I requested a simple band of rubber from my host. She gestured to a drawer, and the very gesture told me everything I needed to know about American chaos.
One drawer. Every household. Always in the kitchen, and it holds the same things in every home in the nation: batteries of unknown charge. Rubber bands. A screwdriver too short for any screw. Birthday candles. Soy sauce packets. Three pens, one of which works. And a key.
The key is the part I cannot release. I have now surveyed eleven households. ALL have the key. NONE know what it opens.
"What does this open?" I asked Sue, holding it up.
"No idea. Been there since we moved in."
"Then why keep it?"
She looked at me as if I had proposed burning a shrine. "You can't throw away a KEY."
She is right. I felt it the moment she said it. A key answers to a lock somewhere. To discard it is to abandon a door you may never find. Eleven households, each guarding one orphaned promise, between the candles and the takeout menus.
In Japan, we made a national art of putting things in their proper place. I assumed the junk drawer was that art's absence. Wrong. The junk drawer IS the proper place — for things whose place has not yet been revealed. Not disorder. Faith, with a handle.
I confess my crime. I once organized Dale's junk drawer while waiting for him. Small bins. Categories. He opened it, stood silent, and said, "Where's the thing?" He could not name the thing. He knew only that it could no longer be found. I had alphabetized a treasure map. We do not speak of it.
The drawer does not need order. It needs to be opened with hope, and closed with acceptance.
I keep a junk drawer of my own now. This week it accepted a battery, a twist tie, and a key I found in the yard. I do not know what the key opens.
Into the drawer it goes. Someday, the door will announce itself.
This is Mary Clayton's vocal on “Gimme Shelter” stripped completely naked. No music. Just her.
That crack in her voice was not planned. It was real. The Stones kept it.
"Hurt" is not an original by Johnny Cash. The song was written by Trent Reznor (Nine Inch Nails) in 1994 for the album The Downward Spiral. Rick Rubin had to insist several times on Cash recording his version, at first Johnny found the idea completely insane because the original version is industrial and noisy. At 71, already very ill, almost blind and with trembling hands, Cash completely transformed the band.
The iconic video, directed by Mark Romanek, was filmed at the House of Cash (his own museum). June Carter Cash appears looking at him fondly, the video was shot in February 2003, a few months before she died (May) and Johnny himself (September).
Trent Reznor was so moved that he declared, "This song is not mine anymore." It is considered one of the best covers of all time.
Robin Williams covering The Beatles feels almost surreal.
George Martin assembled an unexpectedly eclectic lineup for the album In My Life, bringing together actors and comedians to reinterpret songs by The Beatles. One of the most memorable moments came from Robin Williams and Bobby McFerrin performing Come Together, transforming the classic into a wildly improvised and completely unexpected rendition.