Everyone knows that "Cool Guys Don't Look At Explosions"-- including my favorite "cool guys," the silent and scary Mexican cartel assassins from Breaking Bad-- but I have a hypothesis as to why this trope is so common: it is actually a subtle Biblical allusion to the the story of Sodom and Gomorrah; Lot and his wife are commanded by the angels NOT to look back at Yahweh's explosive destruction of the depraved cities but Lot's wife disobeys the angel's instructions and looks back and she is turned into a pillar of salt . . . and so not looking back isn't just about being cool, it's also about obeying God's will and showing humility when something is justly and purposefully destroyed-- and I had this epiphany while showing my children the story of Sodom and Gomorrah on a site called The Brick Testament, which is an illustrated Bible depicted with Legos . . . it is comprehensive and incredible; on the other hand, if something is being randomly destroyed in a movie, then people watch it in fascination (such as the colossal train derailment in Super 8).
WARNING: we watched Gremlins the other night with the kids, and though it's a little violent, they loved it . . . in this age of digital animation, those green puppets aren't very scary, BUT, and I totally forgot about this, Kate (Phoebe Cates) does recount a terrible little story, about how her father, dressed as Santa Claus, broke his neck coming down their chimney on Christmas, and she ends the story by saying, "and that's how I learned there's no such thing as Santa Claus," and I'm wondering how closely my kids were listening, because they didn't say a thing about it after she said it (and it happened too fast to grab the remote and fast forward through it-- which probably would have drawn more attention to it, anyway-- but maybe my kids are already smart enough to know that Christmas is all about playing the game, and pretending to believe in Santa so you get a bunch of gifts).
Yesterday I decided I would return to the strange little cabin I found in the woods because I wanted to snap some pictures-- and despite discussions of the Long Island serial killer in the English office at the end of the day, I steeled myself for my hike-- but when I got near the downed trees I saw a black bicycle parked against a tree, and like the sticks and stones in The Blair Witch Project, a black bicycle-- which isn't very scary on the street, in context, is a good deal scarier when it's standing against a leafless tree in the middle of the woods . . . but, with nerves of steel, I approached the bike, which was weathered and had a duct taped seat and some weird contraptions on it, and then walked past it and into the downed trees; I figured that the hobos had company, and that was why the bike was parked a bit outside their hidden dwelling, and so I shut off my iPod and crept closer, to the entrance-way of the fort, snapped some pictures of the house with my cell phone . . . and then I got out of there; I'm not sure if anyone was home or not and you're going to have to wait to see the pictures because I can't figure out how to connect my cell-phone to my computer to download them (and I have a new plan: I'm going to go there after the first snow and then I'll know if there's anyone inside because I'll see footprints) so this story is to be continued . . .
Full on Monday today . . . as a model narrative, I told a story in Public Speaking I haven't recounted in a while-- the time Catherine and I took a bus from Damascus, Syria to Cappadocia, Turkey-- a twenty-hour ride for only seven dollars?- but the bus broke down at the border and the driver escorted us (and the dozen or so other passengers) to a decrepit mosquito-ridden gas station waiting room and then some other guy drove the bus into the darkness behind the building-- it was 3:30 AM-- and it was quite cold in the gas station waiting room so I told the driver my wife and I were cold (in my caveman Arabic) and that I wanted to get our jackets and he said the bus was broken and I couldn't do that but I finally got fed up and walked into the darkness around the back of the building and I found our bus and there were some guys inserting tubes into various hidden plastic containers in every nook and cranny of the bus-- even under the walkways inside the bus-- and then I realized why the tickets were so cheap-- this bus wasn't for transporting people, it was for smuggling gasoline over the border-- gas was subsidized and cheap in Syria and more expensive in Turkey, so after the guys had filled all the containers and canisters with gas, the bus was "fixed" and we headed to Goreme National Park-- but the bus dropped off on the main highway road sixty miles short of our destination-- the driver said a minibus would come along eventually, but instead Catherine stuck her thumb out and a truck driver picked us up and brought us all the way to our destination-- definitely one of the most scenic places we ever visited-- houses and Byzantine churches carved in the soft stone and labyrinthine underground cities to explore. . . and I told this story because I have some Middle Eastern kid in my first period class and I thought they'd enjoy it-- which they did-- but they informed me that, coincidentally, last night there was a terribly powerful earthquake right at the border of Syria and Turkey, right where our bus stopped-- so that was weird-- and then I covered PE class second period-- and I had what I now call "jailhouse" PE . . . first the kids walk in a circle and then I covered a split class of ping-pong and weight-lifting, so three premier jailhouse activities-- then another Public Speaking class, then down to the Library . . . excuse me, Media Center . . . for peer-editing, then an endless faculty meeting with an extensive presentation on the dangers of substance abuse . . . and wow, according to this lady, kids are really abusing all sorts of substances: THC, Delta 8, edibles, nicotine vapes, fentanyl, etcetera . . . drugs are easier than ever to get, hide, ingest, and abuse and she had all kinds of horror stories from the local emergency rooms-- but apparently vaping is horrible for you, vaping ANYTHING . . . heavy metals, weird particles, deeper lung penetration, unregulated chemicals and dosages-- scary stuff-- and kids are eating huge doses of edibles (or even dosing their classmates) and exhibiting some nutty behaviors . . . but perhaps we'll sort all this out on Tuesday.
