There is a window of opportunity to learn a new colleague's first name and then, abruptly, that window slams shut-- and even if you see this person every day for a few minutes, it's still tough to pry that window open, and make the required effort to relearn the name that you immediately forgot after perfunctory introductions-- but today-- months into the school year-- with the help of another colleague (thanks Liz!) and her ability to access a list with the names of every teacher in the school on it, alphabetized, I smashed that window open and climbed through, and while I my brain may have gotten a bit bloody and abraded during the process, I'm now going to prop the window open by calling this lady that I share a homeroom with "Lisa" tomorrow-- although I hope I remember her name tomorrow, as I can't think of a good mnemonic device for the name "Lisa," as it's a fairly plain name and not epiphanic, like the "Dolores!" moment in Seinfeld . . . I suppose she looks more like Lisa Lisa from the Cult Jam than she does like Lisa Simpson, so I'll have to go with that . . . the idea that our homeroom is chaperoned by Lisa Lisa and the Dave Man (not that I'm going to tell her any of this).
The new Sam Harris podcast An Insurrection of Lies provides some clarity of thought about the storming of the capitol; Harris is worried about two misconceptions, one on the right and one on the left . . .
he is worried that the right is falsely equating the storming of the capitol with the riots, looting, and burning that occurred during the BLM protests-- and while Harris believes that the media did an abysmal job reporting on the chaos that occurred during those protests, that the media bent over backwards to not appear racist, and that Biden and Harris could have criticized the criminal behavior more overtly-- he still thinks you can't equate the natural eruption of mob criminality that happened in certain instances with a sloppy and disgraceful coup spurred on by a sitting President who knows he has a cult-like following of misinformed and delusional zealots and backed by a number of Republicans who fully well know that the election was not stolen but kowtow to Trump for strategic reasons . . . especially since this is an embarrassment on the world stage and perfect proof for regimes in Russia and China that democracy is bullshit;
he is worried that the left is equating the police action during the siege as more proof of white supremacy and systemic racism . . . that if this was a BLM protest, folks would have been treated differently; he brings up the point of the black cops being pursued by the white mob . . . these black cops weren't complicit in the siege, they were in an untenable situation-- fearing for their lives-- and a white woman was shot in the neck and executed by police . . . if this happened at a BLM protest, it would have been cause for further rioting; there may be a sinister conspiracy as to why the police presence was so small (or it might be the fault of the DC mayor, who didn't like the heavy-handed tactics of the National Guard at the BLM protests) but Harris is worried that the left will racialize this event instead of using as a starting point for laws instead of norms for the president-- he's hoping Biden enacts some laws to make the Presidency "psychopath proof" but of course the best way to avoid this is to NOT elect a psychopath;
his main thrust is that if you wholeheartedly believe everything you hear from either the right OR the left, your thoughts will achieve a cult-like conformity . . .
for another podcast that gets into this listen to the Joe Rogan featuring Lawrence Wright-- I enjoyed all three hours of the dialogue; Lawrence Wright knows his stuff on this topic-- he interviewed the son of Jim Jones (that's quite a story) and he wrote "Going Clear: Scientology, Hollywood & the Prison of Belief" and "The Looming Tower: Al-Qaeda and the Road to 9/11."
The crowd seemed to be comprised mainly of aging Gen Xers-- mainly male-- and so our contingent fit right in. Lecky, Whitney, Zman, Gormley, McWhinney, Carles were all in attendance (as was TR for the pregame). Much beer was drank.
Lecky made Herculean drive from New Brunswick to the Wellmont in Montclair, and the traffic-- just as I predicted-- was abysmal. Complaining about traffic is not very rock-n-roll (and neither am I) but I told Lecky and Whitney we had better get a move on or we were going to be crawling up the Parkway, and I was right! This did give us time to listen to some of Lecky and Whitney's original music, and while I enjoyed this, I still would have rather been out of the car. I can't stand being in traffic. It makes me claustrophobic.
The Cult were energetic and in good spirits, despite the fact that Ian Astbury and Billy Duffy are both pushing sixty. They have slight guts. Gentleman's guts. They played the entire Sonic Temple album and a number of old tunes from Electric, Love and Dreamtime. Nostalgic of the times I went to see them in high school and college (aside from the fact that they didn't play "Bad Fun," which would usually result in dangerously violent moshing).
Lecky, Whitney and I squeezed our way near the front and engaged some (rather tame) moshing with people that looked to be our age. The Millennials in front of us, holding their phones up and filming the show, wanted none of it. Lecky remembered to wear his earplugs. I did not.
After the show, we made an epic hike to a bar atop Gormley's hotel. Between that and the moshing, it was a lot of time on our feet.
In December, SNL aired a sketch about the band Weezer. Some folks are sitting down to what looks to be a lovely holiday dinner party, but then the music algorithm randomly spits out Weezer's cover of "Africa." The quintessential Weezer debate ensues. Leslie Jones and Matt Damon get into it, vehemently. If you're a Weezer fan of a certain age, then you've tread this ground before. And if you're not, then the debate probably didn't make much sense. The rest of the dinner party can't understand why Damon and Jones are getting so hot and bothered. The best line in the sketch might be when Heidi Gardner asks: “Is this a thing people care about?”
The Atlantic promptly posted an article called "The Saturday Night Live Sketch That Sums Up All Online Discourse." The author, David Sims, completely mischaracterizes the piece. He tries to glean a general, modern lesson from the particulars, and he bungles it. His big takeaway is this:
If you know Weezer’s back catalog intimately, every silly reference made in the sketch lands, but if you don’t, it’s still effective. Because above all, this is a sketch about the way some people discuss almost anything these days—with feigned politeness immediately escalating to personal cruelty. Though part of the joke was that this Weezer disagreement was playing out at a dinner party, I was immediately reminded of so much online discourse, where part of the point is coming up with the most extreme reaction possible.
No offense Mr. Sims, but you can burn in hell. And drink my hot blood. This sketch isn't about how people argue online. It's not about "feigned politeness escalating into personal cruelty." The emotions here are totally valid, because Damon and Jones are arguing about something much more profound than Weezer. Deep stuff. They know it. I know it. And my buddy Kevin knows it. We've been having this identical argument since 2005. Since long before online discourse. Pre-Twitter. The Age of Myspace.
Is This a Thing People Care About? Yes!
Kevin and I have been having this very same debate since Weezer released their fifth album, Make Believe. The one with "Beverly Hills." Yuck. "Beverly Hills," which features on-the-nose lyrics, an awkward faux hip-hop delivery, and a talkbox solo. I pronounced the album terrible. I swore I would never listen to the band again. Kevin kind of liked it. He didn't love it, but he also didn't consider it the end of times for Weezer. He was more forgiving than me, but I had my reasons. I knew better. I had been burned before.
And so the debate began. A debate much bigger than Kevin and me, a debate much bigger than the cheesy crap that Weezer started to produce, a debate much bigger than all of our meager and insignificant lives (whether we have a 90210 zip or not). People will be having this debate far into the future. Kevin and I might download our consciousness into the singularity and continue this debate until the sun burns out (which you will see would be highly appropriate). Intelligent carbon-based life-forms on other planets are having this debate right now. It's a discussion about the permanence of character and identity. It's discussion about the possession of an eternal and everlasting soul. Where lies your essence?
