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Photo by Scott Johnson. |
Tales and Chatter We all have stories to tell. Here are some tales and chatter for your amusement. Not for children or the uptight. Lots of other tales lurk in my brain, "Shooting at the Continental Sportsman," "Crazy Leona," "The Dumpster Dilemma," "My Brother Across the Water," and "The Best Brawl in Ballard," all of which I hope to add soon. |
If Thine Eye Offend Thee...
Ain’t Health Insurance (cost about a) Grand?
Hey Big Guy, Need A(n expiration) Date?
How sagas spring forth.
My First Satanic Orgy
This is why I like to take late night strolls.
The Pleasures of Radio
My most memorable non-musical moment hosting the
sonic stratosphere.
Two Days of a Diary and a Dispatch from NYC
What I did in NYC September 2002.
The Audition
This could be subtitled To Hell and Back 2001.
Back when I was Warehouse Manager for Sherman Clay Piano and Organ in Downtown Seattle, I felt quite secure. A well-paying job, money in the bank, a grand piano next to my desk, no dress code (who's gonna fire the blue-haired guy if he's the only one who can run things?), and yes, health insurance. No worries, right?
One night, my friend Jennifer and I were making Krap Macaroni and Cheese. Indulging our already corrupt palates, we decided to add pungent cheddar cheese to the cocaine-like day-glo orange cheese powder provided by Kraft, "makers of fine foods."
Vigorously, I grated the cheddar over that mouth-watering mess of tawny noodley goo. After a heap or two of cheese strands, Jennifer suggested that we had enough. I shook my head no and continued grating.
Bemused, but also peeved, Jennifer insisted that we had enough. I smiled, "Just a little bit more," and continued grating.
"No, we have enough," she said adamantly. Playfully grabbing my wrist, Jennifer tugged and tried to pull the grater away. She's stubborn and I'm stubborn, so I resisted. She pulled with all her might. I, leaning away from her, dug in my heels.
It happened in a flash, or should I say slash? Fingers streaked before my eyes, then for several seconds I couldn't see. The grater rattled on the floor. In pain, I slapped my palm against my face. Jennifer had pulled, I had yanked, and she lost her grip, sending her fingers flying into my eyes.
A few seconds later I felt fine. I removed my hand and blinked a few times. I could still see. Then, unleashing the most blood-curdling scream I have ever heard in my life, Jennifer cried "You're bleeding! Your eye is bleeding!" Scared, I ran to the bathroom mirror and saw a small cut in my left eye.
"Let's call 911."
"Not yet." I answered. Who was gonna pay for the ambulance anyway? Calmly, I removed my contact lens and looked at my eye close up. It was leaking blood, but not profusely.
Sensibly, Jennifer declared "I'll take you to the Emergency Room. I'll pay for the cab."
Finally remembering that I had health insurance, I agreed. "Yeah, yeah, let me dig up the insurance stuff." Quickly, I pulled the folder from my slender file box (ah, the good old days!) and paged through the forms.
Now a digression: Back then, there was a famously funny commercial for Pace Picante Sauce. Set in the Old West, a bunch of cowboys, gathered about the fire for chow, pass around a bottle of picante sauce. "Where's this stuff made anyhow?" asks one. The cook shrugs his shoulders. Another rumpled cowhand reads the label and indignantly bellows "New YORK City!" Betrayed, the other cowboys turn to the hapless cook with murderous, flinty-eyed glares.
I found the right form and instantly saw the big bold phrase that made me exclaim "Five HUNDRED dollar deductible! FUCK THAT SHIT!" With flinty eyes, I mumbled to myself, "It's Tech Level Zero: There are no doctors. Get well by yourself." And besides, I reasoned, as a contact lens wearer, I've had my fingers in my eyes for years. Common sense might carry the day.
I waved away Jennifer's frantic protestations and her generous offer to pay. It wasn't her fault and like hell if I or anyone is going to pay a rip-off $500 deductible to those insurance pirates!