It's back to work this week for my wife and me, but our kids are still on Spring Break. Remote teaching is fairly awful-- it pretty much strips all the fun out of teaching and makes it much more transactional. It makes me think of this scene from Office Space.
I've been getting a lot of my news through podcasts, and the news hasn't been very good. The Indicator: The Story So Far gives a quick (nine minute) run down of some economic indicators that run from interesting to grim. Americans aren't traveling-- very little traffic on the ground and in the air, and we aren't consuming as much electricity. Both entrepreneurship and state/local budgets are suffering. So new businesses and jobs aren't being created, and local governments are starting to lay people off. Pretty ugly. And the pandemic is exposing income inequality. White collar jobs are suffering less than service. The poor are dying at a more rapid clip than the rich.
But everyone is dying, from all walks of life. To hear about this in greater detail, you can listen to the new episode of The Daily. "24 Hours Inside a Brooklyn Hospital" gives you a picture of what it's really like in a medical center overwhelmed by Covid-19. It's scary and fast-paced and utilitarian. There aren't really drugs that work. All sorts of people have the potential to go downhill.
I listened to these podcasts this morning while walking through the park. It's officially closed and it was empty. I guess it was early enough (and cold enough) that I was able to avoid detection, but when the weather gets nice and we're all stuck walking up and down the street, I'm sure they will bolster security.
I whiled away the time on Spring Break playing low-stakes Texas Hold'em on Pokerstars. You can play nickel/dime or even penny/two-penny. It's great practice. I'm going to try to set up a friendly game on there for folks who are interested (though you probably have to live in New Jersey). You can make a club, invite your friends, and play for whatever amount of money you like.
Catherine and I also did some community service-- we are shopping for old people. They like soup and pineapple chunks and Ritz crackers. We have to wear masks! The ones they gave us are very uncomfortable and make our glasses steam up, but now we have more fashionable face wear. The daughter of a friend made us some. Thanks Kaylee!
The kids and I have been playing a lot of darts, ping-pong, and tennis. There are still a few tennis courts open in the vicinity (but if I told you where they were, I'd have to kill you). One set of courts we frequent had a cheesy lock on the gate but it was easy enough to pry open. A maintenance worker came by while Ian and I were playing and asked if we had put the lock on. We said no. Apparently, someone had taken the initiative to try to lock the court privately. The maintenance guy said he was going to cut it off. We went back yesterday and the lock was gone.
The kids have been obsessively watching Adventuretime and they finally finished yesterday. We've been watching The Wire and Better Call Saul as a family. The boys and I watch Letterkenny and The Expanse. Catherine and the boys watch cooking shows. I never watch TV alone (which is a great trait during regular times but not so much during the pandemic). Ian has been playing Magic and D&D with friend online. Alex has a group of friends that go running everyday. We're all sore from working out so much. I miss low-impact weightlifting at the gym.
If anyone wants to join my book club, I'm trying to read three mammoth books: The History of Tom Jones, a Foundling by Henry Fielding, The Anarchy by William Dalrymple, and Bury My Heart at Wounded Knee by Andrew Treuer. I have a feeling I will finish all three by the end of this.
Quarantine has been relatively uneventful for us, and I hope it stays that way. We took down some collapsing ceiling tiles in the basement and found an old ceiling above the newer ceiling. I've sent a sample out for asbestos testing. I really hope it comes back negative-- I don't need asbestos lung damage on top of the possibility of Covid lung damage.
I hope your quarantine is healthy, boring, and uneventful. Hope to see some of you in person soon.
The rest of our trip to Staunton was a bit more relaxing than the first two days. The day after our epic hike up Elliots Knob it rained, so we headed east past Waynesboro to hit some of the many breweries and ciders that litter this area.
