There’s Always Room for Gumbo

[EDITOR’S NOTE: USA Today reporter Bob Minzesheimer was assigned to review David Brinkley’s The Great Deluge. The published draft has an extremely strange and disconcerting paragraph pertaining to gumbo. Return of the Reluctant has obtained Minzesheimer’s original draft of the review, demonstrating just what kind of job the USA Today editors had on their hands.]

My name is Bob Minzesheimer and I am here to tell you that I like gumbo. Real gumbo. Not the pantywaist gumbo that they try to pass off in yuppie restaurants, but the real shit in New Orleans. Pre-Katrina.

If you ask me, the tsunami’s biggest tragedy was the sudden surcease in gumbo making. I’ve always thought New Orleans was a city that never slept. Forget the fact that the streets were flooded and that people were angry. No disaster should prevent a good batch of gumbo from being made, distributed and consumed. Why, for example, has Mayor Ray Nagin remained so silent on the gumbo question? Surely, Brinkley could have devoted a chapter to this seminal issue.

As we all know, real men eat real gumbo. Real men also read real books and review real books while they’re eating real gumbo or thinking about eating real gumbo. Gumbo is of paramount importance when assessing a book’s worth or determining the level of scholarship. David Brinkley, I suspect, is a gumbo fan. But he is not a real gumbo fan. And by real, I think you know what I mean.

This gumbo stance is problematic on several levels. His book cannot succeed until he slaps down the American Express on the table and pays at least $60 for a good bowl of gumbo. But I suspect he fears gumbo. No journalist should fear gumbo. Brinkley’s fear is evident on page 126 of his new book, The Great Deluge, where he writes:

Gumbo was the last thing on Nagin’s mind. As the bodies piled up, the gumbo stopped.

This, of course, is a preposterous assertion. For even in the face of government neglect, there is always room for gumbo. Real gumbo. Gumbo makes things better. If FEMA had fed the dehydrated Katrina survivors some gumbo, then nobody would be pointing fingers at Michael Brown.

I am a real man. I am also a real journalist. And I am momentarily a real book reviewer. But more importantly, I am the world’s foremost authority on gumbo. You may not know this, but I took a correspondence course and became a gumbo authority. Not even my wife knows this. I keep my gumbo expertise a secret from my friends and peers. I’ve kept quiet for too long. You, the devoted readers of USA Today, are the first to know.

I have been assigned to read this damn Brinkley book and I can’t stop thinking of gumbo. Many people have died and have had their lives uprooted. Such pedantic issues as government incompetence and unnecessary deaths mean nothing in the great scheme of things, particularly when gumbo is involved.

There is something about Brinkley’s face that makes me pine for gumbo. Surely I am not the only one who feels this way after staring at the author photograph. The cruel people at USA Today don’t pay me enough to buy real gumbo and chances are that you, the mere USA Today reader, haven’t experienced real gumbo.

So let’s stop all this discussion of who was right and who was wrong. Who needs more politics when there’s real gumbo to masticate upon? Let’s prevent Brinkley from writing more books. Come to my two-bedroom house anytime and let me show you that real gumbo makes the world go round.

Essay: “Chasing Dreams in Aisle 6”

[EDITOR’S NOTE: Last year, I was asked to contribute a “blog piece” for an anthology. Not really knowing what this request entailed, I instead offered an original personal essay on how the Cala Foods supermarket on Haight & Stanyan Streets served to combat insomnia. I also contributed a second piece, which stands more of a chance of making it in, given its brevity. But I have no idea which (if any) of the two pieces will appear in the anthology. But in the case of the first piece, because the editor had asked for something that had been previously published and because the Cala Foods supermarket in question, as the SFist has recently mourned , is closing (and more importantly, I am ethically in the clear, by dint of the “previously published” proviso), I thought I would offer the essay here for readers to understand how fantastic the store was. And yes, everything described here really happened. Incidentally, I ran into one of the elder clerks, a man who went to high school during the Eisenhower administration, on Sunday. Even on the streets, he still called me “sir,” recognizing me as a regular. And he assured me, after I had offered several concerned entreaties, that he had found work at another store. But I’m still feeling somewhat sad about this Haight Street pastime closing. The essay speaks for itself.]