Manfully I strode to the mirror and squirted my eye full of saline solution. The salty fluid hurt like hell, but at least it would flush and sterilize the wound until I found the rubbing alcohol. I applied some of that too and held my eye tightly shut for the next half hour. My eye ached, not from the wound, but from the pressure. Soon enough, the little cut, about half a centimeter long, healed up nicely. And those pirates didn't get one cent!
Hey Big Guy, Need A(n expiration) Date?
Many years ago, my pal Jeff made a barrage of phone calls and corralled everyone for a night of drinking at a local pub. I was the first to arrive. Jeff asks how things are going.
"Oh I dunno. OK, I suppose. I threw out a batch of expired condoms."
Jeff's eyes bulge. He sputters my last sentence in disbelief. "You... threw out a batch... of expired condoms?"
I nod. I was thirsty. Expecting slow table service, I go get a beer. I return.
"You threw out a batch of expired condoms?" Jeff still couldn't believe it. I wasn't going to get away from this one.
A few minutes later, a pair of friends arrive. Jeff greets them and announces, "Chris said a really funny thing. I asked how he was and he had this glum look, saying 'I just threw out a batch of expired condoms.'"
We laugh and talk about other stuff, the great booth (in bars seatage, or where you sit, is everything. Poor seatage assures a poor night out.), when Happy Hour ended, and so on.
Eventually more people arrive. This time, Jeff greets them and retells the story. "So Chris shows up looking dejected. I asked him 'Big Guy, what's going on?' and forlorn, he says 'Ah, I threw out another batch of expired condoms.'"
We laugh and scoot around the circular booth so everyone can fit.
Several beers thence, more friends appear, and Jeff decrees, "Before you sit and join us, you must hear the quote of the evening. It is required. Earlier I was sitting and pondering the various vagaries of life when Chris, all gloom and glum, sat down. I said 'Big Guy, what's going on?' and with a long forlorn sigh, he says 'Alas, I threw out,'" Jeff pauses for emphasis, "'yet another batch of expired condoms.'" Amidst the chorus of 'no ways' and 'whoa dude' and 'my Gods' we laugh, resuming our drinking and carousing.
Later, the table is packed. Our booth is ringed with chairs and all of us are "deep in our cups" that is, drunk to an unholy degree. Starting from his stupor, Jeff spikes a pointy finger into the air and mustering an unexpectedly sober oratorical gravitas, proclaims "Some of you have not heard the tale, nay, the saga of the evening. Earlier when the sun had yet to set, the Big Guy, our dear comrade Chris, lumbered through the door. As he loped across the threshold, I could see, if not espy, the weary weight upon his shoulders. His long, forlorn face was glum and gloomy, disconsolate and redolent, no, radiating despair."
With a sweeping gesture, Jeff had compelled the table's attention and continued. "I said 'Big Guy, what going on?' and with a long forlorn sigh, as if expelling the weight of the world from his lungs, he says 'Alas, I threw out,'" again pausing for emphasis and declaiming each word slowly and evenly as if announcing the apocalypse. "'yet... another... batch... of... expired... condoms.'"
After a dramatic pause, Jeff hoisted his glass above the center of the table. "Let us celebrate the man who has walked where none of us wish to go."
Solemnly, everyone raised their glasses and toasted my misfortune. As I hadn't dated anyone in awhile, I appreciated the toast. Yet by that time, I was too drunk to mention I had other condoms too. I had just forgotten about the batch in back of the drawer.
Several summers ago I polished off several beers with my pal Mark, a down-home fella from Louisiana whose perpetually friendly smile and a willingess to root thumbs-up for hard-rockin' musicians: "He's gettin' it man, just like Hendrix, he's gettin' it!" made him the kind of guy you want pouring your beer. That Thursday, I left his house just before midnight. Unlike the previous weekend, I was not exorbitantly drunk but suffused with a gentle, oh-how-lonely-the-moon-looks melancholy.
I stepped outside. The moon was nowhere and the night was dark like spilled ink. Mark lived a few blocks from my place so I strolled slowly and savored my wistful thoughts, of which the specific character is unimportant, but common to the lovelorn and those in sympathy with such sentiments.
