My last full day in Brattleboro was simple. Shawna had planned a feast for the evening. Before the feast, we went on a hike up Hogback Mountain, once used for skiing, and now only for "snowmachining" (thanks, wannaveep). The trail was often overgrown, and a couple of garter snakes slithered across, frightening Shawna, until we reached the top, on which loomed a large old firetower, occupied by other hikers when we arrived. I went up, and Wyn and Shawna decided to stay below since they'd seen the view and knew the ricketyness of the tower. Wyn said I'd be able to see a hundred miles, and I would see Melville's Mount Greylock to the south and the White Mountains to the north. The occupants left as soon as I reached the top (sniff armpits--not too bad given the climb) but they talked to Wyn and Shawna while I enjoyed the view. It was wonderful and windy and the only problem was the scratched up glass windows that I had to hold open to see all the green folds of New England.
Afterwards we cut over to the road, where there was a cheesy (literally) giftshop. I spotted a chanterelle just off the trail under a tree as we approached-- small, but at its pickable peak--and so I was able to talk fungus and let Wyn and Shawna smell the delightful apricot aromas of the fresh cantharellus cibarius and then walk around the store guarding the little gold treasure in my palm. We snacked on salami and cheese and crackers and watched all the RVers who stopped to load up on maple syrup and Vermont cheddar and corny tee shirts and other chachkies. We walked back down Hogback and, just before the road, I spotted two large, perfect chanterelles under a tree and I added those to the collection, and Shawna added them to the dinner menu.
We made it back to their house in the early afternoon and Shawna immediately commenced cooking, and Wyn set the grill up for the steaks and opened the lovely Lemelson. The menu speaks for itself and for the kind of evening we savored, so here it is:
Hors d' oeuvres
Heirloom tomato bruschetta
Gravlax on cucumber
with capers & crème fraiche
Parmesan cups with herbed farmers cheese
Main Course
Grilled steak
with red wine reduction & Chanterelles
Potatos au gratin with bleu cheese
Fillet beans
with marcona almonds
Mixed green salad
with carrots & blue cheese
Wines
Lemelson Thea’s Vineyard Oregon Pinot Noir 2005
Morgan Double L Vineyard Pinot Noir 2006
Foxen Vogelzang Vineyard Cabernet 2005
Siro Pacenti Rosso di Montalcino 2005
Shawna's an amazing cook. We ate and drank too much and too well again, and talked over this divine feast all night and the stars again and I didn't want to leave this lovely place but I didn't want to kill Wyn and Shawna with their own superb hospitality. I can't thank them enough for being such wonderful hosts and friends. Come down so I can cook ya'll up something southern, and, of course, my wine cellar's always open for you, Wyn and Shawna.
Friday, September 12, 2008
Tuesday, September 2, 2008
Vermont, Day 2: er, mmm, It's a, all about the Ol'. . . . Mamet's, his play, um, Oleana
It was a late morning kind of previous evening, but I awakened early enough to sneak out and do some more serious mushroom foraging and to get a sense of the landscape up the hill, and found a trail up behind the house that let me explore it more. The trail led past a rocky area toward the next farm. Further up, according to Wyn, was a stone marker memorializing a triple murder/suicide that had taken place on what had been a larger farm about a hundred years ago: farmhand hot for the farmer's wife and things got out of hand, an old story. Trees, slope, rocks, a small stream. I found a few past-perfect chanterelles, some nice bicolor boletes, and one stunning Caesar's mushroom (amanita caesari) that I was tempted to try, but I don't eat amanitas, since a mistake can be fatal.
Back at the house, Wyn had the eggs out and toast in the oven coffee and we set into planning the day around Shawna's evening performance, a staged reading of Mamet's Oleana for a community theater across the river in New Hampshire. Shawna would spend the day at kick boxing, then getting ready, while Wyn would show me more of the area and run an errand or two. He showed me Saul Bellow's house, near his, and the sky opened up into muscular rain and we stopped and chatted for awhile with Wyn's friend, a Marlboro graduate who did interesting work in Physics and Photography and chi, while stopping to pick up some organic garlic. We then stocked up on provisions--by provisions I mean wine and by wine I mean from the lovely Wyndham Wines run by people who know wine very well, people who gave up academic tenure to pursue this dream, and by dream I mean I'm damned jealous. We spent maybe 90 minutes in the store, too long, since Wyn and I were going to have dinner at Alici's and we had to make the play at 8:00. Shawna doesn't eat before she performs, so we were to meet her after. Wyn and I shared some exquisite carpaccio and a half bottle of cab and I ordered a very rare filet mignon burger, which for 10 dollars was a bargain. It was served with truffle-0il fries and garnished with blue cheese, spinach, and tomato, and it was second in my experience only to the legendary burger served at My Father's Office in Santa Monica. Wyn ordered the duck confit pizzeta, which tasted very good (could have been just a bit more confit), and the server sped things along nicely so we could enjoy the food despite our limited time there.
We walked into the theater just before the beginning of the play. I wasn't sure what to expect, since I'd never seen a staged reading. I knew the play, though, having taught it once, and I found it difficult for freshman who struggled with Mamet's verbal ticks and the moral difficulties presented by both characters. I wasn't sure what to expect, but Shawna and the male lead were both stellar, and the setting, a professor's office, was perfect for making the play book just another part of the usual professor's office detritus. The play is a study in power--age, gender, and institutional power relationships--and no one comes off sympathetically. The male lead, a lawyer with much professional acting experience, crumbled magnificently, while Shawna played her character with wonderful nervous subtlety despite the tremendous vocabulary shift that occurs between act I and act II. I remember this shift seeming heavy handed when I read it, but not here. Shawn, however, deftly presented the character's discomfort with the vocabulary as she spoke it. When it was over, we headed to the Pub after all the post play congratulations and then back to the house for a little more wine and conversation, stared up and up at the beautiful stars, the milky way evanescing above the trees.
Back at the house, Wyn had the eggs out and toast in the oven coffee and we set into planning the day around Shawna's evening performance, a staged reading of Mamet's Oleana for a community theater across the river in New Hampshire. Shawna would spend the day at kick boxing, then getting ready, while Wyn would show me more of the area and run an errand or two. He showed me Saul Bellow's house, near his, and the sky opened up into muscular rain and we stopped and chatted for awhile with Wyn's friend, a Marlboro graduate who did interesting work in Physics and Photography and chi, while stopping to pick up some organic garlic. We then stocked up on provisions--by provisions I mean wine and by wine I mean from the lovely Wyndham Wines run by people who know wine very well, people who gave up academic tenure to pursue this dream, and by dream I mean I'm damned jealous. We spent maybe 90 minutes in the store, too long, since Wyn and I were going to have dinner at Alici's and we had to make the play at 8:00. Shawna doesn't eat before she performs, so we were to meet her after. Wyn and I shared some exquisite carpaccio and a half bottle of cab and I ordered a very rare filet mignon burger, which for 10 dollars was a bargain. It was served with truffle-0il fries and garnished with blue cheese, spinach, and tomato, and it was second in my experience only to the legendary burger served at My Father's Office in Santa Monica. Wyn ordered the duck confit pizzeta, which tasted very good (could have been just a bit more confit), and the server sped things along nicely so we could enjoy the food despite our limited time there.
