From The Archives – Ry Cooder interview

July 26, 2010

Gary Steel interviews Ry Cooder around the release of Chavez Ravine, a concept album reimagining of life and music in an immigrant suburb of Los Angeles in the 1940s.

Witchdoctor โ€“ The albumโ€™s (Chavez Ravine) getting a good reception?

Ry Cooder โ€“ Well, the media seems to like it very much. I have no idea what people are going to think of it. Too soon to tell you know.

WD โ€“ Youโ€™d have a lot of hardcore web site action happening. Do you check out your fans through that medium?

Ry โ€“ Um, I donโ€™t even know how to do that. I suppose youโ€™re right, itโ€™s just not something Iโ€™m doing. What Iโ€™ve been doing is talking on the telephone. Thatโ€™s what they give me to do in a day and I sit and I talk. You may be right, I didnโ€™t think of that.

WD โ€“ Youโ€™re not a technological guy?

Ry โ€“ I do email, thatโ€™s the best I can do.

WD โ€“ I imagine that itโ€™s a fairly full-on engagement of press activity, without the usual videos and so forth to help promote it.

Ry โ€“ Well sure, thereโ€™s not too many tools here except me. Iโ€™m trying to think of something else I could do for it, but right now itโ€™s mostly me. Iโ€™ve been on this press-wise for about a month now, so itโ€™s a lot of work. I donโ€™t mind, itโ€™s good.

WD โ€“ It sounds like a real epic prior to that, getting the project to fruition.

Ry โ€“ Iโ€™ll just tell you that itโ€™s been a big job of work, and a mighty good thing. Now that I see it for what it is, since we didnโ€™t start out with any clear idea, I just sort of felt my way through it. But now itโ€™s done and packaged and tied together well, I can look and see that itโ€™s quite a good thing. And of course Lalo Guerrero and Tosti, the two pachuco cats, died. And it just proves once again that youโ€™d better make haste, because if you get an idea, because these people are always departing, the trainโ€™s always leaving, and now that book is closed, too.

WD โ€“ It must be incredibly emotionally resonant to be working with these people who areโ€ฆ youโ€™re there right at the end of their careers.

Ry โ€“ Itโ€™s always interesting to see old people who have been through what theyโ€™ve been through, and they bring along their secret past. And there are things that nobody has revealed. If youโ€™re attentive, and ask the right questions, and present the right thing, then you might learn something. This whole pachuco swing musical idea barely existed, and only those two guys really recorded it, and they dealt in this whole East LA hipster slang speaking thing. But so briefly, because the media was so antagonistic to the Mexicans of East LA and the pachuco culture and all these cats, and they painted such a terrible picture of these people. And now we understand why, in other words, to have wanted to portray Mexicans as bad people, theyโ€™re not good Americans, they wear funny clothes and they donโ€™t speak our languageโ€ฆ the weird police atmosphere of Los Angeles in those days. And yet, these were great musicians, and this idea that they lived in and around black neighbourhoods, and so they heard black swing music so they got on with it and did something about and made these fantastic records in those days. This was a long damn time ago in โ€™49 and โ€™50 when nothing was happening. So I just love it, and all these many years I thought the old music of Los Angeles was unique, because when the migrants came here, they came from everywhere, and the first thing they did, before they unpacked their bags it seems like, they started changing their music around. And you can see signs of this in the hillbilly music, the swing, remembering Merle Travis of course, and in the rhythm and blues and jazz. Charles Brownโ€™s a good example. All the Central Avenue stuff, something happened in LA, to streamline everything that was going on and mix it together. And every now and again something really fabulous would be spit out such as pachuco swing music, and then it would quickly die, disappear and go away. So I used to think โ€˜Damn, what can I do about that? Probably nothingโ€™. Then this idea appeared to me, letโ€™s write songs, let me approach these people with the idea in mind of creating something, not to dwell on the past but to write about it. To create something around it. And letโ€™s see if itโ€™s energizing or stimulating to anybody. Of course they liked doing it. Everybody liked doing it, and I got such an enthusiastic response from everybody that I talked to. Who never would have done this otherwise? Nobody had done it already, so it hadnโ€™t happened, even to think about.

