Los Angeles, CA
"Get it together man."
It's weird to see a grown man sob. It's even weirder to see it happen in the middle of morning rush hour. Crowded street. Downtown. Sure, it's by far not the weirdest thing I've seen in San Francisco. I mean, it was only 8:30am and I had saw enough freaky shit in the previous hour that could inspire a Todd Solondz screenplay and fill an entire book of Bukowski poems. Just five minutes in the Tenderloin is enough to give squares a serious bout of PTSD. The human grenades... step in one pile of human fecal matter and you're dunzo. Oh the horror, the horror. Human grenades... it's the hipster version of a IED.
"Hey man, I know this is tough, but you need to pull it together."
No one noticed him. The invisible sobbing geek. Waves and waves of pedestrians were rushing of to their jobs, whizzing past him while clutching Starbucks cups in their left hands and their phones in their right. Not paying attention, yet somehow not hitting him. They missed the guy losing his marbles.
"This self-pity schtick isn't getting you anywhere."
Self-awareness is essential to success, but when you venture into self-pitty-dom, it's really a shortcut to self-indulgent navel gazing, which is the worst form of passive-agro narcissism. Life is suffering. Buddha said that. It's something you have to accept, and once you do, everything else is cheesecake.
"Seriously bro. Pull it together. Otherwise, some SF cop is going to haul you off for whatever reason."
They don't treat the crazies with kid gloves anymore. Everyone is a potential terrorist. Even middle-aged tech pioneers. I sort of felt bad. Yeah, in one way he incurred a bad beat without any warning. But crying like a spoiled teenager isn't the type of behavior you want to see in a so-called industry leader.
"You want me to find you a cab to go home? Contact Uber?"
Tough finding a cab at that hour and Uber would be 3x surge. He was in no condition to drive. He couldn't walk a few steps without losing it. Sort of half-hyper ventilating and half silent-crying. Every couple of minutes he'd unleash a spastic jolt and his entire body shivered. Quickly and violently for a few seconds.
"Just go home. Sleep it off. You've been up for a couple days tweaking the new system and worrying about the presentation."
I was really worried he'd truly snap. Like really snap. Run back to HQ in full Rambo-gear and pull out an Uzi or something and spray the lobby. Do distraught non-government worker bees and non-HS students crocked on happy pills go on a rampage and unleash mass shootings? Does that still happen anymore? Or did we become so desensitized to the violence that it all blends into one long blurry news clip. There was a time in this country when "going postal" meant someone was on the verge of shooting up the work place. U.S. Postal workers were losing their minds and going nuts in the 80s. Too much mail in Reagan America. It never stopped coming and they got paid peanuts. They didn't realize that the entire system would become obsolete in a few decades with the rise of email and text messaging and dick picks via SnapChat. In the 90s, school shootings happened every few months that it became too common and matter of fact. In the 10s, violent outbursts and gun incidents occur with such frequency that each incident loses its paralyzing impact with 24 hours of the event. But postal workers and high school kids shared common ground... they both had a momentarily psychotic break with reality. Pressure cookers. The four walls around us can be immense pressure cookers. Something happens to people when they get wound up real tight and stuck in an undesirable setting and surrounded by bullies and egomaniacs on power trips and morons failing upward and the pressure to seem normal in an abnormal system. Add more stress with the inability to let shit roll right off you because it all digs in deep and finds a way into your soul through every crack on the outside of your broken shell of armor. Unable to see anything pleasant when confronted with the suffocating reality that the future offers up no hope, not even a ray of sunshine. The winter of discontent. It's everywhere. Drowning in freezing rain even though it's sunny and 80 degrees outside and majestic, azure skies with fluffy clouds that look like cotton balls on steroids.
"Look man. I've been there. It's like worst than your dog dying. But you can't take it personal. It's numbers and cents. Ones and zeros. It's not you... it's them. Forget about those fucking vampire squids. Just take the day off and come back tomorrow and we'll find funding elsewhere. Even if we have to Kickstarter the fucker. I won't let this idea disappear into the void. It's too good, too valuable to let go."
People take shit every day. Every. Single Day. And they suck it up. Take it like a man. Pros don't complain... they get the job done. Amateurs bitch and moan. But the pros rise to the occasion and act like a gracious loser and pretend to be a humble winner on the outside. It's just tactful and polite and professional. But sometimes people can suck it up and shine it on and pretend all the shit days don't add up. But it's a cumulative effect. One day, the weight of the world is going to buckle beneath you and you just hope no one gets hurt. But one day... they go over the edge. We also go over the edge eventually. It's how you return from the edge that matters. Losing it? It's not something that you see coming. It's just like in the movies. One day... everything seems normal until they just snap and lose it. Like that movie Falling Down with Michael Douglas. We used to joke that Falling Down was about a college classmate's future... how he'd hump a crappy job in the tech industry for a decade, get constantly passed over for promotions, exploited for low pay, until one day... WHAM... something clicks on the inside, or he's consumed by the darkness and the GO APESHIT CRAZY button gets flipped on.
"Whatever you do... don't drink. You never had much tolerance. Just go home. Pop a couple of Ambien and sleep it off. When you wake up, book a week-long vacation somewhere you can't get internet access. Then just relax. Read a book. A real book. None of the Kindle shit. Read a couple of books and take some more Ambien and sleep and reed as much as you can in that week. Then you come back, refreshed and focus, and ready to find new backers, otherwise, we'll go work on the next project. That's the plan. That's always been the plan. Take a shot and see what happens. If we fail, we go back to square one and try again. Same shit that has been happening for the last decade. Same routine. You stumble upon an idea then develop it. You figure out how to execute it as smoothly as possible and clean up as many bugs as possible. Then you shop it around to the pimps and bean counters and shysters and skull fuckers. If someone digs it, they'll cut you a check. If they don't... well, then fuck them. This is your life. You cultivate your ideas. You generate solutions for people with problems. You actually do something valid. You truly enrich people's lives. That means something. And you do it from nothing. You close your eyes and become one with the void. It's in the darkness where the message appears and then you run with it. Sometimes it's a hit. Most of the time it's not. Most of the time the shit everyone hates is the one thing that breaks through. Sometimes it's the stupid or silly or most basic thing you created that stand out the most. That's the way it goes. You can come up with the gnarliest ideas and execute them perfectly, but you can't control the marketplace. You can fill the void and offer up something that's in high demand. Or you can sit around and try to over-saturate the market with a watered-down version of the app du jour. You can add to the static, or you can fire off shots into the dark and hope you hit a bear straight in the testicular region."
He didn't want to hear what I had to say. My words went right through him. He didn't even laugh when I talked about the bear getting shot in the nuts. Oh well. If I can't pull him out of the muck, then it's up to him.
"Let's get off the street. Find a cafe, or donut shop. Sit down. Talk this out."
He started to walk away, but then he stopped and started emptying his pockets. Wallet. Keys. Phone. Random pieces of paper. Altoids tin. Small pill bottle.
"What the fuck, man?!"
I rushed over and picked up his wallet and phone... his two most expensive valuables... before a street person swooped in and helped himself. When I wasn't looking, he stepped off the curb and into the street. He wasn't there for more than a second before I heard a short horn burst, screeching brakes, and then a squishy thud. He disappeared... underneath the bus. Crushed. Annihilated. The driver of the Muni had about two seconds to react. The smell of burning rubber. The brakes. Hard to forget that odor. I heard the second wave of screams. One of the Starbucks cup clutching ladies looked up from her iPhone long enough to see the Muni collision. I missed the initial wave. Shock. Utter shock. Sound disappears during those moments and time slows down.
Showing posts with label Fiction. Show all posts
Showing posts with label Fiction. Show all posts
Tuesday, May 06, 2014
Friday, April 04, 2014
Aliens, Y'all
Los Angeles, CA
EXT - ROOFTOP GARDEN - LATE AFTERNOON
Bill Clinton eats his breakfast while glimpsing at porn tumblrs via an iPad. Obama drops a file onto Clinton's breakfast plate.
EXT - ROOFTOP GARDEN - LATE AFTERNOON
Bill Clinton eats his breakfast while glimpsing at porn tumblrs via an iPad. Obama drops a file onto Clinton's breakfast plate.
BILL
What the hell, Barry?
OBAMA
Why didn't you fucking tell me?
BILL
You never asked.
OBAMA
For fuck's sake Bill. Is that... a double dong?
BILL
(Biting down on his knuckles)
Heavenly? Twins too.
OBAMA
Speaking of the heavens, when the fuck were you going to tell me?
BILL
(Resumes eating breakfast and smirking while balancing iPad)
It's not my job. Cheney shoulda filled you in.
OBAMA
You know that smamry fucker Dick.
You know that smamry fucker Dick.
BILL
What a jagoff.
OBAMA
Dick doesn't give up anything unless I bring him those cupcakes.
BILL
I love them cupcakes too. The ones from Beverly Hills.
OBAMA
Sprinkles? That chic joint charges $45 for a cupcake.
BILL
Next time you go, pick up a six-pack for Old Bill.
OBAMA
There's not going to be a next time if this intel is correct.
BILL
(Slowly puts down ipad and sighs)
Barry... you gotta stop listening to those DOOM-tards.
OBAMA
We're paying Halliburton big bucks to keep tabs on the Greys.
BILL
You're paying them to tell you spooky ghost stories.
OBAMA
Look at the projections.
BILL
Don't listen to analysts. It's like little kids sitting around a campfire. Trying to out-do each other by telling the scariest story.
OBAMA
So it's not true?
BILL
Well... it's not as extreme as you think.
OBAMA
The Greys are breeding us for food, Bill. How could you not tell fucking me?
BILL
Hey, what they do is their own business, right?
OBAMA
Kidnapping American citizens is not part of the deal. That's what New Foundland is for.
BILL
They don't bitch when we use their technology to profit selling phones and flat screens.
OBAMA
Don't you see something morally wr-
BILL
Barry, you're going above your pay grade.
OBAMA
Why do we sit by and let them do whatever they want?
BILL
We all gotta eat.
OBAMA
The Greys are eating humans. We have a moral obligation to the people.
BILL
Barry, enough with the people already. No press here. Just us.
OBAMA
We have to stop this. It violates the terms of the treaty. The people...
BILL
Fuck the people. I got shit to watch. I got one more day before Ice Queen gets home. I have to finish Game of Thrones.
OBAMA
How far are you?
BILL
Start of season 3. But I already know about the Red Wedding.
OBAMA
So, Bill... have you ever... ummmm, seen a dragon?
BILL
Like a real dragon?
OBAMA
Yeah. Not, one of those albino clones that Putin had.
BILL
Cheney showed me his. Once. Just once.
OBAMA
No fucking way.
BILL
Yeah. Little surly that day. Wasn't pretty sight.
OBAMA
What went down?
BILL
Godzilla blew up a secret service agent. Two staffers too.
OBAMA
(In Clay Davis voice)
Shiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiit.
BILL
WHOOOOOOOOSH. Gone in a flash.
OBAMA
Jesus Christ. Their families... what did we end up telling them?
BILL
Oh, Barry, stop being so damn sensitive. You're supposed to coast through your second term, not worrying about fantasy tales like dragons and little grey men.
OBAMA
I'm so out of the loop. Last guy to know. Frustrating.
BILL
Don't worry about it. Relax. You need to smoke more.
OBAMA
Man, you know... I'd like to. But, I got a mountain of shit on my plate.
BILL
More the reason to get lit.
More the reason to get lit.
OBAMA
And you know the fucking press.
BILL
Fucking jerkoffs.
OBAMA
They had a bug up my ass the last time I let you aboard Air Force One and you hotboxed the bathroom with two interns.
BILL
(Big smile)
Awesome night. Sweet Willy big milestone. Mile High Club numero 1,000.
(Fumbles in jacket, pulls out a joint and lights it)
OBAMA
I'd like to, but you know my old lady. She gets on my case when I smoke.
BILL
(Makes whipping sound)
OBAMA
She thinks I get lazy and just want to sit around and watch basketball.
BILL
What's the line in the Kentucky game?
OBAMA
1 and a half. At least it was.
BILL
I love those Kentucky cheerleaders. My. Kind. Of. Honey. You know the saying, "I get older but they stay the same age."
Tuesday, March 25, 2014
The Pond
Los Angeles, CA
A room.
Two entrances.
No doors.
Her ashen face resembled a pock-marked sky from one of the Corot painting in the adjacent gallery.
Precise steps. Miserly eyes.
Kind of tightwad who treated her dogs better than her own offspring. Pure chow-chow. The most cherished possessions. The center of her universe.
No dogs allowed.
She reminded the Director that her late-great husband gifted him a new wing, a Chagall, and two De Koonings.
The Director wouldn't budge on his stance. Shakedown time. Unless she provided funding for another new wing and a couple of early Picassos and a late period Matisse.