We walked into the theater just before the beginning of the play. I wasn't sure what to expect, since I'd never seen a staged reading. I knew the play, though, having taught it once, and I found it difficult for freshman who struggled with Mamet's verbal ticks and the moral difficulties presented by both characters. I wasn't sure what to expect, but Shawna and the male lead were both stellar, and the setting, a professor's office, was perfect for making the play book just another part of the usual professor's office detritus. The play is a study in power--age, gender, and institutional power relationships--and no one comes off sympathetically. The male lead, a lawyer with much professional acting experience, crumbled magnificently, while Shawna played her character with wonderful nervous subtlety despite the tremendous vocabulary shift that occurs between act I and act II. I remember this shift seeming heavy handed when I read it, but not here. Shawn, however, deftly presented the character's discomfort with the vocabulary as she spoke it. When it was over, we headed to the Pub after all the post play congratulations and then back to the house for a little more wine and conversation, stared up and up at the beautiful stars, the milky way evanescing above the trees.
Friday, August 22, 2008
We Have Been to Vermont, Day 1
The landscape changes suddenly out of the Albany/Schenectady corridor into southwest Vermont. Route 9 changes to Route 7, billboards and traffic vanish. Suddenly an obelisk towers (I want to veer onto the side road and touch it, but my thumbs and politics are already opposable) over the valley in which Bennington nestles, famed for its writing workshop, and, according to Wyn Cooper, a place I'm more likely to run into John Gardner's ghost, since he spent much time there. I stop in town for coffee and a walk up and down the main drag, festooned with statues of people very much like an Americana statue I recall from Santa Barbara of a guy washing a window, kid sitting on his shoulders. He's here, too, or his brother, along with numerous others by the same artist. It makes me think of State Street, but it's only three blocks long, no Museum of Art or Anthropologie or Restoration Hardware or Saks. It's quiet and cute, and I don't see a chain anything, so I get a cappuccino at the non-Starbucks and head east over the Green Mountains toward Brattleboro, toward Wyn and Shawna's place in the mountains above Marlboro.
I nearly missed the turn off of Route 7, but slammed on the brakes, thankfully no one behind me. The pavement vanished and I was on back roads into the low mountains, ultimately along the Green River until I found Wyn and Shawna's driveway--steep gravel up to a lovely home with a large deck. Wyn and Shawna were there with open arms and smiles, but Shawna had work and rehearsal, so I wouldn't see her much till later. I felt immediately welcome. Their house is gorgeous, filled with art and broadsides and books, ensconced in maple and pine forest just up the hill from the Green River. After catching up about the drive, etc., Wyn readied to take me to the "swimming hole" at an old wood damn beside a covered bridge about ten minutes from his house. I suspected immediately that this would be a lovely place to look for mushrooms and, while he was getting ready, I stepped outside and found a chanterelle in the woods just steps from the back of his house. When he came out, we jumped in his sweet '63 MG and headed into the village down the river a bit. He swam while I balanced on the rocks. I was ambivalent about getting in. I'd have to undress. Wyn explained that nudity was legal in Vermont unless a community passed a specific law against it. Still, there was a couple there from NYC and, more importantly, the water was chilly, so I just stayed with the rocks and the river music and enjoyed the scenery and the sweet air. We chatted briefly with the NY couple before we headed back to the house, then into Brattleboro to shop for provisions--by provisions, think wine--to go along with the Memphis barbecue Wyn planned to pick up for dinner after Shawna's rehearsal.
We went into town and it happened to be a first friday artwalk evening, and we walked through several very cool galleries and Wyn introduced me to a few of the area artists and gallery owners. We stopped at a local brewpub for a beer, and Wyn knew everybody, it seemed, so he had to make a few rounds around the room. I sipped my beer and enjoyed the atmosphere. Wyn sat down and we enjoyed our pints. The server was also a friend who had acted with Shawna, and Wyn explained that she would soon be off to Guatemala, plans unspecified. She recognized my Califone T-shirt and we talked a little about the music before her next round was up and she had to leave. Life in Brattleboro is good. I have finally been to Vermont and I can retire the first poem I ever published ("Lunchtime in Vermont"), which was, to be kind to it, an exercise in line breaks and immature mindfuck postmodernism, as I understood it at twenty.
Later, we picked up the barbecue, supped late, and drank later--excellent barbecue washed down with big wines, including a lovely Italian Aglianico Rubrato and a Turley Moore Earthquake, both gorgeous wines with barbecue. Good wine and good food don't matter, though, if the company isn't up to the sensual pleasures. Wyn and Shawna, on the other hand, as we all love fine foods and grand vins, would make peasant bread and a jug of dago red a royal meal. We talked late, too late, about Shawna's impending performance, friends, poetry, music, art, politics, love, and who knows what else? I was there and it was a perfect evening. All I can say is thanks for my good fortune, my good friends. I hope I can return the favor one day.
I nearly missed the turn off of Route 7, but slammed on the brakes, thankfully no one behind me. The pavement vanished and I was on back roads into the low mountains, ultimately along the Green River until I found Wyn and Shawna's driveway--steep gravel up to a lovely home with a large deck. Wyn and Shawna were there with open arms and smiles, but Shawna had work and rehearsal, so I wouldn't see her much till later. I felt immediately welcome. Their house is gorgeous, filled with art and broadsides and books, ensconced in maple and pine forest just up the hill from the Green River. After catching up about the drive, etc., Wyn readied to take me to the "swimming hole" at an old wood damn beside a covered bridge about ten minutes from his house. I suspected immediately that this would be a lovely place to look for mushrooms and, while he was getting ready, I stepped outside and found a chanterelle in the woods just steps from the back of his house. When he came out, we jumped in his sweet '63 MG and headed into the village down the river a bit. He swam while I balanced on the rocks. I was ambivalent about getting in. I'd have to undress. Wyn explained that nudity was legal in Vermont unless a community passed a specific law against it. Still, there was a couple there from NYC and, more importantly, the water was chilly, so I just stayed with the rocks and the river music and enjoyed the scenery and the sweet air. We chatted briefly with the NY couple before we headed back to the house, then into Brattleboro to shop for provisions--by provisions, think wine--to go along with the Memphis barbecue Wyn planned to pick up for dinner after Shawna's rehearsal.
We went into town and it happened to be a first friday artwalk evening, and we walked through several very cool galleries and Wyn introduced me to a few of the area artists and gallery owners. We stopped at a local brewpub for a beer, and Wyn knew everybody, it seemed, so he had to make a few rounds around the room. I sipped my beer and enjoyed the atmosphere. Wyn sat down and we enjoyed our pints. The server was also a friend who had acted with Shawna, and Wyn explained that she would soon be off to Guatemala, plans unspecified. She recognized my Califone T-shirt and we talked a little about the music before her next round was up and she had to leave. Life in Brattleboro is good. I have finally been to Vermont and I can retire the first poem I ever published ("Lunchtime in Vermont"), which was, to be kind to it, an exercise in line breaks and immature mindfuck postmodernism, as I understood it at twenty.
Later, we picked up the barbecue, supped late, and drank later--excellent barbecue washed down with big wines, including a lovely Italian Aglianico Rubrato and a Turley Moore Earthquake, both gorgeous wines with barbecue. Good wine and good food don't matter, though, if the company isn't up to the sensual pleasures. Wyn and Shawna, on the other hand, as we all love fine foods and grand vins, would make peasant bread and a jug of dago red a royal meal. We talked late, too late, about Shawna's impending performance, friends, poetry, music, art, politics, love, and who knows what else? I was there and it was a perfect evening. All I can say is thanks for my good fortune, my good friends. I hope I can return the favor one day.
