Archives For tom waits

The Black Rider

In the late 1980s, William S. Burroughs and Tom Waits collaborated on a musical called The Black Rider: The Casting of the Magic Bullets. In 1990 it was performed on Austrian TV, and here’s the rip that was recently released on YouTube…



Tom Waits on Letterman

You don’t get much more Beat than Tom Waits.


Loneliness and Waitresses: Tom Waits and Charles Bukowski

By Ardin Lalui

Imagine a world without waitresses. Who’d want it? There’s some men have no use for a world like that. For them a life without waitresses is no life at all, no life worth living.

Take Tom Waits and Charles Bukowski. Waitresses have left a deep mark on the art of both and have helped shape and add meaning to some of their best work. They have both drawn waitresses as romantic and mysterious. Waitresses have altered the landscape of their worlds, made it a wistful place, and full of longing. Maybe it’s because they’re lonely, but it’s a certain kind of loneliness, beautiful and tragic and poignant. It’s a strange loneliness comes through in their lyrics and poetry.

Closing Time, Waits’ first album, talks about this loneliness in track nine, “Lonely.” It’s a short song, a lament, it doesn’t say much but it says lonely like no other. “Lonely eyes, lonely face, lonely lonely in your place.” It’s a loneliness that’s unexpected, “I thought that I knew all that there was to,” and it’s unfair, “Melanie Jane, won’t feel the pain,” but mostly it’s just inevitable, self-inflicted, and almost welcome because its your own refusal to let go that drives it, “I still love you, I still love you, lonely, lonely….”

It’s a very specific loneliness of which Waits sings.  It doesn’t depend who you’re with, it’s carried on the inside, and its reasons can only be found on the inside. It might be the most beautiful of human emotions. It doesn’t come without sadness. For every real thing there’s proof, and the proof the human heart is made to love is loneliness. There’s not always a girl in mind, maybe there’s no girl at all, but there he is, loneliest living man in the world. That’s the loneliness that has a man walking into a diner at 2 a.m. looking for a waitress.

This longing for a waitress has nothing to do with looks. That’s not to say there’s any problem with a pretty waitress, nothing in the world like a pretty waitress, but that’s gravy, a bonus, like having a pretty mom or sister.

Bukowski had no problem with pretty waitresses. He once had an affair with a cocktail waitress, name of Pamela Miller. He said, “she’ll be the death of me but it’s worth it.” She was a knockout, red hair, Miss Pussycat 1973. They called her Cupcakes because of her 38D chest and Bukowski said “each time I see her she looks better and better, 200 years ago they would have burned her at the stake.” That’s a pretty waitress. She worked at The Alpine Inn.

But this waitress thing isn’t about sex. It’s more important, and fills a more basic, innocent need. An old, 300-pound waitress has the magic soon as she puts on that dress. She’s apart from other women. Don’t underestimate the dress. In Septuagenarian Stew Bukowski says:

“I should not have blamed only my father, but,

he was the first to introduce me to

raw and stupid hatred.

he was really the best at it…

…when I left that … “home” … I found his


everywhere …

I was simply the target to their discontent

some old fat waitress bringing me a cup of coffee

is in comparison

like a fresh wild wind blowing.”

He’s talking about his father and growing up and being unhappy and all it takes is a waitress and bang, “fresh wild wind blowing.” And Bukowski is not exactly given to looking on the softer side of life.

That’s waitressing. That’s why waitresses are important. They’re a fresh wild wind to every afflicted soul. You need a waitress sometimes and they’re always there. Wherever you are, whoever you’re with, and most importantly, whatever you’ve done, they’ll be there waiting for you. A waitress has got no place else to go. She’ll listen to you, whatever lame joke, lame compliment. She’s waiting for your order, doesn’t know what you’re going to say, she’s got to be there. That’s part of the beauty of it. Nine times out of ten, only reason she’s free to be nice to you is because it’s her job. If it wasn’t her job she couldn’t do it. Her husband wouldn’t let her. It wouldn’t be appropriate. That’s why no other woman will do.

A waitress is always your chance to talk to another human soul, a woman’s, however brief. She’ll hear it. That’s enough. Maybe she liked it. Maybe she liked you.