Diagonal to my house stood an old brick church, cursed, not by some ancient crime or juicy scandal, but by neighbors irked by the constant overflow parking that spilled up and down the street for 4 blocks in both directions. The Sunday glut of cars bothered me too, but since I had a driveway, I just cursed the nonsensical right-wing Christianity preached therein.
The church did have one redeeming feature: a view of downtown Seattle's twinkling skyline. As I mounted the church steps to soak in the view, I felt a twinge in my belly. Figuring it was the beer -to save a trip to the store, Mark had scavenged some almost-clear swill left from an earlier party- I ignored my discomfited gut and sat on the wide brick bannister atop the stone steps.
The view shimmered like a gold and glass tiara seen from across the room. As always when gazing on soaring airplanes and city skylines, I dreamt of glamorous travel and unusual lands. My reverie, fueled no doubt by alcoholic spirits, was interrupted by a strange thud from behind.
I turned around. A car door slammed shut and the car sped off. I don't know how much time passed after that. I remember looking again at the city, whose view had dimmed somewhat, and the sky, where above a silhouette of a black moon-sized disk could be discerned. My skyward stare was interupted not by another closing car door, but by series of thuds, clunks, and a crash coming from inside the church.
Why someone would burgle the church was beyond me. There was probably nothing to rob -Bibles are still free, I think- so perhaps someone clumsy was working late. I stood up and looked in the window, which, like all the windows in the neighborhood, was dark. I glanced up and down the street and saw no one.
I heard a low moan, a muffled cry, and more savage thud-thud-thuds. What could be going on inside? I crouched out of sight of the window and crawled over to the big wooden arched doors. I pressed my ear against the door and heard a most fantastic cacophphony of moans, cries, wails, and whispers. The cries seemed to emanate from different places in the church while the thuds had a distant, hollow quality.
What could that be? One person could not make those sounds! My mind raced. I recalled that meetings of 'Christian charismatics' often ended with speaking in tongues and moaning, but the screeching was at once redolent with pleasure and despair. The booming thuds were too dull to be a drum. Thinking quickly, I also realized that I had not heard a single word of English. The whispering and low mumuring was in some staccato, gutteral tongue. None of these strange sonic phenomena was synchronized or in any kind of tempo normally heard in music. After several minutes of listening and sweating. I had to find out what was inside. I located the door and almost tried the knob when I saw a keyhole.
I peered inside and saw light. There must be someone inside! I looked for at least a minute and saw no one. I tilted my head to one side and shoved my ear against the keyhole. I heard everything and realized that the morass of horrendous wailing, crashing and susuration was assuredly close by.
Who -or what- was making those sounds? I closed my eyes and imagined voices murmuring and bodies moving and slithering together in unholy celebration. The short moans and gasping whispers conjured visions of blood-anointed lovers sprawled atop the altar, unseemly coupling amidst pews, and spastic writhing beneath stone saints.
Had I missed the careful slitting of the sacrificial knife across a pale-skinned victim or was the carefully chosen mockery of divine sacrifice happening now, accompanied by celebratory perversions? Perhaps I had stumbled upon a more banal rite, a haphazard bacchanal of eager sacreligious fucking?
I had to investigate. I stood, grasped the triangular door handle and pushed gently. It was unlocked. I peered through the crack and saw a dimly lit antechamber lined with shelves of church newsletters, tracts, and other nonsense. Although the sounds of the orgy continued apace, I saw no one.
I opened the door and snuck inside. Catlike, I quickly dropped to the floor to avoid being seen. I crawled towards the pews and tried to discern what was in the darkness. The moans, cries, and thumping thuds were louder, urgent, and filled me with terror.
The altar was empty, there was no rampant coupling. I couldn't see anyone. I waited for my eyes to adjust to the darkness and then edged closer. Soon, I espied several shadowy forms doubled over in the pews. I looked to my right and was startled to see a man sitting patiently in the darkness. I stared at him for countless minutes passed until I decided to act.
I stood and approached him. Wearing a white t-shirt and baggy possibly khaki shorts, he could have stepped out a college fraternity party or as picnic at local park. Timidly, I affected in an inexplicably phony British accent and asked, "Excuse me, sir, is this a Christian serivce?"
