Tom Waits: Barroom Balladeer
Time Magazine Article, November 28, 1977
A street-smart scuffler busts out of the back alleys
Tom Waits was growling. In a few hours he would be on a campus
stage singing his songs and spieling his narrative jazz poetry
to an audience of college kids. It was atrip he had made before.
"I'd rather play a club with vomit all around me," he
rasped, "than a clean little college with sassy little girls
and guys with razor-cut hair and coke spoons around their necks.
"
Now on tour to promote Foreign Affairs, his fifth album,
Waits is playing fewer of the seedy nightclubs that have long
been his backdrop as a performer and his inspiration as an artist.
At 27, he is a street-smart scuffler who writes knowingly of dingy
bars, all-night diners and down-and-outers on the make. Says he:
"Life is picking up a girl with bad teeth, or getting to
know one of those wild-eyed rummies down on Sixth Avenue."
To open his off-campus shows on the current tour, he has been
hiring local strippers at each of his stops. They are a perfect
prelude for the act that follows. When Waits finally takes the
stage, an air of crushed cigarettes and damp napkins clings to
him like lint. Beat-up pointed shoes, a greasy tie and baggy socks
go just fine with his Salvation Army suit.
With a jazz trio providing his backup, he begins stitching together
the blue collar bromides, raunchy puns and gritty street lingo
that characterize his verse. "It's cold out there/ colder
than a ticket taker's smile/ at the Ivar Theatre, on a Saturday
night," he chants in a voice that sounds like a bad exhaust.
The Ivar Theatre is a two-bit Hollywood burlesque house where
he has spent more than a few evenings.
Waits' specialty is the narrative tale. While a tenor sax begins
some bluesy background, he lurches toward his microphone and growls
his way into the urban back alleys. "Small Change got rained
on with his own .38/ and his headstone's/ a gumball machine,"
he sings, recalling a shooting he once witnessed on New York's
23rd Street.
no more chewing gum
or baseball cards or
overcoats or dreams and
someone is hosing down the
sidewalk
and he's only in his teens
In jack & neal, he shifts gears to tell of a cross-country
drive to California in the company of a nurse. It has all the
gusty exhilaration of Kerouac's On the Road:
a redhead in a uniform will always
get you horny
with her hairnet and those white
shoes and a name tag and a
hat
she drove like andy granatelli and
knew how to fix a flat
Waits' own street schooling began early. Born in Pomona, he was
brought up in several Southern California cities after his parents,
both teachers, were divorced. At 14, he began working the graveyard
shift at a pizza house in National City, a San Diego suburb. "It
was a tiny community," he likes to recall, "The main
drag was a transvestite and the average age was deceased."
Nightwork hampered his high school studies, but not his education.
"I encountered a whole different element = people a lot older
than me, pool hustlers and Mafioso types. I grew up real fast."
After dropping out of high school, he skipped through a series
of jobs and eventually found work as a nightclub doorman. A self-described
"private investigator" of the night, he began transcribing
the common-man conversations he overheard, hoping to "forge
it all into something meaningful and give it dignity."
By then he had started to read Charles Bukowski, the roustabout
bard, and poet Delmore Schwartz, who died in a rundown hotel for
transients in 1966. Waits has developed his own artistry beneath
a muscatel exterior. "I have an image that has been cultivated,
derived from the way I am, " he says. "I just try to
steer a course between the pomp and the piss."
Critical acclaim, and there has been plenty, has not yet made
him rich and famous. He still parks his brontosaurian 1954 Caddy
behind West Hollywood's Tropicana motel, a seedy tryst stop used
as a setting for Andy Warhol's Heat. He keeps his piano
in the kitchen. "I don't use the refrigerator," he wheezes,
"and the stove is just a large cigarette lighter." His
nocturnal meanderings have led to three "driving while intoxicated"
arrests, and he was once nabbed while pinching cigarettes from
parked cars. "Yeah, I've spent a couple of nights in the
barbed wire hotel," he concedes, "All dressed up and
no place to go."
If Waits' voice is a bit ragged for radio air play, his songs
are not; the Eagles, Bette Midler and Jerry Jeff Walker have recorded
his material. In January he will begin work on a Sylvester Stallone
movie titled Paradise Alley. Waits will play a barfly named
Mumbles and will compose original music for the film. Although
he has given up staying in flophouses while on the road (his current
band members, he explains, "aren't keen on my taste in accommodations"),
success is not likely to change his style too much. "It's
nice to have your own niche," he allows, "I got a signature
now: I have my own turf."