And of course, maybe she didn’t like you. That’s ok. She doesn’t have to like you. She doesn’t have to be nice. She doesn’t owe you anything. She’s not your girlfriend. There’s a certain guy goes into a diner and thinks the girl in the dress is in love with him. I’ve got nothing to say about guys like that. That’s not what I’m talking about here. That’s a different thing. It’s sad but it’s a different sad. And it can be uncomfortable for the waitress because maybe she’s got a man. She’s not hustling, she’s just smiling when she gives you your coffee. A waitress doesn’t want a guy to get the wrong idea.

No matter how nice a waitress and how much you think you need her, you’ve got to remember your place, who you are, and who she is. Waits wrote about it on Small Change, track six, “Invitation to the Blues”.

“Well she’s up against the register with an apron and a spatula,

Yesterday’s deliveries, tickets for the bachelors

She’s a moving violation from her conk down to her shoes,

Well, it’s just an invitation to the blues.”

You watch a waitress and a customer, you’re watching life. And all life’s got rules. You play by the rules, don’t overstep, and don’t let your mind run away, you’ll do just fine with waitresses, and the cup of coffee they serve is better than a cup of gold. But you let your mind run you’re just asking for blues.

And no waitress wants to be an invitation to the blues. They don’t want to torment a man so lonely he’s getting designs on the first woman he’s spoken to all day.

But you know, even when that happens, who’s to say it’s so bad? A guy gets the wrong idea once in a while, but if that waitress’s smile is the best thing he’s seen all day, the only smile he got, well thank god she was there. There are worse things than the blues.

The tie between the lonely soul and the waitress runs deeper than smiles. Waits had no problem with an unfriendly waitress. On track five of Small Change, “The Piano has been Drinking (Not Me)”, the waitress doesn’t smile. Song says,

“you can’t find your waitress with a Geiger counter

And she hates you and your friends and you just can’t get served without her.”

She doesn’t love him, she’s at work, but she’s still his waitress.

Waitresses are good for art, and for some art they’re crucial. The reason waitresses don’t kill the art they inspire, like some other women, is because no matter how nice they are, they never really cure the loneliness. They can’t, and thank god. Sometimes they ease it. That’s what has you coming in every night. Even a mean waitress eases loneliness. But they also prolong it. And the prettier the waitress the further she invites you into the blues. And that’s the invitation feeds good music and poetry.

America, beat art, Waits songs and Bukowski poems are all populated by men on the road. Drifter men with homeless minds. They don’t have a woman to go home to. They don’t want one. They don’t know what they want. And anyway they can’t find it. There’s a searching, a yearning, and there are a lot of greyhound buses and railway boxcars. Here’s an excerpt from Bukowski’s poem, “where was I?” from his collection, Sifting Through the Madness for the Word, the Line, the Way.

I always seemed to be

on a cross-country




looking out a dirty

window at

nothing at


I always knew exactly how much

money I was


for example:

a five and two ones

in my wallet

and a nickel, a dime and

two pennies in my right

front pocket.

I had no desire to speak

to anybody nor to be

spoken to.

I don’t know what it is keeps these men moving. It’s a by-product of their loneliness but also a cause. And it wouldn’t survive without waitresses. They wouldn’t. The men. The men of Bukowski poems, the Henry Chinaskis of a thousand small towns, stumbling from bar to bar, wouldn’t last without waitresses. The men in Waits’ songs, curious and varied, would perish. Without waitresses the world would be too cruel for them, they would die, the art they inspire would die, and the world would lose something beautiful.

I don’t know what it is that waitresses have, especially the old fat ones and the ones that hate you, but they have something, every one of them. It’s undeniable. All the late night diners of the world are full of men and cigarette smoke and day old newspapers, and they’re irrefutable proof of something important. Think about it. What are those men there for? Some of them are on a shift, killing time, waiting, would rather be at home in bed, but some of them, the ones we’re interested in, couldn’t be anywhere else. They’ve got no place else to go and even if they had they wouldn’t be there.

“Gypsy hacks and insomniacs”, that’s what Waits calls them in “Eggs & Sausage (In a Cadillac With Susan Michelson)”, track six on Nighthawks at the Diner. Here’s an album devoted almost entirely to those men and those waitresses, keeping watch while the rest of the world sleeps. An entire album exploring that feeling, that place, the diner late at night and the coffee and cigarettes and waitresses, the men in there looking for something nameless. He describes the waitress in verse two of “Eggs & Sausage”.