The director suspiciously passed away. In his sleep. Choked. His own vomit.
The new director met her halfway. She and her dogs was allowed a private viewing twice a week. Once before hours and once after hours. Tuesday morning and Thursday evening.
She arrived every morning. 90 minutes before the front doors opened. Herself, her attendant, and her chow-chows.
She slowly made her way through each room. The same route. The dogs were well behaved and never soiled the floors.
Well fed canines. Meals fit for a king. Supper each night cost more than the chef made in a week. Six days of wages fed a his three kids, wife, and mother-in-law out in Queens.
Feed two dogs for a night, or feed six people for a week.
A room.
Two entrances.
No doors.
Her ashen face resembled a pock-marked sky from one of the Corot painting in the adjacent gallery.
Precise steps. Miserly eyes.
Kind of tightwad who treated her dogs better than her own offspring. Pure chow-chow. The most cherished possessions. The center of her universe.
No dogs allowed.
She reminded the Director that her late-great husband gifted him a new wing, a Chagall, and two De Koonings.
The Director wouldn't budge on his stance. Shakedown time. Unless she provided funding for another new wing and a couple of early Picassos and a late period Matisse.
The director suspiciously passed away. In his sleep. Choked. His own vomit.
The new director met her halfway. She and her dogs was allowed a private viewing twice a week. Once before hours and once after hours. Tuesday morning and Thursday evening.
She arrived every morning. 90 minutes before the front doors opened. Herself, her attendant, and her chow-chows.
She slowly made her way through each room. The same route. The dogs were well behaved and never soiled the floors.
Well fed canines. Meals fit for a king. Supper each night cost more than the chef made in a week. Six days of wages fed a his three kids, wife, and mother-in-law out in Queens.
Feed two dogs for a night, or feed six people for a week.
Thursday, October 10, 2013
Worm Buffet (Fiction)
By Pauly
Los Angeles, CA
He played one of those cops from Barney Miller.
After sustaining a diet of coma-inducing, watered-down happy meals, life hit the skids. The ubiquitous greyness rained down. Sometimes it violently pelted the ground, causing divots the size of swimming pools.
Long days bled into endless nights, that bled into week-long blurs of sepia-tinged benders. Three and four day periods of vacant self-indulgence led to month-long gaps in time. Lost in a warp, a wormhole where ambition was strangled by the stillness of melancholy.
He was out on the street, or the street reached out and grabbed him. Hard to tell.
From the generous gestures of the kind-hearted, he'd collect sacks of old bread and could be found down at the pier feeding seagulls while sipping a can of warm Budweiser out of a torn paper bag.
Sullen groupings of sour notes played on a loop inside his head. Ghosts hovered like a polluted cloud of torment.
He knew he could never sustain the numerous trips to the hole. If you know where it is, then you're a rare survivor. The hole rarely releases anyone from its grip. Anguished visitors were lured in by an endless hunger, yet snared themselves in industrial fishing nets.
Shit sinks to the bottom. Dead weight.
But like the rapper said, when your soul hits the bottom, it doesn't stop and keeps going and seeping through the cracks in the ground with the rest of all of the rotting waste. Your soul doesn't whisk itself away up into the heavens, it's a buffet for the worms while the rest of it leaks into the upper echelons of hell.
Los Angeles, CA
He played one of those cops from Barney Miller.
After sustaining a diet of coma-inducing, watered-down happy meals, life hit the skids. The ubiquitous greyness rained down. Sometimes it violently pelted the ground, causing divots the size of swimming pools.
Long days bled into endless nights, that bled into week-long blurs of sepia-tinged benders. Three and four day periods of vacant self-indulgence led to month-long gaps in time. Lost in a warp, a wormhole where ambition was strangled by the stillness of melancholy.
He was out on the street, or the street reached out and grabbed him. Hard to tell.
From the generous gestures of the kind-hearted, he'd collect sacks of old bread and could be found down at the pier feeding seagulls while sipping a can of warm Budweiser out of a torn paper bag.
Sullen groupings of sour notes played on a loop inside his head. Ghosts hovered like a polluted cloud of torment.
He knew he could never sustain the numerous trips to the hole. If you know where it is, then you're a rare survivor. The hole rarely releases anyone from its grip. Anguished visitors were lured in by an endless hunger, yet snared themselves in industrial fishing nets.
Shit sinks to the bottom. Dead weight.
But like the rapper said, when your soul hits the bottom, it doesn't stop and keeps going and seeping through the cracks in the ground with the rest of all of the rotting waste. Your soul doesn't whisk itself away up into the heavens, it's a buffet for the worms while the rest of it leaks into the upper echelons of hell.
Tuesday, September 24, 2013
Lefsetz's Slanket (Fiction)
By Pauly
Los Angeles, CA
Coffeshop. Santa Monica. 10am. Two guys sat in a booth. One, former A&R guy at a major record label, is loosely wearing a suit. The other one, an actor, looks like he just woke up.
"I was up early," said the actor as he shoveled a ham and cheese omelet into his face. "I had an early audition. Crack of dawn. Fast food commercial."
"Was it for breakfast or something like McMuffins?"
"Nah, flatbread sandwiches. National campaign. If I land that, I can finally pay off my credit cards and I can go home and visit family for Christmas. But right now, all I care about is getting the call back. The next few days are going to be torture. Hey, I'm in the wrong biz. The music industry. That's where it's at. I should have been more serious when I was nine and took piano lessons."
"The music industry? No way. Just as bad if not worse than acting. It's like the worst wrung of show business."
"Even worse than reality TV?"
"Reality TV brings in more dough than scripted TV. Nah, music biz is up there with infomercials and politics. I should say, it's down there with infos and those talking heads."
"Really? Music biz that bad? Worse than infomercials?"
"At least people, albeit stupid people, will buy something they see on an infomercial. Whether its a Snuggie or Ginsu knives... doesn't matter... it's a real, physical product that you can't steal from the internet. They ship products that kids can't steal via the internet."
"You can buy knives and slankets on the net."
"Sure, you can. Maybe it's cheaper too. Maybe not. But you still have to pay for it in a traditional business transaction. It's not like kids today stealing 99.9% of their music. When was the last time you went to a record shop and bought a CD?"
"God. I don't know. I think I bought a Beatles Greatest Hits once at a gas station when I was on a road trip up to Maine and the rental car at Logan had a CD player but no AUX ports or satellite radio."
"When was the last time you paid for a full album on iTunes?"
"I think I bought The Strokes new album Angels a couple summers ago."
"That was two albums ago. Why didn't you get the last one? Because you streamed it on Pitchfork, like everyone else, right?"
"Yeah, I did... it was free. I got to listen to it for free."
"But you didn't pay a cent to the band, or the record company. Sure, you boosted the traffic to Pitchfork, and they probably cut a deal with the band to stream it exclusively, but for the most part the majority of people listening to the new Strokes album are not paying for it. How much of your iPod is filled with pirated music? 50%? 90%? Kids today in highschool? They never paid a dime for music in their lives."
"I'm starting to sound like one of those old farts. When I was a kid, blah blah blah. But it's true, when I was in college, we still had dial up so I couldn't download music. In high school I blew money on music and movies. CDs. DVDs. Movie tickets. Concert tickets. Gas money. A little grass and cheap six packs. That's why I worked at the fucking Blockbuster in Nashua. I fucking hated it, but I got free rentals and it paid for music I really wanted badly."
"You worked hard to earn money and then spent it on music. Nowadays, kids just go online and download that shit for free. They have no semblance of what it means to pay for art."
"What ever happened to 'You get what you pay for?'"
"In this case, kids have access to an entire encyclopedia of music -- the entire history of music from Bach to the Beatles, from Beethoven to Beiber. And with access to all that rich history, what kinda of music is selling now? Fucking dubstep. Robots fucking. Douchey, uncircumcised Swedish dorks with laptops. That's today's 'rock' stars. No more Ziggy Stardust. No more Robert Plant. No more long haired dudes drinking whiskey, toking grass, and lighting up the garage with the loudest music they could. It was happening in the 60s. In the 70s. Event in the 80s and then the 90s, and then just stopped at the start of the 00s. Now, no one is trying to form bands with their friends. Instead, it's solo solitary dudes with their laptops. Sitting in the dark in their mommy's basement. Alone. Mixing. Mashing. Cuisinarting all these hooks and drops that these dopey fucking kids with zero taste think is straight up dope. It's dope. Dope for dopes. And they're blowing tons of cash on this dope. Electric Daisy and shit like that. Sure, I fucking hate the Eagles and it's the epitome of corporate rock and roll, but at least there's some bit of art in it. Albeit watered down, there's still a bit of soul in there. This glitch hop is soulless. I cannot believe what's going on."
"The drugs are getting stronger and the music is getting worse."
"Zombies shoving Ecstasy up their asses and in their coochies.No wonder we're doomed. All this new shit lacks any sort of edge. It's too narcissistic. Totally lacks a sociopolitical edge. Punk was political. It was about the have-nots rallying together to fight the man. Dylan was inspired by protest singers from the first half of the 20th Century. The earliest days of hip hop were all political. Jay Z said hip hop was like CNN for black communities. It's how they got their news. Then it all became about material pursuits. Bling. Dealing drugs. Hoochie mamas. And this electronic dance music craze? Where's the politics in that? Sounds more like static. Loud static. Feed kids enough drugs and they'll dance to anything."
Los Angeles, CA
Coffeshop. Santa Monica. 10am. Two guys sat in a booth. One, former A&R guy at a major record label, is loosely wearing a suit. The other one, an actor, looks like he just woke up.
"I was up early," said the actor as he shoveled a ham and cheese omelet into his face. "I had an early audition. Crack of dawn. Fast food commercial."
"Was it for breakfast or something like McMuffins?"
"Nah, flatbread sandwiches. National campaign. If I land that, I can finally pay off my credit cards and I can go home and visit family for Christmas. But right now, all I care about is getting the call back. The next few days are going to be torture. Hey, I'm in the wrong biz. The music industry. That's where it's at. I should have been more serious when I was nine and took piano lessons."
"The music industry? No way. Just as bad if not worse than acting. It's like the worst wrung of show business."
"Even worse than reality TV?"
"Reality TV brings in more dough than scripted TV. Nah, music biz is up there with infomercials and politics. I should say, it's down there with infos and those talking heads."
"Really? Music biz that bad? Worse than infomercials?"
"At least people, albeit stupid people, will buy something they see on an infomercial. Whether its a Snuggie or Ginsu knives... doesn't matter... it's a real, physical product that you can't steal from the internet. They ship products that kids can't steal via the internet."
"You can buy knives and slankets on the net."
"Sure, you can. Maybe it's cheaper too. Maybe not. But you still have to pay for it in a traditional business transaction. It's not like kids today stealing 99.9% of their music. When was the last time you went to a record shop and bought a CD?"
"God. I don't know. I think I bought a Beatles Greatest Hits once at a gas station when I was on a road trip up to Maine and the rental car at Logan had a CD player but no AUX ports or satellite radio."
"When was the last time you paid for a full album on iTunes?"
"I think I bought The Strokes new album Angels a couple summers ago."
"That was two albums ago. Why didn't you get the last one? Because you streamed it on Pitchfork, like everyone else, right?"
"Yeah, I did... it was free. I got to listen to it for free."
"But you didn't pay a cent to the band, or the record company. Sure, you boosted the traffic to Pitchfork, and they probably cut a deal with the band to stream it exclusively, but for the most part the majority of people listening to the new Strokes album are not paying for it. How much of your iPod is filled with pirated music? 50%? 90%? Kids today in highschool? They never paid a dime for music in their lives."
"I'm starting to sound like one of those old farts. When I was a kid, blah blah blah. But it's true, when I was in college, we still had dial up so I couldn't download music. In high school I blew money on music and movies. CDs. DVDs. Movie tickets. Concert tickets. Gas money. A little grass and cheap six packs. That's why I worked at the fucking Blockbuster in Nashua. I fucking hated it, but I got free rentals and it paid for music I really wanted badly."
"You worked hard to earn money and then spent it on music. Nowadays, kids just go online and download that shit for free. They have no semblance of what it means to pay for art."
"What ever happened to 'You get what you pay for?'"
"In this case, kids have access to an entire encyclopedia of music -- the entire history of music from Bach to the Beatles, from Beethoven to Beiber. And with access to all that rich history, what kinda of music is selling now? Fucking dubstep. Robots fucking. Douchey, uncircumcised Swedish dorks with laptops. That's today's 'rock' stars. No more Ziggy Stardust. No more Robert Plant. No more long haired dudes drinking whiskey, toking grass, and lighting up the garage with the loudest music they could. It was happening in the 60s. In the 70s. Event in the 80s and then the 90s, and then just stopped at the start of the 00s. Now, no one is trying to form bands with their friends. Instead, it's solo solitary dudes with their laptops. Sitting in the dark in their mommy's basement. Alone. Mixing. Mashing. Cuisinarting all these hooks and drops that these dopey fucking kids with zero taste think is straight up dope. It's dope. Dope for dopes. And they're blowing tons of cash on this dope. Electric Daisy and shit like that. Sure, I fucking hate the Eagles and it's the epitome of corporate rock and roll, but at least there's some bit of art in it. Albeit watered down, there's still a bit of soul in there. This glitch hop is soulless. I cannot believe what's going on."