Thursday. 3:12 AM. Cala Foods Supermarket.

I’m in Aisle 6 with a half-full shopping cart, watching a twentysomething couple pelt each other with twelve-packs of Charmin. The couple has fallen into a pleasant and infectious hysteria and they’ve made a fantastic mess of the aisle. I’m starting to giggle along with them. Packages of paper towels, napkins and toilet paper are littered across the lino. It’s a hell of a restocking job and I don’t envy the clerk who’ll have to clean up this mess in the morning.

The two have been going at each other for a while. At least fifteen minutes. The young woman appears to be winning the war, beating the young man over the head with a ferocity that reminds me of Mike Tyson taking out Michael Spinks in 91 seconds. But the young man has struck back from a crouched position, getting in a few blows to the side with a roll of Brawny.

Just as the young man is on the verge of a comeback, the two notice me. They stop and, like honorable soldiers pausing to parley, gently place their respective paper products onto the tile.

“Don’t mind me,” I say. “Carry on. As you were.”

Seconds later, they’re at it again. The young woman lets loose a war cry and delivers an admirable blow to the young man’s crotch with the improbably pugilistic Quilted Northern. The young man stops in his tracks with a moan, his arms forming a telltale vee to cover his sensitive spot. For a moment, I’m not certain if it’s genuine pain or mock surprise. But within a minute, he is unfazed and it’s clear that there will be no meeting in Yalta or Versailles.

I take my leave of these brave warriors and proceed to the checkout line. A disheveled clerk and a security guard stare up at a black-and-white surveillance monitor bolted to the wall, rapt by this surreal imagery. If anything, the fight looks even more ridiculous with time code.

“How long should we give ‘em?” asks the security guard.

“Oh, I don’t know. Maybe five minutes.”

The clerk scans my groceries. The beeps put me into a mild trance. I stare into the red laser of the scanner and I think I see God.

I look up at the hazy monitor and see the couple now throwing packages of napkins at each other. I’m a bit curious why these two haven’t yet tested the parabolic possibilities of Kleenex. The security guard, who has been studying the items I’m purchasing for potential clues to why I might be shopping at this hour, catches the monochromatic blur of a Scott 400-napkin pack now being employed as a projectile. This is the straw, so to speak, that turns him into a one-man United Nations.

“Hey, man,” says the security guard, “we gotta stop this.”

The clerk, spurned by the guard’s return to duty, grips the PA receiver by his register and addresses the store.

Put the napkins down and please conclude your purchase. Thank you for shopping Cala.

The couple look up, as if expecting an angel to descend from the flickering fluorescents. The young man catches on quick that the seraphs aren’t coming anytime soon, locks his left arm around the young woman’s neck, arches her over and surprises her with a kiss. I wonder for a moment if I’m dreaming, but it’s as true as taxes. It’s the spitting image of that famous VJ Day photograph where the sailor is kissing the nurse.

I pay for my groceries, head home, put everything away, collapse onto my extremely comfy futon and fall fast asleep – the best zees I’ve had in months.

* * *

One might ask why grocery shopping at three in the morning could offer a cure-all elixir for a problem that, according to the National Sleep Foundation, affects approximately 54% of the United States population. I contend that it’s because any supermarket daring enough to stay open 24 hours is going to attract some pretty interesting people. But there is something uncannily specific about Cala’s environment that permits all reason to surrender.

My insomnia started one evening in my late teens. I fell victim to a resounding alertness. In the dead of night, great bursts of ichor began flooding through my veins at inconvenient moments, cutting into my sleep time like a machete.

At first, the insomnia was a pleasant fringe benefit. I was then, as I am now, an inveterate procrastinator and any tool, particularly an innate one, helping me burn the midnight oil was very much appreciated. The downside of my insomnia was that I found myself inordinately tired, sometimes unable to focus on chalkboards and zoning out while listening to people. Some friends opined that I was suffering from ADD. They changed their minds when they saw that I was frighteningly chipper at 4:30 AM, ready to shoot the breeze as they were quite ready to drop from exhaustion.