WD โ€“ This secret history, both in terms of the music and the settlementโ€ฆ is this recorded at all?

Ry โ€“ Itโ€™s historical fact, a matter of record. But at the same time, you have to realize that in LA, history is covered over and erased every day. Itโ€™s just a physical fact of life. In other words, old neighbourhoods are routinely torn up for the purpose of freeways or shopping malls or commercialized space rather than personal space. Thatโ€™s the order of the day in Los Angeles, always has been. Because the developers and speculators run the town, they always have. It was up for grabs from the very beginning. So in a physical sense what LA once was, was a collection of strange little neighbourhood enclaves kind of strung together, ย and there was trees and forests and lakes and streams and this weird topology, and then people settled here and there, and then after the war, the trend was to pave it all over and flatten it out, so as to control it and to organise it. Organise it along the lines of commercialโ€ฆ the progress of commercialising everything, and every act and every occupation, everything you could think of. Along the lines of automobiles and freeways and shopping malls and parking lots. But this was what the future, how it was conceived of, by these developers and civic boosters. And of course where music lives and where music is made is in the atmosphere of a certain society or culture. Now we say the culture of East LA is chicano, which is not necessarily unified, but it is distinct. The music that was made by Lalo or the Arvejas or even Willie G in the โ€˜60s. This is just underneath the surface, so to speak, these people are there. Theyโ€™re certainly there, I went to see them and record with them. All you have to do is call them up. Itโ€™s kind of like this idea of โ€˜letโ€™s take another lookโ€™, never mind what you hear every day, because all you hear these days is hip-hop in cars, rap music. So like everything in LA itโ€™s been glossed over with commercial forms. The leading edges of consumerism such as hip-hop, which is what I believe it is. And so forth. But of course if you ask people of a certain age, letโ€™s sing some of the old songs, or letโ€™s make up some songs, what do you like to sing, do you remember this? You get that kind of movement with people and you get some energy going, you can then record something, something might happen. And thatโ€™s exactly what did happen, except of course it did take three and a half to four years. And it isnโ€™t right there at the end of your fingertips, you really do have to pluck it out of the air. It takes a lot of willpower, a lot of willpower to will this goddamn thing into existence. Thatโ€™s about the size of it. Thatโ€™s about what it took.

WD โ€“ Were the styles on the record really like a recreation or reimagining or something between those things, and working up a new fibre-optic cable going through it?