As if nothing were amiss, the fresh-faced fraternity brother smiled, and replied, "Oh, sure - this is how our old people worship - praying for the spirits of our ancestors."
By his face I took him to be of Korean descent, which solved the mystery. The church leased space to a mainline Korean-American congregation which was known to use the church on odd days and hours. I thanked him and left.
Years later, I told the story to a Korean acquaintance who also was the son of a minister. He told me that back in Korea the authorities had tried to stamp out this hoarse-voiced, wild-eyed blend of Christianity and ancestor worship, but to no avail.
To this day I am haunted by the impassioned erotic polyphony of moans, wails, and groans of that secret church service. Perhaps one day I will find another one - with my microphones in hand.
From my report to Ed Bremer, station manager:
Here is the strangest thing that has happened to me while hosting the sonic stratosphere at KSER 90.7 FM. On Wednesday April 3, 2002, at 10:06 pm someone rapped on the glass door. The fellow's face looked like a familiar volunteer, so I opened the door. I quickly realized it wasn't anyone I knew, but given the musicianly attire - nice leather jacket and stylishly narrow gold rim glasses - I supposed they might be scheduled to perform live and showed up on the wrong night. Maybe they were fervent admirers of the sonic stratosphere!Off to one side, I spotted his t-shirt clad pal, who was nursing an expiring cigarette. The better dressed of the two introduced themselves, "Hi we're two local artists in the neighborhood - in fact we were just having a beer next door and wondered if you would like to interview us on your show. We're right here and," pausing for emphasis, he exclaimed, "it's an opportunity!" Tapping his saggy shirt pocket, he added "We'll make it worth your while, too."
Smiling but confused (were they offering me cigarettes?), I gathered my wits, and asked them about their music. Based on their description ("the Dave Matthews Band is a big influence," "We're local - we recorded our cd a few blocks away from here"), I told them that interviews are scheduled in advance at the discretion of the Music Director and/or a particular DJ, so they should send their CD to the Music Director and... "Oh we did that" they said, and added somewhat archly "Do you think you could find our CD in the library if you looked for it?"
With feigned sheepishness, I replied "Any other DJ could I'm sure, but I'm doing a show right now. I cover experimental music and don't know the rest of the library too well. As a performer myself, I've been in your shoes. I've done a few radio performances and interviews and the best way to approach..."
Ignoring my sage advice, the fellow in glasses bluntly - "That's all nice but listen, I got an idea..." - offered me $100 to put them on the air for 10 minutes and play some tracks from their CD, whose name vanished from my mind (Crimson something preposition something...) the moment I heard it. Breathlessly, he continued "...and we could run back to the phone and call our friends so they could hear us on the radio!" I politely refused and stated that accepting money would be against the law and no one pays to be interviewed or played on KSER or should try to do so at any other radio station for that matter!
The bespectacled fellow remained friendly but persistent. "So who's the poorest DJ on staff? Can you give me a name? Maybe they could use 150 bucks." With nonsensical cheer, I replied "Well, we're all idealistic volunteers here and pretty incorruptible." I added that I needed to get back to the board and wished them luck.
Maybe they were drunk, though in retrospect I didn't smell any alcohol and I've got a good nose for that sort of thing. Maybe they were the FCC?
Two Days of a Diary and a Dispatch from NYC
Monday September 9
Today was my first session at Harvestworks. Seven hours yielded approximately 10 seconds of music; as I am inspired and know where to go in this piece, this snail's pace is most depressing. It seems to be a rule that I only appreciate my field recordings with suitable distance. I now am grateful for the four characters I obtained last week: the housing custodian, the arty woman scavenging for clothes on the lower east side, the laborer on strike, and the street hustler who tried to sell me a watch and sunglasses ensemble. That character as his gravelly voiced companion almost proved Stalin's Theorem. As they expand, lies get more and more convincing: "they're a set, they go together".In additional gratitude, I availed myself of Harvestworks' fine speakers to audit my previous works. I am, I think, the best mixer and mastering engineer for my own work - as it should be! Capitol Rotunda sounded particularly good.
