited to the strictly musical, it was the perfect playground for me to practice my idea of psychically reading the players on stage. (You can read more about this, and see how I read drummer Billy Ficca and Verlaine himself, in my piece Musical Chakras.) The whole night was almost more like performance art or a classical concert than a typical rock show, and pretty much confirmed my idea of Television being an aggressively cerebral band.

Truth be told, I tend not to listen to their albums all that often, though Brian always knows he can make me laugh if he randomly throws that stabbing, two-note riff from “Marquee Moon” into any given song he may be playing on his own guitar. Still, I felt like I knew what to expect when we got tickets for their first set at the Old Town School of Folk Music on Friday, May 10.  Imagine my surprise, though, when I walked in, braced for a chilly though intellectually nourishing night of music to find them…loose? To find Verlaine not only talking to the crowd but telling jokes? Jokes?! 

My mind = blown.

Let’s be honest–growing older, it’s harder and harder for me to be impressed by much anymore. I remember that youthful sense of feeling like I’d just had sex on a spaceship if the energy at a concert was electric and alive and if I was in the right frame of mind to receive its blessing. I don’t go out expecting to come home feeling like that these days. A softer sense of contentment, of aesthetic satiation, though, does still arise from time to time–with young artists still figuring out the limits of their own power, yes, but even more encouragingly with old dogs who’ve resisted calcifying into audience-pleasing tricks and have instead managed to stay connected to a current of vitality and discovery. I’ve experienced that with Peter Gabriel, with Iggy Pop, with King Crimson, with Bob Dylan, and now with Television. It’s nice to be reminded that an old door doesn’t always have to open onto the past; it opens into the future sometimes too.

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