“In a graveyard charade, a late shift masquerade

2 for a quarter, dime for a dance

with Woolworth rhinestone diamond

earrings, and a sideway’s glance

now the register rings

and now the waitress sings.”

Who knows what has those places full so late? You don’t see too many women in there. And what would happen to them, those men, and the poetry and music, without the waitresses?

There’s one last poem by Bukowski I want to finish with. It’s not necessarily about a waitress or about the loneliness, but they’re in there. They have to be. The poem was recorded by Waits in 2006 on Orphans (Bastards), track eleven. It shows they were on the same page. Maybe it even has an answer.


Not much chance, completely cut loose from purpose,

He was a young man riding a bus through North Carolina on the way to


And it began to snow.

And the bus stopped at a little café in the hills and the passengers entered.

And he sat at the counter with the others, and he ordered, the food arrived.

And the meal was particularly good.

And the coffee.

The waitress was unlike the women he had known.

She was unaffected, and there was a natural humor which came from her.

And the fry cook said crazy things.

And the dishwasher in back laughed a good clean pleasant laugh.

And the young man watched the snow through the window.

And he wanted to stay in that café forever.

The curious feeling swam through him that everything was beautiful there.

And it would always stay beautiful there.

And then the bus driver told the passengers that it was time to board.

And the young man thought: “I’ll just stay here, I’ll just stay here.”

And then he rose and he followed the others into the bus.

He found his seat and looked at the café through the window.

And then the bus moved off, down a curve, downward, out of the hills.

And the young man looked straight forward.

And he heard the other passengers speaking of other things,

or they were reading or trying to sleep.

And they hadn’t noticed the magic.

And the young man put his head to one side,

closed his eyes, and pretended to sleep.

There was nothing else to do,

just listen to the sound of the engine,

and the sound of the tires

in the snow.

Lawrence Ferlinghetti Tribute

On October 2nd, Lawrence Ferlinghetti and his Beat bookstore and publisher, City Lights, will receive Litquake’s 2010 Barbary Award at Herbst Theater.

The celebration will be attended by Tom Waits,  Patti Smith, Lenny Kaye, Winona Ryder, Michael McClure and Eric Drooker. Continue Reading…

5 Tips from the Beats on how to Write Better

Guest post by Ardin Lalui, a writer inspired by Tom Waits and Cormac McCarthy.

While the beats have gained a reputation for spontaneous, free-flowing, unedited writing, the truth is that usually, good writing takes time and practice. The best beat writers were well aware of this. Here are 5 of their tips on how good writing happens: Continue Reading…

Modern Beat: Tom Waits

In Issue One, David S Wills looked at the songwriter Pete Doherty as a modern day Beatnik, with the promise of finding another for Issue Two. He lied. There was no Modern Beats in Issue Two. But here, belatedly, he brings you the second instalment of the Modern Beats section… This time it’s Tom Waits, legendary pianist and Beat aficionado.


When I was in California, I met a man named Dale. He was an interesting character, who changed from day to day, influenced my life, and then left in a few weeks, leaving a trail of confusion and hurt feeling. What grabbed me when I first met him was his appearance – he looked absolutely, one hundred per cent the spitting image of Tom Waits. It was staggering. And boy could he talk. The man had spent his life on the road, wandering from odd job to odd job, all over America. He reminded me in character of Jack Kerouac, and not just for the good points. He seemed Byronic, mired in guilt and with a ferocious battle against alcoholism and abandonment issues. He was a womaniser and a smooth-talking environmental crusader.

He was my inspiration for this article, a link in my head between the Beats, whom I’d gone to California to chase, and Tom Waits, whose music was so often my own theme tune.


Tom Waits is often viewed as an heir to the Beat Generation, and indeed he acknowledges the strong influence the Bets, and in particular Burroughs and Kerouac, have had upon his work. It’s not hard to see in Waits’ work the musical influences of the bop artists held in such importance by the Beats, as well as the lyrical significance of urban, Cold War America, a central tenant of Beat literature.

Elvis Costello quipped that around the release of ‘Swordfishtrombones’ and ‘Raindogs’, Waits shed an image that was entirely built upon the legends of the Beat Generation, and partially on those who influenced the Beats. He called it “this hipster thing he’d taken from Kerouac and Bukowski, and the music was tied to some Beat/ Jazz thing.” Indeed, many remember meeting Waits or even seeing him perform, looking as though he’d just stepped off a freight train, after years of footloose wandering.