I had heard rumors from trusted peers that it was possible to sleep six or even eight hours a night, that indeed such a nightly tally along these lines was normal. But despite my best efforts, I found myself sleeping three or four hours, and sometimes none at all, even when I forewent caffeine. There were often weeks of insomnia, unabated by sheep counting, alcohol, bad music designed to lull me to dreamland or sleazy fantasies involving Paulette Goddard.

I had spent years of my life like this. It didn’t matter if someone was there in bed with me or not. It didn’t matter if I was happy or sad. I’d sleep soundly for a few months and then, without any apparent stress or anxiety, the insomnia soldiers would bust out their snares and tympanis, forming an impenetrable phalanx just as I was about to hit stage one. The time had come to figure out why Morpheus and I couldn’t broker a détente. Seeing a sleep doctor was out of the question. There was a stubborn pride I clung to, suggesting that I was the master of my wake, captain of my slumber.

But I did know exactly what got me out of bed in the morning. It was information. As Orwellian as it may sound, interesting data, conveyed to me in a soothing voice, had an uncanny way of perking my ears up. And NPR, with its jovial approach to reporting tragedies, provided the true timbre my body needed to boogie out of bed.

The trick was to come up with a scheme that worked off of this concept in reverse. Perhaps if I presented myself with banal data, juxtaposing everyday actions against my rampant curiosity, I could wear myself down.

I knew that I wasn’t alone. The advantage of living in an urban environment like San Francisco is that there’s always somebody else who’s just as awake as you are. Others might be creeped out by some random dude shouting “Heyyyy, motherfucker!” at three in the morning. But I found these slurred cries from the street very comforting. These voices were soulmates of sorts, simply because they were just as awake as I was. If I couldn’t sleep and I heard people outside, I’d often get dressed and have conversations with inebriated twentysomethings. If they were too drunk to drive, I’d call them a cab. After all, the least one can do when suffering from insomnia is to give into Samaritan impulses.

It soon became apparent that these late-night peregrinations had some positive influence on my ability to sleep. Perhaps it was the bizarre transition of shifting from solitude to strangers in the early morning twilight. Perhaps it was the fact that nothing in the real world is as planned as we’d like to think it is and these random conversations appealed to my extemporaneous nature. Only one thing was certain: A sudden shift in locale or some unexpected socialization sure helped me sleep a little easier.

But I was after the all-encompassing cure. It was impossible to predict who might find their way close to my residence. So the trick was to go someplace where I would be sure to find strangers at an ungodly hour.

One might conclude that living in California would be prohibitive to such a goal, given that the bars shut down at 2 AM and other establishments, save diner dives and all-night gyms, quickly follow suit. But I was fortunate enough to be within walking distance of a 24-hour supermarket. And not just any 24-hour supermarket, but one that had survived the great chain wars of the 1960s.

The Cala Foods supermarket is the most colorless building at the end of Haight Street, which is somehow fitting in light of the area’s history. Before this boxy building was built, so the local legend goes, there existed a barn with horses. But sometime in the early 1960s, the barn caught fire and the resulting stench permeated through the neighborhood.

In the late 1960s, a supermarket chain named Littleman, now defunct, was facing stiff competition from Safeway. But that didn’t stop Littleman from building one last store at 690 Stanyan Street. Unfortunately, Littleman was no match for aggressive expansion and, in 1970, Cala bought out the remaining Littleman stores.

The store’s depth extends a half block between Stanyan and Shrader Streets. It is a pocked edifice resembling a WPA project, streaked with endless coats of cheap white paint and telltale urine stains, and bookended by two stone facades. Near the base of the roof are windows that have been painted over, suggesting a sunny motif that Littleman once provided for the store’s customers — no longer viable after the Haight-Ashbury crime wave in the late 1980s.

A mercury vapor light, intended to limn the bus stop at the southwest end of the store, casts a sallow glow upon the store’s southwestern corner, a natural congregation point for riffraff and occasional pamphleteers.

By nearly every architectural standard, this is a drab building. And it certainly isn’t a place for the Whole Foods and Trader Joe’s connoisseurs.

Yet there is an undeniable character to the place.