Ry โ€“ We invented most of this stuff, butโ€ฆ Los Chucos Suaves, thatโ€™s exactly what it sounded like in โ€™49. That tune is recreated. What that does for you is it puts you there. And you can see this is what a nightclub sounded like in East LA. On the other hand Muy Fifi is just the ideaโ€ฆ I told Joachim my son, I said I need a track that sounds like a low rider at 20 miles an hour. Your low rider is very low, you canโ€™t drive fast. You cruise when you go out at night, and you pick up your girlfriend, sheโ€™s having an argument with her mother, about whether or not she should go out with you because youโ€™re some greasy guy, and the girl says โ€˜mother Iโ€™m going anywayโ€™. Well, in a Mexican home before World War 2 that never would have happened, it was a very strict home environment. But during and after the war, these old conventions fell away, and people started doing what they wanted. So the girl goes out. But I told Joachim โ€˜get us cruising, get us grooving along, low rider music, I want to feel the car at about 20 miles an hour with the springs way downโ€™. So he went to the tape library and yanked out a bunch of stuff from Havana that we had done and re-pieced it together on Protools, and came up with the track. And that sounds to me what Iโ€™m talking about. Thatโ€™s conjecture. Another time I went to him and said โ€˜a space ship has to arrive, but I donโ€™t know what thatโ€™s supposed to sound like.โ€™ Heโ€™s very good at this because he grew up in the studio watching me score films, heโ€™s very adept. So he puts the pieces together. The space ship in the ravine, perfect. Then he went to Juliet his girlfriend and said โ€˜look here, Lalo doesnโ€™t understand about the space ship because he never saw it, so he doesnโ€™t believe itโ€™. I said โ€˜you know what I meanโ€™, and she said โ€˜sureโ€™. Sheโ€™s half Mexican. Youโ€™ve got the language, you write it. Then I took the track to Don Tosti, and said โ€˜you be the voice of the space vato and he said โ€˜I didnโ€™t get what you were talking about before, now I seeโ€™. You merely are proposing aโ€ฆ itโ€™s a world we make, a compressed imaginary world. Itโ€™s a time and a place, and the backdrop is real events and real people, but the drama and the visualization is one that we make up. And thatโ€™s what theatre is I guess, itโ€™s what music is if you look at it really. When Elvis says โ€˜donโ€™t step on my blue suede shoesโ€™ thatโ€™s sort of what youโ€™re saying. It used to interest me when I was in the 4th grade or 5th grade: what do they mean donโ€™t step on my blue suede shoes? Sounds very dangerous, sounds like some hellโ€™s about to break loose. Why would they worry about their shoes?ย  Because I wore tennis shoes I didnโ€™t see the problem. Then you come to find out that itโ€™s because these shoes are expensive, and if you step on them Iโ€™m going to kill you. And that song says it all, and thatโ€™s what I mean by drama and by theatre. Thatโ€™s the beauty of popular music at that level, that it can express conflict or all kind of things, but it does it in 3 minutes, which I think is an amazing concept. Thatโ€™s the same concept weโ€™re trying to apply to this record here.

WD โ€“ It does strike me as being quite theatrical in ways, and I couldnโ€™t help wondering if it might be adaptable to the stage.

Ry โ€“ Well, itโ€™s going to have to take a different mind to mine, Iโ€™m going to have to let some genius figure that one out, because I canโ€™t, I donโ€™t do that, I donโ€™t write plays, you know what I mean. I just play guitar and play records. I think thatโ€™s the best I can do. Weโ€™ll see though, somebody might come forward.

WD โ€“ Now the people you talked about who were dispossessed of their settlement, where did they end up being made to go?

Ry โ€“ Most of these people simply relocated, went out into the East LA zone, the barrio out there, because in those daysโ€ฆ there have always been restrictionsโ€ฆ itโ€™s a very segregated city. Sort of in an apartheid sense, and black people and Chinese and Mexicans in particular, it was never possible for them just to go anywhere and live wherever they want. And in those days where they could go is to East LA which is already crowded and was never nice. Chavez Ravine was very open, they did have a beautiful life there, it was extremely nice I think, with their farm animals and little vegetable gardens and things. So it wasnโ€™t so crowded, it wasnโ€™t noisy. They must have had a wonderful time. Once they got out to East LA they were in the big city and Iโ€™m sorry to say that they probably did not, could never have felt as at home. Iโ€™ve heard it said by people who were made to move, โ€˜we never felt the same way about where we ended upโ€™. But of course itโ€™s a story told over and over again, poor people who find themselves in the cross hairs of progress. The strange thing about it is that the United States was founded squarely on the notion that all property was sacred and protected. Just yesterday the momentous decision by the United States Supreme Court found in favour of commercial development when they said that the city may declare domain at any time for commercial development. This is the first time the court has ever articulated that idea, because the law always said private property is protected, and the popular idea that a manโ€™s home is his castle, which is a myth, itโ€™s one of these โ€˜it canโ€™t happen hereโ€™ myths. So just yesterday the Supreme Court once and for all struck down this popular notion, the founding fathers notion that your home is safe. So what weโ€™re seeing is this conservative agenda, I call it the fascist agenda now, is to in the true and deepest sense, dismantle all of the structure of American life. Thatโ€™s one man one vote, thatโ€™s been eradicated now with two Presidential elections stolen. Or, letโ€™s pick another one. My mind is getting tired, but there are several of these things. Itโ€™s not just this, and now we have this home thing. Itโ€™s incredible that these people, this tribe in Washington, sees that it is to their interests, a little secret group, to take awayโ€ฆ. Oh, habeus corpus, that is no longer enforced, the right to legal council. The Patriot Act took care of that. So all of these bill of rights constitutionโ€ฆ have always been a stumbling block, a serious impediment to the agenda of the fascists, and ever since World War 2, with the dawn of the cold war, the paranoid stateโ€ฆ now 50 years later weโ€™re really seeing this, and theyโ€™re doing it. It happens every day, wake up, you never know whatโ€™s next, itโ€™s astonishing and I just donโ€™t know whatโ€™s the matter with everybody. Unless itโ€™s that theyโ€™ve had too many cheeseburgers and they just canโ€™t think straight. Thatโ€™s what I actually think has happened. And televisionโ€ฆ TV has proposed that itโ€™s better to eat cheeseburgers than to think, or better to have Coke than to learn anything. And of course the other things the Republicans did was to destroy public education, they made sure they did that. Ben Franklin said if you donโ€™t have an educated population the constitution will topple and a despot will remainโ€ฆ he was dead right. Isnโ€™t that amazing, he saw the whole thing.