Monday, August 18, 2008
Toward New England with hot plate.
Wednesday, July 30th at the crack of 10 a.m., I crawled into the Hyundai with cds and a few bottles of wine and much to think about, and set off north to see Wyn and Shawna in Brattleboro and Amy in Woodstock. While driving can be a kind of emotional peristalsis, I'll focus on the more mundane, the gourmandish kind. Instead of fast food or Shoney's or truck stop fare along the way (in great contrast to my friend at Imnotonetoblogbut's Parisian gastronomic orgy), I picked up a 10-buck hotplate at Big Lots and threw some utensils and olive oil in a bag, along with a cooler full of stuff that I'd have to throw away (bananas, organic eggs, cheese, salad fixins, juice) if I didn't take it, along with a bag of pasta shells and a can of sauce. The first night in Roanoke, VA was simple. I got there around 8ish and found a grocery story across the street to augment my simple pasta shells and sauce dinner with a full salad (nothing special, but healthier than the Waffle House and McDonald's within walking distance of my curry-scented [I'd love to have knocked on the door and held out a bowl] Travelodge). A spiced egg with a little balsamic vinegar sunnyside up on toast (roasted gingerly pinched with a fork and a spoon over the open burner) made a simple and filling breakfast the next morning before I headed north again.
I hit Binghamton, NY, in the early evening with plenty of time to walk around downtown and along the river, and to look for a decent restaurant and the ghost of John Gardner, but finding Binghamton generally abandoned, and arriving the day before Spiedie fest (one-handed grilled sandwiches suitable for Grendal), my choices were limited. Instead, I headed to the grocery store near the hotel, picked up some live clams and local Italian sausage and bread, and decided to busy myself for the long evening steaming clams in dark beer, cooking pasta and sausage, and enjoying these with bread and salad and a decent red. It's a serial process, but given the lack of nightlife thereabouts, it made the evening pass simply and deliciously, though I'd have loved to stick around and sample the full variety of spiedie's. After a breakfast of another egg, quesadilla, and a banana, I headed to Vermont for finer and more fulfilling culinary experiences.
I hit Binghamton, NY, in the early evening with plenty of time to walk around downtown and along the river, and to look for a decent restaurant and the ghost of John Gardner, but finding Binghamton generally abandoned, and arriving the day before Spiedie fest (one-handed grilled sandwiches suitable for Grendal), my choices were limited. Instead, I headed to the grocery store near the hotel, picked up some live clams and local Italian sausage and bread, and decided to busy myself for the long evening steaming clams in dark beer, cooking pasta and sausage, and enjoying these with bread and salad and a decent red. It's a serial process, but given the lack of nightlife thereabouts, it made the evening pass simply and deliciously, though I'd have loved to stick around and sample the full variety of spiedie's. After a breakfast of another egg, quesadilla, and a banana, I headed to Vermont for finer and more fulfilling culinary experiences.
Monday, August 11, 2008
Congratulations, Jason Lezak
He touched the wall first, sprinting from behind to wash all the mots from the trash-talking and heavily favored French team. Everybody saw it. You saw it. Michael Phelps saw it and his joy was the image the media loved, but, athletically, Jason's performance was among the finest perfomances in the history of Olympic swimming, and definitely the finest in relays. His swim was a celebration of will.
I loved it most because I didn't know Jason was on this year's team until he took his turn. I hadn't been paying much attention to the Olympics. Phelps lead off and I watched, went to the kitchen to get a glass of water, and listened to the progress. I was excited to hear the announcer call Jason's name, because he was one of my business writing students at UCSB, and we used to talk about swimming and basketball (my sport) and his plans. He was serious about improving and making nationals, talking possibilities, angles that would make him better. He was committed.
What impressed me most was that he thought about swimming long-term. He talked about the work he needed to do, his faults, the demands of the sport, his desire, all the realities of the swimming world. He was very good, tall, broad-shouldered, and slim, and he knew it, but he wasn't any kind of physical freak. Yet he excelled, and I remember being surprised to read that he'd won a gold in the relay in Sydney, and then medalled again in Athens. I figured he was done, had had a great career--it's a sport for the young, after all.
Not this year. Dana Torres couldn't be my daughter, and Jason--younger than her by several years--couldn't be my son. He demonstrated what work and commitment and long term devotion can do. He's an exceptional athlete, though more for his work ethic and determination than his simple physical ability. Congratulations, Jason. You definitely earned it.
Update: Jason helped Michael Phelps pick up his 8th with another superb relay anchor, plus he picked up his first individual Olympics medal (bronze) in the 100 m. freestyle.
I loved it most because I didn't know Jason was on this year's team until he took his turn. I hadn't been paying much attention to the Olympics. Phelps lead off and I watched, went to the kitchen to get a glass of water, and listened to the progress. I was excited to hear the announcer call Jason's name, because he was one of my business writing students at UCSB, and we used to talk about swimming and basketball (my sport) and his plans. He was serious about improving and making nationals, talking possibilities, angles that would make him better. He was committed.
What impressed me most was that he thought about swimming long-term. He talked about the work he needed to do, his faults, the demands of the sport, his desire, all the realities of the swimming world. He was very good, tall, broad-shouldered, and slim, and he knew it, but he wasn't any kind of physical freak. Yet he excelled, and I remember being surprised to read that he'd won a gold in the relay in Sydney, and then medalled again in Athens. I figured he was done, had had a great career--it's a sport for the young, after all.
Not this year. Dana Torres couldn't be my daughter, and Jason--younger than her by several years--couldn't be my son. He demonstrated what work and commitment and long term devotion can do. He's an exceptional athlete, though more for his work ethic and determination than his simple physical ability. Congratulations, Jason. You definitely earned it.
Update: Jason helped Michael Phelps pick up his 8th with another superb relay anchor, plus he picked up his first individual Olympics medal (bronze) in the 100 m. freestyle.
Sunday, August 10, 2008
Just the facts
Back from Vermont and New York, and here are a few random facts. Narratives to come.
Miles I schlepped: 2600+
" per gallon: 35, freeway
Highest priced gas: $4.07 9 (Woodstock)
Cheapest gas: $3.379 (Southern Maryland)
Folks visited: Wyn and Shawna in Vermont, Amy at the KTD monastery, Woodstock.
Most beautiful scenery: Devil's Kitchen cataract from the cliff edge with Amy. (Hike to firetower above 100-mile viewpoint, VT with Wyn and Shawna was an excellent second).
Best wine: You'll have to wait. There were many and they were excellent.
Best meal: Shawna's (menu to come).
Scariest moment: Sudden downpour on 81 that washed the windshield opaque.
Museum visited: Mass MOCA.
Play attended: Olleana (starring Shawna).
Movie: The Wackness.
Subtle surprise: Server at the pub in Brattleboro (and friend of my hosts) recognized my Califone t-shirt. Hope she likes Guatemala.
Mushrooms foraged and enjoyed: Chanterelles and boletus bicolor in VT; bb and black trumpets in NY.
Worst road name: Beaver Ruin Road (north of ATL).
Best Hotel: Lakeview outside Bennington for $35, cash only and a plastic shower exactly like the one I ripped from my bathroom.
Best new custom: Motel hotplate cooking (recipes to follow?).
What I missed at home: Ninja Gun CD release party and a shed show.