So what is Adrift in NYC about? A failed aural safari. NYC did not yield its riches easily, nor did I act with celerity: I feared my trip may be remembered for what I missed (the woman kvetching about being bilked in Chinatown, the pre-dawn cacophony of the Chinatown Lumber Company) instead of what I found. I should be grateful for what I did find as well for the novel use of using others' voices to convey what I feel right now, which is ovewhelmed.
I have discovered a new ocean (mining an ocean takes time!), one that with time I could swim in easily. I am still not used to the humid heat of the city, though I do enjoy the ensuing parade of tank tops and other revealing clothing.
Tuesday, September 10
Late last night I went shopping and bought two Guinness 22 oz. bottles for $2.50 each. I drank one and it was good. The swelter of NYC nights not only retards my physical locomotion but hinders my mental activity too. I am drinking the other one now while I slave over the press release for my two (!) NYC gigs. Exclamation point aside, only God knows if anyone will show up.I ventured out with an MiniDisc recorder and lavalier mic rigged to my Joint Strike Fighter (ugh!) baseball hat, a standard duckbill baseball hat in one of my typcial volte-faces that I begun to wear so I could look like someone else, maybe Steve Reich.
I finally worked up the courage to call a friend of a friend, who after a disastrous start - who knows how many relationships have been torpedoed by cell phone static and unexpected regional accents - and a long time finding a bandage for her cut finger, was rather nice to chat with.
I realized that in my aural safaris, I seek other voices to speak for me and describe what I see.
A Dispatch from NYC
New York is an endless list of jabbering adjectives: colossal, expansive, encyclopedic, dirty, loud, hectic, beautiful, expensive, manic, crowded, lonely... After two weeks I am still digesting what I have seen, done, heard, said - and spent. No one picks up pennies in New York. Dirty streets, marching pedestrians, and the fact that pennies do nothing to forestall the fiscal enema of living here explains why those lonely slugs of copper and zinc sit on the street day after day.Why am I here? Well, I got lucky and wangled an artist residency in New York City at Harvestworks, which I suspect I garnered the first residency due to my usually bald chutzpah. Harvestworks, a recording studio with a 20-year tradition of supporting experimental sound art, seemed quite taken with my offer to go on aural safari in NYC. My proposal: show up in NYC entirely ignorant of the local geography, record memorable snippets of speech and musical incidents of urban noise on the streets of NY, and then sculpt the results into a coherent, compelling piece in a studio running software with which I had only experienced frustration (ProTools).
I compounded my difficulty by arriving 3 days
(via Amtrak -another tale and set of recordings altogether - aboard which I subsisted on raw tortillas, water, and reading Neal Stephenson's bloated Cryptonomicon, a fine book but without the brash braininess of The Diamond Age and Snow Crash.)before I was slated to enter the studio.Despite the sweltering heat and debilitating humidity, I managed to wander into enough interesting people in Chinatown, Two Bridges, the East Village and who knows where else, to make a piece. Before the studio sessions, I worked at my pal Ian's, sweating, logging my tapes and minidiscs, and sweating some more, all of which enabled an efficient start: I knew I had captured some interesting stuff and could locate them instantly for subsequent editing and (slight) manipulation. The studio's air conditioning baptized me with renewed vigor. I was assigned a comradely engineer, Paul Geluso, and got to work.
I'll confine the technical details to one paragraph: I completed my fourth aural safari Adrift in New York and learned a lot about ProTools' strengths (plug in automation and routing) and weaknesses (unreliable, if not nonexistent metering, inability to display pan, volume and other automation parameters simultaneously). Paul proved to be a fine engineer and tolerated my obsessive methods (listening to a 2-second fade out dozens of times, adjusting the volume by miniscule increments, and tweaking one rather tricky half-second transition for hours on end) as well as endured my mercurial work habits (willful shuffling of component files, peppering the session with random breaks, backtracking to what sounded good 2 dozen changes ago minus "that pan and EQ to the file on track 3.L"). The first session appeared to be a disaster -7 hours yielded 10 seconds of music- but once I found a working procedure, everything came together with time to spare.