But it wasn’t just his appearance that smacked of a Beat influence. Michael Melvoin considered Waits’ lyrics to be high quality poetry. “I felt I was in the presence of one of the great Beat poets,” he said. Bones Howe said Waits performing was like “Allen Ginsberg with a really, really good band.”

“I guess everybody reads Kerouac at some point in their life. Even though I was growing up in Southern California, he made a tremendous impression on me. It was 1968. I started wearing dark glasses and got myself a subscription to Downbeat … I was a little late. Kerouac died in 1969 in St Petersburg, Florida, a bitter old man.

“I became curious about style more than anything else. I discovered Gregory Corso, Lawrence Ferlinghetti … Ginsberg still comes up with something every now and again.”

But perhaps his music wasn’t just inspired by reading too much Beat poetry. Perhaps it was more to do with a shared heritage and environment. Waits didn’t love jazz because the Beats loved jazz, and likewise he didn’t write about the city just because they wrote about the city. With the exception of Gary Snyder, the Beats were pretty much all city-dwellers, left disaffected by a cold and desolate world. At night there were no stars or owls in the distance; it was neon light, sirens, 24hr stores, and a world that refused to sleep. These things are evident anywhere in the annals of Beat literature, as in the lyrics of Tom Waits, who conjures up a world of hookers, waitresses and truckers after the fall of darkness.

A 1975 Melodymaker article says Waits had “a continuing fascination with the ephemeral ecstasies previously explored by such writers as Jack Kerouac, Lawrence Ferlinghetti [and] Allen Ginsberg.”

The influence didn’t just stop with reading Kerouac or sharing the same heartless world, however, as Waits eyed the poetry readings that made Ginsberg famous. The Beats were always associated with jazz, but jazz wasn’t just their influence. Many Beat poets – Ginsberg being the most famous, of course – used jazz as the background to their readings. It didn’t distract from the words, but instead brings out the words in a special light. Likewise, Waits frequently performed alone or with a light jazz accompaniment.

The 1957 album, ‘Kerouac/Allen’ helped influence Waits, as it featured Kerouac telling stories with Steve Allen playing the piano. It’s not hard to listen to Waits and see the connection.

“The first time I heard any spoken word that I was really impressed with was an album called ‘Kerouac/Allen’ – Steve Allen & Jack Kerouac and he talked while Steve Allen played some stuff and he just talked over the top of it and it was real, real effective – I had never heard anything like it”

Waits is frequently asked about Kerouac, and he claims to have read everything of his, including all the articles hidden away in skin mags and other such publications. In 1979 he told New Music Express that he dreamed about Kerouac and that Kerouac was his hero, even years after discovering the author. Kerouac was obvious a massive influence on the art of Waits, but whenever ask, offers a glimpse of his literary predecessors, who include Corso, Ferlinghetti, Lord Buckley and Ken Nordine. But it always came back to Kerouac, and reading On the Road at eighteen: “It spoke to me. I couldn’t believe that somebody’d be making words that felt like music, that didn’t have any music in it, but had music all over it.”

But we shouldn’t get too carried away with the connections, no matter how obvious they are. We don’t want to get our asses kicked…

A lot of people when they talk to me, they talk about Kerouac, and get this impression that I’m trying to recreate the beat scene or some bullshit. Pure folly. I think it’s redundant, and I think it just shows their own stupidity.


Of course, one could claim any number of late twentieth century artists to be heirs of the Beat Generation, such was the impact upon the culture held by these writers, but Waits is unique in the extent of his collaboration, and of course the fact that he is still active today and still carrying the Beat torch.

Whereas Doherty, as explained in Issue One, maintains a Beat ethos and shares a similar style and line of literary and musical influence to the Beats, Waits’ connection is far more direct. In 1987, Waits was involved with William S Burroughs and Nick Cave in releasing ‘Smack my Crack’, a spoken word album, released through Giorno Poetry Systems.

A year later, theatre director Robert Wilson approached Waits with the idea of aligning with Burroughs to create The Black Rider: The Casting of the Magic Bullets. The play showed at the Thalia Theatre in Hamburg, in 1990, and has since toured Europe and America. Burroughs wrote the story, based on a German folktale, while Waits wrote and performed the music and lyrics, released on a highly successful album of the same name.