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 albumโs (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 Youโd have a lot of hardcore web site action happening. Do you check out your fans through that medium?
Ry โ Um, I donโt even know how to do that. I suppose youโre right, itโs just not something Iโm doing. What Iโve been doing is talking on the telephone. Thatโs what they give me to do in a day and I sit and I talk. You may be right, I didnโt think of that.
WD โ Youโre not a technological guy?
Ry โ I do email, thatโs the best I can do.
WD โ I imagine that itโs a fairly full-on engagement of press activity, without the usual videos and so forth to help promote it.
Ry โ Well sure, thereโs not too many tools here except me. Iโm trying to think of something else I could do for it, but right now itโs mostly me. Iโve been on this press-wise for about a month now, so itโs a lot of work. I donโt mind, itโs good.
WD โ It sounds like a real epic prior to that, getting the project to fruition.
Ry โ Iโll just tell you that itโs been a big job of work, and a mighty good thing. Now that I see it for what it is, since we didnโt start out with any clear idea, I just sort of felt my way through it. But now itโs done and packaged and tied together well, I can look and see that itโs quite a good thing. And of course Lalo Guerrero and Tosti, the two pachuco cats, died. And it just proves once again that youโd better make haste, because if you get an idea, because these people are always departing, the trainโs always leaving, and now that book is closed, too.
WD โ It must be incredibly emotionally resonant to be working with these people who areโฆ youโre there right at the end of their careers.
Ry โ Itโs always interesting to see old people who have been through what theyโve been through, and they bring along their secret past. And there are things that nobody has revealed. If youโre 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, theyโre not good Americans, they wear funny clothes and they donโt speak our languageโฆ 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 โ49 and โ50 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 Brownโs 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 โDamn, what can I do about that? Probably nothingโ. Then this idea appeared to me, letโs 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 letโs see if itโs 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 hadnโt happened, even to think about.
WD โ This secret history, both in terms of the music and the settlementโฆ is this recorded at all?
Ry โ Itโs 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. Itโs 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. Thatโs 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 commercialโฆ 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 โ60s. This is just underneath the surface, so to speak, these people are there. Theyโre certainly there, I went to see them and record with them. All you have to do is call them up. Itโs kind of like this idea of โletโs 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 itโs 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, letโs sing some of the old songs, or letโs 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 thatโs exactly what did happen, except of course it did take three and a half to four years. And it isnโt 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. Thatโs about the size of it. Thatโs 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, butโฆ Los Chucos Suaves, thatโs exactly what it sounded like in โ49. 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 ideaโฆ 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 canโt drive fast. You cruise when you go out at night, and you pick up your girlfriend, sheโs having an argument with her mother, about whether or not she should go out with you because youโre some greasy guy, and the girl says โmother Iโm 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 โget 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 Iโm talking about. Thatโs conjecture. Another time I went to him and said โa space ship has to arrive, but I donโt know what thatโs supposed to sound like.โ Heโs very good at this because he grew up in the studio watching me score films, heโs very adept. So he puts the pieces together. The space ship in the ravine, perfect. Then he went to Juliet his girlfriend and said โlook here, Lalo doesnโt understand about the space ship because he never saw it, so he doesnโt believe itโ. I said โyou know what I meanโ, and she said โsureโ. Sheโs half Mexican. Youโve got the language, you write it. Then I took the track to Don Tosti, and said โyou be the voice of the space vato and he said โI didnโt get what you were talking about before, now I seeโ. You merely are proposing aโฆ itโs a world we make, a compressed imaginary world. Itโs 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 thatโs what theatre is I guess, itโs what music is if you look at it really. When Elvis says โdonโt step on my blue suede shoesโ thatโs sort of what youโre saying. It used to interest me when I was in the 4th grade or 5th grade: what do they mean donโt step on my blue suede shoes? Sounds very dangerous, sounds like some hellโs about to break loose. Why would they worry about their shoes?ย Because I wore tennis shoes I didnโt see the problem. Then you come to find out that itโs because these shoes are expensive, and if you step on them Iโm going to kill you. And that song says it all, and thatโs what I mean by drama and by theatre. Thatโs 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. Thatโs the same concept weโre trying to apply to this record here.