"The drugs are getting stronger and the music is getting worse."
"Zombies shoving Ecstasy up their asses and in their coochies.No wonder we're doomed. All this new shit lacks any sort of edge. It's too narcissistic. Totally lacks a sociopolitical edge. Punk was political. It was about the have-nots rallying together to fight the man. Dylan was inspired by protest singers from the first half of the 20th Century. The earliest days of hip hop were all political. Jay Z said hip hop was like CNN for black communities. It's how they got their news. Then it all became about material pursuits. Bling. Dealing drugs. Hoochie mamas. And this electronic dance music craze? Where's the politics in that? Sounds more like static. Loud static. Feed kids enough drugs and they'll dance to anything."
Sunday, June 16, 2013
On Green Dolphin Shit (Fiction)
By Pauly
Los Angeles, CA
Los Angeles, CA
EXT. BEVERLY HILLS - DAY
Lazy Sunday morning. Empty street in Beverly Hills.
Three twenty-something post-bohemian hipster (PBH)
types slowly pedal their bicycles. MAISY, 25,
Female PBH #2 on the far left is silent and heavily
medicated. The other two -- DAKOTA, 27, female
PBH #1 with Tina Fey glasses and DYLAN, 28,
unshaven male PBH -- were pontificating about nothing
for several blocks.
DAKOTA
I don’t know how many times I’ve
taken the same photo.
DYLAN
Imagine how many people took the
same photo before you?
DAKOTA
My mom said she used to work in a
Fotomat when she was in college.
DYLAN
What the hell is that?
DAKOTA
It was like a drive thru photo
store. But very tiny. Like the size
of a food truck. This was before
digital cameras. People dropped off
film things. I dunno what are they
call?
DYLAN
Umm... Film cartridges?
DAKOTA
Film reels? You know the film film?
Old school film, like tape. You see
that shit in old movies.
DYLAN
Yeah. Film tape.
DAKOTA
So people drove up to Fotomat and
dropped off their film tape. When
pictures were developed, they
picked them up
DYLAN
Where did they develop it?
DAKOTA
Dunno. Some darkroom somewhere.
Doesn’t matter. The thing is that
my mom said she looked at a lot of
the photos. She said when people
came back from their summer
vacations, if they went to Europe,
they always took pictures of the
same things. Like the Eiffel Tower.
Or Notre Dame.
DYLAN
Right were the Hunchback lives.
DAKOTA
Same photo. Different people. Same
photo.
DYLAN
Imagine how many people take the
same photo of the same Eiffel
Tower?
DAKOTA
Day after day. Thousands every day.
Tens of thousands. Over one hundred
thousand a week
DYLAN
No way. I saw more. Like a half a
million a week
DAKOTA
That’s like 26 million people a
year
DYLAN
Same picture. Same tower. Different
people. So what’s the point of
taking pictures?
DAKOTA
That’s what I’m wondering. I guess
as a personal memento
DYLAN
But you can just Google that shit.
You’d find a better one. No doubt.
By a real photographer. Or someone
who took a shot with better light.
I went to film school. It’s all
about light.
DAKOTA
I thought you dropped out?
DYLAN
Whatevs. Just Google pics. You
don’t need to take ’em.
DAKOTA
Selfies in front of the Eiffel
Tower is the new postcard. Except
you don’t actually have to go
through the trouble of sending an
actual overpriced card that will
take a month to get to where its
supposed to go, and by then you’re
already home and told everyone
about your trip
DYLAN
What’s the point of even going? You
can just Photoshop yourself into a
picture of you with the Hunchback
of Notre Dame, or hanging with
Beibs in Rome with 2 Chainz’s
entourage.
DAKOTA
Food is temporary. It’s unique and
something worth preserving
DYLAN
Now you see it. Then it’s gone
DAKOTA
Disappears. Digested. Shat out.
Flushed away. Into the bowels of
the city’s sewers
DYLAN
Then flushed out to the ocean, so
whales and dolphins will eventually
eat it. You shit out dolphin food.
That’s pretty rad. You can’t do
that with the Eiffel Tower... eat
it bit by bit and shit it out for
Euro-trash dolphins as dessert.
DAKOTA
You ever think that when you take a
picture of food, that you’re
capturing it’s last breath of life
before it gets consumed
DYLAN
And then turned into dolphin shit.
DAKOTA
Yeah. You capture the food at the
height of its essence. Someone
prepares that dish pulling in
different ingredients and it went
from nothing to something in a
short time. But once you get
served, that’s the beginning of the
end. The dish reaches its pinnacle
of existence as its being set down
in front of you. Once you start
eating, it’s over. Death. When you
take a photo of food, you capture
the moment before it dies.
DYLAN
That’s some really serious deep
thinking. Like Nobel Prize winning
philosophy and shit
DAKOTA
Thanks. And I didn’t have to get
thrown out of NYU film school to
learn that.
DYLAN
So how did you learn that? You
know, the essence of food and dying
and shit?
DAKOTA
Xanax. I take one but before I
drift off to dreamland, I look at
food photos on Instagram. It’s easy
to think about death when all you
think about all day is hiding from
real life. So I look at a couple
hundred of food pics every night.
Relaxes me. Meals by friends and
strangers alike
MAISY
That’s a lot of dolphin Shit.
Thursday, May 02, 2013
Those Superfluous Wankers (Fiction)
By Pauly
Los Angeles, CA
Gina shot me a scornful look, the same kind of stink-eye she gave me whenever she knew I was full of shit.
"Samuel, you're gonna do what you're gonna do," she said while trying to find her car keys. She always called me Samuel when she tried to speak with authority. With our two kids she would rattle off something my mother did and call them by their full names including their middle name. Hearing those three names in quick succession gave me the chills because my kids sounded like serial killers or assassins.
"I just said I'd meet Sheldon for lunch nothing more. I sunk all our money into this fucking home studio so I'm tapped out. You know that."
"Samuel, you never listen to me anyway. I want you to remember this moment... Wednesday morning May 2nd at 8:30-something in the morning... because when Sheldon does what Sheldon does best and weasels his way back into your life, don't come bitching to me."
Gina found her keys and blew me a kiss as she rushed out the door. She was right. Gina was never one of those wives who hated all of your friends or constantly questioned why certain people were in my life, even my ex-girlfriends. But she didn't like Sheldon. Come to think of it, no one really did.
I walked to Swingers instead of driving, or riding my bike which I normally would have done, just in case Sheldon wanted me to give him a ride to a fucking crack house in East L.A., or driving over to the Valley so he could pawn his amp. I arrived ten minutes late only because Sheldon was perpetually late. I don't think he ever owned a watch since I first met him at Fairfax my freshman year in high school. He was a year older and one of the biggest freaks in school with half his head shaved and super long, purple-dyed hair on the other side. He was living in the shadow of his sister, who had just been in one of those teen movies. She was the girl next door type, while Sheldon looked like a roadie for Marilyn Manson. I remember the first time he came up to me in the hallways and gave me a folded up invite to see his band play. He remarked that he saw a Ramones sticker on my locker and deduced that we had similar musical tastes.
"You'll dig my band. Tons of hotties come. Not just punkers."
Sheldon's band was called... ummm... for the fuck of me I can't remember. Crotch Raid? Crotch Shack? Something with a Crotch in it. It was one of your typical mid-90s post-post-punk bands that were a really bad and tepid imitation of Green Day meets the Clash, except without any of the talent. Sheldon played bass. He was over 6-feet-3-inches tall, but he leaned over in a weird crouch/slouch combo so he shrunk to like 5-foor-6 or something. I went to a couple of his shows and I was usually the only one from our high school in the crowd. Heck, I was usually 33% of the crowd that included me and the two girlfriends of the other guys in the band, one of which was Sheldon's cousins (his claim to fame was that he auditioned to be in Red Hot Chili Peppers and if he didn't get arrested for stealing CDs at Tower Records, he would have been the guy to replace their former guitar player who died of an OD. The Chili Peppers passed on Sheldon's cousin and added John Frusciante, and alas, the Peppers took off from there and blew the fuck up with Blood Sugar Sex Majik). Anyway, Sheldon's cousin replaced someone else in a different punk-ska band that was about to tour in Japan, so Sheldon had an opening spot in his band, which he renamed Yellow Bird, but with odd spellings so it came out Yollew Byrd.
I didn't know how to play guitar. I took piano lessons in sixth and seventh grade, but that was the end of my musical education. Sheldon ignored my pleas that I didn't know how to play. When he got set in his ways, he blocked out all logic and sanity, and followed through on his own fucked-up vision. That pretty much tells you all you need to know about him. Sheldon said he'd teach me but gave me a ten-minute lesson and that was it. I had to pester my dad to loan me money to take lessons on Saturday morning. My old man loved Steely Dan and the Doobie Brothers and he told me if I wanted to be a great guitar player, then I needed to study Skunk Baxter, who was regarded as the best technically sound studio musician on the West Coast. My dad bought me four VHS tapes that Skunk put out. I studied them two hours every day... an hour after I woke up and an hour before I went to bed. Sheldon always took credit for teaching me how to play. He gave me a chance to play in his band, but that was it. The Skunk videos and endless hours of practice helped me become an accomplished player. But in high school, I was terrible and still learning simple chords.
I was in Sheldon's Yollew Byrd band and different incarnations of that band for the next three years I attended Fairfax High School. I told him I had to leave the band when I went to college in Seattle. He didn't talk to me for a week, but then he called up and insisted that he was going to live up there with me even though he had barely graduated high school a year early and had no intentions of going to college. At that point, his sister had parlayed a career in child acting into budding stardom. She offered to pay to send him to film school or art school, but instead she bankrolled his move to Seattle. I refused to live with him and that caused a huge fight. He was in tears. I couldn't believe it. Here's this tall dude in a punk band crying like a little girl. What Sheldon didn't understand was that I wanted the normal college experience so I lived in a dorm, then rushed a fraternity. Sheldon hung out at all of our parties and pretty much became my fraternity's pot and speed dealer, despite the fact no one liked him very much.
In Seattle, we formed a new band called Throttle Nutsack. For some reason Sheldon was infatuated with the male genitalia and often named his bands based on some derivative or slang of the male sex organs. We gigged all over Seattle and played every shitty dive bar that would have us. We even played bars up in Bellingham and down in Olympia. We had become a decent bar band and I was improving every single day, but Sheldon was holding us back from reaching our full potential. He fired every manager we ever had and took over for those duties. He frequently got into arguments with club owners and even got into silly spats with our few fans. He constantly talked down to them. Despite our obvious problems, one of the guys from Sub Pop approached us. He liked our sound, but hated the lead singer (a.k.a. Sheldon). He said he preferred the few songs our drummer sung on and told us we could have a record deal if we kicked Sheldon out of the band. I felt bad but not ambitious enough to fuck him over. I politely declined, but got told by the record exec that I was foolish because I had tons of raw talent, but it would never come to fruition so long as Sheldon was holding us back... and specifically holding me back. The drummer and other guitar bailed and joined a punk-metal band that was quickly signed by Sub Pop. For the next year, Sheldon and I continued to play together, but our new band was nowhere as good as Throttle Sack (I hated saying "nutsack" and always omitted the "nut" which used to drive Sheldon bonkers).
My dad lost his job and took early retirement at the post office. I dropped out of UW and moved back home. I hoped that Sheldon would stay behind in Seattle. He had met a girl and they were doing their best Sid and Nancy impression the entire time they dated each other. I assumed he'd stay in Seattle with her, but once again he followed me. Going back to Cali.
Sheldon immediately wanted to form a new band together. I cited burnout and needed some time off. I went to work at a music store and gave guitar lessons to rich kids from the West Side who thought the guitar was their ticket to endless pussy. Sheldon constantly pestered me to start a new band, but the time away from Sheldon was amazing (he was a suffocating friend who could never be alone) and I realized how much more fun I had jamming around with work friends and students. I even joined a jazz ensemble for a short period, which really upset Sheldon, so much so he got super drunk and punched his hand through a window. He thought I was selling out by playing jazz. All I wanted to do was get better. I knew I had to play different kinds of music before I finally developed my own playing style. Sheldon wanted to stick with punk because he was lazy and never bothered to learn more than two or three chords.