First, we went across the Blue Ridge Parkway to Route 151 to visit the Blue Mountain brewery. The fog was epic. No visibility. Pea soup. We made it, but it was scary. The Blue Mountain set up is impressive: great beer, huge restaurant, several bars, indoor and outdoor seating, etc. The place was packed! Great atmosphere.
I only had exactly one beer though because I wanted to get back to Waynesboro in exactly one piece. The bartender was helpful-- he had comprehensive knowledge about every bar and brewery in Staunton and Waynesboro and beyond.
We took his advice and we headed back through the fog to Basic City Beer. This place is in a metalworks warehouse on the outskirts of Waynesboro. The beer is excellent, I especially liked the 6th Lord IPA. The warehouse is huge and has shuffleboard, corn hole, giant TVs, ping-pong, pinball machines, video games, etc. Great place to bring the family.
And they have a kitchen cooperative, a place that was once a food truck and had now moved into the warehouse. Hops Kitchen.
I broke my New Year's Resolution (even though it was before 2020) and had some pork, on these pulled pork nachos, which were ridiculous.
I also beat my wife at Bananagrams, which is not easy.
We then walked across the parking lot to Blue Toad Cider House. Good stuff. We bought some to bring back. Jersey hasn't started making good cider yet (that I know of).
Then back to Staunton. We ate at The Mill Street Grill. A low-ceilinged wood paneled place that feels quite high end, attentive service, great menu, and all that, but the prices are reasonable. Highly recommended.
The next day the weather was ridiculous. It was drizzling, but over 60 degrees. The weather report said the rain was going to stop, so we packed up the dog and headed to Crabtree Falls. We were a little worried about the state of the trail because so much rain had come down, and apparently people die on this hike all the time. All the time! Over thirty people! And pets die too.
We took the scenic route, which may have been 30 seconds fast on Waze, but was also 30 times more dangerous. Incredible windy road.
The rain stopped as we started hiking. I was in shorts and a t-shirt. While you can see how people die on this trail-- as there are a lot of really dangerous spots to take selfies-- if you follow the advice on the signs then you most definitely will not die. The trail is well marked and there are overlooks with sturdy railing intermittently. People must really do some sill stuff on a regular basis to keep up the death toll.
I was able to let Lola off the leash for a good portion of the trail, and just reeled her in and leashed her at the spots that looked like certain death. Catherine proclaimed that Crabtree Falls is her Number #1 Waterfall hike in the world. It is impressive. A lot of viewpoints and the falls are endless. It is billed as the longest waterfall east of the Mississippi.
After hiking the falls, we headed to Devil's Backbone Brewery Basecamp on 151. This is an amazing location: restaurant, meadows, outdoor seating, cafes, etc. The weather had become spring-break-like. The staff was NOT prepared. The outdoor bar wasn't open and the place was utterly packed. The poor bartender was in the weeds! We were able to grab a beer and sit outside with the dog. Beer was great, this would be a great place to return when it's fully staffed and ready.
Next stop was Bold Rock Cider. This was our favorite place. We returned the next day-- it was colder as you can see by my wife's attire-- and sat and tasted ciders.
We eventually sat by the fire and talked to a pretty older mom--a Southern belle-- and her firebrand of a daughter. People in the south are so chatty. The mom had a nursing story about a quadrapelgic who was put into that tragic state by . . . you guessed it: Crabtree Falls!
We also visited Wild Wolf Brewery, which had great beer and food. You could make a whole vacation of hiking and visiting breweries and cider houses on 151. The places are all spacious, and kid and dog friendly.
This was the only sad part of our vacation.
Here's a shot of Staunton from above the train station. Really a great town to wander, with so many historic sites and buildings.
On our way to the breweries on 151, we did some driving on Skyline Drive through Shenandoah National Park and the Blue Ridge Parkway.
It was windy.
Lots of scenic overlooks.
A great winter break trip with my lovely wife . . .
And our silly dog . . .
We made great time driving back to Jersey (because we left at 6:30 AM on New Year's Day . . . that's the way to do it). We walked into the house and it smelled weird. My parents had picked the kids up after we left for Virginia. They closed up the house. Ian left a bowl full of noodles on the counter, which had gone rotten. It smelled upstairs as well. One of them had urinated and did not bother to flush. That stuff fermented, yuck. Back to reality.
We picked the kids up that evening. My wife, myself, and the dog were happy to see them (and smell them). But the break was nice.