Outside the studio, I spend my time walking, riding the subway, eating, navigating the blinking panorama of the main streets, and soaking in the sights on neighborhood sidewalks. I have no interest in the Statue of Liberty, Ellis Island or other tourist-polluted sites. As I am so occupied with composing and preparing for next week's gigs, I have had no time to catch any live music, apart from what I hear outside my window (the roaring late night wind and the astounding cacophony of the Chinatown Lumber Company) and on the streets and subways (a bewildering miasma of accents, snippets, stories, and sagas).
I have started to avail myself of New York's temples of visual art. I caught the Winogrand 1964 exhibit at the International Center of Photography, which, apart from dozens of fine photos, contained but 3 masterful shots (the cowboy crossing the street in Dallas, the justly famous White Sands shot with the trailer and red car, and a swimming pool viewed through multi-colored plexi-glass).
Afterwards, for a reminder of consistently great photography (and supremely selective editing), I visited the museum bookstore and paged through an omnibus volume of Cartier-Bresson, who, although overrated as a portrait photographer, never fails to move me with his daring shots of people in public. Of the photos I saw, Winogrand rarely got close enough, and almost never showed a great eye for composing a shot.
I have yet to visit other museums, but next week I hope to see work by my favorite Pop artist, the now-forgotten (or at least overshadowed by that omnipresent bore Andy Warhol) James Rosenquist. I'm hoping that MoMA is displaying another visual Holy Grail of mine, Pavel Tchelitchev's Hide and Seek but according to an exhibition catalog given to me last night the work is rarely displayed. Grrrrr...
Only in New York
Me: "I saw a great Tchelitchev catalog at this bookstore but..."
Dinner companion: "Oh, I used to work at that gallery. I have crates of that book in my attic in Westchester. Want one?"On the hunt for art I won't find or see in Seattle, I visited the renowned Strand bookstore, where I stumbled upon a great source for "art books": auction catalogs. Sotheby's and Christie's auction catalogs are finely photographed, replete with known and unknown artists, and at $2 or $2.50 a pop, hard to beat. The previous owner sometimes writes in the astonishing selling price or tucks in the final bid list.
The Strand's music section was passable - I had seen all their books in Seattle at one time or another - but to see 'em all at once was overwhelming. They were surprisingly shy of any books on contemporary music and/or sound art.
I have eaten well, starting with Turkey Gruyere sandwiches from "Sandwich Guy," a cult sandwich maker who sells his marvelous works in a space the size of a closet in an obscure alley off Broadway. Sandwich guy, solidly built like a retired football tackle with arms as big and as pink as canned ham, growled, "Want apple in the Turkey Gruyere?"
"Sure," I replied "whatever you suggest."
"Good man. You'll get a good sandwich."
I did.I have also enjoyed Ethiopian food, Malaysian Won Ton, and shopping in Chinatown, though I am still adjusting to my newfound invisibility here. White people tend to be mute illiterate ghosts just taking up space in Chinatown. Last week I visited a laundromat, and unlike the typical New Yorker who deposits laundry for later pick-up, I stuck around and did my own laundry, much to the amusement of the half-dozen Chinese women doing everyone else's loads at $3 a pound!
Beautiful people are everywhere in New York, and New York being New York, people aren't shy to look, but eyes do recoil quickly. After spotting your fourth or fifth model, beauty is almost irrelevant and good conversation priceless. I have had plenty of good conversations with Ian, who has kindly agreed to put me up (and put up with me) during the length of my stay.
Apart from a gloomy but highly tangential and thereby avoidable postscript, priceless friends like Ian - and indeed my entire stay so far - reminds me of you, my priceless friends back home. While I love New York, I do not need it, but I do need you.