Sheldon wanted all the fame of being a rock star without paying his dues and doing the grunt work by toiling for hours and hours in practice. Sheldon scoffed at practice and always showed up late because he felt he was the best player in the band and that we were the ones who needed practice. That narcissistic fucktard never figured out that we couldn't get better unless we practiced. Most of the time he never showed up at all. We only got good because we played a ton of gigs. That was our only real full practice time.
Sheldon wasn't the tormented genius who strived for perfection. Rather, he was the freak with delusions of grandeur. Having a super-famous sister really fucked him up in the head. He was resentful. He was always angry. He hated the attention she got from their family and friends. He was convinced that his sister's agent was purposefully sabotaging his career. Every time she had a new movie role, he would tell everyone that he was going to write the soundtrack. Alas, he never collaborated on any of his sister's projects probably because the one time we got a chance... we totally tanked and sucked ass. Sheldon got one shot out of pure nepotism. The director of one his his sister's new movies agreed to come to our show in Seattle (he was there coincidentally and stopped by as a personal favor to his sister, mainly because he wanted to bang her). Alas, it was ugly. We played like shit because we didn't practice and didn't have a setlist. Sheldon wanted to wing it and play whatever songs titles that popped into his head while he closed his eyes. Sheldon played horribly at that gig. To be honest, at that height of Throttle Sack, Sheldon was the weakest member of the band but he thought he was the second coming of Iggy Pop. His inability to be self-aware and listen to criticism did him in.
I saved up some money giving guitar lessons and without telling Sheldon, I took off for Europe with just my acoustic guitar and a backpack. I was determined to busk all over Europe that summer. After a couple of weeks of dicking around, I called home and my brother said Sheldon was on his way to Europe to find me. I guess my mother told him I was living in Amsterdam and his sister gave him money to fly out. I bailed Amsterdam the next day and flew to New York to visit a cute girl I had met in Italy while playing Beatles' covers in the streets of Rome. Gina lived in Brooklyn and invited me to stay with her for a few days. Well, a few days turned into a few weeks and then 16 months later, Gina and I got married.
While shacking up with Gina in Brooklyn, I got a job at a recording studio as an assistant to the assistant sound engineer. One late night, I got invited to sit in with UNKLE when their guitar player got into a pissing match with their manager. They liked how I sounded and asked me to finish out the remaining session with them. We cut the final two songs on the album and they loved the fact I did exactly what they asked. I guess all those years playing with Sheldon had turned me into a robot who followed orders without questioning them. UNKLE's manager asked me to play a couple of local shows with them in New York before they returned to the U.K. I was hoping they'd offer me a full-time position with the band, mainly because Gina wanted to live in London. Alas, I got some bad news because UNKLE had a different new guitar player lined up (one of the original members). But I also got a bit of good news. They returned to London but gave me a glowing recommendation to a producer named Schecky Stiles, who managed an up and coming band from Charleston named Those Superfluous Wankers. They needed a new guitar player after their former one went to rehab for pills and booze.
I cut one record with Those Superfluous Wankers and we toured for nine months before the band broke up. I split off with the drummer and formed a new band named Fennis Denbo (which I had picked based on a former college basketball star from Wyoming). Schecky managed us and we got a letter from a lawyer representing Fennis Denbo, who never made it in the NBA. I guess he didn't like the fact that his given name inspired the name of our indie-pop band. We changed our band name to Fenis Dumbo to avoid any legal troubles. After that initial speed bump, the band took off and never looked back.
Ten years later... Fenis Dumbo had five albums (plus one-live album), a documentary film, and we criss-crossed the world on several world tours. I even got to visit China and South Africa. A decade after forming the band, we desperately needed a break after a whirlwind career that went so fast, it seemed like a blurry dream. I was super burned out, barely saw my kid, and my marriage with Gina was at a tipping point.
That was three years ago. In the meantime, Gina and I added a second kid to our family and we had moved back to Los Angeles, so I could be around my mother who had gotten breast cancer. During our hiatus, Fenis Dumbo broke up. Last year, the promoters at Coachella offered us a lot of loot to come back for a reunion show. We turned them down, but we all could have used the money for one reason or another mostly because we were all in our mid-late 30s and started families. We didn't want to return to the big stage and play like shit and ruin the sanctity of our music. We reluctantly passed, but entertained the idea of a full-blown reunion on our own terms.
I had not seen Sheldon in years. He shuffled back and forth from Austin and Boulder. His sister had bankrolled numerous projects and get-rick-quick schemes. For a while, Sheldon managed a boy band, but they fired him when they found out he was stealing their money. He opened up a recording studio, but then he claimed the landlord had screwed him over. He started a hip-hop label, but then he claimed the groups he signed had screwed him over and stabbed him in the back when they signed with a more reputable company. Then he opened up a juice bar and a yoga studio. Both failed to even last a month. He opened a pet grooming shop, but forgot he was allergic to dogs so he had to close that down. Whatever half-baked business idea he had, his sister had given him the money. Every time. Most of the time (okay all of the time), Sheldon blew the start-up funds on drug-fueled benders with strippers. After he wasted every dollar, he'd come up with a new scheme and pressure his sister into giving him more money. She was an enabler, but passive-aggressively threw money at the problem. It was easier to write him a check then to have him constantly play mind games or potentially ruin her career by doing something stupid like getting caught with a trannie hooker in WeHo. So long as Sheldon didn't live in LA, his sister bankrolled whatever he wanted. You would have thought she'd say no after a while... but Sheldon had a way of manipulating people. He should have been a car salesman or worked on Wall Street. He missed his calling in life as a salesman. Instead of parlaying all that seed money into a legit business, he went off in a self-indulgent bacchanalian bender fueled by meth and hookers. He must have wasted at least a million or maybe more of his sister's hard-earned money.
"Back in LA?" I said to Sheldon as I extended my hand for a handshake. He tried to embrace me and an awkward hug ensued.
"Yes. I'm here on business. I'm opening up a dispensary in Boulder. Colorado has legal weed, you know. Now's the time to get in on the ground floor."
The way Sheldon talked, it sounded like he was acting in an infomercial. "But wait... there's more! Act now and you get two Slap Chops for the price of one!!!"
We hadn't even sat down and I knew he was going to hit me up for cash to invest in his weed store. Some people never change. For the next thirty minutes all he did was talk about himself and rant about all of the people who had fucked him over. The music industry isn't all milk and cookies, but the way he bitched and moaned about it, it sounded like it was his first time ever getting dicked over.
Gina is a sweetheart and purposely called me 45 minutes into lunch with a fake family emergency so I could abruptly end lunch, especially if Sheldon only wanted to pump me for money. She was right. She's always right. I never listened to her. Luckily she didn't let me get sucked into Sheldon's world. She was my only way out of an annoying, high-stress situation.
I politely explained to Sheldon I hada family thing to attend to.
"Gina had to pick Marley up from school, so now I have to go pick up Jerry and take him to baseball practice."
"Who is Marley? And Jerry?"
"My kids."
"You have kids?"
Sheldon ignored everything I said and instead he launched into a spiel about how he was giving me a once-in-a-lifetime opportunity to get in on the ground floor as an investor. He wanted to offer me up 10% of his weed store but for half the price that normal investors were giving him.
"It's a brotherly discount."
"We're not brothers."
"You know what I mean. Brothers for life."
"Look Sheldon, I'm not interested and I gotta go. I'm sorry I can't help you out. I'm tapped out. Kids are fucking expensive. Schools in LA are shit. You don't want to know how much I have to shell out to pay for private school? Why don't you ask your sister for help on this one?"
"Whatever. Fucking yuppie scum. Spoil your kids instead of helping out a friend. You've always been selfish Sammy. Always thinking about yourself. I fucking made you. Remember that? I gave you a life. Before you met me, you were some nerdy kid who was getting beat up every day for being called a faggot."
I didn't say anything except, "You have a bad memory Sheldon." Actually, I was somewhat popular and played baseball and basketball. It wasn't until I joined Sheldon's band when I started to get picked on. If I had a tough time in high school, it's because I was friends with Sheldon. That shithead has selective memory. I got into fights because kids were calling Sheldon a faggot. I defended his scrawny ass and this is the thanks I get?
"And don't forget, you followed me around like a puppy and rode my coattails up to Seattle!" screamed Sheldon. "I helped land us that huge record deal with Sub Pop. We were gonna be big. Bigger than Soundgarden. Bigger than Nirvana."
"More bad memory Sheldon," I said once again as our argument spilled outside in front of Swingers. Sheldon forgot that he followed me to Seattle when I went to UW. Plus, it was the drummer's girlfriend who got us in contact with Sub Pop.
"And then you broke up the band when you decided to pussy out and move back to LA."
Sheldon was starting to really piss me off. Did he really think these things? Crazy people tweak the truth to make themselves feel better, or to pass the blame onto someone else instead of accepting responsibility for their own actions. Sheldon was always mentally ill, but he really fell off the deep end.
"Sheldon, are you fucking dense? My dad got laid off and couldn't afford to send me to out-of-state college. Did you forget that my dad was a civil servant and my mom worked at UCLA as a secretary? I was middle class all the way. I wasn't a rich kid like you sponging off my famous sister."
"You were always jealous of me."
I laughed but not in a funny way when someone gets kicked in the nuts on America's Funniest Home Videos. I laughed out of anger so I didn't beat the crap out of Sheldon on Lincoln Blvd.
"Sheldon, seriously. Did you forget what went down? My dad got laid off. I went back to LA to get a job. I was working. For a living. A job. A fucking job. And I didn't break up our band. It was already broken up. I stuck with you out of loyalty. I could have gotten a record deal with TC and the other guys in Throttle Sack, but that was only if we kicked you out of the band. Sub Pop wanted us, not you. But I stood up for my friend. I said it's all of us, or I walk. Guess what? They told me goodbye. I stuck with you out of loyalty and then you accuse me of breaking up the band? Are you seriously fucking deranged?"
"Whatever. I fucking made you. Without me you were nothing. How did you repay me? You started that gay fucking band that was a flaming-homo, watered-down version of Wilco, and did you even bother to ask me to play bass? How about sit in on a recording session? All those times you played in Colorado, you never invited me onstage to jam with your band? Disrespectful. Only thinking about yourself"
"If we were a gay version of Wilco... er, sorry, a flaming-gay water-down version of Wilco... then why would you want to play with us faggots?"
"I should fucking sue your ass. They way I see it, I'm entitled to at least half the money you made."
"What? Are you fucking serious? Sheldon, do me a favor and never call me again. Jesus. I felt sorry for you, that's why I agreed to meet you. And what do you do? You hit me up for money to invest in a bogus scheme that we all know you're going to take the money and blow it on whatever designer drugs you're shoving up your ass these days. Then you erroneously and falsely accuse me of breaking up our band in Seattle. And then you insult me and my band by calling us a bunch of wanna-be Wilco fags. Maybe instead of getting fucked up all the time and blaming other people for your problems, you could channel all that energy into becoming a better musician and learn better listening skills so you can be a better bandmate. But, you won't. So long as your rich fucking sister keeps doing those stupid fucking talking cat movies, you'll never have to work another day in your life. Why don't you bother her. She's loaded. I'm broke. I gotta give guitar lessons to Hancock Park spoiled shitheads just so I can afford to buy my kid new cleats and a glove for little league."
"Typical Sammy. Always thinking of yourself. I'm glad I kicked you out of our band. You're a shitty guitar player anyway. I fucking made you. And this is how you repay me?"
I dug into my pocket, grabbed a $1 bill, dropped my pants, wiped my ass with the bill and then handed it to Sheldon.
"Go fuck yourself, you punk-ass bitch."
Los Angeles, CA
Gina shot me a scornful look, the same kind of stink-eye she gave me whenever she knew I was full of shit.
"Samuel, you're gonna do what you're gonna do," she said while trying to find her car keys. She always called me Samuel when she tried to speak with authority. With our two kids she would rattle off something my mother did and call them by their full names including their middle name. Hearing those three names in quick succession gave me the chills because my kids sounded like serial killers or assassins.
"I just said I'd meet Sheldon for lunch nothing more. I sunk all our money into this fucking home studio so I'm tapped out. You know that."
"Samuel, you never listen to me anyway. I want you to remember this moment... Wednesday morning May 2nd at 8:30-something in the morning... because when Sheldon does what Sheldon does best and weasels his way back into your life, don't come bitching to me."
Gina found her keys and blew me a kiss as she rushed out the door. She was right. Gina was never one of those wives who hated all of your friends or constantly questioned why certain people were in my life, even my ex-girlfriends. But she didn't like Sheldon. Come to think of it, no one really did.
I walked to Swingers instead of driving, or riding my bike which I normally would have done, just in case Sheldon wanted me to give him a ride to a fucking crack house in East L.A., or driving over to the Valley so he could pawn his amp. I arrived ten minutes late only because Sheldon was perpetually late. I don't think he ever owned a watch since I first met him at Fairfax my freshman year in high school. He was a year older and one of the biggest freaks in school with half his head shaved and super long, purple-dyed hair on the other side. He was living in the shadow of his sister, who had just been in one of those teen movies. She was the girl next door type, while Sheldon looked like a roadie for Marilyn Manson. I remember the first time he came up to me in the hallways and gave me a folded up invite to see his band play. He remarked that he saw a Ramones sticker on my locker and deduced that we had similar musical tastes.