In this debate, I always play the role of Leslie Jones. To infinity and beyond. And Kevin will eternally be Matt Damon. It's a post-modern musical version of Sartre's "No Exit."
Here's a quick synopsis of the two positions. They are, of course, allegorical.
Matt Damon takes the stance that Weezer is "doing some cool things right now." He's looking forward to the release of The Black Album. Leslie Jones does not agree. She believes the band "hasn't had a good album since Pinkerton . . . in '96." She believes that all "real" Weezer fans know this. The two of them get deep into the band's discography. Matt Damon presents himself as open to the band's new music. He listens to all of it. He's "ride or die." Cecily Strong says, "For Weezer?" She doesn't get it. She doesn't know what they're really talking about (but she shouldn't feel bad . . . neither does David Sims, a Senior Editor at The Atlantic)
Damon labels Leslie Jones "a purist" because Jones only truly respects Weezer's first two albums (Blue and Pinkerton). Like me, she will deign to "go all the way up to The Green Album" (which is Weezer's third album). The rest of their material is "corny." I agree.
Matt Damon tells her to grow up. Stop living in the past. Jones calls Damon a "grown ass man" and chastises him that he should know better. He should be able to recognize good art and bad art. Things get pretty heated and both Jones and Damon behave badly, but this is not about online discourse and the lack of civility in conversation. This is about something bigger. Something that excuses bad behavior. Something scary and frustrating and philosophical. Also, I can't begin to explain how accurately this reflects the argument Kevin and I have been having since 2005, since Make Believe. It's almost like the sketch writers have been listening on on us.
A Magical Moment of Consensus
Things don't end well-- Damon storms out-- but there is a magical moment just before Damon leaves when Jones and Damon's sentiments align. Damon yells, "Can we all just agree that Weezer is the best band of all time?"
Everyone else at the dinner party yells "No!" aside from Jones, who says: "Yes!"
Watch and see (go two minutes and 53 seconds in).
This is why they are so passionate. They both truly, sincerely loved Weezer. Damon still does. Jones is conflicted. She qualifies her statement: "And then they became the worst band of all time." Damon still loves Weezer, while Jones loves what Weezer once was.
But aren't they the same thing?
Possibly. But probably not. We're talking about one of the stickiest philosophical dilemmas. A dilemma that involves consciousness, identity, art, and creativity. A dilemma that smacks of the infamous Ship of Theseus, but with something more malleable. You.
Are you your past self? What kind of relationship do you have with your past self? Is your brain the same brain you had in the past? Is your body the same body you had in your past?
This is why you have to excuse all the anger and arguing in the skit. Jones is reckoning with the fact that we have no soul, that we have no essence. There is no true identity. The old Rivers is gone. Damon is hanging on, but some part of him must realize that this is disturbing reality is true. Jones has simultaneously lost her faith in Weezer and in the divinity of the human soul.
Supposedly, most of our cells renew themselves every 7 to 10 years, but not the neurons in our cerebral cortex. We're stuck with them for life (and this is why we can get dementia). Other brain cells regenerate. But-- more importantly-- every time we remember something, that memory changes. Every time we recall something, we revise that thing. So in the biggest sense, our brains are not the same as they once were. Our memories do not accurately connect us to our past, they are creations of our present self. Yikes. The old Rivers Cuomo has been replaced, cell-by-cell, revised memory by revised memory. He's a living version of the Ship of Theseus. We are looking at a Doppelganger, a facsimile. Jones is not fooled. Damon is (or perhaps he doesn't want to grapple with this reality).
Is Weezer still Weezer? They've had a few line-up changes, including the loss of bassist Matt Sharp and the addition of guitarist Scott Shriner. But they are mainly the brainchild of Rivers Cuomo. Leslie Jones claims to know Rivers Cuomo "better than he knows himself." And she knows that he is no longer the Rivers Cuomo that produced Pinkerton and The Blue Album. She truly believes that Make Believe is make-believe. It's not genuine Weezer. I agree with her. Matt Damon is not so sure. He thinks Rivers is still Rivers. He's "into the new stuff." He encourages Jones to grow up and listen to some of it. He tells her that "she doesn't understand what Rivers is going through right now." He believes Rivers will suffer the ordeal, endure the crucible, and emerge hardened, annealed and even better than before.
What happens to our identity and our ideas over time? Do we have any sincere connection to our past selves? My guess is not much. I think we are always in flux. I am nothing like my twenty-two year old self. That guy was an asshole. He was also quite fast. But our athletic ability inevitably declines (except for Tom Brady, who -- according to my sources-- drinks a protein shake each morning laced with the blood and stem-cells of precocious toddlers).
While we physically decay, there's a case to be made that we should be getting better at things like music and drawing and writing and art (until we get dementia). Our artistic and cerebral skills should improve over time. But this doesn't always seem to be the case. Where is the Weezer that Leslie Jones once loved? And why hasn't the band improved with time, like a fine wine? Should she have the childlike faith that Matt Damon has? Faith that the past Weezer will return triumphant? Or is her skepticism more grounded in reality. I side with Jones. For whatever reason, Rivers is no longer (and will never be) his past self.
Jones and Damon are arguing over the existence and essence of the human soul. Is it eternal and unchangeable? Unable to be destroyed? And does it still reside within Rivers Cuomo . . . or did it evaporate when he moved to Beverly Hills? Was the soul of Rivers Cuomo make-believe all along?
Miles Davis said, "the key to creativity is a bad memory." I understand what he means. You have to keep changing, you can't get too attached to the past. Otherwise, you'll simply repeat it, in less and less sincere forms. You'll plagiarize yourself. You'll lose your soul. You'll sell your soul. I tried to find that quotation online-- to make sure Miles Davis said it-- and I had some trouble. I've been saying it to my Creative Writing classes for twenty years, but all I could find was this odd web page about painter Paul Solnes. So who said it? Perhaps Miles Davis. Perhaps not. But whether he said it or not, he lived it. Miles Davis constantly reinvented himself. The key to creativity might be to embrace the fact that we have no true essence, and we've got to keep moving on.
In 2012, David Remnick wrote an article about Bruce Springsteen, called "We Are Alive." Bruce had just turned sixty-two and Remnick marveled at his ability to produce new and relevant material. Bruce keeps figuring out how to remake himself. But the best thing in the article was what Remnick said about The Rolling Stones. I love The Rolling Stones. I love entire albums by The Rolling Stones. Some Girls and Exile on Main Street and Sticky Fingers. So many good songs on those albums. Remnick said that The Rolling Stones are now merely a high-end Rolling Stones tribute act, though they contain the same humans that were in the actual and legendary band. This may be the perfect example of the Ship of Theseus dilemma as an identity conundrum:
But, unlike the Rolling Stones, say, who have not written a great song since the disco era and come together only to pad their fortunes as their own cover band, Springsteen refuses to be a mercenary curator of his past. He continues to evolve as an artist, filling one spiral notebook after another with ideas, quotations, questions, clippings, and, ultimately, new songs. (David Remnick)
Most of The Rolling Stones are still alive, the same guys who wrote "Sway" and "Rocks Off" and "Dead Flowers" and "Gimme Shelter." Brian Jones died in 1969, just after he was booted from the band. Mick Jones didn't play with them for a long while, but other than that, they are intact. And all they can do is perform their old songs. Why? Why can't they occasionally write an amazing song? Why aren't they who they once were? It's frustrating and disturbing.