Since the store is modest in size when stacked against its more gargantuan counterparts in the burbs, one never feels overwhelmed. The store has only nine aisles. It is therefore quite easy to pinpoint one’s bearings. Aisle three is where I go to first. It’s the zero point and, not coincidentally, the frozen foods aisle. At the end of aisle three is a helpful clock ensnared within a yellow elliptical border, with dark green dots for markers and red hands that suggest a chronometer that doesn’t discriminate, a measuring device that, I suppose, might be counted on as a friend. I have never once seen it inaccurate.

Over the Cala speaker system, you’ll hear songs that most AM radio stations have left in the dust heap, perhaps because the store intrinsically understands that its shoppers require an unusual perspective. The tunes, which include Eric Carmen’s “All by Myself,” various tracks from that unfortunate period in Elton John’s career between 1976 and 1982, and Harry Chapin’s “The Shortest Story” (it seems to me a curious choice for a grocery store to play a song about an African baby who dies of malnutrition). And what is amazing is that these gloomy songs are interrupted by cheery prerecorded announcements. One recent announcement helpfully pointed out that it happens to be National Bread Month and that customers might wish to take advantage of some of the loaves on sale.

Unsurprisingly, this atmosphere has resulted in some strange reactions from the customers. Customers actually address the items they may or may not purchase. “I don’t want that!” screamed a woman at several cans of Hormel Chili. It is not uncommon to see people stare at shelves of products for minutes at a time. I asked one man what he hoped to obtain by this and he placed a finger to his lips and begged me to be quiet. Perhaps he knew something I didn’t.

Beyond this are the more extraordinary cases, which seem to occur on nearly every late-night visit. In the past month alone, I have witnessed a nineteen year old kid juggling three pints of Ben & Jerry’s, a fortysomething man purchase twelve Swanson TV dinners and nothing else (perhaps in homage to Steve McQueen), a man who sashayed in line and insisted that all other customers in the store join him in a line dance and, of course, the aforementioned paper product gladiators. These aberrations are allowed to play out without interference from the staff, probably because, this being San Francisco, they’ve pretty much seen it all.

Cala Foods has succeeded in creating a microcosm of rich ironies and baffling contradictions for anyone who would dare to enter its doors. It is a perplexing milieu that bombards the senses and, in some cases, challenges the boundaries of normal behavior.

The question here is whether an insomniac subjected to this unusual environment might find herself driven to sleep, simply because the environment’s exotic nature might run counter to the relative normalcy of the insomniac’s regular sleeping environment. Certainly my empirical evidence suggests that Cala provokes at least some of its customers to act in an extremely odd manner. I will let the appropriate experts sort out the question of whether these behavioral conditions are preexisting or the Cala environment works in some way to encourage this behavior.

Now I’m no neurologist. But I’d like to think my homeopathic remedy is a case of teaching the brain a few new tricks and throwing it for a loop. If the brain is neuroplastic, if it is resilient enough to develop what neurologist Charles Duffy has identified as the medial superior temporal area (the MST), a kind of biological global positioning system that tells the brain precisely where it is and how it got there, then I would hope that it would be flexible enough to understand that confusion is often a virtue.

The Bat Segundo Show #37

segundo37.jpg

[NOTE: The Bat Segundo crew is not responsible for the wretched music (in addition to a cleaner that we processed out in part) playing in the background during the interview. We apologize to our listeners for this. But we had to improvise to talk with Ms. Waters as long as possible.]

Author: Sarah Waters

Condition of Mr. Segundo: Wandering the Mojave Desert with Jorge.

Subjects Discussed: Waters’ novels as romps, Graham Greene, imagery, the influence of 1940s novels upon The Night Watch, on ventriloquizing voices, thighs as literary imagery and a pleasant thing to think about, watches and clocks, on devising the structure, the disadvantages of character development in a backwards structure, Tracy Chevalier’s Washington Post review, on maintaining the exuberance from the Victorian novels, food, why the characters are attracted to Helen, nature vs. nurture in relation to World War II, on being pigeonholed as a lesbian writer, on maintaining respect for those who lived during World War II, the role of research in writing The Night Watch, on pageturner plots, and writing without an outline.

So Where Are the Pundits?