WD โ€“ In a way your interest in the scenario portrayed on the record, the more joyous side of it, is a celebration or a eulogy for what you see as a more authentic sense of community thatโ€™s being lost in American life today.

Ry โ€“ Well sure, because music is like a rain gauge. When you measure the life or the health of a community or a culture or whatever you call it, what are they doing for themselves, what kind of a statement are they making, itโ€™s very instinctive itโ€™s very basic, itโ€™s not mental at all what they play and sing about, and thatโ€™s my observation and I think itโ€™s true. So I like music that does those things, that shows what people are like and what they do. I donโ€™t like music thatโ€™s simply a reflection of, as John Lomax pointed out, cash and power. These are detrimental, these destroy music. The human being myth thinks Iโ€™m no use, Iโ€™ve gotta change, Iโ€™ll stop doing what Iโ€™m doing, and Iโ€™ll start moving towards this otherโ€ฆ itโ€™s pretty obvious in American music. The musicians on this record, we get together and we do good work, thereโ€™s some goddamn good shit on this record, itโ€™s strong, and I think it means that people are great if they get together and collectively do great things and make something happen. And itโ€™s far more than just a bunch of East LA people or some guy from Santa Monica calling them up. Thatโ€™s a process, but the result is something pretty good, pretty strong, and Iโ€™m really happy about it.

WD โ€“ As you hinted at, the music world does these days seem very black and whiteโ€ฆ not very multicultural. And I was wondering if you could remember at what point you started getting into music that was outside of those narrow confines that most Western culture places itself in. Obviously you were into blues from an early age.

Ry – When I was a little kid, the music I heard as an infant was classical music every day.ย  The guy that gave me my first guitar he also gave me Woody Guthrie records. It was coming, this thing of the poor people and the intellectuals getting together.ย  I ended up getting together with people of like minds. I donโ€™t play classical music, so I donโ€™t see those people. But when I was coming up in LA it was during this whole folk music revival, and we were also seeing the resurrection of some of these older players, white and black. And they were brought to LA and it was an unbelievable opportunity for the people to step out of the grooves of the old records and walk in front of you. And I mean people like Stanley Brothers or Sleepy John Estes or Mississippi John Hurt. Theyโ€™d perform and Iโ€™d sit ten feet away from โ€˜em. This was living proof. Then is when you learn things, because a lot of stuff is transmitted in some molecular way only by being right up against somebody. And people were always nice to me, they were very friendly, never met anyone that wasnโ€™t. Iโ€™d say โ€˜can you show me this sort of thingโ€™ and they always did. I learned an awful lot of shit in a hurry from people like that. Real simple things but important things. How to play, how to make things sound good, how to make tone.

