My first favorite song was the background music in a furniture commercial. I would press my toddler ear against the console television to separate the jingle from the droning of the pitch man and listen like my little life depended on it. It got where my mother would automatically hush anyone in the room when the ad came on. I also loved the singing grapefruit on Sesame Street, but this song from the furniture commercial was different. It was something special. A catchy, lovely little melody, heavy on piano. It was … I don’t know. Mine.
I had a record player in my bedroom by the time I was 3. By the time I entered kindergarten, I was listening to my mother’s Janis Ian albums in my bedroom. And by first grade, I’d been handed down the old Magnavox stereo from the family room. My record collection was substantial, for a 7-year-old.
Then I set my sights on something a little more portable. Something with a tape player. So I saved up birthday money for God only knows how long and bought what we in the White Flight suburbs called a jam box. I kept my vinyl collection, but I transitioned over to tapes. I consumed music like it was life-sustaining calories. It was in the earliest years of my life that I got into the habit of spending pretty much all of my disposable income on music. Even now, every other Thursday night, when I know my paycheck is going in the bank, I start going through my iTunes wishlist.
As a young kid, it didn’t really matter so much what kind of music your friends listened to. But it’s funny how, at least for me, music kind of segregated us as we got older. So it was really difficult being in junior high during the New Kids on the Block craze and truly not giving a rat’s ass about them. I loved new wave and punk, even in elementary school. I loved metal and I loved some of the stuff I’d lifted from my parents: Santana, Janis Joplin and The Eagles. I cut my teeth on the Beatles, so when my friends at school were sleeping on New Kids on the Block bed sheets (yes, a real thing), I was exploring the John Lennon/Yoko Ono records. I loved The Clash, and Big Audio Dynamite. And like I said before, it was all I could do to keep my musical appetite satisfied.
On Sunday nights I would listen to guest DJs on KABF, the community radio station in Little Rock. The sets would go on and on, but I hated to to miss anything. Someone might play something I’d never hear otherwise. And they did! Normal people from all over town would haul in their records or CDs and play what they wanted to hear. I knew there had to be more than what Casey Kasem was shoveling down my neck every Sunday morning, and I felt I deserved to know about it. (Note: I found KABF’s Web site and was delighted to find I can listen online now. I was greeted with a little Iris DeMent, which I would have most certainly not listened to 20 years ago. But I’m a better person now.)
This week is the 20th anniversary of the release of Nirvana’s “Nevermind.” Hard to believe. I remember where I was when I first heard Nirvana. While my affection for the music has waned, the importance of it still has a place in my heart. It may mean something different to an actual music expert, but for me, well shit. “Nevermind” blew the lid off of my middle-class suburban world. It changed everything by making the thing I was searching for accessible. This was a voice for the rest of us. And in the days before Google, living in the smack-ass center of a place like Arkansas was not exactly the way to be the first one on the scene, if you know what I mean.
“Nevermind” opened a lot of doors for me musically. Yes, it was everywhere. And yes, everywhere is where I usually don’t like my music to be. But, for the first time since the furniture commercial, “Nevermind” felt like mine.
These days I lean more toward Gillian Welch, The Avett Brothers, Beth Orton, The Old 97′s. But I know how I got here.
Oh well. Whatever. Nevermind.