“We need some Johnsonian or Ruskinian pundit to frighten everybody with near impossible conditions for true creativity. We have to stop thinking that what kindergarten children produce with pencil or watercolour, is anything more than charming or quaint. If you want to be considered a poet, you will have to show your mastery of the Petrachan sonnet form or the sestina. Your musical efforts must begin with well-formed fugues. There is no substitute for craft. There, I think, you may have the nub of the matter. Art begins with craft, and there is no art until craft has been mastered. You can’t create unless you’re willing to subordinate the creative impulse to the constriction of a form. But the learning of a craft takes time, and we all think we’re entitled to short cuts.”

— Anthony Burgess, “A Deadly Sin — Creativity for All,” from But Do Blondes Prefer Gentleman?

Keira Knightley + Ian McEwan = Recipe for Disaster?

Romancing the Tome observes that a film adaptation of Ian McEwan’s great novel Atonement is in the works. Attached to the project is Joe Wright and Keira Knightley, the team behind last year’s Pride and Prejudice adaptation. Knightley is playing Cecilia. Even stranger, Rue McClanahan is involved. It seems strange to me that Wright seems single-handedly committed to classing up Knightley’s career. Maybe it’s just me, but compared with, say, Sarah Polley five years ago, I really don’t see her as an actor of considerable heft.

The Bat Segundo Show #36

segundo36.jpg

Authors: Gwenda Bond and Jeffrey Ford (LBC nominee, Spring 2006)

Condition of Mr. Segundo: Absent, abstaining from Bolshevik operations.

Subjects Discussed: On writing a book with “everything but the kitchen sink,” baroque vs. simple language, the influence of Hammett, Glen David Gold’s Carter Beats the Devil, Rex Stout, creative serendipity, eugenics, on “playing it safe” in light of the extraordinary research unearthed, the “literary” inspiration behind the character names, Rupert Thomson, auctorial voice, on being a student of John Gardner, confrontational vs. direct prose, Sturgeon’s law, Harlan Ellison, on young writers drawing attention to themselves, Chuck Palahniuk, beleaguered college students, Dave Itzkoff’s “reading list,” the influence of the New York Times Books Review, The Girl in the Glass being pigeonholed as a young adult novel, reviewers overanalyzing the word “mawkish,” and genre classification.

The Bat Segundo Show #35

segundo35.jpg

Authors: Mark Sarvas and Sheila Heti (LBC nominee, Spring 2006)

Condition of Mr. Segundo: Absent, abstaining from Bolshevik operations.

Subjects Discussed: Perspectives, on writing an interior novel, research vs. devising Ticknor’s character, passive protagonists, environmental details, ambiguity, anxiety, on digressing from the historical record, masking fears, Ticknor’s ass fetish, writing an “epic” short novel and Canadian writers.

An End to Madonna

The time has come for the human population to let the recording artist who identifies herself as Madonna drift outside of public awareness. She may have been fun once. She may have inspired many girls growing up in the 1980s to dress differently. She may have let a few provocative shock waves ripple into the mainstream. But I think that now, in A.D. 2006, it can be safely stated that Madonna has now fully served her purpose and has nothing particularly substantive, daring or original to contribute to music or culture.

madonnahorse.jpgI can say this because I’ve seen these ridiculous photos and I’ve also seen Madonna live. And by live, I’m telling you that my ass was in the dance tent at Coachella. I had a pretty clear view of the Material Girl for 15 minutes of her 40-minute set, which was a bit like staring at a Thomas Kinkade painting for the same duration. The nausea kicked in somewhere around the 30 second mark.

The hope, of course, was to see what kind of performer Madonna was in person.

The answer: not much of one. Sure, she had dancers. She played the guitar (if playing the same power chords over and over, an achievement well within the bailiwick of any half-ass garage band, can be said to be the sign of a virtuoso). But I felt utterly nothing. Her set felt more like a well-executed computer program.