Best Bread. Bread Alone's SF Organic Whole Grain Levain.
Best moment: Looking in Amy's eyes again and finding her happy in Woodstock.
Miles I schlepped: 2600+
" per gallon: 35, freeway
Highest priced gas: $4.07 9 (Woodstock)
Cheapest gas: $3.379 (Southern Maryland)
Folks visited: Wyn and Shawna in Vermont, Amy at the KTD monastery, Woodstock.
Most beautiful scenery: Devil's Kitchen cataract from the cliff edge with Amy. (Hike to firetower above 100-mile viewpoint, VT with Wyn and Shawna was an excellent second).
Best wine: You'll have to wait. There were many and they were excellent.
Best meal: Shawna's (menu to come).
Scariest moment: Sudden downpour on 81 that washed the windshield opaque.
Museum visited: Mass MOCA.
Play attended: Olleana (starring Shawna).
Movie: The Wackness.
Subtle surprise: Server at the pub in Brattleboro (and friend of my hosts) recognized my Califone t-shirt. Hope she likes Guatemala.
Mushrooms foraged and enjoyed: Chanterelles and boletus bicolor in VT; bb and black trumpets in NY.
Worst road name: Beaver Ruin Road (north of ATL).
Best Hotel: Lakeview outside Bennington for $35, cash only and a plastic shower exactly like the one I ripped from my bathroom.
Best new custom: Motel hotplate cooking (recipes to follow?).
What I missed at home: Ninja Gun CD release party and a shed show.
Best Bread. Bread Alone's SF Organic Whole Grain Levain.
Best moment: Looking in Amy's eyes again and finding her happy in Woodstock.
Tuesday, July 29, 2008
Hiatus
I'll be on the road to parts north to see friends and relatives and enjoy America's fine motel decor. Meanwhile, enjoy this pic of the Delaware River.
Photo credit: Mom
Monday, July 21, 2008
Waits at The Owl and the Bear
Tristan over at The Owl and the Bear has kindly reposted my Waits review. You'll also find a cool concert recording of Red Red Meat at The Hideout in Chicago (flac files).
Thursday, July 10, 2008
Tom Waits, Jacksonville, July 1
"I'm like a fucking race horse."
--Tom Waits, Jacksonville, July 1, 2008
Tom Waits' tours are fairly infrequent, so when I heard he was headed to Jacksonville two hours away from my house, I splurged. Jacksonville? Why Jacksonville? It's not really the red dirt, bluesy part of the south Waits wanted to see. Jacksonville is South Beach's conservative opposite, militarized vanilla beach Florida, which tolerates the small, local counterculture because it's essentially irrelevant. Jacksonville is by some definitions lovely, but it's not, well, cool. When, early in the concert, Waits mused about why he'd never been to this attractive city beside a sparkling river and the Atlantic Ocean, he said his friends had always told him, "You're not old enough." I don't know whether he's finally old enough now or if the prospect of hauling the tour bus and three semis ten hours south and back north was too much for his pocketbook or his carbon footprint, but he arrived with a copious supply of merchandise--including vinyls, a chapbook in which he interviews himself, and t-shirts with pictures of oil stains he thought were cool--as well as a sweet stage set that could evoke alley-cat twilight austerity, late-night honkytonk, or red-devil cartoon hell.
Tom Waits in his undersized bowler gangled out to the round center platform as though he were under the influence of some hobo marionette and lit into "Lucinda"/"Ain't Going Down to the Well No More" and quickly into "Down in the Hole" to an adoring audience of sophisticates of all ages (along with a few bellowing idiots). We were clearly in for a hell of a ride. During "Chocolate Jesus" (I believe), he stopped mid-song to admonish the audience, albeit congenially, for clapping out of time. They hadn't encouraged audience clapping, so I think he was a bit pissed, though he turned the awkwardness into a humorous moment. He's serious about his oeuvre, and this audience "interference," enthusiastic as it is, can ruin a song. (This may have been the reason "Clap Hands," one of my favorites from Raindogs, didn't make the cut for any of the shows. The Eyeball Kid has set lists for every show plus a compilation for all the shows, including Jacksonville [I swear I heard "Jockey Full of Bourbon" though, which isn't listed for J'ville], so I won't belabor the entire list.) There wasn't a sour note, from the stage at least, and the band was incredibly tight and the timing and interplay were perfect. It was one of the most polished shows I've ever seen, musical "theatre" of the best sort, as if Broadway had bled somehow into the old Bowery.
The show both peaked and nadired for me in the middle of an arresting extended performance of "Rain Dogs"/"Russian Dance." Waits' performance was violent. The moment seemed Brechtian, confrontational, perfect, eviscerating what can come off sometimes, if one isn't listening closely enough to Waits' superb writing, as a kind of sentimental nostalgia for hard times. His gyrating, barking performance annihilated any possible sentimentality. But as I looked around, I sensed no one seemed to be getting this. Most were too busy being fans to feel his indictment of all of us, our asses sitting in the hundred dollar seats of this lovely theater on the river, six dollar beers bubbling away in comfortable, pudgy guts. No recession here, mind you, but "Rain Dogs" should have awakened everyone to what people go to shows to forget, all this American consumptive excess that leaves so many out in the cold, hungry and bemused and sodden, while so many inside listened to songs about those people, then got in their SUV's and drove away, pop-culturally sated. Perhaps I'm projecting my own guilt, my own excess here, sitting there with all my Waits stuff, taking it too seriously, but it unnerved me.
The epigraph above came from a moment that added to this feeling. Someone screamed out that he wanted Waits' sperm to make a baby. Tom stopped, and said, "Wait a minute. We just might be able to arrange that. You'll have to talk to my manager. But I must warn you, I'm very expensive. I'm like a fucking racehorse." Then he laughed like a carny knowing you're going to piss your jeans on this ride. This and some comments he made about show business--noting at one point that Sarah Bernhardt's amputated leg on display at a circus was earning more than the actress herself, who was performing "across the street"--suggested his contempt for this consumerist attitude, this objectification of people, and his understanding of the irony of his own position as he enriches himself and his family singing, even iconically, songs about the downtrodden I believe he truly cares about, knows. I think he wanted this contempt to come through, not vitriolically (I think of Jello Biafra cursing the mosh pit "jocks" in Fresno, 1985), but through the power of the music and the words. Waits was polite and played along, a trickster minstrel, hoping maybe someone will get it all after the beer and white wine wear off. I hope so, too.
As if to emphasize this theme, he stepped away from center stage to sit at the piano, stage right, while all the musicians but Seth Ford-Young on bass left the stage. While idiots yelled for their favorites, he ignored them, and settled into "On the Nickle" to continue a theme, slowly and beautifully. Counterpoint. Do you get it now? It was truly a high point in an extraordinary show. The piano solo moved through "I Can't Wait to Get Off Work" and "Invitation to the Blues" and "Lost in the Harbour" wonderfully, creating the emotional heart of the show.
Continuing his theme of exile, the band returned, and a single, flickering bulb descended to "accompany" him on the poem "Circus." Then, like a fireworks show, a grand finale in which he crowed and stomped and sagged elastically through "Hoist that rag," "Lie to Me," "Anywhere I Lay My Head," "Singapore," "Cold, Cold Ground," and "Make it Rain." They left the stage and the audience wanting more.