WD โ It does strike me as being quite theatrical in ways, and I couldnโt help wondering if it might be adaptable to the stage.
Ry โ Well, itโs going to have to take a different mind to mine, Iโm going to have to let some genius figure that one out, because I canโt, I donโt do that, I donโt write plays, you know what I mean. I just play guitar and play records. I think thatโs the best I can do. Weโll 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 daysโฆ there have always been restrictionsโฆ itโs 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 wasnโt so crowded, it wasnโt noisy. They must have had a wonderful time. Once they got out to East LA they were in the big city and Iโm sorry to say that they probably did not, could never have felt as at home. Iโve heard it said by people who were made to move, โwe never felt the same way about where we ended upโ. But of course itโs 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 manโs home is his castle, which is a myth, itโs one of these โit canโt 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 weโre 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. Thatโs one man one vote, thatโs been eradicated now with two Presidential elections stolen. Or, letโs pick another one. My mind is getting tired, but there are several of these things. Itโs not just this, and now we have this home thing. Itโs incredible that these people, this tribe in Washington, sees that it is to their interests, a little secret group, to take awayโฆ. 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 constitutionโฆ 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 stateโฆ now 50 years later weโre really seeing this, and theyโre doing it. It happens every day, wake up, you never know whatโs next, itโs astonishing and I just donโt know whatโs the matter with everybody. Unless itโs that theyโve had too many cheeseburgers and they just canโt think straight. Thatโs what I actually think has happened. And televisionโฆ TV has proposed that itโs 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 donโt have an educated population the constitution will topple and a despot will remainโฆ he was dead right. Isnโt 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 thatโs 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, itโs very instinctive itโs very basic, itโs not mental at all what they play and sing about, and thatโs my observation and I think itโs true. So I like music that does those things, that shows what people are like and what they do. I donโt like music thatโs simply a reflection of, as John Lomax pointed out, cash and power. These are detrimental, these destroy music. The human being myth thinks Iโm no use, Iโve gotta change, Iโll stop doing what Iโm doing, and Iโll start moving towards this otherโฆ itโs pretty obvious in American music. The musicians on this record, we get together and we do good work, thereโs some goddamn good shit on this record, itโs strong, and I think it means that people are great if they get together and collectively do great things and make something happen. And itโs far more than just a bunch of East LA people or some guy from Santa Monica calling them up. Thatโs a process, but the result is something pretty good, pretty strong, and Iโm really happy about it.
WD โ As you hinted at, the music world does these days seem very black and whiteโฆ 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 donโt play classical music, so I donโt 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. Theyโd perform and Iโd sit ten feet away from โem. 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 wasnโt. Iโd say โcan 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, soโฆ
Ry โ It means if youโre intent upon something you can always spot someone whoโs serious, because they have a feeling for the thing, so people used to play me something I could play it back at โem, 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. Itโs not something I learnt at school. You canโt do it anymore either, you canโt see these people, theyโre either dead or a million miles away from you.
WD โ Your experience in Cubaโฆ I guess seeing Havana in its present state where itโs kind of stuck in the โ50s or โ60sโฆ Did that help you imagine what โ50s 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 thatโs 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 โem 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 seenโฆ they would have paid money to see it. If money was the objective, as it often is, but they didnโt 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 eccentricโฆ 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. Itโs sad, because it was really much more interesting than that at one time.
WD โ Why canโt you go back to Havana?
Ry – The fascist pigs wonโt let us off the hook, and they will persecute you if you defy them and go down there, and Iโm certainly not going to do that. Iโm sorry to say itโs the facts though. Thatโs just how it is.
WD โ I imagine this project will run and run.
Ry โ I donโt 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 Iโve 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 forthโฆ their music which I like very much, that โ50s honky-tonk stuff, would make a great story record, because I know more about them. And Iโve got about eight songs now, in the story mode of like using country music in that corny โ50s thing. Itโs something Iโve looked into for a long time and thought about. Once I started doing this, that naturally came up, because itโs like the flipside, the other part of time. So Iโm going to fiddle around with this and see if I can make it work. And I might try it. Of course we donโt know this Chavez thing, if people like it, maybe thereโs a future in it. I would never have figured that eight years of Cuban music was what I was heading into. Itโs all I did for eight years. Four albums and a film, thatโs 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, Iโd 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.