And I have empirical evidence to back this up. By a strange coincidence, we had arrived at around 11:00 AM on Sunday. The hope was to beat the crowd and charge my cell phone at a corporate-sponsored blue dome so that we could harass a few pals with text messages (and also to see if I could hook up with the incomparable Tito Perez). But sure enough, the Material MILF was there for what we (and several Madonna fans) thought was a routine soundcheck. The area was blockaded with yellow police tape and there were about fifteen individuals, most of them with arms locked across their chests. Okay, so Madonna needs to practice. Three songs perhaps. No more. No big deal.

But Madonna kept practicing and practicing and the blue dome, a mere 100 feet beyond the line, taunted me with its proximity. Hilariously, Madonna even called to her nonexistent audience, “I can’t hear you!” Meaning that Madonna was practicing exactly what she was planning to say to the crowd between songs. (Sure enough, she did call out “I can’t hear you!” to the swelling dance tent, who presumably thought she was being sincere.)

The festival was set to begin at high noon. But the crowd wasn’t let past the line until 12:10 PM, meaning that, because Madonna had insisted on practicing after the gates opened rather than before, the schedule was hopelessly screwed up for all of the unfortunate bands who had to play before her. One bare-chested gentleman, who informed me that he had attended every single U.S. tour since the Virgin Tour, said that the Coachella organizers were initially hesitant to let Madonna perform because such a mainstream megastar wasn’t festival material. As it turns out, Madonna’s lack of consideration proved these dissenters right.

There was also the matter of my uncharged cell phone. But that’s a triviality.

And did I mention that Madonna started her set 30 minutes late after Paul Oakenfold cut his set short due to Madonna’s delay (and to accommodate her)? It was 110 degrees that day. We were in a tent. Madonna had the audacity to tell the crowd, “It’s so fucking hot in here!” As if we had somehow failed to espy the copious sweat spewing from our bodies or the sun digging its rays into our arms.

Unlike other heterosexual men, I’m not ashamed to confess that I went through a Madonna phase — not outright zeal, but a strange appreciation nonetheless. While I never simulated masturbation in front of a crowd or wore a bra over my T-shirt, a part of me was nevertheless fascinated with Madonna’s protean image shift with each album. It was a technique clearly cribbed from Bowie, but never had a female megastar attempted it.

But here’s the thing: Madonna is no longer protean. She is no longer fresh. She has become as predictable as a Jude Deveraux novel.

Her last album, Confessions on the Dance Floor, containing such atrocious lyrics as “I don’t like cities, but I like New York / Other places make me feel like a dork,” as well as electronic samples that felt about as fresh as a soiled pair of boxers, was catchy — the same way botulism is catchy. Meaning that the tunes nestled into my head the way lice squirm through a neglected toddler’s locks. Which is to say that it took a rather rigorous procedure to get the infestation out of my noggin.

Honestly, what is Madonna’s purpose these days? How is shallow pout constructive? There were kids at the show climbing up the scaffolding. Yes, I can tell any grandkids I might have that I saw Madonna live. But I’d rather tell them how good Damian Marley was (who I URGE you to see live): a performer who really wanted to entertain the crowd, a band with a fantastic rhythm section, and an act unafraid to shake a political stick.

For these and many other reasons too numerous to dwell upon, it must be averred that Madonna is pretty much useless to American society. One hopes that she will go away, but she can’t and she won’t. What is particularly criminal is that Madonna isn’t even capable of appealing to base instincts anymore. (And that’s saying something, because this assertion comes from a fool who thought he had the stamina of a 22-year-old and was, as a result, found in a supine position, sore and nearly incapable of walking, just before Tool came on. Apparently, twelve hours of live music and almost continuous dancing will do that to you.)

Therefore, it is up to contemporary audiences to reject Madonna in all her myriad forms. Only then can the true musicians begin to rock the planet.

Thank You, Stephen Colbert

Daily Kos: “But, listen, let’s review the rules. Here’s how it works: the president makes decisions. He’s the decider. The press secretary announces those decisions, and you people of the press type those decisions down. Make, announce, type. Just put ’em through a spell check and go home. Get to know your family again. Make love to your wife. Write that novel you got kicking around in your head. You know, the one about the intrepid Washington reporter with the courage to stand up to the administration. You know – fiction!”