After much applause, they came out to finish, slightly anticlimactically after all the heavy pyrotechnics, with "House where Nobody Lives," and then they left. And then I got in my car and listened to Frank's Wild Years all the way home, because he didn't play my favorite from that album, and I am, after all, innocent when I dream, and I needed to hear that after all the indulgence in my extravagant solitude.
--Tom Waits, Jacksonville, July 1, 2008
Tom Waits' tours are fairly infrequent, so when I heard he was headed to Jacksonville two hours away from my house, I splurged. Jacksonville? Why Jacksonville? It's not really the red dirt, bluesy part of the south Waits wanted to see. Jacksonville is South Beach's conservative opposite, militarized vanilla beach Florida, which tolerates the small, local counterculture because it's essentially irrelevant. Jacksonville is by some definitions lovely, but it's not, well, cool. When, early in the concert, Waits mused about why he'd never been to this attractive city beside a sparkling river and the Atlantic Ocean, he said his friends had always told him, "You're not old enough." I don't know whether he's finally old enough now or if the prospect of hauling the tour bus and three semis ten hours south and back north was too much for his pocketbook or his carbon footprint, but he arrived with a copious supply of merchandise--including vinyls, a chapbook in which he interviews himself, and t-shirts with pictures of oil stains he thought were cool--as well as a sweet stage set that could evoke alley-cat twilight austerity, late-night honkytonk, or red-devil cartoon hell.
Tom Waits in his undersized bowler gangled out to the round center platform as though he were under the influence of some hobo marionette and lit into "Lucinda"/"Ain't Going Down to the Well No More" and quickly into "Down in the Hole" to an adoring audience of sophisticates of all ages (along with a few bellowing idiots). We were clearly in for a hell of a ride. During "Chocolate Jesus" (I believe), he stopped mid-song to admonish the audience, albeit congenially, for clapping out of time. They hadn't encouraged audience clapping, so I think he was a bit pissed, though he turned the awkwardness into a humorous moment. He's serious about his oeuvre, and this audience "interference," enthusiastic as it is, can ruin a song. (This may have been the reason "Clap Hands," one of my favorites from Raindogs, didn't make the cut for any of the shows. The Eyeball Kid has set lists for every show plus a compilation for all the shows, including Jacksonville [I swear I heard "Jockey Full of Bourbon" though, which isn't listed for J'ville], so I won't belabor the entire list.) There wasn't a sour note, from the stage at least, and the band was incredibly tight and the timing and interplay were perfect. It was one of the most polished shows I've ever seen, musical "theatre" of the best sort, as if Broadway had bled somehow into the old Bowery.
The show both peaked and nadired for me in the middle of an arresting extended performance of "Rain Dogs"/"Russian Dance." Waits' performance was violent. The moment seemed Brechtian, confrontational, perfect, eviscerating what can come off sometimes, if one isn't listening closely enough to Waits' superb writing, as a kind of sentimental nostalgia for hard times. His gyrating, barking performance annihilated any possible sentimentality. But as I looked around, I sensed no one seemed to be getting this. Most were too busy being fans to feel his indictment of all of us, our asses sitting in the hundred dollar seats of this lovely theater on the river, six dollar beers bubbling away in comfortable, pudgy guts. No recession here, mind you, but "Rain Dogs" should have awakened everyone to what people go to shows to forget, all this American consumptive excess that leaves so many out in the cold, hungry and bemused and sodden, while so many inside listened to songs about those people, then got in their SUV's and drove away, pop-culturally sated. Perhaps I'm projecting my own guilt, my own excess here, sitting there with all my Waits stuff, taking it too seriously, but it unnerved me.
The epigraph above came from a moment that added to this feeling. Someone screamed out that he wanted Waits' sperm to make a baby. Tom stopped, and said, "Wait a minute. We just might be able to arrange that. You'll have to talk to my manager. But I must warn you, I'm very expensive. I'm like a fucking racehorse." Then he laughed like a carny knowing you're going to piss your jeans on this ride. This and some comments he made about show business--noting at one point that Sarah Bernhardt's amputated leg on display at a circus was earning more than the actress herself, who was performing "across the street"--suggested his contempt for this consumerist attitude, this objectification of people, and his understanding of the irony of his own position as he enriches himself and his family singing, even iconically, songs about the downtrodden I believe he truly cares about, knows. I think he wanted this contempt to come through, not vitriolically (I think of Jello Biafra cursing the mosh pit "jocks" in Fresno, 1985), but through the power of the music and the words. Waits was polite and played along, a trickster minstrel, hoping maybe someone will get it all after the beer and white wine wear off. I hope so, too.
As if to emphasize this theme, he stepped away from center stage to sit at the piano, stage right, while all the musicians but Seth Ford-Young on bass left the stage. While idiots yelled for their favorites, he ignored them, and settled into "On the Nickle" to continue a theme, slowly and beautifully. Counterpoint. Do you get it now? It was truly a high point in an extraordinary show. The piano solo moved through "I Can't Wait to Get Off Work" and "Invitation to the Blues" and "Lost in the Harbour" wonderfully, creating the emotional heart of the show.
Continuing his theme of exile, the band returned, and a single, flickering bulb descended to "accompany" him on the poem "Circus." Then, like a fireworks show, a grand finale in which he crowed and stomped and sagged elastically through "Hoist that rag," "Lie to Me," "Anywhere I Lay My Head," "Singapore," "Cold, Cold Ground," and "Make it Rain." They left the stage and the audience wanting more.
After much applause, they came out to finish, slightly anticlimactically after all the heavy pyrotechnics, with "House where Nobody Lives," and then they left. And then I got in my car and listened to Frank's Wild Years all the way home, because he didn't play my favorite from that album, and I am, after all, innocent when I dream, and I needed to hear that after all the indulgence in my extravagant solitude.
Wednesday, July 2, 2008
Perigrinations north with music (Ninja Gun) and both scheduled and chance meetings: Pt. 2, Atlanta
After checking into the Highland Inn, (the best place to stay in Atlanta in my humble opinion, even with its funky percussive radiator heating--hey, Joan Baez slept there), I walked around Little Five Points, browsed The Junkyard's Daughter, flipped through the bins at Criminal Records (find of the day, a good, used Wombats A Guide to Love, Loss, and Desperation--an upbeat, silly antidote to my serious, sad bastard tendencies, though "Let's Dance to Joy Division" conflates it all nicely), and wandered among the few tattooed and pierced hipsters brave enough to face the heat and daylight and yuppie moms power-strolling toward the park. It was a good way to kill time until I was to meet up with Tara, a former student and fine singer who's soon off to China to teach, and her old Valdosta friend Leigh Ann for dinner before the Ninja Gun show at The Earl. We supped at Zaya nearby where the girls could load up on dollar Ketel One drinks before the show and the food was generally very good Middle Eastern/Mediterranean fare, especially the hummus.
We headed to the show at the Earl and met up with many other former and current Valdosta folks, including Dixie and Camille and Kenny and Jason and Damon (my hero for booking The Reputation at Vito's here) and John and Maybeth and Jessie (Coody's sweet gal), ready to enjoy our local heroes Ninja Gun at a serious venue (hey, Califone played there). It's Elephant opened enthusiastically enough, but didn't capture my interest as the lead singer tried too hard to modulate between Eddie Vedder and Robert Plant.