"You'll dig my band. Tons of hotties come. Not just punkers."
Sheldon's band was called... ummm... for the fuck of me I can't remember. Crotch Raid? Crotch Shack? Something with a Crotch in it. It was one of your typical mid-90s post-post-punk bands that were a really bad and tepid imitation of Green Day meets the Clash, except without any of the talent. Sheldon played bass. He was over 6-feet-3-inches tall, but he leaned over in a weird crouch/slouch combo so he shrunk to like 5-foor-6 or something. I went to a couple of his shows and I was usually the only one from our high school in the crowd. Heck, I was usually 33% of the crowd that included me and the two girlfriends of the other guys in the band, one of which was Sheldon's cousins (his claim to fame was that he auditioned to be in Red Hot Chili Peppers and if he didn't get arrested for stealing CDs at Tower Records, he would have been the guy to replace their former guitar player who died of an OD. The Chili Peppers passed on Sheldon's cousin and added John Frusciante, and alas, the Peppers took off from there and blew the fuck up with Blood Sugar Sex Majik). Anyway, Sheldon's cousin replaced someone else in a different punk-ska band that was about to tour in Japan, so Sheldon had an opening spot in his band, which he renamed Yellow Bird, but with odd spellings so it came out Yollew Byrd.
I didn't know how to play guitar. I took piano lessons in sixth and seventh grade, but that was the end of my musical education. Sheldon ignored my pleas that I didn't know how to play. When he got set in his ways, he blocked out all logic and sanity, and followed through on his own fucked-up vision. That pretty much tells you all you need to know about him. Sheldon said he'd teach me but gave me a ten-minute lesson and that was it. I had to pester my dad to loan me money to take lessons on Saturday morning. My old man loved Steely Dan and the Doobie Brothers and he told me if I wanted to be a great guitar player, then I needed to study Skunk Baxter, who was regarded as the best technically sound studio musician on the West Coast. My dad bought me four VHS tapes that Skunk put out. I studied them two hours every day... an hour after I woke up and an hour before I went to bed. Sheldon always took credit for teaching me how to play. He gave me a chance to play in his band, but that was it. The Skunk videos and endless hours of practice helped me become an accomplished player. But in high school, I was terrible and still learning simple chords.
I was in Sheldon's Yollew Byrd band and different incarnations of that band for the next three years I attended Fairfax High School. I told him I had to leave the band when I went to college in Seattle. He didn't talk to me for a week, but then he called up and insisted that he was going to live up there with me even though he had barely graduated high school a year early and had no intentions of going to college. At that point, his sister had parlayed a career in child acting into budding stardom. She offered to pay to send him to film school or art school, but instead she bankrolled his move to Seattle. I refused to live with him and that caused a huge fight. He was in tears. I couldn't believe it. Here's this tall dude in a punk band crying like a little girl. What Sheldon didn't understand was that I wanted the normal college experience so I lived in a dorm, then rushed a fraternity. Sheldon hung out at all of our parties and pretty much became my fraternity's pot and speed dealer, despite the fact no one liked him very much.
In Seattle, we formed a new band called Throttle Nutsack. For some reason Sheldon was infatuated with the male genitalia and often named his bands based on some derivative or slang of the male sex organs. We gigged all over Seattle and played every shitty dive bar that would have us. We even played bars up in Bellingham and down in Olympia. We had become a decent bar band and I was improving every single day, but Sheldon was holding us back from reaching our full potential. He fired every manager we ever had and took over for those duties. He frequently got into arguments with club owners and even got into silly spats with our few fans. He constantly talked down to them. Despite our obvious problems, one of the guys from Sub Pop approached us. He liked our sound, but hated the lead singer (a.k.a. Sheldon). He said he preferred the few songs our drummer sung on and told us we could have a record deal if we kicked Sheldon out of the band. I felt bad but not ambitious enough to fuck him over. I politely declined, but got told by the record exec that I was foolish because I had tons of raw talent, but it would never come to fruition so long as Sheldon was holding us back... and specifically holding me back. The drummer and other guitar bailed and joined a punk-metal band that was quickly signed by Sub Pop. For the next year, Sheldon and I continued to play together, but our new band was nowhere as good as Throttle Sack (I hated saying "nutsack" and always omitted the "nut" which used to drive Sheldon bonkers).
My dad lost his job and took early retirement at the post office. I dropped out of UW and moved back home. I hoped that Sheldon would stay behind in Seattle. He had met a girl and they were doing their best Sid and Nancy impression the entire time they dated each other. I assumed he'd stay in Seattle with her, but once again he followed me. Going back to Cali.
Sheldon immediately wanted to form a new band together. I cited burnout and needed some time off. I went to work at a music store and gave guitar lessons to rich kids from the West Side who thought the guitar was their ticket to endless pussy. Sheldon constantly pestered me to start a new band, but the time away from Sheldon was amazing (he was a suffocating friend who could never be alone) and I realized how much more fun I had jamming around with work friends and students. I even joined a jazz ensemble for a short period, which really upset Sheldon, so much so he got super drunk and punched his hand through a window. He thought I was selling out by playing jazz. All I wanted to do was get better. I knew I had to play different kinds of music before I finally developed my own playing style. Sheldon wanted to stick with punk because he was lazy and never bothered to learn more than two or three chords.
Sheldon wanted all the fame of being a rock star without paying his dues and doing the grunt work by toiling for hours and hours in practice. Sheldon scoffed at practice and always showed up late because he felt he was the best player in the band and that we were the ones who needed practice. That narcissistic fucktard never figured out that we couldn't get better unless we practiced. Most of the time he never showed up at all. We only got good because we played a ton of gigs. That was our only real full practice time.
Sheldon wasn't the tormented genius who strived for perfection. Rather, he was the freak with delusions of grandeur. Having a super-famous sister really fucked him up in the head. He was resentful. He was always angry. He hated the attention she got from their family and friends. He was convinced that his sister's agent was purposefully sabotaging his career. Every time she had a new movie role, he would tell everyone that he was going to write the soundtrack. Alas, he never collaborated on any of his sister's projects probably because the one time we got a chance... we totally tanked and sucked ass. Sheldon got one shot out of pure nepotism. The director of one his his sister's new movies agreed to come to our show in Seattle (he was there coincidentally and stopped by as a personal favor to his sister, mainly because he wanted to bang her). Alas, it was ugly. We played like shit because we didn't practice and didn't have a setlist. Sheldon wanted to wing it and play whatever songs titles that popped into his head while he closed his eyes. Sheldon played horribly at that gig. To be honest, at that height of Throttle Sack, Sheldon was the weakest member of the band but he thought he was the second coming of Iggy Pop. His inability to be self-aware and listen to criticism did him in.
I saved up some money giving guitar lessons and without telling Sheldon, I took off for Europe with just my acoustic guitar and a backpack. I was determined to busk all over Europe that summer. After a couple of weeks of dicking around, I called home and my brother said Sheldon was on his way to Europe to find me. I guess my mother told him I was living in Amsterdam and his sister gave him money to fly out. I bailed Amsterdam the next day and flew to New York to visit a cute girl I had met in Italy while playing Beatles' covers in the streets of Rome. Gina lived in Brooklyn and invited me to stay with her for a few days. Well, a few days turned into a few weeks and then 16 months later, Gina and I got married.
While shacking up with Gina in Brooklyn, I got a job at a recording studio as an assistant to the assistant sound engineer. One late night, I got invited to sit in with UNKLE when their guitar player got into a pissing match with their manager. They liked how I sounded and asked me to finish out the remaining session with them. We cut the final two songs on the album and they loved the fact I did exactly what they asked. I guess all those years playing with Sheldon had turned me into a robot who followed orders without questioning them. UNKLE's manager asked me to play a couple of local shows with them in New York before they returned to the U.K. I was hoping they'd offer me a full-time position with the band, mainly because Gina wanted to live in London. Alas, I got some bad news because UNKLE had a different new guitar player lined up (one of the original members). But I also got a bit of good news. They returned to London but gave me a glowing recommendation to a producer named Schecky Stiles, who managed an up and coming band from Charleston named Those Superfluous Wankers. They needed a new guitar player after their former one went to rehab for pills and booze.
I cut one record with Those Superfluous Wankers and we toured for nine months before the band broke up. I split off with the drummer and formed a new band named Fennis Denbo (which I had picked based on a former college basketball star from Wyoming). Schecky managed us and we got a letter from a lawyer representing Fennis Denbo, who never made it in the NBA. I guess he didn't like the fact that his given name inspired the name of our indie-pop band. We changed our band name to Fenis Dumbo to avoid any legal troubles. After that initial speed bump, the band took off and never looked back.
Ten years later... Fenis Dumbo had five albums (plus one-live album), a documentary film, and we criss-crossed the world on several world tours. I even got to visit China and South Africa. A decade after forming the band, we desperately needed a break after a whirlwind career that went so fast, it seemed like a blurry dream. I was super burned out, barely saw my kid, and my marriage with Gina was at a tipping point.
That was three years ago. In the meantime, Gina and I added a second kid to our family and we had moved back to Los Angeles, so I could be around my mother who had gotten breast cancer. During our hiatus, Fenis Dumbo broke up. Last year, the promoters at Coachella offered us a lot of loot to come back for a reunion show. We turned them down, but we all could have used the money for one reason or another mostly because we were all in our mid-late 30s and started families. We didn't want to return to the big stage and play like shit and ruin the sanctity of our music. We reluctantly passed, but entertained the idea of a full-blown reunion on our own terms.
I had not seen Sheldon in years. He shuffled back and forth from Austin and Boulder. His sister had bankrolled numerous projects and get-rick-quick schemes. For a while, Sheldon managed a boy band, but they fired him when they found out he was stealing their money. He opened up a recording studio, but then he claimed the landlord had screwed him over. He started a hip-hop label, but then he claimed the groups he signed had screwed him over and stabbed him in the back when they signed with a more reputable company. Then he opened up a juice bar and a yoga studio. Both failed to even last a month. He opened a pet grooming shop, but forgot he was allergic to dogs so he had to close that down. Whatever half-baked business idea he had, his sister had given him the money. Every time. Most of the time (okay all of the time), Sheldon blew the start-up funds on drug-fueled benders with strippers. After he wasted every dollar, he'd come up with a new scheme and pressure his sister into giving him more money. She was an enabler, but passive-aggressively threw money at the problem. It was easier to write him a check then to have him constantly play mind games or potentially ruin her career by doing something stupid like getting caught with a trannie hooker in WeHo. So long as Sheldon didn't live in LA, his sister bankrolled whatever he wanted. You would have thought she'd say no after a while... but Sheldon had a way of manipulating people. He should have been a car salesman or worked on Wall Street. He missed his calling in life as a salesman. Instead of parlaying all that seed money into a legit business, he went off in a self-indulgent bacchanalian bender fueled by meth and hookers. He must have wasted at least a million or maybe more of his sister's hard-earned money.
"Back in LA?" I said to Sheldon as I extended my hand for a handshake. He tried to embrace me and an awkward hug ensued.
"Yes. I'm here on business. I'm opening up a dispensary in Boulder. Colorado has legal weed, you know. Now's the time to get in on the ground floor."
The way Sheldon talked, it sounded like he was acting in an infomercial. "But wait... there's more! Act now and you get two Slap Chops for the price of one!!!"
We hadn't even sat down and I knew he was going to hit me up for cash to invest in his weed store. Some people never change. For the next thirty minutes all he did was talk about himself and rant about all of the people who had fucked him over. The music industry isn't all milk and cookies, but the way he bitched and moaned about it, it sounded like it was his first time ever getting dicked over.
Gina is a sweetheart and purposely called me 45 minutes into lunch with a fake family emergency so I could abruptly end lunch, especially if Sheldon only wanted to pump me for money. She was right. She's always right. I never listened to her. Luckily she didn't let me get sucked into Sheldon's world. She was my only way out of an annoying, high-stress situation.
I politely explained to Sheldon I hada family thing to attend to.
"Gina had to pick Marley up from school, so now I have to go pick up Jerry and take him to baseball practice."
"Who is Marley? And Jerry?"
"My kids."
"You have kids?"
Sheldon ignored everything I said and instead he launched into a spiel about how he was giving me a once-in-a-lifetime opportunity to get in on the ground floor as an investor. He wanted to offer me up 10% of his weed store but for half the price that normal investors were giving him.
"It's a brotherly discount."
"We're not brothers."
"You know what I mean. Brothers for life."