I went to acupuncture Thursday (because I'm a very lucky dad . . . my kids have gotten into the pick-up basketball scene and I'm just good enough to play with them-- I've got to take advantage while I still can, but it's slowly killing me and acupuncture helps to loosen up my back and calves . . . I played for two hours with them this morning and then I planted a shrub on the side of our house . . . a yew, which is supposed to thrive in the shade-- I built a really nice bed with all the stones I've filched from the park and a bunch of topsoil that got dumped by accident in a friend's rental property driveway-- trapping a car in the driveway-- and the police say there's nothing they can do so my friend who owns the property is telling everyone to take the free soil-- and I only live two blocks away, so I've taken six or seven wheelbarrow loads of dirt from the pile-- which has not put a dent in it) and I was hoping to just lie there and relax while Dana stuck some needles in my sore spots-- but Dana is a talker and she had a lot to say-- which is coincidentally and ironically related to my new podcast episode-- there was a horrendous car accident at the edge of town two weeks ago-- my wife saw the wreckage on her way back from Costco-- and it turns out the accident was right in front of the acupuncture office and Dana was right in the midst of the accident, pulling bodies from a car and trying to administer CPR and getting one of the license plates of the two cars that were racing, at 85 MPH in a 35 zone, and it turns out the victims of the crash were the parents of a local family that Dana and I both know and there was a third car that was on fire and one of the cars that was racing was mangled and they had to pull that guy out with the jaws of life-- so that's the story I got, in graphic and gory detail, before Dana stuck some needles in me and knocked me out-- and so I had some very weird and scary dreams while I was in the acupuncture dream-state.
Once upon a time, there were opium wars. And reefer madness. The hippies and Timothy Leary did LSD. The disco folks snorted coke, and Marion Barry did crack. The ravers took Ecstasy. College kids wandered around high on magic mushrooms. Junkies and rock stars did heroin. You occasionally heard about some lunatic doing PCP or mescaline or horse tranquilizers like ketamine, but for the most part you could keep track of the recreational drugs people were using on ten fingers (maybe you'd need your toes for pills like Valium, Xanax and Percocet) .
Then I read Methland (and wrote this fabulous review of it) and watched Breaking Bad. Scary stuff. Next came the opioid epidemic, and the ensuing plague of heroin addiction. I read Dreamlandand Dopesick. I thought I was well-informed on the state of illicit drug use and abuse in America.
I was wrong. And like to recommend a book that will explain. I think it's a must read for parents and teachers and coaches and psychonauts.
Fentanyl, Inc. How Rogue Chemists Are Creating the Deadliest Wave of the Opioid Epidemic, by Ben Westhoff, comprehensively covers the new drug scene. And there's no way to fight it. The only way to win the war is Gandhi-like pacifism, in the face of a wave of chemicals so powerful and various that no top-down institution can keep track of them.
Called NPS . . . which-- depending on your SAT verbal score-- either stands for "new psychoactive substances," or the slightly the more advanced "novel psychoactive substances."
Fentanyl analogues such as carfentanil (which is used to tranquilize elephants and rhinos) and acetylfentanyl and benzoylfentantanil.
Synthetic cathinones, such as Meow Meow (4-MMC) and Ice Cream (3-MMC) and Flakka (a- PVP).
Synthetic cannabinoids like Spice and K2 and JWH-018 and 5F-ADB.
Fentanyl precursors, which can be bought from China, so that you can manufacture various new fentanyl cocktails.
And pages of others. But you get the point.
So your heroin, which is hard to make-- you need fields of poppies-- is most definitely laced with fentanyl. Fentanyl is notoriously strong-- a pinhead's worth could kill you-- but it's easier to manufacture than heroin. This is how Lil Peep and Tom Petty and Michelle McNamara all met their maker (fentanyl combined with sedatives, which is a deadly combination). Prince and Mac Miller too.
Westhoff goes to China to investigate where all the precursors are coming from, and he finds it remarkably easy to buy them. Chinese companies will even ship in mis-marked bags, as banana chips or whatever, to disguise them.
The Opium War has flipped. Surprisingly, there's plenty of fentanyl abuse in China, as well, despite the fact that they execute drug dealers there. This is strong, addictive stuff. And nobody knows what they're taking, even the psychonauts that make the stuff.