Ninja Gun started the strongest set I'd heard from them, assisted by a superior sound system that let them showcase their country punk songs with lucid vocals yet still as loud as they wanna be. They opened with their new, sweet Rainbow Song ("Hey, man, do you wanna see a rainbow?") that Coody co-penned with his niece, then pumped things up with "Restless Rubes," the title song that revises Robert Frost, just a bit:
A hometown can burn you to the ground
So turn a tire around until you’re fine.
In a yellow wood
Two roads converged and the way he should
Go was clear
He left them bridges burning
They powered through a strong set from the new cd, including "Darwin was a Baptist" with its deft humor and fine, ironic chorus, "Can I get a little church in my state?/ Give me one more reason to hate everything around me," anchoring a biting critique of life that "surrounds" anyone in the bible belt. "Eight Miles Out" rocked with its upbeat take on doubt, and maybe my favorite on the album, "Permanent Press," with it's ringing guitar progression and its poignant hint of William Carlos Williams' "Between Walls" in the light-through-glass imagery for this ars musica:
So write yourself in melody and make the words agree
Lay it out for all to see just who you used to be.
‘Cause oh the seasons, do they pass
Like naked sunshine through broken glass
The days will slide on by too fast if you don’t try.
"The Last Cowboy" and "Asking Price," an anthem against selling out, also shone before the enthusiastic crowd at The Earl. They closed with their raucous country punk version of "Please, Please Me," which Coody asserts is the first true punk rock song. Ninja Gun makes a convincing case, and all of us from down here in little ole Valdosta were swelling with pride.
Missy Gossip and the Secret Keepers closed out the night and surprised with Lauren Staley's strong vocals hinting at what Linda Ronstadt dipped in Georgia peach might sound like. They played a good, crunching southern rock set punctuated by a fine torch song or two.
It was a fine evening to share with friends, and I headed back to the Highland, a good bottle of red waiting to help my evening reflections.
We headed to the show at the Earl and met up with many other former and current Valdosta folks, including Dixie and Camille and Kenny and Jason and Damon (my hero for booking The Reputation at Vito's here) and John and Maybeth and Jessie (Coody's sweet gal), ready to enjoy our local heroes Ninja Gun at a serious venue (hey, Califone played there). It's Elephant opened enthusiastically enough, but didn't capture my interest as the lead singer tried too hard to modulate between Eddie Vedder and Robert Plant.
Ninja Gun started the strongest set I'd heard from them, assisted by a superior sound system that let them showcase their country punk songs with lucid vocals yet still as loud as they wanna be. They opened with their new, sweet Rainbow Song ("Hey, man, do you wanna see a rainbow?") that Coody co-penned with his niece, then pumped things up with "Restless Rubes," the title song that revises Robert Frost, just a bit:
A hometown can burn you to the ground
So turn a tire around until you’re fine.
In a yellow wood
Two roads converged and the way he should
Go was clear
He left them bridges burning
They powered through a strong set from the new cd, including "Darwin was a Baptist" with its deft humor and fine, ironic chorus, "Can I get a little church in my state?/ Give me one more reason to hate everything around me," anchoring a biting critique of life that "surrounds" anyone in the bible belt. "Eight Miles Out" rocked with its upbeat take on doubt, and maybe my favorite on the album, "Permanent Press," with it's ringing guitar progression and its poignant hint of William Carlos Williams' "Between Walls" in the light-through-glass imagery for this ars musica:
So write yourself in melody and make the words agree
Lay it out for all to see just who you used to be.
‘Cause oh the seasons, do they pass
Like naked sunshine through broken glass
The days will slide on by too fast if you don’t try.
"The Last Cowboy" and "Asking Price," an anthem against selling out, also shone before the enthusiastic crowd at The Earl. They closed with their raucous country punk version of "Please, Please Me," which Coody asserts is the first true punk rock song. Ninja Gun makes a convincing case, and all of us from down here in little ole Valdosta were swelling with pride.
Missy Gossip and the Secret Keepers closed out the night and surprised with Lauren Staley's strong vocals hinting at what Linda Ronstadt dipped in Georgia peach might sound like. They played a good, crunching southern rock set punctuated by a fine torch song or two.
It was a fine evening to share with friends, and I headed back to the Highland, a good bottle of red waiting to help my evening reflections.
Sunday, June 29, 2008
Perigrinations north with music (Ninja Gun) and both scheduled and chance meetings: Pt. 1, Athens
One winces anymore at the numbers tumbling up and up on the Pilot and Roadway and BP marquees as we approach five dollar gas and each trip becomes a tough decision, so I feel for all the troubadours wandering the country in vans and trailers filled with amps and instruments and merch as they try to bring us live music while they worry about the next few gallons. Wednesday, I went north to see Ninja Gun in Athens and Atlanta. Yes, they're from here, but they were finishing their tour in Atlanta, and I missed their send-off, so I decided to welcome them back to Georgia and to visit former students Kaleb and Ashley in Athens and Tara and Kenny in Atlanta, and to check in on Amy's parents in Waleska (They're loving the Lake Arrowhead life).
The Athens show was fun as much for the company as the music. I've seen NG many times in a bar with a less than stellar sound system, and the Transmetropolitan is one of them. The opening band (Timber?) played an enthusiastic acoustic set, and Ninja Gun followed up with a fun but quick set of songs from the new CD, Restless Rubes (scroll down). Ace reporter Ashley Fielding was there, putting the band up (or up with the band?) for the night. It was good to catch up with her and hear that she's doing well, and to see that the boys had survived the long days on the road without too many scars and smelling reasonably clean, though they'll get home broke and tired and unemployed. The major Athens surprise was the presence in the bar of Patrick McKinney (Langtry, Iron and Wine), who enjoyed the show and who glowingly endorses the Transmet's Tofu sandwich. A virtuoso musician of considerable accomplishment, he complimented NJ on their sound and Coody for his stage presence. We ran into him later in another bar that specialized in Belgian-style beers, and he suffered Kaleb's girlfriend's abuse (sometimes drunk guys in bars are more than just drunk guys in bars; sometimes they're musicians or even poets) as he was trying to recommend that I stay in town for the Sun City Girls tribute show. (Alas, no one was around to take care of the kittens, so I had to head home Friday.) We ended up the evening on Kaleb's balcony with cheap red wine and Kaleb's puppy to mollify her mortification after she found out who Patrick was ("I really like Iron and Wine," she offered penitently). Finally to the couch at around 4:00 am. Thanks for putting me up (or up with me?), Kaleb, and the Thai place the next day was lovely.
The Athens show was fun as much for the company as the music. I've seen NG many times in a bar with a less than stellar sound system, and the Transmetropolitan is one of them. The opening band (Timber?) played an enthusiastic acoustic set, and Ninja Gun followed up with a fun but quick set of songs from the new CD, Restless Rubes (scroll down). Ace reporter Ashley Fielding was there, putting the band up (or up with the band?) for the night. It was good to catch up with her and hear that she's doing well, and to see that the boys had survived the long days on the road without too many scars and smelling reasonably clean, though they'll get home broke and tired and unemployed. The major Athens surprise was the presence in the bar of Patrick McKinney (Langtry, Iron and Wine), who enjoyed the show and who glowingly endorses the Transmet's Tofu sandwich. A virtuoso musician of considerable accomplishment, he complimented NJ on their sound and Coody for his stage presence. We ran into him later in another bar that specialized in Belgian-style beers, and he suffered Kaleb's girlfriend's abuse (sometimes drunk guys in bars are more than just drunk guys in bars; sometimes they're musicians or even poets) as he was trying to recommend that I stay in town for the Sun City Girls tribute show. (Alas, no one was around to take care of the kittens, so I had to head home Friday.) We ended up the evening on Kaleb's balcony with cheap red wine and Kaleb's puppy to mollify her mortification after she found out who Patrick was ("I really like Iron and Wine," she offered penitently). Finally to the couch at around 4:00 am. Thanks for putting me up (or up with me?), Kaleb, and the Thai place the next day was lovely.