September 11, 2002
Electing to wander randomly without a map, I avoided the big ceremonies commemorating "the tragedy"(though that word has been misused. Antigone's conflict between fulfilling family duty and obeying the edict of the state was a tragedy, defined as the clash of public and personal duty. "Disaster" having been wedded to "natural" in common usage renders that word unusuable, so I have settled on "calamity." Of course "hero" has been so grossly distorted that soon we'll all be heroes - when we snitch on our suspicious neighbors.)and happened upon a small service honoring fallen Corrections Officers. The humble tolling of a bell, a reading of 15 or so names, disorganized clumps of spectators cordoned off from what was clearly a private ceremony, and brief mourning music - along with the awkward delays common to weddings and funerals - made this rite real.Garish 9-11 paraphernalia abounds, from "Disaster Postcards" to Commemorative Editions (replete with glossy photos and captions in multiple languages) to almost every imaginable article of clothing (bustiers are next) branded FDNY. Should I have been surprised that no one throttled the pale, doe-eyed (was it narcolepsy or a hangover?) spider-armed model posing for a discreet photo shoot (!) directly in front of the main memorial?
If I sound cynical about 9-11, I am. Whether September 11, 2001 demarcates a historical era will remain open to question for years, perhaps decades. No matter what NYC-based TV networks, cliché-hungry reporters, and zeitgeist-hunting Op-Ed pundits may say, it is certainly not the date "everything changed." After all, our civil liberties have been discreetly evaporating since the Reagan years. Also, is anyone really surprised that much of the world loathes the United States for its foreign policy rooted in economic expansion and a lust for oil?
It is foolish to think the Nation can grieve like those poor souls who lost loved ones. Personal grief is silent and unspeakable, free of public confessions and other tawdry, pain-diluting ways of joining the crowd.
And we should do our best to shun the Time-Life effect that enables big companies to label a generation for sinister marketing purposes and falsely connect anyone with $19.95 to a historical event. "You remember that terrible day. Order this commemorative video, so we will never forget America's heroes..."
My hunch is that September 11 will eventually be a hybrid of the Hindenburg disaster (an event all but gone from memory as those who remember it are dead) and Pearl Harbor (still not an official Department Store Sale-spawning holiday, thank goodness, but a day noted by the public and commemorated by those who were there), though we shall see how the future will judge this trumped up "war" and the accelerated erosion of civil liberties.
The Rest of the Story
The remainder of my time in NYC was also marvelous. Courtesy of a friend and his father who flew in from Seattle "to look at few buildings," I enjoyed a great afternoon walking across the Brooklyn Bridge and wandering through MoMA in Queens.The MoMA show, a greatest hits of Modern (onwards from Van Gogh) Western art was an incoherent mish-mash of masterpieces. Walking through this clumsily collated collection was like listening to a friend's mix CD-R with one great Louis Jordan tune (Dad Gum Ya Hide Boy), followed by the Tristan Prelude followed by Kagel's First String Quartet, Journey's Separate Ways and abruptly venturing into top notch but wholly (and similarly) dissimilar corners of music.
What were MoMA's curators thinking? The only good juxtaposition was a huge bespattered Pollock antinomially facing a massive late-period construction paper Matisse and the de rigeur Rothko. In the worst "case" Cornell boxes were shoved against a dark wall, outshone (only literally) by DuChamp and a big boring (aren't they all?) Warhol across the way. Most memorable was Starry Night which still glows, though seeing Demoiselles d'Avignon, Matisse's Danse and a numerically titled Klein (no photo can capture the lush blues in the latter two). I had hoped to see Tchelitchev's Hide and Seek but learned that it was rarely exhibited.
The three of us then caught a tourist bus and traipsed through the embarassing riches (and a few plain embarassments) at PS 1. Big op-art paintings by Otto were marvelous in scale and scope. What moved me most were FBI documents rubricated by an artist whose art so absorbed me that I forgot his name!
Our sojourn in Queens was followed by a tony night in Manhattan with scrumptious Italian food: pasta calamari and gourmet pizza that only a tycoon or Julliard professor could afford. We retired for drinks at another swank place whose decor belied the reasonable beer prices.
Other culinary delights in NYC included delicious taxi stand Pakistani food, mouth-melting $1.75 raspberry donuts the size of a monk's tonsure, mushy knishes, flavorful bialys dipped in whipped lox, and from the Hong Kong Supermarket just a few blocks away, browned, spicy tofu.