The only "successes" in this minefield of chemical lunacy have been the harm-reduction agencies like Bunk Police and DanceSafe that go to raves and clubs and festivals and offer chemical analysis of drugs for partiers, so that they know what they're taking, and can make an informed decision. This has worked incredibly well in Europe, where laws allow these companies to operate, but they are not exactly legal in America, because of the Rave Act. In 2017, the United States-- population 326 million-- had seventy thousand drug overdose deaths. The European Union-- population 510 million-- had only 7600.
This book gave me the feeling that everyone is on drugs. The math is crazy. Many of you know the story of Kermit, West Virginia . . . a town of 400 that was prescribed 5 million opioid pills. That's awful enough. But at least they knew what they were getting. This new stuff is scarier: more potent, more random, more volatile, and often quite cheap. I hope and pray my kids figure out a way to avoid it.
I thought Douglas Preston's The Lost City of the Monkey God: A True Story was going to be the usual archaeological/adventure/travel story-- in the vein of The Lost City of Zand the works of William Dalrymple-- and the first half of the book lives up to that promise.
There's some history of pre-Columbian Honduras-- which is at best obscure-- and then some embarrassing colonialism-- United Fruit and worker exploitation and outside government manipulation and all that-- and then an excellent tale of Theodore Morde. In 1940, Morde declared that he found the fabled White City of the aptly named Mosquitia region of the country, but this was actually a deception. He was prospecting gold and didn't want anyone to jump on his claim.
Then in 2012, surveyors in planes used LIDAR and located several sites in the jungle that looked very promising. In 2015, Preston accompanied a rugged archaeological expedition-- by helicopter-- int the valley where La Ciudad Blanca is located.
And they found stuff!
Preston's descriptions of the hardships of the jungle are just as entertaining as the archaeology: sink holes and dense foliage, brutal biting insects and the greasy flow of cockroaches on the jungle floor.
And snakes . . .
The fer-de-lance is a main character in the book, and Preston's descriptions of this large poisonous serpent really resonated with me (you'll see why in a moment). Apparently these snakes are truly dangerous. Preston calls them the "ultimate viper" and they reputedly kill more people in Central and South America than any other snake.
At one point in the book, a British commando enlisted to help the archaeologists, filmmakers, journalists, and organizers survive in the inhospitable jungle has to deal with an irate fer-de-lance that has crept into camp. He uses a forked stick, but the viper sprays poison onto his skin-- causing it to bubble-- and so he has to decapitate the creature and rush off to wash the away the venom before it drips into an open wound on his hand.
Fer-de-lances inject a tremendous amount of venom with razor sharp fangs that can penetrate leather boots. People often wear "snake gators" in areas where they are prevalent. At the very least, in the jungle, you should never step all the way over a log. Step on top first.
When my family went to Costa Rica in the summer, I knew that the fer-de-lance was a poisonous snake native to the area. I had seen them hanging from trees years ago when my wife and I traveled to Ecuador. But I didn't think they were actually dangerous. In my experience, snakes want nothing to do with people. But apparently the fer-de-lance is much more aggressive than your typical snake.
When we were hiking in the Tirimbina Rainforest Wildlife Refuge-- an astounding network of jungle trails and suspended bridges along the Sarapiqui River-- we encountered a couple of snakes. We would have never seen them if it wasn't for my son Ian's sharp eyes. One of the reasons we were at the reserve was because you can hike without a guide. Guides are great, but expensive-- and also, sometimes I like to walk fast. And it's fun to just explore and look for things without someone pointing them out. You can always identify them later with your phone.
Unless you're dead.
One of the snakes was right on the path, camouflaged in the mud. It was either a baby fer-de-lance or a small hog-nosed viper. Both venomous. I was smart enough to be wearing pants but my wife was in shorts. Here's a video of my moving the snake off the trail with a stick.
Just below the trail, in the brush, Ian spied a big fat snake. It did not seem bothered by us at all. It just lay there, coiled and ready to strike, staring at us. I clambered down a little bit and got a lousy photo. Judging by the size and coloration, this was most definitely a fer-de-lance. We did not actually know how dangerous this critter was. In retrospect, I would have made everyone wear pants. And I would have walked slower and watched my step.
My fer-de-lance photo!
This stuff all occurs in the first half of the book. Preston does the prerequisite history lesson. Then the city is discovered-- using cool technology-- the jungle is (sort of conquered) and artifacts are unearthed. I should warn you that spoilers (and devastation) lie ahead.