Remnick does raise the point that perhaps the Stones are mailing it in. They only get together for the money. This makes sense. he's probably right. But you'd think they would still want to write a few great songs when they do get together. Perhaps that is impossible without self-reflection, progress, and process. While Bruce Springsteen keeps evolving, the Stones became "curators" of their past.
Weezer is another story. Rivers Cuomo is working his ass off. He's got plenty of process. He's trying his damnedest to evolve. Listen to Song Exploder 70: Weezer for the details on how he wrote "Summer Elaine and Drunk Dory." Understanding all the work he put in makes me almost like the song. Almost. But it's still not "Surf Wax America." It's still ersatz.
Cuomo has spreadsheets of lyrics broken down by syllables and accents and prosody. Everything's tagged and searchable. He can "search for lyrics with five syllables and an accent." He's got Spotify playlists of cool old songs; he collects these songs and ruminates on them and finally dismantles them, unravels the chords progressions and the melodies so that he can transform the bits and pieces into something Weezer. He sings his guitar solos first. He eavesdrops and writes stream-of-consciousness journals and has been using the methods in Julia Cameron's classic book on creativity: The Artist's Way.
So why can't he knock it out of the park? Why can't he make another BlueAlbum?
I think I have one possible answer.
Jonah Lehrer wrote an article for the New Yorker in 2012 entitled "Groupthink." In it, he skewers the "brainstorming myth," the idea that spewing out a bunch of ideas is a valid path to creativity. There's something wrong with the "no wrong answers" approach. While it's fun to push for quantity over quality, and it feels positive to encourage freewheeling associations and censor all criticism, these methods don't produce good results. There's been plenty of research on this subject, and apparently working in a more critical environment is a better way to produce good ideas. There needs to be some constructive feedback and debate. Dissent is important; Charlan Nemeth discusses this in "Freakonomics Episode 368: Where Do Good Ideas Come From?"
The Lehrer article summarizes a research experiment designed by Brian Uzzi that explains a critical element in the creative environment necessary for achievement. Uzzi uses the idea of a "Q reading"-- which is basically how long and how well members of a team know each other-- to assess success.
Uzzi focused his study on Broadway musicals, which he calls a "model of group creativity." He studied the Q reading of Broadway musical teams from 1945 to 1989 and he discovered something exceptional. Broadway actors, producers, choreographers, lyricists, and stage managers tend to work together over and over. Broadway musicals are expensive. There's less risk if you know the members of your team. What Uzzi found was that teams with very low Q readings-- teams of artists that didn't know each other at all-- those teams were destined to fail. Q readings in the middle, teams comprised of a variety of relationships-- some old, some new, some in between . . . when the team was acquainted, these plays did the best. And when the Q reading was very high, when the team had worked together many times, then the chance of success went down again.
Total strangers don't work well together. People who have known each other so long that they can't criticize each other without taking umbrage and offense, they don't work well together either. In that middle ground, however, when people are professionally acquainted but not overly familiar, those teams succeeded.
The best Broadway shows were produced by networks with an intermediate level of social intimacy. The ideal level of Q—which Uzzi and his colleague Jarrett Spiro called the “bliss point”—emerged as being between 2.4 and 2.6. A show produced by a team whose Q was within this range was three times more likely to be a commercial success than a musical produced by a team with a score below 1.4 or above 3.2. It was also three times more likely to be lauded by the critics. “The best Broadway teams, by far, were those with a mix of relationships,” Uzzi says. “These teams had some old friends, but they also had newbies. This mixture meant that the artists could interact efficiently—they had a familiar structure to fall back on—but they also managed to incorporate some new ideas. They were comfortable with each other, but they weren’t too comfortable.” (John Lehrer)
I think this often holds true for bands. Michael Azerrad's book Our Band Could Be Your Life is a comprehensive and vivid depiction of post-punk Q readings. A band's first album is usually made after many months of touring and practice, so the band has gotten to know each other quite well (usually because they've been living in a van). But they're not so well acquainted that they can't surprise each other. First albums are often good because the band is in that sweet spot of the Q reading. They know their band mates well enough to debate and dissent, they can recognize the good ideas and toss out bad ones. As time passes, it's often all downhill. The Rolling Stones are no longer professionals in a working band. They are long-time friends. Once things get too comfortable (unless there's a major change, such as Johnny Cash working with Rick Rubin) then it's just going to be more of the same.
Why Is There No Sequel to The Big Lebowski?
Perhaps this is why the Coen Brothers can't make another Big Lebowski. It's why Pavement couldn't make another "Crooked Rain, Crooked Rain." Once in a while, an artist creates something new and unusual and awesome deep in their career. Willie Nelson made Spirit and Teatroin the late '90's. Who knows what got into him? Maybe it was the weed. Radiohead does their best to break new ground with each new album, but most people still prefer The Bends and OK Computer. And these exceptions are the rare counter-examples that prove the norm.
This truism, that artists often peak somewhere in mid-career, seems to hold true for individuals as well, perhaps because every individual artist is ensconced in a nest of relationships and stimuli. Every human is part of a team. And when that network gets old and hackneyed, then things get stale. It's why Liane Moriarty's middle books (Big Little Lies and The Husband's Secret) are so damned good, and why her latest (Truly Madly Guilty) just seems to just be checking the "Liane Moriarity" boxes. It seems derivative. It's why Thomas Pynchon can't do it again.
It's tough to be your past self. It's even tougher to beat your past self, to out-compete that person. Especially when your audience is no longer their past self. They are older and smarter and more experienced. As Heraclitus said, "You never step in the same river twice."
Ride or Die For Strat-O-Matic Hockey?
My buddy Kevin is something of a completist. He reads all the Michael Pollan books. He listens to all of the Weezer and Radiohead albums. He collects things. He still plays Strat-O-matic baseball (and Strat-O-Matic hockey . . . Strat-O-Matic hockey?) He buys the physical cards every year for his Strat-O-Matic sports, even though he doesn't roll dice any longer. Even though the game is now computerized. He's ride or die for Strat-O-Matic.
Kevin feels the same way about Weezer and Michael Pollan. He's a fan of the artist. I'm a fan of the art. Once I don't like the art, I defect. I love Life's Rich Pageant and Murmur, not the band R.E.M. It's because I learned my lesson early on. More on this later. I hate R.E.M.'s Out of Time, even though it was made by the same humans that made Reckoning. "Losing My Religion" is the worst. The fact that Michael Stipe wrote "Talk About the Passion" and also wrote "Losing My Religion" has made me lose my religion, made me lose my belief in an eternal soul.
Strat-O-Matic Hockey?
I'm the opposite of a completist. I only want to listen to the best things. I read Omnivore's Dilemma, but I might never read another Michael Pollan book again. That was his high point. I'd rather listen to first-rate jazz than second rate Weezer. I'm a grown-ass man! I'm logical about it. Old R.E.M. is slightly better than old Weezer, and new R.E.M. is slightly better than new Weezer, but I'm not going to spend my time listening to new R.E.M. because it's slightly better than new Weezer. Instead I'll listen to first rate something else. I'll move on. In this case the newer stuff-- whether it's Weezer or R.E.M.-- is ersatz.