"Look Sheldon, I'm not interested and I gotta go. I'm sorry I can't help you out. I'm tapped out. Kids are fucking expensive. Schools in LA are shit. You don't want to know how much I have to shell out to pay for private school? Why don't you ask your sister for help on this one?"
"Whatever. Fucking yuppie scum. Spoil your kids instead of helping out a friend. You've always been selfish Sammy. Always thinking about yourself. I fucking made you. Remember that? I gave you a life. Before you met me, you were some nerdy kid who was getting beat up every day for being called a faggot."
I didn't say anything except, "You have a bad memory Sheldon." Actually, I was somewhat popular and played baseball and basketball. It wasn't until I joined Sheldon's band when I started to get picked on. If I had a tough time in high school, it's because I was friends with Sheldon. That shithead has selective memory. I got into fights because kids were calling Sheldon a faggot. I defended his scrawny ass and this is the thanks I get?
"And don't forget, you followed me around like a puppy and rode my coattails up to Seattle!" screamed Sheldon. "I helped land us that huge record deal with Sub Pop. We were gonna be big. Bigger than Soundgarden. Bigger than Nirvana."
"More bad memory Sheldon," I said once again as our argument spilled outside in front of Swingers. Sheldon forgot that he followed me to Seattle when I went to UW. Plus, it was the drummer's girlfriend who got us in contact with Sub Pop.
"And then you broke up the band when you decided to pussy out and move back to LA."
Sheldon was starting to really piss me off. Did he really think these things? Crazy people tweak the truth to make themselves feel better, or to pass the blame onto someone else instead of accepting responsibility for their own actions. Sheldon was always mentally ill, but he really fell off the deep end.
"Sheldon, are you fucking dense? My dad got laid off and couldn't afford to send me to out-of-state college. Did you forget that my dad was a civil servant and my mom worked at UCLA as a secretary? I was middle class all the way. I wasn't a rich kid like you sponging off my famous sister."
"You were always jealous of me."
I laughed but not in a funny way when someone gets kicked in the nuts on America's Funniest Home Videos. I laughed out of anger so I didn't beat the crap out of Sheldon on Lincoln Blvd.
"Sheldon, seriously. Did you forget what went down? My dad got laid off. I went back to LA to get a job. I was working. For a living. A job. A fucking job. And I didn't break up our band. It was already broken up. I stuck with you out of loyalty. I could have gotten a record deal with TC and the other guys in Throttle Sack, but that was only if we kicked you out of the band. Sub Pop wanted us, not you. But I stood up for my friend. I said it's all of us, or I walk. Guess what? They told me goodbye. I stuck with you out of loyalty and then you accuse me of breaking up the band? Are you seriously fucking deranged?"
"Whatever. I fucking made you. Without me you were nothing. How did you repay me? You started that gay fucking band that was a flaming-homo, watered-down version of Wilco, and did you even bother to ask me to play bass? How about sit in on a recording session? All those times you played in Colorado, you never invited me onstage to jam with your band? Disrespectful. Only thinking about yourself"
"If we were a gay version of Wilco... er, sorry, a flaming-gay water-down version of Wilco... then why would you want to play with us faggots?"
"I should fucking sue your ass. They way I see it, I'm entitled to at least half the money you made."
"What? Are you fucking serious? Sheldon, do me a favor and never call me again. Jesus. I felt sorry for you, that's why I agreed to meet you. And what do you do? You hit me up for money to invest in a bogus scheme that we all know you're going to take the money and blow it on whatever designer drugs you're shoving up your ass these days. Then you erroneously and falsely accuse me of breaking up our band in Seattle. And then you insult me and my band by calling us a bunch of wanna-be Wilco fags. Maybe instead of getting fucked up all the time and blaming other people for your problems, you could channel all that energy into becoming a better musician and learn better listening skills so you can be a better bandmate. But, you won't. So long as your rich fucking sister keeps doing those stupid fucking talking cat movies, you'll never have to work another day in your life. Why don't you bother her. She's loaded. I'm broke. I gotta give guitar lessons to Hancock Park spoiled shitheads just so I can afford to buy my kid new cleats and a glove for little league."
"Typical Sammy. Always thinking of yourself. I'm glad I kicked you out of our band. You're a shitty guitar player anyway. I fucking made you. And this is how you repay me?"
I dug into my pocket, grabbed a $1 bill, dropped my pants, wiped my ass with the bill and then handed it to Sheldon.
"Go fuck yourself, you punk-ass bitch."
Sunday, April 28, 2013
Giant Fucking Robots (Fiction)
By Pauly
Los Angeles, CA
2015. Silver Lake. Two middle-aged men dressed like 15-year old skater kids stand in front of a vegan Malaysian-Tex-Mex taco truck.
"I haven't seen you in a couple weeks. You look paler than usual."
"Been busy. I'm almost finished with a screenplay."
"You and three million assholes in this shit hole of a abhorrent city."
"Mine's different."
"That's what all those shit-for-brains shitstains say."
"Seriously. Mine is different. It's about the inequality of wealth in the world."
"The inequality of whats-a-who?"
"Wealth. Inequality. You know, the rich keep getting richer. The shrinking middle class."
"Why the fuck did you write that kind of pinko-commie bullshit? You don't get it do you? Why waste your time with some sort of social injustice crap? You'll never sell it in a million years. This is not the town for that type of commie bullshit. Grow your hair out and move up to Berkley and adapt it as a stage play and get some naked hippie chicks to act it out in the middle of Golden Gate Park."
"Keep talking shit. After you finish reading it, you'll apologize because it will change your view on the world and how we're complicit in helping the rich trick the middle class into blaming the poor about all of their problems. Divide and conquer. It's the oldest trick in the book, except I wrote a post-modern version."
"Post-modern-whats-shit? Dude, are you back on the sauce again? How long you've been living in this fucking town? Ten years? Fifteen years? Stop using more than two-syllable words to describe your script. You know all of those exec-u-monkeys suits at Warner Brothers are fucking brain dead morons. Explaining a simple concept to any non-creative is like trying to explain nuclear physics to fucking Corky."
"They'll want to read this. Even the dumb ones. It's one of those once-in-a-generation scripts. It'll create buzz. I'm thinking so out-side the box that someone will want to take a chance on it."
"Are you snorting bath salts again? Lacing your joints with rat poison? Drinking floor polish? Shoving vodka-soaked tampons up your bung-hole again? What the fuck happened to you? Were you kidnapped by aliens or something and replaced by a total fucking self-righteous shit-for-brains?"
"When you're done with your ornery rant and get off your soap box and finally go home, please check your email. I sent you the latest draft."
"What did you agent say?"
"She hasn't seen it yet. You're the only person I sent it to. The only person who read it was Juanita, my cleaning lady and she loved it."
"Whaaaaa? Your fucking maid read your script?"
"She wrote two spec scripts already. She's been asking me to show them to my agent."
"Geez, that's how fucking bad it is in Hollywood, eh? Even illegal maids who can't even fucking speak English are writing a script. Now you know why I'm working in the non-script reality genre. Writing reality TV is hard fucking shit. It's impossible enough to get real fucking actors to say your lines without changing shit up or stepping on the jokes. Good luck getting shit-for-brains reality TB douche-queens and dick-cheesers to follow the fucking general outline."
"Maybe if you wrote about real-world issues instead of fake-world issues, you might feel a lot less angry about yourself?"
"I can write whatever the fuck I want, but in the end, it's tough to sell anything anymore without taking it in the ass. Seriously, please save yourself the embarrassment and humiliation and delete that script. Don't show it to your agent. Don't show it to anyone. Burn the fucker to the ground. Even if it's the greatest social inequality script in the world, not a single fucking suit will be foolish enough to even broach the incendiary subject in public. This is the golden age of excess and over-consumption and giving dumb mother fuckers their 15 minutes of fame. The dumber, the better. If you want to write about social inequality, then start a Tumblr and post pictures of starving pot-bellied children from third-world countries."
"You're usually very supportive, yet you're now being mean. What gives? Even when you wrote for that shitty reality channel, the one that had 24-hour coverage of the Kardashians, I never gave you shit. When you wrote for the spin off show that followed their dogs, I still respected you. I never gave you shit. I could have, but I knew you needed to pay the rent like the rest of us."
"Fuck off, dude. That fucking dog had fucking puppies and now there's three fucking spinoffs and a fourth one fucking coming. I gotta keep milking those fucking Kardashians-fucking-clowns for every cent I can. Those vapid beasts are gonna pay my kid's college tab. Get with the program. Stop with all this inequality crap. You're biting the hand that feeds you."
"People don't like to talk about wealth and the grossly absurd division of wealth for a reason. I can judge by your reaction. You're proving my point exactly. That's why this script is going to be huge. It makes people angry. That's my point. They should be enraged. If you're not angry, then you're not paying attention."
"This town is a bastion of snobbery. Stop fighting against the world you're a part of. If you want to sell a screenplay, you better write a Spider-Man spec script otherwise, it better have zombies, vampires, or giant fucking robots. Better yet, how about all four? Spider-Man fights zombies, vampires, and giant fucking robots. Think smarter. Giant. Fucking. Robots."
Los Angeles, CA
2015. Silver Lake. Two middle-aged men dressed like 15-year old skater kids stand in front of a vegan Malaysian-Tex-Mex taco truck.
"I haven't seen you in a couple weeks. You look paler than usual."
"Been busy. I'm almost finished with a screenplay."
"You and three million assholes in this shit hole of a abhorrent city."
"Mine's different."
"That's what all those shit-for-brains shitstains say."
"Seriously. Mine is different. It's about the inequality of wealth in the world."
"The inequality of whats-a-who?"
"Wealth. Inequality. You know, the rich keep getting richer. The shrinking middle class."
"Why the fuck did you write that kind of pinko-commie bullshit? You don't get it do you? Why waste your time with some sort of social injustice crap? You'll never sell it in a million years. This is not the town for that type of commie bullshit. Grow your hair out and move up to Berkley and adapt it as a stage play and get some naked hippie chicks to act it out in the middle of Golden Gate Park."
"Keep talking shit. After you finish reading it, you'll apologize because it will change your view on the world and how we're complicit in helping the rich trick the middle class into blaming the poor about all of their problems. Divide and conquer. It's the oldest trick in the book, except I wrote a post-modern version."
"Post-modern-whats-shit? Dude, are you back on the sauce again? How long you've been living in this fucking town? Ten years? Fifteen years? Stop using more than two-syllable words to describe your script. You know all of those exec-u-monkeys suits at Warner Brothers are fucking brain dead morons. Explaining a simple concept to any non-creative is like trying to explain nuclear physics to fucking Corky."
"They'll want to read this. Even the dumb ones. It's one of those once-in-a-generation scripts. It'll create buzz. I'm thinking so out-side the box that someone will want to take a chance on it."
"Are you snorting bath salts again? Lacing your joints with rat poison? Drinking floor polish? Shoving vodka-soaked tampons up your bung-hole again? What the fuck happened to you? Were you kidnapped by aliens or something and replaced by a total fucking self-righteous shit-for-brains?"
"When you're done with your ornery rant and get off your soap box and finally go home, please check your email. I sent you the latest draft."
"What did you agent say?"
"She hasn't seen it yet. You're the only person I sent it to. The only person who read it was Juanita, my cleaning lady and she loved it."
"Whaaaaa? Your fucking maid read your script?"
"She wrote two spec scripts already. She's been asking me to show them to my agent."
"Geez, that's how fucking bad it is in Hollywood, eh? Even illegal maids who can't even fucking speak English are writing a script. Now you know why I'm working in the non-script reality genre. Writing reality TV is hard fucking shit. It's impossible enough to get real fucking actors to say your lines without changing shit up or stepping on the jokes. Good luck getting shit-for-brains reality TB douche-queens and dick-cheesers to follow the fucking general outline."
"Maybe if you wrote about real-world issues instead of fake-world issues, you might feel a lot less angry about yourself?"
"I can write whatever the fuck I want, but in the end, it's tough to sell anything anymore without taking it in the ass. Seriously, please save yourself the embarrassment and humiliation and delete that script. Don't show it to your agent. Don't show it to anyone. Burn the fucker to the ground. Even if it's the greatest social inequality script in the world, not a single fucking suit will be foolish enough to even broach the incendiary subject in public. This is the golden age of excess and over-consumption and giving dumb mother fuckers their 15 minutes of fame. The dumber, the better. If you want to write about social inequality, then start a Tumblr and post pictures of starving pot-bellied children from third-world countries."
"You're usually very supportive, yet you're now being mean. What gives? Even when you wrote for that shitty reality channel, the one that had 24-hour coverage of the Kardashians, I never gave you shit. When you wrote for the spin off show that followed their dogs, I still respected you. I never gave you shit. I could have, but I knew you needed to pay the rent like the rest of us."