Pop That Cherry, Alan

Alan Moore talks Lost Girls: “I think it struck me that it was kind of unusual that there are all these relatively rarified areas of human experience that very few of us are actually involved in, such as being private detectives, space explorers, or vampire hunters. There are whole shelves full of books that are devoted to all of those exploits in every major city. However, we all have a sexuality, even if we’re celibate – that’s sexuality. And yet, the only medium – the only genre – that deals with sexuality is this grubby, under-the-counter genre in which there are absolutely no standards. It struck me that even though there have been many artists who’ve dabbled in the erotic and the pornographic in the past, most of them have done so anonymously, even if the work they’ve produced has been absolutely wonderful.” (via MadInkBeard)

Tabling the Issue

when i woke up this morning
i was confronted with the news that although we’d make a boatload of money touring, i wouldn’t be able to buy that table at crate and barrel because the album was released to the internet
i won’t make as much $$$
and that will break my heart
it will break john frusciante’s heart
it will break anthony kiedis’s heart
and it will break the heart of chad smith
we all wanted a nice table to set the bong on
and now we can’t
because you downloaded it
yes, we worked for seven years hoping that we could buy that table at crate and barrel
i have wanted this table for seven years
can you blame me for crying?
it is a painful pill to swallow
not having this table
we have released tracks in crappy itunes format
but let me bitch to you about how bad it will sound
and how i will not be able to buy my table

yes, you have prevented the red hot chilli peppers from buying a new table
how can you live with yourself?
who was the idiot who prevented me from buying my precious table?

i am sad for i will have to use the ikea table for another two years
what if i have a heart attack?
what if anthony kiedis has a heart attack?
the crate and barrel table was good for us
if we fell on it while having a heart attack
it would cushion us a bit more

please see us live three times

sincerely,

flea

The Prisoner Redux

It seems that Christopher Eccleston, perhaps one of the best things about the Doctor Who revival (before his acrimonious exit), may be in line to play Number 6 in an upcoming revival of The Prisoner. The original series is, for my money, one of the finest series ever produced for television. It’s unknown whether Patrick McGoohan will have any involvement, but Eccleston’s intensity, I’m sure, will serve well. Let’s just hope the scripts and the execution are in the right place.

Can There Be a John Osborne Today?

Next Monday is the 50th anniversary of the opening of John Osborne’s Look Back in Anger. And a new Osborne bio is just out. But is Osborne’s seminal play, with its kitchen sink realism and its Angry Young Man archetype, as influential as people made it out to be at the time? I would argue yes, with the stipulation that if Osborne had not come along, someone else would have. Theatre was intended to break out of its decorum at some point and Osborne’s work, even if you view it as one-note, certainly fits the bill, paving the way for later work by David Mamet, Edward Albee, David Storey, Harold Pinter and David Hare (the latter, incidentally, is one of Osborne’s great champions).

The question of whether Osborne is a seminal figure or not has me wondering whether theatre is still something of a troubled medium. I’ve remarked upon this before, but, here in San Francisco, I find it particularly disheartening to see a lot of theatre people catering to audiences, resorting to staged adaptations of films (Evil Dead Live) and even television (the Dark Room’s Twilight Zone productions) to get young people into the seats.

What this suggests to me is that something which confronts will be either viewed as bad performance art (and let’s face it: much of it is) or it will be ignored by audiences looking for some comfort zone: essentially, a reproduction of something that can be seen on their televisions at home. Because of this, I wonder if an Albee or an Osborne is even possible outside of New York. Then again, perhaps not. When the top Broadway draws are The Producers, Dirty Rotten Scoundrels and Spamalot, what hope is there for the next wave of brash young playwrights who hope to present original material?

It’s a troubling thing to think about fifty years after Osborne stirred the stage and I hope theatre, in all of its many venues, stumbles upon an answer.

Dan Clowes: There’s Always Room for Bitter

Kimberly Chun talks with Daniel Clowes: “Being a cartoonist, except for the last couple years, was always a frustrating and humiliating field to be in. It was so impressed on me already — none of the big successes of last five years have any meaning for me. It hasn’t changed a thing. ‘Oh, I’m in the New York Times’ — it doesn’t help. My resentment was so deep for so long that I can’t shake it.”