Next, there's some archaeological beef-- some folks think that this crew was another branch of the colonial white conquerors (even though they were working hand-in-hand with the Honduran government) and some other archaeologists and native tribes lay claim to the sites. But none of this holds any water. It turns out that some academics "would rather discuss ‘hot’ issues
such as those of colonialism, white supremacy, hyper-masculinity, fantasy
and imagination, [and] indigenous rights" rather than give credit to a serious academic expedition to a place that hasn't been inhabited for 500 years. These are the times.
Then the book really picks up steam again. Preston starts having some weird symptoms and gets a big sore on his arm. The same happens about half of the other folks that went on the trip. After much study (and visits to the NIH) they are all diagnosed with Leishmaniasis, a leading NTD (neglected tropical disease).
Leishmaniasis is the second deadliest parasitic disease in the world, behind only malaria. It is spread by infected sandflies. Twelve million people have it. 60,000 a year die from it. Even if you can get medicine for it, it's terrible stuff. In fact, many doctors actually call amphotericin B "ampho-terrible "
because it often makes patients feel terribly sick and can damage the
kidneys.
Leishmaniasis is so awful because the the parasites don't devastate the body for a while before being summarily killed by the immune system. Instead, they “try to have tea with your immune system,” which is so much weirder and grosser. And they live on and on, doing awful things all the while.
At this point, the book has transformed into a combination of clinical medical descriptions of the author and his colleagues trying to combat this awful disease and Guns, Germs, and Steel . . . with an emphasis on the germs. Europeans and Asians had been living in cities in close proximity to livestock for thousands of years before they went to the New World. And so they had strong immune systems and were full of wacky diseases. This a 15,000 year pathogenic time bomb ready to explode, as soon as contact is made.
Once in a while, an animal pathogen will change in such a way that it suddenly infects a person. When people in the Near East first domesticated cattle from a type of wild ox called an aurochs, a mutation in the cowpox virus allowed it to jump into humans— and smallpox was born. Rinderpest in cattle migrated to people and became measles. Tuberculosis probably originated in cattle, influenza in birds and pigs, whooping cough in pigs or dogs, and malaria in chickens and ducks. The same process goes on today: Ebola probably jumped to humans from bats, while HIV crashed into our species from monkeys and chimpanzees.
THIS is what mainly killed the natives of Honduras. There were other atrocities, of course, but nothing was as devastating as disease. Once the Europeans came,the New World became apocalyptic.
The nineteen people closest to you: All but one will die. (This of course counts you also as a survivor.) Think what it would be like for you, as it was for the author of the Cakchiquel manuscript, to watch all these people die —your children, parents, grandparents, brothers and sisters, your friends. Imagine the breakdown of every pillar of your society; imagine the wasteland left behind, the towns and cities abandoned, the fields overgrown, the houses and streets strewn with the unburied dead; imagine the wealth rendered worthless, the stench, the flies, the scavenging animals, the loneliness and silence.
The book turns from jungle adventure to cautionary tale. Why did the people of Mosquitia disappear? Old World diseases. This is "what destroyed T1, the City of the Jaguar, and the ancient people of Mosquitia."
And while there is some irony in a New World disease attacking a bunch of mainly white people with Old World heritage, that is not really the situation. It is really a "Third World disease attacking First World people. The world is now divided into Third and First, not Old and New. Pathogens once confined to the Third World are now making deadly in roads into the First."
God forbid you get a combination of leish-- this is the affectionate diminutive for leishmaniasis-- and HIV.
HIV and leishmania become locked in a vicious cycle of mutual reinforcement. If a person with leishmaniasis gets HIV, the leish accelerates the onset of full-blown AIDS while blocking the effectiveness of anti-HIV drugs.
As of now, leish is still a Third World Disease, and thus neglected.
Leishmaniasis is a disease that thrives among the detritus of human misery and neglect: ramshackle housing, rats, overcrowded slums, garbage dumps, open sewers, feral dogs, malnutrition, addiction, lack of health care, poverty, and war.
But maybe not for long . . .
Leish continues to spread as predicted in the United States, by the end
of the century it may no longer be confined to the “bottom billion” in
faraway lands. It will be in our own backyards. Global warming has
opened the southern door of the United States not just to leish but to
many other diseases.
It's seriously scary stuff, made more so by an author that is suffering from leish. And the leish is inspiring him to morbidly prophetic heights of prose. I expected more jungle excavation, not the end of civilization, but that's what he is portending. It's heavy and wild.
And it made me realize that we were awful lucky on our Costa Rica trip. The snakes are the tip of the iceberg. And you can SEE a snake (if you're Ian). We did a lot of jungle hikes, wearing shorts and not enough bug spray, and we were lucky not to get bitten by an infected sand-fly. It seems a lot of folks in Costa Rica were not so lucky. Mainly folks doing yoga in the jungle. There are loads of stories like this one and this one. Yikes.