WD โ€“ You have a tremendous reputation for being a nice guy too, soโ€ฆ

Ry โ€“ It means if youโ€™re intent upon something you can always spot someone whoโ€™s serious, because they have a feeling for the thing, so people used to play me something I could play it back at โ€˜em, I was pretty good at it. And even if later I would rethink it or redo it, I was always able to understand something on the spot and give it back, and that means you have an aptitude for it. And then they like it better and might show you some more stuff. This is how I learned music. Itโ€™s not something I learnt at school. You canโ€™t do it anymore either, you canโ€™t see these people, theyโ€™re either dead or a million miles away from you.

WD โ€“ Your experience in Cubaโ€ฆ I guess seeing Havana in its present state where itโ€™s kind of stuck in the โ€˜50s or โ€˜60sโ€ฆ Did that help you imagine what โ€˜50s Los Angeles was like?

Ry โ€“ No I know what Los Angeles used to be like because I remember it. We lived here, and I used to go driving, or take the bus or street cars, I was always out. Go to places, I used to draw buildings. I had a sketchpad. I used to think thatโ€™s what I wanted to do all the time, but I discovered I was better at music than I was at that. But it was an interest I had. Of course you go to Havana, it was heaven to me because it was just like stepping into a time warp in which the past and the present were all one thing. Instead of the frustration you have here where the past is always slipping away from you and being destroyed. LA was famous for eccentric architecture like coffee shops that looked like pigs that you walked into, or hats. And I loved that stuff more than anything. And then they started chopping โ€˜em down and they demolished everything. And they made a great error when they did that because this is what people would have liked to have seenโ€ฆ they would have paid money to see it. If money was the objective, as it often is, but they didnโ€™t see the future, these people are stupid. Bad planners, because all they see is the next five years, short dollar. The church of the next dollar, they want to get it, and get rid of anything eccentricโ€ฆ they want to homogenise everything, which means repeating everything, so you have ONLY McDonalds, and only these chain stores, and I blame Disney and the guy that invented McDonalds, their kind of thinking. Itโ€™s sad, because it was really much more interesting than that at one time.

WD โ€“ Why canโ€™t you go back to Havana?

Ry – The fascist pigs wonโ€™t let us off the hook, and they will persecute you if you defy them and go down there, and Iโ€™m certainly not going to do that. Iโ€™m sorry to say itโ€™s the facts though. Thatโ€™s just how it is.

WD โ€“ I imagine this project will run and run.

Ry โ€“ I donโ€™t know what will happen to this, it is a bit odd. If people feel they can absorb it, or place it somewhere in their daily life, then they might take it to heart. Also Iโ€™ve got some other notion that occurred part way in, that the white people, the factory workers, all those hillbillies who settled in the industrial parts of LA, worked in the aircraft factories and so forthโ€ฆ their music which I like very much, that โ€˜50s honky-tonk stuff, would make a great story record, because I know more about them. And Iโ€™ve got about eight songs now, in the story mode of like using country music in that corny โ€˜50s thing. Itโ€™s something Iโ€™ve looked into for a long time and thought about. Once I started doing this, that naturally came up, because itโ€™s like the flipside, the other part of time. So Iโ€™m going to fiddle around with this and see if I can make it work. And I might try it. Of course we donโ€™t know this Chavez thing, if people like it, maybe thereโ€™s a future in it. I would never have figured that eight years of Cuban music was what I was heading into. Itโ€™s all I did for eight years. Four albums and a film, thatโ€™s a lot of work.

WD โ€“ Did you spend a lot of that time away?

Ry โ€“ I went down there sporadically, because it was tiring, Iโ€™d go down a few weeks, come home. Think about it, rest, then go back down. And off and on for quite some time, because it took a lot of thinking and poking around like everything does. And then they started dying. It happens.

* This interview was conducted in 2005

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Steel has been penning his pungent prose for 40 years for publications too numerous to mention, most of them consigned to the annals of history. He is Witchdoctor's Editor-In-Chief/Music and Film Editor. He has strong opinions and remains unrepentant. Steel's full bio can be found here

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