While I was not equipped to record the late night drunken pseudo-brawl I witnessed which sported more flailing than contact, I did record myself doing my laundry in a Chinatown laundromat. I made all sorts of other field recordings that I intend to log in the next few weeks.
The gig, the NY Phonographer's Union with John Hudak, Michael Farley, and Ben Owen was a considerable success; not only did four improvisors who had never played together weave an engaging tapestry of field recordings but a nice number of people turned up to listen.
A few years ago I had an audition in Bellevue, a small city on the "Eastside" across the water from my living quarters in Seattle. As you might guess, performers of experimental music rarely audition for well-paying gigs, so when we do, we take it seriously. For several days prior to the audition, I rehearsed for several hours; the night before I decided which gear would be best for this 10 minute(!) gig, and plotted my route through the labyrinth that is the Eastside.
Despite consulting maps, I decided to leave 45 minutes early in case I ran afoul of bad traffic or got lost. That morning I bundled my gear into my car and went about my usual composerly bureaucracy: email, the post office, etc. At the appointed time, I pulled out of my driveway onto the street. Something seemed amiss.
No one was ahead or behind me, so I put the car in Park and listened to the engine. Even after 50 feet, I could tell something was wrong, but my oil-hungry engine sounded fine. Checking my rear-view mirror, something seemed askew, so I looked behind me and saw trouble: my trunk was lower than it should be. That sag meant a flat tire. Shit.
I pulled over to the side and after foolishly trying to jack the car up on an inclined surface, lowered the jack, and moved to a flat area. After wrestling my thankfully-still-inflated spare from the trunk, I raised the car a second time and replaced the flat. Grumbling and swearing, I wiped my rubber-sooted hands on my well-chosen black jeans and drove on.
As I crossed the water to Bellevue, I remembered why I hate the Eastside: poor signage (even worse than Seattle), unlabelled streets (which sometimes metamorphose into other street names), and the absence of navigable landmarks made finding my audition an absolute anal aggravation.
But find it I did, though my audition was in less than 10 minutes. There was no way I could get inside, register, and set up on time! Still flushed from changing a tire, cursing the Eastside, and enraged at my own tardiness, I pulled into the parking lot only to find every spot taken, except one, marked "Staff Only." Fuck the staff. I decided to park anyway.
Filled with cars, this lot was tight, so I had to do some fancy maneuvering to park my orotund Oldsmobile. In my rear-view mirror, I saw someone standing next to the empty space watching my maneuvers. Immediately I imagined some self-righteous poltroon planning to tell me I couldn't park there. I didn't like being watched, the narrow space was giving me trouble, and all I could think of was bashing this bureaucrat's face with the sidewalk. With the kind application of my steel-toed boot, my troubles would be over, my rage satiated.
Instead I paused, took a deep breath, and carefully backed into the space. The fellow was gone. Now I had 5 minutes to find my audition in a big glass cube. I unfolded myself from my car and, dreading a long line, went inside to register.
Only one person was ahead of me. It was the same guy from the parking lot! He was chattering, talking pleasantries to the staff, keeping me from my audition, and setting my blood aboil. I resolved not to make a scene - how he could know I was late and had a flat on the way?
Suddenly this obstruction turned around and proffered his hand.
"Hey Chris, long time no see. How are you?"Stunned, I realized it was Garrett Fisher, a fellow Seattle composer. We had been interviewed on videotape together a mere few months ago!
"Uh, not so good actually." As if being caught by the cops, I raised my rubber-sooted hands and turned to the registrars. "My name is listed as Christopher DeLaurenti. I got a flat on the way over."
"Don't worry," chimed in the cheery registrars. "We're running a half-hour late. You'll have plenty to time to set up. That's great you could make it here on time even with a flat."
Garrett asked "Were you driving a gold car?"
Embarassed, I nodded.
Garrett chuckled, "I tried to figure out if that was you, but I couldn't tell. Need any help with your gear?"
I got to my audition on time, knocked 'em dead, and remembered that a good chunk of life is relearning the obvious: my rage is my own. Kill!
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