Kevin is loyal and faithful and believes that his favorite artists are still his favorite artists. They can do it again. I'm not so sure. I think we're a constantly changing-- our cells, our memories, our routines, our thought patterns-- and we are surrounded by a constantly changing collection of people. It's really hard to replicate a particular time and place. This may also point to the impossibility of loving a Weezer album again. I am a different person. I'm not in my twenties. I'm not childless and open to the infinite possibilities of the universe and both overly-confident and slightly scared of what that means. Pinkerton really nailed that feeling. But now I'm a grown-ass man. Perhaps that kind of music could never speak to me the way it did back then.
When my wife and I lived and taught in Syria, I played a lot of music with my friend Matt. We both loved Pinkerton and so we learned a bunch of those songs. They were hard to play and sing. Weird chord progressions and some high notes. Weezer was still rolling along. The Green Album had just come out and it was short but good. Catchy and driving. We were young and without children, living in a foreign country, and when we played "The Sweater Song," everybody sang along. It's a time in my life that's impossible to replicate, and it would be silly to think that it's even possible to do so. Matt and I were on exactly the same page, musically. We were in a "strange and distant land," a weird holiday of sorts. Weezer was our common ground.
When Weezer's time was over, I had no problem abandoning them. I may have learned to defect so readily because of what happened when I was a teenager. I had a comically traumatic experience with my favorite band: The Cult. The Cult were the masters of creative transformation. The real version of Spinal Tap. They began as The Southern Death Cult, a goth/post-punk band in the spirit of Bauhaus. Then lead singer Ian Astbury teamed up with his artistic soulmate, Theater of Hate guitarist Billy Duffy and they stripped their name down to The Cult. In 1984, they put out the Dreamtime, a weirdly awesome brew of apocalyptic Wild West riffs, Native American chants, and tribal rhythms. A year later they released the cerebral-sounding college rock classicLove: an impeccably produced collection of droning, ethereal guitars and wailing reverb-laden vocals. The album with '80's anthem "She Sells Sanctuary." I totally dug that album, but the The Cult's next move separated them from the other alternative post-punk bands of the time. They hired Zodiac Mindwarp's Kid Chaos on bass, teamed up with producer Rick Rubin, and made Electric, a raw, stripped down freight train of a record. It was 1987. I was 17 years old, and the album spoke to me and my friends. We felt wild and violent and unhinged, and so did this album. We loved it.
I was ride or die for The Cult
This was one of the reasons I couldn't talk to girls. I really wanted to ask them whether they preferred the celestial sound of Love or the crisp overdriven guitars of Electric. The production values of Steve Brown or Rick Rubin. I wanted to know their opinion. It was a litmus test. Kind of like The Weezer debate. But this was not a thing most people cared about. Certainly not most girls. The only people that cared were my high school buddies, who liked The Cult as much as me. And we loved Electric. We loved moshing at the shows, we loved when Ian Astbury-- drunk-- clambered to the top of the speaker cabinet at the Felt Forum and couldn't get down. It was Spinal Tap embodied. Billy Duffy kept on soloing on his giant White Falcon Gretsch hollow-body guitar, hanging it over the crowd so you could touch it while he played, soloing and soloing until the roadies got Astbury down.
Then I went to college, and my freshman year The Cult released Sonic Temple. It was 1989. They got yet another drummer-- Mickey Curry-- and a new big-time producer: Bob Rock (who has produced acts such as Metallica, Aerosmith, Bon Jovi, Mötley Crüe, the Offspring, and David Lee Roth). I heard a couple singles from the new album on the radio and MTV-- "Fire Woman" and "Sun King"-- and while they sounded a bit over-produced, they still rang true, they still passed as genuine Cult songs (if a bit cheesier than the old stuff). I heard Astbury in an interview and he said he wanted to make "sonic landscapes," like the Fleetwood Mac song "The Chain." That sounded fine to me. "Sun King" certainly did that.
I bought the album on CD, though I didn't own a CD player yet. I could see the writing on the wall for cassettes (but I couldn't fathom that vinyl would make a comeback). My buddy Whitney and I went into a friend's room who had a CD player. Whitney knew I was a diehard Cult fan. He listened with me and watched me nearly shit my pants when I heard the corny strings at the start of "Edie (Ciao Baby)" and the goofy organ at the start of "Sweet Soul Sister" and the abominable a capella chorus at the start of "Wake Up Time For Freedom." I was disappointed. But I hadn't yet become a defector. I blamed Bob Rock. I enjoyed what I could from the album-- mainly "Sun King" and "Fire Woman"-- and waited patiently for the next one. I was young and dumb and optimistic.
Before Ceremony came out, in 1991, I made the absurd decision to have the logo from the Electric album tattooed on my ankle. I was ride or die for Electric. I liked it that much. And I had faith that The Cult would return triumphant.
Then I listened to Ceremony, and it broke me. I realized that these were not the same dudes that made Dreamtime, Love, and Electric. Nor was I the same person. I realized that, in fact, people weren't people at all; they were conglomerations of memories and molecules in a particular matrix of time and relationships. There was no continuity to anything. Ceremony was so fucking bad. It was derivative. It consisted of mashed-up versions of every lousy Cult song, squashed together, with cheesy super-slick production. Self-plagiarism of the worst kind. I defected. I learned my lesson. I eventually covered my Cult tattoo with another absurd tattoo (grist for another post).
By 1991, R.E.M. was dead to me as well. While I could tolerate a few songs from their 1987 effort Green, it was the same routine and timeline as Sonic Temple and Ceremony. "Stand" was "Wake Up Time For Freedom" awful, but "Pop Song 89" and "Orange Crush" were fun. But Out of Time, that whole album seemed ersatz to me. Not genuine R.E.M. I heard "Losing My Religion" and "Shiny Happy People" over and over on the radio. I was angry. I realized you couldn't go back to Rockville. What the fuck? What had happened to the artists I loved?
And then I got over it. I moved on. I discovered new stuff: Cake and Wilco and Ween and Beck and Underworld and Crystal Method and Tribe Called Quest. I got into jazz: Wes Montgomery and Grant Green and Charlie Parker and Jimmy Mcgriff and Jimmy Smith. I went back to old familiar stuff and realized I liked it more than I thought: The Rolling Stones and The Talking Heads and The Cure. I got into hip-hop beyond The Beastie Boys. I learned to find new art-- or art that was new to me-- instead of relying on my old favorites. Why bother being loyal when the cards are so stacked against success? Rivers Cuomo sang it on Pinkerton:
Why bother? It's gonna hurt me.
It's gonna kill when you desert me.
This happened to me twice before
Won't happen to me anymore.
Weezer
I'm no longer angry. I learned not to be offended when an artist I liked produced something shitty. That artist is no longer the artist they once were. It's not a betrayal. You're different, they're different, everything is different. The Artist Formerly Known as Prince got it exactly right when he renamed himself. I'm happy that people can come together at all, in any time or place, and create something of significance. It's really hard. And it can't last. Everyone has to be in the right space. There's some real vitriol out there about Rivers Cuomo and Weezer, but I'm just glad they made the Blue Album and Pinkerton (and the Green Album is decent, I just gave it another listen). You can't expect much more.