"Fuck off, dude. That fucking dog had fucking puppies and now there's three fucking spinoffs and a fourth one fucking coming. I gotta keep milking those fucking Kardashians-fucking-clowns for every cent I can. Those vapid beasts are gonna pay my kid's college tab. Get with the program. Stop with all this inequality crap. You're biting the hand that feeds you."
"People don't like to talk about wealth and the grossly absurd division of wealth for a reason. I can judge by your reaction. You're proving my point exactly. That's why this script is going to be huge. It makes people angry. That's my point. They should be enraged. If you're not angry, then you're not paying attention."
"This town is a bastion of snobbery. Stop fighting against the world you're a part of. If you want to sell a screenplay, you better write a Spider-Man spec script otherwise, it better have zombies, vampires, or giant fucking robots. Better yet, how about all four? Spider-Man fights zombies, vampires, and giant fucking robots. Think smarter. Giant. Fucking. Robots."
Sunday, April 21, 2013
Sunday Fiction: Shadows
By Pauly
Los Angeles, CA
She was 43 years old when she first contacted me. I worked at a small-time newspaper in Bellingham. The editor printed my phone number at the end of my column. That's how she got my number.
"Can we meet... in person? I don't like... talking... talking... over the phone.... like this... it's not good. We must meet."
The way she said it made it sound like she was pleading for her life.
"You know the Horseshoe? It's a coffeeshop around the corner from the newspaper."
"No. I don't want to do this in town."
She picked a random McDonald's twenty or so miles outside of Bellingham. I met her around 9pm. With the exception of a trio of high schoolers stoner kids goofing off in the corner, we were the only ones inside.
She looked like one of those anti-drug ads for meth heads and they show a before/after picture of a once beautiful woman who was afflicted by drug abuse. Well, she looked like the after photo. Worn down. Gaunt. Thick, perpetual dark circles around both her eyes. Long, stringy hair. She reeked of cigarettes and the faint aroma of wine. She drank McD's industrial black coffee with several sugars. She eyed a couple of shriveled up fries on my tray. It wasn't like the same goofy look your dog gave you when he wanted your food scraps. She was locked in on the fries to avoid eye contact with me.
"I told this story to different people," she said. "No one wanted to help me. No one in my family believed me. My friends stopped talking to me because they thought I was crazy. My husband insisted I see a shrink or he'd leave me. The drugs didn't work. Made me crazier. I kept seeing more shadow people. It was only worse. The doctor and my husband were conspiring to keep me drugged up. Whatever the doctor gave me was too strong. I begged him to lower the dosage. He wouldn't. I stopped taking the meds and left. That was last summer."
Her accent was British, but she said she lived in Canada for most of her adult life before getting married and moving to Seattle. After she left her husband, she lived in a cabin outside of Bellingham.
"It's been frustrating. I didn't think anyone could help me until I read your article."
A few months earlier, the town was buzzing due to a UFO sighting. Several witnesses including a deputy's wife had posted videos on YouTube. UFO sightings were common in the Pacific Northwest. Belligham PD fielded a dozen or so every year. The locals chalked it up to secret test craft from Boeing's mad scientists or some black ops military project. Both Boeing and the Air Force denied any involvement in the UFO incident. I didn't think anything of the story. It was one of 14 articles I filed that week. When she initially read it, she jotted down my phone number but she waited two months to finally call me.
Sometimes when you interview someone, you're not a reporter and more like a dentist and you're pulling teeth and it's a painful process in order to extract any pertinent information. Other times you can't get the person to shut up and they ramble on and on and on and they think they're providing you with tons of juicy intel, but the downside is that most of it is hot air. Every once in a while, you hit the jackpot and come across someone in which everything they say is valuable. Out first meeting at McD's was just that. She asked that I do not record her and even asked to see my pockets to make sure I was not hiding any devices. She was uncomfortable when I started taking notes with pen and pad. I apologized and listened, nut took mental notes.
She was obviously distressed and needed help. I sat and focused on every word and every sentence. I was doing everything possible to divulge the truth and watched her body movement attentively, almost like a poker player, trying to gauge any hidden emotions. She was telling me two stories. One with words and another with her non-verbal communication. She could twist the truth with words, but it was harder to hide her body language. Her hands tensed up when she spoke about the sleepless nights. She tapped her nails on the table in successions of threes whenever she shared details on her constantly being followed. A vein on the left side of her neck bulged when she spoke about detectives unwilling to assist her.
Sometimes hurt people just want someone to talk to. But she didn't want someone to just listen. She wanted someone who could help her. I couldn't tell if I should be contacting a Native American shaman, a Hollywood script writer, or a local shrink.
Los Angeles, CA
She was 43 years old when she first contacted me. I worked at a small-time newspaper in Bellingham. The editor printed my phone number at the end of my column. That's how she got my number.
"Can we meet... in person? I don't like... talking... talking... over the phone.... like this... it's not good. We must meet."
The way she said it made it sound like she was pleading for her life.
"You know the Horseshoe? It's a coffeeshop around the corner from the newspaper."
"No. I don't want to do this in town."
She picked a random McDonald's twenty or so miles outside of Bellingham. I met her around 9pm. With the exception of a trio of high schoolers stoner kids goofing off in the corner, we were the only ones inside.
She looked like one of those anti-drug ads for meth heads and they show a before/after picture of a once beautiful woman who was afflicted by drug abuse. Well, she looked like the after photo. Worn down. Gaunt. Thick, perpetual dark circles around both her eyes. Long, stringy hair. She reeked of cigarettes and the faint aroma of wine. She drank McD's industrial black coffee with several sugars. She eyed a couple of shriveled up fries on my tray. It wasn't like the same goofy look your dog gave you when he wanted your food scraps. She was locked in on the fries to avoid eye contact with me.
"I told this story to different people," she said. "No one wanted to help me. No one in my family believed me. My friends stopped talking to me because they thought I was crazy. My husband insisted I see a shrink or he'd leave me. The drugs didn't work. Made me crazier. I kept seeing more shadow people. It was only worse. The doctor and my husband were conspiring to keep me drugged up. Whatever the doctor gave me was too strong. I begged him to lower the dosage. He wouldn't. I stopped taking the meds and left. That was last summer."
Her accent was British, but she said she lived in Canada for most of her adult life before getting married and moving to Seattle. After she left her husband, she lived in a cabin outside of Bellingham.
"It's been frustrating. I didn't think anyone could help me until I read your article."
A few months earlier, the town was buzzing due to a UFO sighting. Several witnesses including a deputy's wife had posted videos on YouTube. UFO sightings were common in the Pacific Northwest. Belligham PD fielded a dozen or so every year. The locals chalked it up to secret test craft from Boeing's mad scientists or some black ops military project. Both Boeing and the Air Force denied any involvement in the UFO incident. I didn't think anything of the story. It was one of 14 articles I filed that week. When she initially read it, she jotted down my phone number but she waited two months to finally call me.
Sometimes when you interview someone, you're not a reporter and more like a dentist and you're pulling teeth and it's a painful process in order to extract any pertinent information. Other times you can't get the person to shut up and they ramble on and on and on and they think they're providing you with tons of juicy intel, but the downside is that most of it is hot air. Every once in a while, you hit the jackpot and come across someone in which everything they say is valuable. Out first meeting at McD's was just that. She asked that I do not record her and even asked to see my pockets to make sure I was not hiding any devices. She was uncomfortable when I started taking notes with pen and pad. I apologized and listened, nut took mental notes.
She was obviously distressed and needed help. I sat and focused on every word and every sentence. I was doing everything possible to divulge the truth and watched her body movement attentively, almost like a poker player, trying to gauge any hidden emotions. She was telling me two stories. One with words and another with her non-verbal communication. She could twist the truth with words, but it was harder to hide her body language. Her hands tensed up when she spoke about the sleepless nights. She tapped her nails on the table in successions of threes whenever she shared details on her constantly being followed. A vein on the left side of her neck bulged when she spoke about detectives unwilling to assist her.
Sometimes hurt people just want someone to talk to. But she didn't want someone to just listen. She wanted someone who could help her. I couldn't tell if I should be contacting a Native American shaman, a Hollywood script writer, or a local shrink.
Saturday, February 16, 2013
The Trumpet Under Aunt Mary Mae's Bed (Fiction)
By Pauly
Los Angeles, CA
1958. Louis needed to find a new drummer. He made a list with a pencil and scribbled down four names. He walked down to the bar, ordered a beer from Jimmy, scooped up changed, and retreated to the bank of phones. Dexter was his first call.
Sid emerged from a month-long bender. He was more gaunt than usual. Leathery rings swirled around his sunken sockets, but his attentive eyes were swimming in eagerness. Sid begged to book studio time. Louis advanced Sid at least three albums worth of money, which he blew paying off debts to other musicians. Louis didn't care about that. He was happy for a chance to get a full day of recording, maybe even two? He didn't want to push his luck.
Sid materialized. Out of thin air. The last anyone saw him was a sweltering Indian summer night in September. Then he vanished. Melted into the shadows. Gone. Months. Months. Months. Louis hoped Sid would stick around long enough to scratch together material for an album. If it was halfway decent and 5% as good as his stuff from 51-52, then Louis would more than make his money back and then some.
Sid showed up with four feverish compositions. He had to have Philly Joe on drums for the session. But in doing so, Philly Joe would have to miss a gig at the new club in Jersey. Everyone knew the mafia owned that club in Hoboken. It was going to be packed with mafia types and their girlfriends. Louis didn't wanted to piss off the owner when they found out that his record label stole their star drummer. It really should not had been Louis' responsibility per se. Sid should have shouldered the burden to find a replacement but he pushed off the task onto Louis.
The tiniest things sent temperamental Sid into a fury and he'd fight with the engineer or storm out of the studio and that would be that. Louis struggled to get Sid to sit down and record over the last two years. Anything. Even if he was playing Egyptian scales and farting. At least it would be something. But dealing with Sid was like juggling flaming swords while standing on eggshells with a hot poker shoved up your ass.
Their disastrous last session was typical Sid. It should have been a single afternoon, but it was stretched out over five painful days. Something always got fucked up. On Monday, a lazy bass player got fired on the spot for fumbling the chorus... Tuesday, a strung out sax player passed out in the toilet and caused a ruckus with the janitor... Wednesday, one of Sid's crazy ex-girlfriend showing up at the studio with a dagger... Thursday, everything was finally on track before Sid made them do a seventh take, which irked the drummer who was late for a gig. Sid stormed out of the studio... Friday, everyone showed up... except Sid.
Critics said he was washed up. Club owners said he was an unreliable druggie. Dealers said he burned them for hundreds of dollars. His peers thought Sid was mediocre, at best, as a trumpeter, but he was a stunning composer. Ahead of his time. Canonball called him a jigsaw puzzle with all the outside pieces missing. Every time he self-medicated, another piece of his puzzle eroded.
Sid poached Philly Joe from Dexter's band. It's a jazz taboo to steal another bandleader's players without talking to the head honcho first. Sid never bothered to call Dexter. That was his first infraction. He did even have the decency to find a replacement, or at the least, recommend someone competent for the job. That was his second infraction. Sid always did things his way, which is why he butted heads with almost everyone in the music biz on the island of Manhattan from the tip of Inwood all the way down to Chinatown.
Instead of Sid doing the right thing by calling around to find a new drummer for Dex, he told him tough shit.
"Fuck that junkie cat in the ear."
Louis knew Dexter pretty well when Dexter recorded a few sessions with Daddy Long Legs Sims. Dexter was an easy-going guy and would be angry for a day or so, but he'd get over it. Bands get raided all the time by ruthless club owners and other desperate band leaders. Louis' biggest concern was the Sid's cavalier attitude toward the mafia. They were some serious fuckers. Louis' uncle Howie owned a restaurant and a banquet hall in Lodi and the mafia tried to shake him down after the war. At first it was just muscle money, and he reluctantly complied with a monthly pay off. Then they wanted him to open up in the middle of the night for private parties and Salvatore DeBlasio started running an illegal casino in the back room. One night a fight broke out and the hall was destroyed. It looked like a bomb exploded. Tables, chairs, glasses... all shattered and broken. When his Uncle asked them to pay for the damages, Sal DeBlasio's sons beat him with baseball bats. They eventually took over the restaurant and gave his Uncle a stolen watch for his troubles as a retirement present. It probably came off the wrist of a murdered deadbeat dock worker who crossed the union. Louis' uncle checked out of life and became a full-time whino living on the streets. His Uncle kept the watch as a frightening memento. Why? Who knows.
Louis knew better than to piss off the wrong wiseguys, but Sid didn't care. Once Sid disappeared, you wouldn't be able to find him for days... or weeks... or months. Sid knew no one would go into the darkest alleys of city to look for him, which is what bothered Louis the most. At some point during their search, unsavory thugs would show up at Louis' recording studio looking for Sid. Louis didn't want them to smash up thousands of dollars in recording equipment when they couldn't find Sid, so he frantically called around looking to find a replacement drummer for Dexter.