This probably won't stop me from returning to Costa Rica. I loved it there. But i will slather on the DEET and wear long sleeves and pants, even when it's hot. And if it's my time to get leish, then leish it is. It's been like this for people for a long long time.
On Thursday my wife and I ditched the kids and the dog and all soccer-related events and essentially took a break from reality-- we went to the city to see Sleep No More, which was the most surreal event of our trip (I don't want to go into too much other than to say you should see it . . . it is the ideal "play" for me because you don't sit down, you wander through a five story set, ostensibly the Mckittrick Hotel, but actually a labyrinthine warehouse, chasing actors and actresses who are involved in something akin to a wordless 1920's noir version of Macbeth . . . it's bizarre, scary, and totally immersive . . . one of the best moments is when we wandered through the wrong door from the lounge, before we had donned our masks, and a group of white-masked audience members, as if on cue, all turned and stared at us-- perhaps they thought we were actors, because the only maskless people in the actual performance are the actors in the play, but we were quickly ushered back into the lounge, where we had a weird alcoholic drink and then were properly attired and thrown into the performance . . . it's three hours long and we certainly slept well afterwards) and before the show we wandered the High Line and the surrounding neighborhoods, Chelsea and the Meatpacking District . . . it's the best place in the city to walk around, full of hip restaurants and bars, coffee shops, art galleries, warehouses converted to foodmarkets, swanky apartment high-rises . . . we ate at a tapas place called Tia Pol -- delicious blistered shishito peppers, patatas bravas, fried chickpeas, etcetera-- and drank a beer in a jar (two dollar deposit) while we wandered the Chelsea Market and had beers and snacks at Cooper's Craft & Kitchen, a hipster craft brew bar with great pork belly and chili oil sliders . . . and if you want to enjoy all the free art galleries, go sooner rather than later, as this area can't last exactly as it is, the spaces are too valuable and the art galleries don't make enough money to afford the rent . . . we saw a wild display of Max Ernst sculptures . . . he's one of my favorite painters and while his paintings are probably very very expensive, you can grab one of his sculptures for the two or three hundred grand, we also really liked the thin line and watercolor pieces by Jen Ray . . . lots of rock chicks, amazon warrior women, piles of meat, and detailed detritus . . . then we continued the surreal reality break yesterday, though this time we took the dogs and the kids along . . . we went to the beach . . . and it was hot . . . in November (twenty years from now, when the average temperature in New Jersey in November is 84 degrees Fahrenheit, this post will be regarded as cute).
We did some rare Monday/Tuesday TV watching this week-- normally there is no screen-time for our kids from Monday through Thursday-- but I invoked the "documentary rule"twice on two consecutive days; both of these stream on Netflix:
1) Alex and I consumed about half of the documentary Fed Up, which documents the rise of fat-free foods, added sugar, sugar addiction, and the big sugar lobby . . . it's important information but presented in an incredibly sad manner, from the perspective of a number of morbidly obese children and their families . . . the lesson is that companies are pushing hyper-palatable processed foods with tons of added sugar and so unless you eat real food and avoid soda and juice, you're going to be consuming a lot of unwanted sugar; a calorie is not a calorie-- 100 calories of nuts is processed totally differently than 100 calories of gummy bears . . . the scariest statistic is that there were zero cases of childhood "adult onset" diabetes in 1980 and now there are 60,000 cases; unfortunately, even if you do eat real food, chicken isn't even chicken, so you're pretty much screwed unless you have your own organic farm;
2) Ian and I watched Command and Control, a PBS documentary that recounts the Titan II nuclear missile silo explosion that happened in Arkansas in 1980; it's a gripping story, with plenty of footage of nuclear blasts, wild anecdotes from old time rocket scientists, Cold War context, and a detailed narrative of the Arkansas catastrophe-- including the surrounding media carnival; not only are there plenty of moving moments and tales of heroism, but there's also frustrating ending-- the soldiers involved were treated quite shabbily by the Air Force once the incident was over and there's still plenty of room for error with our current nuclear arsenal . . . I think I'm going to read the Eric Schlosser book that inspired the film;
3) and here's a history lesson that's a little less heavy . . . although I guess D. Boon's demise even puts a tragic spin on this jazzy and light-hearted punk number.