I was lucky enough to move in lock-step with The Cult and some other bands-- including Weezer-- for a few years, for a few albums. But what are the chances for that to continue? For you and the artist you love to evolve in the same way, so that you enjoy everything they make? Slim to none. It's just not feasible, for a variety of reasons. I was fourteen when The Cult made Dreamtime, and investigating punk-rock and goth and underground music. It was a perfect fit. A year later I had picked up the electric guitar and the droning riffs on Love were intriguing. Every budding guitarist in the '80's who liked alternative music learned the opening to "Rain" and "She Sell Sanctuary." And when I was seventeen and full of testosterone, The Cult put out Electric. Perfectly appropriate for me and my buddies. These albums are touchstones of time as much as they are of sound. They moved in parallel with my aesthetic sensibilities. That was a happy accident.
Our identity depends as much on who surrounds us as it does with what is within us.
There's a fantastic artifact from The Cult discography symbolic of this theme: that our identity depends as much on who surrounds us as it does with what is within us. The Cult recorded an earlier version of the songs that eventually became the hard-driving Electric. These tracks are called The Manor Sessions. They were produced by Steve Brown, the same guy who produced Love. If you like The Cult, then these are fascinating tracks.
It's the songs from Electric but they sound like B-sides from Love. The band decided these recordings didn't reflect their new direction. They enlisted Rick Rubin and made the "real" version of Electric. And it was all about the production. If The Cult had stuck with Steve Brown and made another album that sounded like Love, I would have liked it. I like The Manor Sessions. I would have liked The Cult, the same amount that I liked Jane's Addiction and Guns N' Roses and Soundgarden and The Cure and Danzig. A lot. But I wouldn't have gotten a Cult tattoo. That Electric album that spoke to my me and my friends in a very special way when we were high school seniors, when we were drinking beer, driving around, doing vandalism-- that album almost didn't exist. You can actually hear what it could have been. If this had been the case, we would have driven slower and done less vandalism. Maybe we would have been more cerebral and sensitive. We certainly would have been different. It makes me realize a piece of art is so dependent on the circumstances. It's a product space and time and relationships. It's a miracle that it ever works at all, that a bunch of sounds could mean so much. And it's greedy to think that it can be repeated, especially by the same humans at another time, in another place, when everything is different. Weezer is never going to make another Blue Album, and that's okay.
I'm doing something annoying and pretentious right now, but it fits perfectly with this philosophy. My family is taking a trip to Costa Rica this summer, so I started brushing up on my Spanish. This led me to search for some great Latin American alternative albums. I stumbled on some fantastic stuff. Cafe Tacuba's highly regarded Re. Los Amigos Invisibles' funk album The New Sound of the Venezuelan Gozadera. Soda Stereo's alternative classic Sueño stereo. And Jessico Megamix byBabasónicos (a band regarded as the Argentinian version of Beck).
Listening to this music is like stumbling on buried treasure. These are the best albums by these bands. You can tell they are in the Goldilocks Zone for Q reading and creativity. It's a real treat. And I'm learning some interesting Spanish idioms (such as Cómanse a besos esta noche. . . you can eat kisses tonight?)
So no more ride or die for me. I'd rather listen to some nearly incomprehensible first rate Latin American music than second rate stuff from my favorite bands. I've embraced the Miles Davis philosophy. I have a shitty memory, and it keeps me moving. I'm not going to wait for lightning to strike twice when I can search for a fulgurite.
I'd like to apologize to David Sims for "escalating to personal cruelty." I don't actually want him to burn in hell . . . but I do want him to read this and understand the true significance of the SNL Weezer sketch, and the true significance of the Weezer debate. It's about the continuity of our identity, and the truth might be disturbing. There might not be any continuity of our character. Our soul might be an illusion. There's an up side to this. Change is not only possible, it is inevitable. I'm in a better place now. I've dredged up lots of memories, and my brain has revised them. I've listened to a bunch of old music and it's made me nostalgic. I'm nothing like the guy who started writing this post. That guy was a little disappointed with Weezer. That guy was angry at David Sims. That was my past self. But nearly six thousand words later, this new guy, this new Dave, he knows better.
Summer is waning fast, but if you still have time left to binge some quality stuff, I have two superlative recommendations for you; both are concerned with man's relationship to the land, but one is British and the other as American-as-fuck-all so they have very, very different takes . . . one piece is an incredible piece of deep dive journalism that-- if you're a liberal-- will make you scared and angry and freaked out and contemplative, and if you're a moderate conservative, will make you wonder where the hell the fringe of your party wants to go (and if Donald Trump actually wants to lead them there) and if you are willing to follow; and if you're a right-wing-gun-nut-ultra-patriotic-endangered-species-hating-militia-member-antifederalist then you'll be pleased that your story is getting some press (even if there's a liberal media bias to the reporting)
and the other piece is a droll, charming comedy that will make you forget all the troubles I formerly mentioned . . . without further ado:
1) Bundyville . . . a journalistic tour-de-force consists of seven podcasts and four articles on Longreads that details how Cliven Bundy and his family and allies have fought the federal government about grazing rights on federal land, starting with the Bundy Ranch Standoff in 2014, which attracted anti-federalist right wing militants from around the country, and leading to the forty day occupation of the Malheur National Wildlife Refuge in Oregon . . . along the way, Leah Sottile touches on religious fundamentalism--God speaks to Bundy-- and the environmental movement (which the Bundy's believe should be labeled as a cult-like religion), radical interpretations of the constitution, the rights of states versus the rights of the federal government, David Koresh and Timothy McVeigh, race (if people of color tried to do the stuff the these white nationalists do, they'd be shot and killed) and government overreach, and-- in the end-- what it means to be an American and the relationship Americans should have with our land and our government . . . compelling and essential, so good I'm going to teach it this year;
2) Detectorists . . . a fantastically weird show about friendship . . . and metal detectors; Mackenzie Crook (best known for playing Gareth in The Office) and Toby Jones roam the British countryside looking for bits of ancient history (in a nation where you have the right to roam on private land . . . while you may have to ask permission to look for treasure, if you are British, there is a much more communal feeling about "private" property, and you're not going to get to keep the Saxon hoard you turned up anyway, you have to report it to the "coroner" and it is regarded as national treasure) but meanwhile, in the present, the two buddies aren't exactly killing it . . . so is the metal-detecting a healthy escape from the mundane or a barmy obsession that's going to destroy their relationships and life-goals; I thought this would be it, but the show introduces some rival detectorists (that look like Simon and Garfunkel) and an attractive female and you've got way more plot then I anticipated, plus extremely well-written dialogue, understated and pitch-perfect acting, and lots and lots of laughs . . . I convinced my wife and kids to watch and despite the utterly weird and slow start-- two dudes roaming a field with contraptions-- they fell in love with the show and we're racing through (I know some of you only take my reviews seriously if my wife is onboard) and I will also admit that as we slog through these final hot, humid, mosquito-and-tick-ridden days of central Jersey summer, I am longing for a cool place where you can hike wherever you wish, without the fear of getting gunned down by a semi-automatic-weapon-wielding-anti-federalist landowner.