Monday, June 23, 2008
George Carlin vs. My Senior Prom
I stumbled through my late last semester at Fresno High as I suppose most people stumble through theirs, wondering what adventures lay ahead while feeling the first inklings of what we would later identify as nostalgia. (The French must have a word that means "prescient nostalgia.") That is, my future had been decided--I was moving to Berkeley for college--and everything else that mattered in school had come to a close--high school basketball, my senior romance. We were just living out the final weeks attached to our familiar cliques, performing our class duties, eating lunch at the same hangouts, everything that until then had defined us as we approached that looming, transformative (we hoped) cusp. The end game for most students revolved around the prom, who would go with whom, which parties would offer the most debauchery, boutonnieres and cumberbuns and orchid corsages and waxed cars, or maybe even a limo for the Fresno wealthy. I don't know. I didn't go.
Instead, shy as I was, I accepted an invitation from the lovely and intelligent Cristina, a talented musician, to avoid the teenage atrocity that was the prom and see George Carlin instead. It was one of the great evenings of my youth. We'd of course heard the seven words bit from Class Clown. Everybody had. The funniest thing about the bit is its pure reasonableness, its demystification of language in a way that would later help inform my move from physics to poetry in college. Cris and I laughed so hard that warm spring night that we were sure no one at the prom had an evening that approached ours. Carlin was funny and intelligent, pacing the stage, delivering his lines perfectly, varying enough so that those who'd heard the record would still be surprised. Carlin was a master, an accessible genius.
Cris and I left, tears in our eyes from the laughter, and talked for awhile about the show, about music (I remember trying to make some argument about keyboards being superior; she was into brass and had even jammed with Tower of Power. Obviously she made better points), and about the future (the cusp and all) that would take us away from Fresno and from what for me had become a wonderful but too brief friendship. But the evening remains, in all its polysemously profane glory and celebration of the language of the Angles and the Saxons, and "shit, piss, fuck, cunt, cocksucker, motherfucker, and tits" became a generation's mantra against fake propriety and, for me, a doorway to nostalgia of a wonderful evening. So, thanks George for your wonderful assaults on our disingenuous culture, and to you, Cristina, wherever you are and whatever you're doing. I hope your memories of that night, our little anti-prom, are as fond as mine.
Instead, shy as I was, I accepted an invitation from the lovely and intelligent Cristina, a talented musician, to avoid the teenage atrocity that was the prom and see George Carlin instead. It was one of the great evenings of my youth. We'd of course heard the seven words bit from Class Clown. Everybody had. The funniest thing about the bit is its pure reasonableness, its demystification of language in a way that would later help inform my move from physics to poetry in college. Cris and I laughed so hard that warm spring night that we were sure no one at the prom had an evening that approached ours. Carlin was funny and intelligent, pacing the stage, delivering his lines perfectly, varying enough so that those who'd heard the record would still be surprised. Carlin was a master, an accessible genius.
Cris and I left, tears in our eyes from the laughter, and talked for awhile about the show, about music (I remember trying to make some argument about keyboards being superior; she was into brass and had even jammed with Tower of Power. Obviously she made better points), and about the future (the cusp and all) that would take us away from Fresno and from what for me had become a wonderful but too brief friendship. But the evening remains, in all its polysemously profane glory and celebration of the language of the Angles and the Saxons, and "shit, piss, fuck, cunt, cocksucker, motherfucker, and tits" became a generation's mantra against fake propriety and, for me, a doorway to nostalgia of a wonderful evening. So, thanks George for your wonderful assaults on our disingenuous culture, and to you, Cristina, wherever you are and whatever you're doing. I hope your memories of that night, our little anti-prom, are as fond as mine.
Friday, June 13, 2008
Loaf Will Tear Us Apart
My own private sourdough (and this concludes post-punk punning for this post), baked in my own oven with my own home-grown sourdough starter. I added no baking soda, as many recipes call for, and it turned out fine, with a chewy crumb and a mellow sour flavor. The other half of this batch became a fine pizza crust.Making sourdough is easy. Mix about a cup of organic rye flour with a cup or so of spring or filtered water and a little salt, stick it in the fridge in a container with room for the starter to grow, and go on a trip for a week. When you come back, the near batter should be bubbly with a slight sour odor. To achieve a stronger sourdough taste, it helps to let the starter you plan to use sit out at room temperature for awhile (overnight or most of a day, depending on your baking schedule). I keep my starter in the fridge and feed it about once a week. (You only need the rye to get it started. You can feed it all purpose after that.)
To make a loaf, I mix several flours (usually King Arthur all purpose, about a cup of whole wheat, a little extra gluten, and a couple tablespoons of flax meal), add water and about half my starter, blend and knead thoroughly until it feels good and springy, and let it rise 8-12 hours before I work it gently into a loaf and proof it for one to two hours. I bake it on parchment and pizza stone in a preheated steam-treated oven (500 degrees F, then drop it to 450) until it looks right, about half an hour, and let it sit a couple of hours to finish the loaf.
Note: I don't measure anything, so don't ask, or check out the reference below. To steam, put cast iron pan in the oven before you preheat; and carefully pour a cup or two of hot water in it after you place the loaf on the stone. I read Local Breads: Sourdough and Whole-Grain Recipes from Europe's Best Artisan Bakers By Daniel Leader, Lauren Chattman (Thanks Elizabeth) before I started, but I've modified most of the instructions to fit my kitchen and taste preferences.
Saturday, June 7, 2008
This is What We Do
Why wait to book a bar when you can call your friends and play music loud and sloppy on a warm Georgia night? Jack and Taylor called some friends in bands and put the word out and people showed up at Jack, John, and Maybeth's place across from the graveyard and assembled around a makeshift stage, an old deck under the stars, under gorgeous black silhouettes of long-leaf pines next to a shed out back.
Fancy Blood's "salsa bossa nova glam" stylings opened as Zach's fine ironies and dark observations barked out over nervous complex guitar licks, while Chris throttled his bass and Steve laid down a raucous beat support on drums. It was raw geek-angst chic of the best sort, and sloppy. Sure, Zach had to stop a time or two ("Sorry, fuck!" maybe an album title?) as someone missed a bridge or forgot lyrics, but that was part of the charm--intelligent music for friends, lots of laughter and cold beer on a hot night. They're very new, but show a lot of promise in their urgency and lyrical cleverness. I think they're leaning toward a Fugazi meets Pavement aesthetic, though they might cite more obscure musical references. Feel free to correct me.
False Arrest, the youngest band of the night, changed things up with classic 80's-style hardcore skate punk. They machine-gunned through their set, finishing in a sweaty heap by the end of their irreverent 20 minutes. I suspect they woke the dead across the street. One highlight was the perfect punk minimalist party narrative "More Beer." Between furious guitar licks, they chanted "more beer, more beer, more beer" all through the minute-long song until the last chorus, "more pot." Funny and honest. I enjoyed talking to the bass player, Bo, after, who spoke enthusiastically about Bad Brains, Black Flag, and Woodie Guthrie.