Yesterday, just before noon, my sixteen-year-old son Alex called and said he was biking to Princeton with a few of his friends. They were going to take the towpath (a.k.a. D & R Canal State Park) to Rocky Hill and then bike into Princeton and eat. It's a long way. Over twenty miles (each way).
I told him this wasn't a great idea and listed the reasons:
1) it was too late in the day
2) there were supposed to be thunderstorms
3) he wasn't wearing biking shorts
4) he didn't have the proper kind of bike for this long of a ride
He ignored my advice and I didn't forbid him to go; he was with some fairly responsible and athletic kids-- two seniors, one a tennis player,, the other a runner and wrestler. I didn't want to discourage him, but I had my doubts. Alex's friend-- the younger brother of the wrestler-- wanted no part in a 40-plus-mile bike ride that was starting in the heat of the day. He wisely decided to stay home.
But Alex took off with the two older kids. He said they were prepared, with food and water and rain gear. I told him he was an idiot and wished him luck. I should also mention that Alex hates riding a bike, never uses his own bike, and borrowed his brother's bike because that's actually in decent shape.
At the start of their trip, luck was on their side. They avoided the storms, made it to Princeton, ate lunch, waited out the rain, and then decided to take the bus home. My wife and I were happy with this decision, as it was getting late and we figured we were going to have to drive to Princeton and give him a ride home. The bus was supposed to leave from Princeton at 6:15 PM.
I texted Alex at 6:20 PM to see if he had caught the bus and he told me they were biking home. I called him and told him he wasn't going to make it before dark. He insisted they would and said if they didn't, then they were going to get off the canal path and ride on the road. He said that his friends had flashlights. Alex had no light and was not wearing a helmet, so we didn't want him to ride on the road in the dark. We told him once it got dark, that we would drive and pick him up. He agreed to this and when it started to get dark, we called him and he said he was near Manville. We told him to get off the towpath and we would grab him. We headed west in the minivan-- traveling parallel to the canal-- towards Manville.
Catherine drove, and I navigated and texted Alex. No answer. We totally lost touch with him. We were driving around in the dark, finding places where the canal path intersected with the road. I was looking over at the path when I could see through the trees and we were hoping to stumble upon him at one of the bridges or park entrances. It was scary and frustrating, mainly because he wouldn't answer his phone.
I didn't tell my wife about that incident, but we certainly both had the same thing in mind. The path was dark, full of roots and potholes, and surrounded by water. Often there are steep cliffs on either side. And our son wasn't wearing a helmet. If he fell, hit his head, and slid into the river or the canal, that would be an ugly situation.
We finally heard from him around 9:30. My wife was going to call the police at 10 PM, so it was in the nick of time. He told us they had screwed up the location and were actually closer than they thought, well past Manville. We found him and the other boys in Johnson Park.
Alex is grounded for the week and has a list of chores to complete longer than my arm. It's too bad, because he almost didn't get into any trouble at all. He would have had a great story and been on an epic adventure, and suffered no consequences.
I've been playing some online Texas Hold'em lately-- I read a bunch of books and learned how to play (very) low stakes poker. I also learned a lot of poker lingo and analogies.
I told him this was a situation where he "stayed married to the bet" and "threw good money after bad." One of the most important things in Texas Hold'em is to be aggressive-- to go for it-- and then if you know you are beaten, get out of the hand. Fold. It's the great thing about poker. If you're smart enough, you can quit at any time. You can quit the hand before the stakes get too big. Unless you have the nuts, you don't want to get pot committed, or you're going to go all the way with nothing.
I think he sort of understood this. He made a sequence of bad decisions, starting with taking off towards Princeton at noon. But if he quit the sequence at any point, if they all turned around earlier, if they took the bus, if he got off the path and called us with his location before the sun went down, if he did any of those things, he would have been a hero. When you make a really difficult fold, they call it a "hero fold."
This is what he needed to do . . . he needed to recognize he was with two eighteen-year-olds that were headed to college and didn't have to live with their parents for the foreseeable future. They could go all-in with fewer consequences. They had a bigger bankroll. I think the peer pressure got to him a bit, and that's fine. It happens. I did plenty of stupid stuff like that as well.
So now he's paying off his bet, cleaning cabinets in the kitchen, weed-whacking, etc. Maybe he learned a lesson? He was so close to not getting into any trouble . . . and then there's his buddy, who did the wisest thing of all. When you're dealt a lousy hand, sometimes you fold immediately, don't get on a bike and head to Princeton at noontime on a hot day, and relax in the AC. But then, of course, you're not really playing cards . . .
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.