Over the course of my life, I have purchased, with sincerity, three audio formats: vinyl records, cassettes, and CDs-- in fact, in 1989 I was so forward thinking that I bought the Cult album Sonic Temple in CD format before I even owned a CD player . . . I sensed the demise of the cassette format and I knew I was going to have to purchase a CD player, so in order to listen to this album, I had to visit other rooms on my freshman dorm and impress these stereo systems in the name of Ian Astbury (and it's a good thing I purchased the album on CD, because there were a few songs-- notably "Wake Up Time For Freedom"-- that were absolutely horrible and the CD format made it easy to skip over them) but, for whatever reason, I never bought any 8-Track cartridges, despite the fact that the gray two door 1985 Buick Skylark I drove during high school had a working 8 Track cassette player . . . instead I bought an 8 Track to compact cassette converter, in order to keep up with the times; I'm not sure what the point of this sentence is, other than I wish I was forward thinking enough to sell all my CDs before that format became defunct, and also how reflecting on these formats allows me to actually understand the hipster mentality of purchasing vinyl albums-- despite the irony and the environmental waste-- because it is nice to have an object associated with something as resonant and emotional and abstract as music . . . I don't think kids today have as much attachment to albums as those of us that grew up before the digital revolution, nor do I think kids wrap their identity so closely with bands and musical artists and this may have something to do with the fact that they haven't had to buy their music in a particular tangible format (or perhaps it's because of Snapchat and YouTube and Facebook, youngsters-- and perhaps all of us-- have become more image based, as opposed to auditory).
Richard Linklater's film Everybody Wants Some!! is the story of a college baseball player learning to navigate around a new campus, a new town and-- most importantly-- a new group of dudes; while there is a main character (Jake, a freshman pitcher) the story is less about him and more of an allegory, it's the early '80's, it's Texas, it's a group of college athletes, and class has not yet begun-- so they're not learning anything academic, but they are learning how to get around (as Russell Ziskey says in Stripes, "We're not homosexuals, but we're willing to learn") and all doors are open for these young men: they visit a local bar, a disco, a honky-tonk, a punk show, they host a baseball party-- which is very fratty-- and then, the climax, they really stretch themselves socially and go to a drama party . . . they change superficially for each event by literally changing their clothes-- and Linklater captures the fashion melting pot disaster that was the early '80's, and they also change mentally, and learn to understand the hierarchy of competitive dudes and thrive in it-- as they move through the layers of the campus and the town, the scenes are superfast and various, just as you might remember the first weeks of college, old school college, before honors programs and tiger moms and high school AP classes and incredible tuition costs, back when college was a time to experiment not only with learning, but with your personality . . . you could be anyone you wanted, and move through a frenzy of settings, barely connected by any through plot; the movie almost has a detached documentary feel, there is a time stamp in the corner counting down to when class begins . . . though I wasn't heavily emotionally invested in the characters or the plot, I loved the movie, and I highly recommend going on this optimistic cinematic adventure . . . but if you're in a more dour mood, and want think about doors closing, because of age, situation, and personality-- and you want to laugh like hell about all this existential misery-- then watch Season 5 of Louie . . . Louie also navigates a complex and variegated world, but it's a darker universe than the bright Texas sun in Everybody Wants Some!!-- Louie gets beat up by a trashy girl, spends some painful and enlightening times with a hack comic in Oklahoma, visits a chanting cult by accident, awkwardly attends a school potluck, tries (unsuccessfully) to NOT interact with his driver while he's on the road, bores the hell out of his psychoanalyst, has an intimate encounter with a pregnant surrogate, spends an awful evening with a childhood friend who is now an incompetent and depressed cop, takes an old time picture with some nice ladies, and travels through all the odd, weird, and often inscrutable layers of New York and beyond, and he's barely able to comprehend any of it, he can't seem to fit in or get comfortable, he can't find a bathroom, disappoints himself, his daughters, and his lover, and then takes this misery and processes it into stand-up comedy . . . now that I've sat down and written this reflection in contrast, I'm a bit sad and nostalgic: I miss the opportunity and flexibility that youth and college offers-- or once offered, those days might be gone . . . they are certainly gone for me, and they might be gone for everyone except the ultra-rich-- and I can see my future and it's not bright: the world will get more and more confusing, more and more closed off to me, as I grow older and my neurons stiffen and my ability to tolerate new situations gets worse and worse . . . I don't even know how to write myself out of this corner.
This week on The Test, Cunningham uses her quiz on cults to whip Stacey and I into a fervently rapturous passion . . . so give it a listen, keep score, promulgate the tenets, try to maintain autonomy of consciousness, and be warned: you may need some deprogramming once the show is over.
Jeff Vandermeer's sci-fi novel Annihilation certainly owes some of its tone and plot to the Strugatsky Brothers cult classic Roadside Picnic, but instead of navigating a mysterious area through the eyes of a Stalker, Vandermeer gives us a weird, gothic, and evocatively creepy tour of Area X through the mind and observations of a biologist, and the passages in which she analyzes the bizarre ecosystem of Area X are the most vivid and memorable in a book which is generally ambiguous and confounding . . . the team investigating Area X, purportedly the twelfth mission sent in to contain and understand the zone, consists of a psychologist, an anthropologist, a surveyor, and a biologist . . . but nothing is as it seems, everything goes awry, and the group spirals deeper and deeper into an area that has more to do with the Wallace Stevens poem "Of Mere Being" than an actual location on earth; the book is short and the first of a trilogy, and I liked it enough that I will probably read the other two, but be warned: the plot is more like a dream than a linear sequence of events, and the nature of reality is constantly eroded and called into question-- this is exemplified by the biologist's husband, who went into Area X on the 11th expedition, and came out as the walking dead . . . this was a man who thought he had been abused as a child, but when-- as an adult-- he saw a classic horror film, it "was only then that he realized that the television set must have been left on when he was only a couple years old" and his memories of abuse were a fake and a forgery, and "that splinter in his mind, never fully dislodged, disintegrated into nothing" and the looming menace, that all of our consciousness is faulty and false and misguided, takes root on every page of this book, and colors every detail of the lush, variegated environment of Area X and whatever lies beyond and below it.
During a recent recording session for The Test,we discussed the definition of a "cult classic" and the idea that cult classics might not even exist any longer (because of the easy access and ubiquity of everything "cult" on the internet) and we arrived at this conclusion-- a cult classic has to be relatively obscure and difficult to access, but not too obscure . . . because it has to last the test of time in this low-grade state of minor fame . . . when I was a kid, Monty Python and the Holy Grail was a cult classic, I had to track a copy down and buy it to see the film, but now, of course, the movie is world renowned, but a better example would be the satirical film Porklips Now, which I watched multiple times in high school and college; looking back, it's quite bad, but this is before the advent of YouTube, so I guess we didn't have much to choose from if we wanted to watch something beyond the pale of regular media: anyway, go four minutes and fifteen seconds in for my favorite bit of dialogue . . . so you go down and you find Mertz and you know . . . you go through the gate and you find Mertz and uh . . . what he means is you find him and you know . . . you find Mertz . . . you find him . . . go through the Chinatown gate . . . you find him and you take care of business . . . you go through the gate . . . you get my drift?