Jack plays guitar for No More Analog, next up, which features Taylor Patterson on drums and The Captain on bass and vocals. The trio modulates between witty punk and heavier post-rock. "No Vacancy" is my favorite so far, while "Anasazi," offers smart punky social commentary. The set ended prematurely when the police arrived to shut down the party. The officer, reasonable even in the face of The Captain's miked anti-establishment banter ("Dude, he can totally hear you!), said he'd have preferred to join the crowd rather than shut it down. Nevertheless, despite John's patient persuasion and offer to continue the show inside the shed, there was no way to talk around some new ordinance. Apparently one of the dead across the street who maintained a posthumous antipathy toward the Anasazi called to complain.
People didn't want to leave, so the party moved to a nearly vacant house a few blocks away so Cyclops could have their turn without a blue light show. They kept it inside, but they cranked through their precise prog-math rock influenced set in front of a receptive crowd. I never thought I'd live long enough to hear King Crimson's influence throb back into the music scene, though their guitarist, Nick, mentioned Yes when I asked him about it. Made me want to go home and fix the turntable so I could pull out primordial Genesis' Trespass and crank up "The Knife" again.
The party broke up, and everyone headed to Rachael's to swim. I headed home, but with music in my head from the night and from the previous shed show a few weeks back that featured a reunion of the Honest A's, local heroes who put out a great ep a few years back. Carson was back from Okinawa to visit, and she and Rachael and Dustin filled up the hot shed with their standards, my favorite among them ending with the perfect Zen punk chant, "This is what we do! This is what we do! This is what we do!" Everybody screaming it over and over. This is what we do.
Note: Most of the Myspace sound quality on some of the links is lousy, but you might get a hint.
Fancy Blood's "salsa bossa nova glam" stylings opened as Zach's fine ironies and dark observations barked out over nervous complex guitar licks, while Chris throttled his bass and Steve laid down a raucous beat support on drums. It was raw geek-angst chic of the best sort, and sloppy. Sure, Zach had to stop a time or two ("Sorry, fuck!" maybe an album title?) as someone missed a bridge or forgot lyrics, but that was part of the charm--intelligent music for friends, lots of laughter and cold beer on a hot night. They're very new, but show a lot of promise in their urgency and lyrical cleverness. I think they're leaning toward a Fugazi meets Pavement aesthetic, though they might cite more obscure musical references. Feel free to correct me.
False Arrest, the youngest band of the night, changed things up with classic 80's-style hardcore skate punk. They machine-gunned through their set, finishing in a sweaty heap by the end of their irreverent 20 minutes. I suspect they woke the dead across the street. One highlight was the perfect punk minimalist party narrative "More Beer." Between furious guitar licks, they chanted "more beer, more beer, more beer" all through the minute-long song until the last chorus, "more pot." Funny and honest. I enjoyed talking to the bass player, Bo, after, who spoke enthusiastically about Bad Brains, Black Flag, and Woodie Guthrie.
Jack plays guitar for No More Analog, next up, which features Taylor Patterson on drums and The Captain on bass and vocals. The trio modulates between witty punk and heavier post-rock. "No Vacancy" is my favorite so far, while "Anasazi," offers smart punky social commentary. The set ended prematurely when the police arrived to shut down the party. The officer, reasonable even in the face of The Captain's miked anti-establishment banter ("Dude, he can totally hear you!), said he'd have preferred to join the crowd rather than shut it down. Nevertheless, despite John's patient persuasion and offer to continue the show inside the shed, there was no way to talk around some new ordinance. Apparently one of the dead across the street who maintained a posthumous antipathy toward the Anasazi called to complain.
People didn't want to leave, so the party moved to a nearly vacant house a few blocks away so Cyclops could have their turn without a blue light show. They kept it inside, but they cranked through their precise prog-math rock influenced set in front of a receptive crowd. I never thought I'd live long enough to hear King Crimson's influence throb back into the music scene, though their guitarist, Nick, mentioned Yes when I asked him about it. Made me want to go home and fix the turntable so I could pull out primordial Genesis' Trespass and crank up "The Knife" again.
The party broke up, and everyone headed to Rachael's to swim. I headed home, but with music in my head from the night and from the previous shed show a few weeks back that featured a reunion of the Honest A's, local heroes who put out a great ep a few years back. Carson was back from Okinawa to visit, and she and Rachael and Dustin filled up the hot shed with their standards, my favorite among them ending with the perfect Zen punk chant, "This is what we do! This is what we do! This is what we do!" Everybody screaming it over and over. This is what we do.
Note: Most of the Myspace sound quality on some of the links is lousy, but you might get a hint.
Saturday, May 31, 2008
Day 6,7,8 Reprise and Foxen
Having spoken with George the previous about wineries to visit on the way to Fresno, focusing primarily on other Paso Robles wineries, I surprised myself and headed instead up Foxen Canyon and stopped at Foxen winery, whose wines George said were getting better and better. Their pinots are become expensive and rare, and so I was disappointed the tasting room had none available to taste. The syrahs, cabs, and merlots were all good, and I sent some home, but they also whispered that they had 'a few' magnums "just in today" of their famed Sea Smoke vineyard and their Block 8 available, so I paid a ransom for one of each to add to the rest, and so I hope the government is happy that I used my "stimulus" check for wine that I hope will be very stimulating.
But much of the rest of the trip was a reprise of last year, and happily so, as I visited Mom and Dad and Haley and Hannah and Chase and my sister, who is still recovering from being slammed by a semi, my old neighbors Al and Lavonne, and, of course, the seco palms. We sat on the porch a lot. Watched the sky threaten rain. I shipped back some of my vinyl records even though I have nothing to play them on, but they're here in South Georgia.
I also spent another fine afternoon with Peter Everwine, and we talked again about poetry and life and friends and our work. And to my delight he is working. He remarked that he wasn't sure he had time to finish another project, but, leaving, I reminded him that Phil Levine predicted he'd give us another thirty years after he suffered a heart attack some years back, and I pointed out that you don't fuck around with a Phil Levine prediction. He laughed and said, "Well, I guess I have a few more to go, then." Many more, we all hope. We shared a bottle of Hartley Ostini pinot I picked up in Santa Barbara and we drank it into the afternoon, a sweet wine for sweet words.
Up early the last day to drive to LAX and home to grading and kittens after another good trip.
But much of the rest of the trip was a reprise of last year, and happily so, as I visited Mom and Dad and Haley and Hannah and Chase and my sister, who is still recovering from being slammed by a semi, my old neighbors Al and Lavonne, and, of course, the seco palms. We sat on the porch a lot. Watched the sky threaten rain. I shipped back some of my vinyl records even though I have nothing to play them on, but they're here in South Georgia.
I also spent another fine afternoon with Peter Everwine, and we talked again about poetry and life and friends and our work. And to my delight he is working. He remarked that he wasn't sure he had time to finish another project, but, leaving, I reminded him that Phil Levine predicted he'd give us another thirty years after he suffered a heart attack some years back, and I pointed out that you don't fuck around with a Phil Levine prediction. He laughed and said, "Well, I guess I have a few more to go, then." Many more, we all hope. We shared a bottle of Hartley Ostini pinot I picked up in Santa Barbara and we drank it into the afternoon, a sweet wine for sweet words.
Up early the last day to drive to LAX and home to grading and kittens after another good trip.
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