Alexander von Humboldt is largely forgotten (aside from the Humboldt Current and the Humboldt Squid) but he was the most intrepid and famous man of his age, and his influences on our perception of nature and the environment were monumental; Andrea Wulf's book The Invention of Nature: Alexander von Humboldt's New World is everything you could ever want to know about Humboldt, and also features wonderful chapters on the folks that he influenced and inspired; every time I thought I had enough Humboldt, she described another inspired adventure, or how he met up with and influenced another notable person, and Wulf even writes wonderful mini-biographies of some of the people who were most indebted to Humboldt's writing and discoveries . . . here are a few of the many memorable things Wulf describes:
1) Humboldt was buddies with Goethe and was the inspiration for his most famous character Dr. Faustus, who made a pact with the devil in "exchange for infinite knowledge,"
2) Humboldt never married and the exact nature of his sexuality was ambiguous . . . but he certainly enjoyed the company of men, one of his most celebrated bromances was with his travelling and writing partner, Aime Bonpland . . . Wulf describes them as a "great team" because they were exact opposite: "Humboldt spread frantic activity" while Bonpland "carried an air of calmness and docility,"
3) when Humboldt and Bonpland were in South America, they had an especially fruitful time experimenting with electric eels . . . they drove horses into the water where the eels were and watched the "gruesome spectacle" and for "four hours they conducted an array of dangerous tests including holding an eel with two hands, touching an eel with one hand and a bit of metal with the other, or Humboldt touching an eel while holding Bonpland's hand (with Bonpland feeling the jolt)"
5) Humboldt spend quite a bit of time with Thomas Jefferson, and inspired Jefferson to look for megafauna in North America (to show up French Naturalist Georges-Louis Buffon, who claimed that everything in the New World was feeble compared to its European version)
6) Charles Darwin was inspired by Humboldt and he "modelled his own writing on Humboldt's, fusing scientific writing with poetic description"
7) Hector Berlioz, the great romantic composer of Symphony Fantastique, loved Humboldt's book Cosmos and claimed that it was incredibly popular among musicians;
8) Edgar Allan Poe's last work, the 130 page prose poem Eureka, was "dedicated to Humboldt and was a direct response to Cosmos" 9) Humboldt advised Simon Bolivar, annoyed Napoleon, inspired Thoreau to write Walden, influenced John Muir and the entire conservation movement, and had loads of other far-reaching implications with his prodigious correspondence, his travels (to South America and Siberia in particular), his copious experiments and measurements, his many publications, and his cult of personality . . . this book is so dense with detail that I can barely keep one-tenth of it straight, but one thing will remain in my brain years and years from now, Humboldt is more than the guy who discovered a really scary predatory six foot long, one hundred pound squid (although that's a great accomplishment in itself).
If you haven't seen the Netflix original Unbreakable Kimmy Schmidt, then the plot is a hard pill to swallow-- Kimmy and three other women were held captive underground for fifteen years by a lunatic doomsday cult preacher, and when they were finally rescued, Kimmy made her way to New York City on a wing and a prayer and ends up living in a basement apartment with an out-of-work flamboyantly gay African American actor named Titus Andromedon-- but the theme song, perhaps the catchiest since "Cheers," explains all this visually and persuasively; I would suggest starting with episode ten, "Kimmy's in a Love Triangle," because Dean Norris (Hank Shrader in Breaking Bad) makes a cameo as Le Loup, a "straight coach," who counsels gay actors to act like a heterosexual dudes, so they get get more acting roles . . . the scenarios he devises are absurd and spot-on (and you'll find out why straight men don't drink from straws).
When the sun rose on Saturday morning, I was feeling good about myself and the new day dawning . . . after breakfast I went and played some tennis with my son Ian and our guest Carl-- a ten year old boy from the Bronx who had stayed at our house the past week (my wife arranged this through the Fresh Air Fund, and Carl had never been to New Jersey, so we took him to the beach, to the pool, on a train, to an art museum, etcetera . . . it was exhausting because he had never been to any of these places, but he had a great time and it may have opened my own kids' eyes a little bit to how lucky they have it) and now it was time to take Carl back to the Fresh Air Fund office, which was in Manhattan (3rd Ave) and I volunteered to do this because then I was ditching my family and going to meet Connell and Alec in Asbury Park to see The Dean Ween Group, and as I walked out the door my wife said, "Don't forget to get gas" but-- son of a bitch-- I forgot and didn't remember until I was stuck in traffic inside the Lincoln Tunnel-- and this made me a bit anxious and claustrophobic, but I could see plenty of gas stations on the GPS map on the other side of the tunnel, and once we made it through, I tried to find one, but no luck . . . and then I was in downtown Manhattan on Saturday and the traffic was insane and there were a lot of people and tourists and construction, and I kept making my way towards the little gas symbols on the GPS and inevitably, when I got there, it was a construction site or a plaza or outdoor seating for a restaurant-- and I knew my GPS thing was out of date, but you need a doctorate in computer science to update it-- so I finally called my wife, who has a smartphone-- and told her I was going to run out of gas in Manhattan and I desperately needed her help, and she tried to help me, but every gas station she called was closed, or just a service station-- and during this sequence of calls to my wife, she said that I went through the five stages of grief, denial that there were no gas stations in Manhattan, anger that a city full of cars had no gas to run on, bargaining . . . that if I could just get to the office and drop-off Carl, then I could walk for gas, depression-- she said at one point I was "inconsolable," stuck in traffic between construction and parked cars and close to tears-- because what happens if you run out of gas in a spot like that? do they shoot you for being so stupid?-- and finally, acceptance, I was owning it, I was going to run out of gas in Manhattan and block up some traffic . . . but, luckily, this didn't happen and I got Carl to the office, told them my dilemma and listened to everyone lament the fact that there are no gas stations in Manhattan because of real estate prices, and then I ran on fumes to the one station by the entrance to the Lincoln Tunnel, drove home, packed my bag and guitar for an overnight stay in Asbury and went to meet my friends, and we went out and drank too much and then went to the Ween show and I dropped a beer bottle and the glass cut up my toes-- which I didn't realize until I went to the bathroom-- and then when we made it back to Connell's mom's condo, I realized that I had lost my wallet, and it was too late to go back to The Stone Pony and try to find it, so I ate some frozen pizza and went to bed, and I had to hang around until noon the next day, when The Stone Pony box office opened, and then I lucked out again-- they had my wallet . . . so quite a day, and all the bad things that happened were totally my fault, and I'm lucky things weren't much worse . . . here are my notes for the future:
1) there no gas stations in downtown Manhattan;
2) I will never drive a car in Manhattan again . . . I can't handle it;
3) I should listen to my wife;
4) if you are trying to get tickets early at The Stone Pony, and there is an Italian woman picking out t-shirts, you might be waiting a LONG time . . . this woman tried on so many shirts that we thought we were on a reality show -- and the girl working the counter was so angry with the Italian woman that she was mean to us too, when we said we just wanted three tickets she said, "Not until I'm finished with her" and glared at us . . . so this lady may have been picking out t-shirts twenty minutes previous to us getting there, and after fifteen more minutes, when her seven year old son, who was sitting patiently on a stool next to his dad, coughed or cleared his throat or made some sound, she chastised him back into compliance and he shrank back into himself (my kids would have trashed the place six times over) and then once she finally got the shirts in the colors she wanted, she got into an argument over the price . . . it was surreal;
5) don't carry too much stuff in your pockets -- i.e. hardshell sunglass case-- because when you leave the bar it will feel like you have your wallet, when you really left it behind;
6) do NOT wear sandals to a concert, especially if you're going to drop a bottle of beer-- which I did . . . I was passing up to Alec, who was right by the stage, and i thought he grabbed it, but he didn't . . . and glass must have gotten into my sandals and then everyone was stomping around and the glass got shoved into my toes and I didn't notice until i went to the bathroom and it was gross-- I'm lucky i didn't get an infection . . . this is similar to what John and I learned at The Cult concert in 1990 in Hampton Coliseum . . . Ian Asbury threw his tambourine into the crowd and there was a melee for it and John and I each had a hand on it and some other dude stuck his arm (which was encased in denim) through the hole and then John's face turned pale and then I felt sick and we looked at our hands and they were all bloody, cut by the razor sharp metal shaker discs, and John had to get stitches;
We looked at several apocalypse tropes in my Creative Writing class last week -- an excerpt from Chuck Pahahniuk's Fight Club; the first pages of a fantastic book about the earth's orbit slowing (The Age of Miracles) and the David Bowie song "Five Years", which is a really long time to think about an impending apocalypse (what would you do? five minutes or five hours is easy, but five years?) and the morning after I did this lesson, I happened to listen to an episode of 99% Invisible called "Game Over" which got me all choked up -- and this was while I was walking the dog at 6:00 AM and shortly after my weeping in the dark, I ran into this big African American dude that I play basketball with (he's a garbageman and was reporting to the public works building, which is next to the dog park) and he'll always talk your ear off -- so I went from picking up dog poop to nearly bawling to removing my headphones and chatting in the dark about his back injury in the span of seven minutes, which is a lot of stimulus for me in the morning and my brain nearly suffered an apocalyptic apoplexy, but I recovered and then played the podcast for my students that day -- the show describes the end of a utopian digital world (The Sims Online) that had a cult following of very dedicated "players" that were really just hanging out and socializing, and there is a wonderful tape of the "DJ," a real human that spun music on a Sims radio station, in the final moments of the game, bidding his online buddies a tearful farewell as the Sim people freeze up, the houses and trees gradually blink out of existence, and finally, a server error message replaces the thriving little digital universe -- and this has made me have a rather selfish thought, that rather than die alone as most of us will, of a stroke or cancer or heart disease or falling down a well, instead I'd rather go out in a major cataclysm: an asteroid, a plague, man-eating ticks from space, whatever . . . because then at least everyone will be in it together (and I'd love to listen to the radio while it's all going down).
For the second time, I have given up on a China Mieville novel . . . I tried to read Perdido Street Station and loved the wild imagery, the inter-species love affair, and the detailed bestiary of New Corubuzon, but got bored with the repetitive plot, and now I have given up on his new novel, Kraken, which happens in an bizarrely imagined version of London and recounts a "squidnapping" and-- among other things-- a Giant Squid Cult, a strike among magical familiars, people who can be folded up like origami, and other cool Philip K. Dick-esque (Dick-ian?) conceits, and although there is plenty of action, once again, the plot is rather lame and repetitive and so three hundred pages was enough for me . . . but the book I switched to-- a Nero Wolfe mystery called Some Buried Caesar, by Rex Stout-- is worth reading: a plot worthy of a Raymond Chandler novel, hard-boiled wisecracks worthy of Dashiell Hammett, and the near idolatry of a prize-winning bull named Hickory Caesar Brindon . . . a bovine protagonist always referred to by his full moniker: ten prize orchids out of ten.
The first compact disc I ever bought was The Cult's Sonic Temple-- I was a freshman in college and I didn't even own a CD player yet, so I had to travel from room to room to listen to tracks, but I knew that compact disks were the future and I didn't want to spend any more money on cassettes (if I were really smart, I would have stopped buying music altogether and listened to the radio until I could pirate stuff on the internet . . . think of the money I'd have saved)-- and though I was a little disappointed by Sonic Temple . . . it wasn't as good as Electric . . . I still held on to it, but the second compact disc I bought was called Positraction, by a band named Live Skull, and, with noisy, chaotic songs like "Circular Saw," and "Amputease," it was a little too disorganized for my tastes at the time-- and none of my friends liked it either-- so I sold it back to The Band Box and it remained in their used CD collection for my entire stay at William and Mary (and then I think Whitney bought it and gave it back to me so I may have the CD somewhere in my house) but I pretty much forgot about the existence of the band until I was reading Michael Azerrad's excellent book Our Band Could Be Your Life: Scenes from the American Indie Underground 1981-1991 and I came across this sentence in the Sonic Youth section: "Why did Sonic Youth succeed when all of their peers-- bands like Live Skull, Rat At Rat R, and the Swans-- eventually fell by the wayside?" and so I went on Amazon and gave Live Skull a second chance and they are much easier to listen to now, since I've been listening to post-punk and post-rock and no wave for years and my ears are better attuned to pulling melody and order from dissonance.
Everyone has a favorite t-shirt that has succumbed to the ravages of time, but what if you could travel back to your past and bring back one shirt . . . which t-shirt would you resurrect? . . . for me, it's a dead heat between my original "Cult Electric" concert shirt-- the white one with the guns and roses on it (Vincent Chase wore it on Entourage . . . they must have gotten it from a vintage shop) and my official Middlesex County "Mosquito Control" shirt-- it was bright yellow with the obtuse Mosquito Control in block letters and it always elicited weird looks when I wore it around campus (I was lucky enough to have TWO friends that worked for the Mosquito Control, so I had several of these t-shirts-- one survived until the mid-90's and then finally disintegrated).
Some bad band names: 1) tonight in Sea Isle City at the Ocean Drive Bar (Fun Food and Music), "Burnt Sienna" is playing-- I suppose their name is in the same genre as Maroon 5, The White Stripes, The Black Keys, Goldfinger, Pink Floyd, Black Sabbath, Green Day, Deep Purple, Blue Oyster Cult, Silverchair, Red Hot Chili Peppers, The Black Crowes, Yellowcard, etc-- but I think they went for too obscure a shade 2) the other night at the Springfield Inn, Mike LeCompt opened with "Don't Pull Your Love," a groovy song from the seventies by a band that no one could properly name, and so I looked it up . . . and I can see why a one-hit wonder band who knew they were going to be a one-hit wonder band would want every member to get his or her due-- but it's not like they could predict the future, although with the name they chose they pretty much insured their future, but still, you'd think that the band would be more optimistic and at least try to come up with something catchier than Hamilton, Joe Frank, Reynolds & Reynolds (and though the second Reynolds isn't included on the youtube video, it is included on the Itunes MP3 version, which my cousin happened to have on his Ipod).
It started funny but by the middle I just didn't get it, and so-- despite glowing reviews by James Joyce, Dylan Thomas and Graham Greene-- I have given up on Flann O'brien's cult classic At Swim Two Birds; although I did learn what a Menippean parody is (and that anyone who knows what a Menippean parody is and is also a fan of this book, might also be an elitist wanker) and judging by the tone of the reviews for the book, I am wondering if anyone really gets it-- or if it's so bizarre and baffling, but also so highly regarded in learned circles, that no one wants to be the first to say that it's rather tedious and borders on nonsensical (or perhaps I wasn't reading carefully enough, but I'm way happier now-- I'm reading the Amazon.com pick of the year: The Northern Clemency by Philip Hensher . . . so maybe I'm just middlebrow all the way).
One of the more annoying things about having work done on your house every night until 8 PM (besides the banging and sawing and the living in one cramped room thing-- we have to move the couch every time we want to watch TV so both of us can see around the refrigerator) is the fact that I can't choose what music to listen to-- the workers listen to a soft rock station . . . yesterday I heard Bryan Adams and Blue Oyster Cult's "Burning for You"-- while this is generally annoying, it's occasionally entertaining, like when Leo was signing along to Peter Gabriel in his heavy Mexican accent: "eenyereeyes, eenyereyes, eeenyereyes, eenyereeeeyes."