When Sid didn't want to be found, he vanished. Gone. Poof! Melted into the shadows of the worst of the worst flophouses to hang out in East Harlem and the South Bronx, the forgotten alleys of ill repute where no one from the square world wanted to poke around the labyrinths of neglected buildings on the fringe of erstwhile neighborhoods and former bustling thoroughfares teaming with life, but had since fallen upon harder than hard times where ghosted haunted the streets and thieves prowled at nights and where the invisibles disappeared in plain sight.
Sid holed up on 143rd Street. Drunkards shat themselves in that tenement's doorways and you had to step over a minefield of shellacked bums to reach the dilapidated backrooms where working girls yanked, tugged, inserted, and sucked for a few bucks.
During the days, Sid gazed at cracked plaster and squashed the bugs, both real and imagined, with his thumb.
When he ran out of money for junk, Sid sniffed a rag soaked with paint thinner.
He left his trumpet with his Aunt Mary Mae on St. Nicholas Avenue and asked her to hide it, so she stashed it under her bed. Sid didn't trust himself when he was expecting an internal torrential downpour and fierce thunderstorms. He'd get incredibly dope sick and sell his instruments if he had to which is why he left them in safe keeping with his aunt. She had explicit instructions to give him back the trumpet at a gig or recording session.
Sid once made the mistake of bringing his horn with him during a bender. He thought he concealed it in a brown paper bag, but he nodded out and when he woke up from his junk-induced dream, it was gone. The bag was left behind, but the trumpet had vanished. It was like losing a family member. Or a limb. Sid cried and cried and cried. Like Ahab in search of the white whale, Sid scoured every pawn shop in the city. He never found that stolen horn. It was gone forever. He stopped the search. Chalked it up to another bad decision in life.
Sid told his bad beat story to Louis, and Louis made a warm gesture and advanced Sid some money so he could buy a new one. That was three years earlier. Sid made a vow: never again would he lose his horn during the nods. Sid made sure he left the trumpet with his Aunt Mary Mae. Safe keeping. It sat idle under her bed for almost nine months.
When Sid didn't have his trumpet, he'd close his eyes and play the notes in his head. If it was nighttime, he'd just stare off into the darkness and start playing. It was silent, save for the ambient noises of the local blight. Inside his head, Sid could hear echoes and echos of notes. Bah. Bu. Bah. Bu. Blat. Bah. Burhd. Bah. Bu. Blat. Buh. Burhd. Bah. Bu. Blat. During these trances, Sid must've run through thousands of imaginary recording sessions and thousands of gigs. He heard hundreds of versions of his new compositions tested out with dozens of musicians. He played the solos over and over and over until he got it right. He played over and over until everyone in his mind's jazz club nailed it.
Even completely strung out and dope sick, Sid figured out the perfect ensemble for each song. He settled on four tracks he wanted to record, sort of Vivaldi's Four Seasons in reverse. Instead of titling each track after a season, he wanted to call it a specific month. January. April. August. November. Sid wanted four sets of musicians for each track. A quintet for the first song, November. A quartet for the second, August. A sextet for the third, April. And a quartet for the fourth, January. He only had one or two drummers in mind. Philly Joe was one. Three of the songs couldn't work unless he had Philly Joe. He'd settle for Clarence Brown on the fourth tune, January. Maybe Clarence could mesh on April, but his Latin-style was ideal for a specific section on January. The other three were too complex for Clarence to handle. He was still a kid. Didn't have enough living in his belly. Only Philly Joe understood. Philly Joe lived hard and fast. He knew how to conjure up the melodies in his head the same way Sid enticed the notes to magically appear as floating swirls of color and wispy trails of dancing smoke.
Los Angeles, CA
1958. Louis needed to find a new drummer. He made a list with a pencil and scribbled down four names. He walked down to the bar, ordered a beer from Jimmy, scooped up changed, and retreated to the bank of phones. Dexter was his first call.
Sid emerged from a month-long bender. He was more gaunt than usual. Leathery rings swirled around his sunken sockets, but his attentive eyes were swimming in eagerness. Sid begged to book studio time. Louis advanced Sid at least three albums worth of money, which he blew paying off debts to other musicians. Louis didn't care about that. He was happy for a chance to get a full day of recording, maybe even two? He didn't want to push his luck.
Sid materialized. Out of thin air. The last anyone saw him was a sweltering Indian summer night in September. Then he vanished. Melted into the shadows. Gone. Months. Months. Months. Louis hoped Sid would stick around long enough to scratch together material for an album. If it was halfway decent and 5% as good as his stuff from 51-52, then Louis would more than make his money back and then some.
Sid showed up with four feverish compositions. He had to have Philly Joe on drums for the session. But in doing so, Philly Joe would have to miss a gig at the new club in Jersey. Everyone knew the mafia owned that club in Hoboken. It was going to be packed with mafia types and their girlfriends. Louis didn't wanted to piss off the owner when they found out that his record label stole their star drummer. It really should not had been Louis' responsibility per se. Sid should have shouldered the burden to find a replacement but he pushed off the task onto Louis.
The tiniest things sent temperamental Sid into a fury and he'd fight with the engineer or storm out of the studio and that would be that. Louis struggled to get Sid to sit down and record over the last two years. Anything. Even if he was playing Egyptian scales and farting. At least it would be something. But dealing with Sid was like juggling flaming swords while standing on eggshells with a hot poker shoved up your ass.
Their disastrous last session was typical Sid. It should have been a single afternoon, but it was stretched out over five painful days. Something always got fucked up. On Monday, a lazy bass player got fired on the spot for fumbling the chorus... Tuesday, a strung out sax player passed out in the toilet and caused a ruckus with the janitor... Wednesday, one of Sid's crazy ex-girlfriend showing up at the studio with a dagger... Thursday, everything was finally on track before Sid made them do a seventh take, which irked the drummer who was late for a gig. Sid stormed out of the studio... Friday, everyone showed up... except Sid.
Critics said he was washed up. Club owners said he was an unreliable druggie. Dealers said he burned them for hundreds of dollars. His peers thought Sid was mediocre, at best, as a trumpeter, but he was a stunning composer. Ahead of his time. Canonball called him a jigsaw puzzle with all the outside pieces missing. Every time he self-medicated, another piece of his puzzle eroded.
Sid poached Philly Joe from Dexter's band. It's a jazz taboo to steal another bandleader's players without talking to the head honcho first. Sid never bothered to call Dexter. That was his first infraction. He did even have the decency to find a replacement, or at the least, recommend someone competent for the job. That was his second infraction. Sid always did things his way, which is why he butted heads with almost everyone in the music biz on the island of Manhattan from the tip of Inwood all the way down to Chinatown.
Instead of Sid doing the right thing by calling around to find a new drummer for Dex, he told him tough shit.
"Fuck that junkie cat in the ear."
Louis knew Dexter pretty well when Dexter recorded a few sessions with Daddy Long Legs Sims. Dexter was an easy-going guy and would be angry for a day or so, but he'd get over it. Bands get raided all the time by ruthless club owners and other desperate band leaders. Louis' biggest concern was the Sid's cavalier attitude toward the mafia. They were some serious fuckers. Louis' uncle Howie owned a restaurant and a banquet hall in Lodi and the mafia tried to shake him down after the war. At first it was just muscle money, and he reluctantly complied with a monthly pay off. Then they wanted him to open up in the middle of the night for private parties and Salvatore DeBlasio started running an illegal casino in the back room. One night a fight broke out and the hall was destroyed. It looked like a bomb exploded. Tables, chairs, glasses... all shattered and broken. When his Uncle asked them to pay for the damages, Sal DeBlasio's sons beat him with baseball bats. They eventually took over the restaurant and gave his Uncle a stolen watch for his troubles as a retirement present. It probably came off the wrist of a murdered deadbeat dock worker who crossed the union. Louis' uncle checked out of life and became a full-time whino living on the streets. His Uncle kept the watch as a frightening memento. Why? Who knows.
Louis knew better than to piss off the wrong wiseguys, but Sid didn't care. Once Sid disappeared, you wouldn't be able to find him for days... or weeks... or months. Sid knew no one would go into the darkest alleys of city to look for him, which is what bothered Louis the most. At some point during their search, unsavory thugs would show up at Louis' recording studio looking for Sid. Louis didn't want them to smash up thousands of dollars in recording equipment when they couldn't find Sid, so he frantically called around looking to find a replacement drummer for Dexter.
When Sid didn't want to be found, he vanished. Gone. Poof! Melted into the shadows of the worst of the worst flophouses to hang out in East Harlem and the South Bronx, the forgotten alleys of ill repute where no one from the square world wanted to poke around the labyrinths of neglected buildings on the fringe of erstwhile neighborhoods and former bustling thoroughfares teaming with life, but had since fallen upon harder than hard times where ghosted haunted the streets and thieves prowled at nights and where the invisibles disappeared in plain sight.
Sid holed up on 143rd Street. Drunkards shat themselves in that tenement's doorways and you had to step over a minefield of shellacked bums to reach the dilapidated backrooms where working girls yanked, tugged, inserted, and sucked for a few bucks.
During the days, Sid gazed at cracked plaster and squashed the bugs, both real and imagined, with his thumb.
When he ran out of money for junk, Sid sniffed a rag soaked with paint thinner.
He left his trumpet with his Aunt Mary Mae on St. Nicholas Avenue and asked her to hide it, so she stashed it under her bed. Sid didn't trust himself when he was expecting an internal torrential downpour and fierce thunderstorms. He'd get incredibly dope sick and sell his instruments if he had to which is why he left them in safe keeping with his aunt. She had explicit instructions to give him back the trumpet at a gig or recording session.
Sid once made the mistake of bringing his horn with him during a bender. He thought he concealed it in a brown paper bag, but he nodded out and when he woke up from his junk-induced dream, it was gone. The bag was left behind, but the trumpet had vanished. It was like losing a family member. Or a limb. Sid cried and cried and cried. Like Ahab in search of the white whale, Sid scoured every pawn shop in the city. He never found that stolen horn. It was gone forever. He stopped the search. Chalked it up to another bad decision in life.
Sid told his bad beat story to Louis, and Louis made a warm gesture and advanced Sid some money so he could buy a new one. That was three years earlier. Sid made a vow: never again would he lose his horn during the nods. Sid made sure he left the trumpet with his Aunt Mary Mae. Safe keeping. It sat idle under her bed for almost nine months.
When Sid didn't have his trumpet, he'd close his eyes and play the notes in his head. If it was nighttime, he'd just stare off into the darkness and start playing. It was silent, save for the ambient noises of the local blight. Inside his head, Sid could hear echoes and echos of notes. Bah. Bu. Bah. Bu. Blat. Bah. Burhd. Bah. Bu. Blat. Buh. Burhd. Bah. Bu. Blat. During these trances, Sid must've run through thousands of imaginary recording sessions and thousands of gigs. He heard hundreds of versions of his new compositions tested out with dozens of musicians. He played the solos over and over and over until he got it right. He played over and over until everyone in his mind's jazz club nailed it.
Even completely strung out and dope sick, Sid figured out the perfect ensemble for each song. He settled on four tracks he wanted to record, sort of Vivaldi's Four Seasons in reverse. Instead of titling each track after a season, he wanted to call it a specific month. January. April. August. November. Sid wanted four sets of musicians for each track. A quintet for the first song, November. A quartet for the second, August. A sextet for the third, April. And a quartet for the fourth, January. He only had one or two drummers in mind. Philly Joe was one. Three of the songs couldn't work unless he had Philly Joe. He'd settle for Clarence Brown on the fourth tune, January. Maybe Clarence could mesh on April, but his Latin-style was ideal for a specific section on January. The other three were too complex for Clarence to handle. He was still a kid. Didn't have enough living in his belly. Only Philly Joe understood. Philly Joe lived hard and fast. He knew how to conjure up the melodies in his head the same way Sid enticed the notes to magically appear as floating swirls of color and wispy trails of dancing smoke.
Thursday, February 07, 2013
Freddy Bones (Fiction)
By Pauly
Los Angeles, CA
1953. Leo's coffee shop on the corner of Ninth Avenue stayed open late. Every night. Leo's catered to working musicians, surly teamsters, and the occasional stray drunk who sipped scalding black coffee in a futile attempt to sober up. The last of the union guys left around Midnight after the theatres shut down for the night, but musicians trickled in at all hours. They walked down from Sixth Avenue and popped in during an extended break in between sets at the Three Deuces or Onyx. A final wave of musicians came in around 2:30am when they were officially done gigging for the night. They often hung out around the corner and dragged joints mixed with tobacco and reefer before going inside Leo's.
Leo, the original owner, had passed a few years earlier and his son Mario took over. Mario felt honored to feed the best musical minds in the city. Mario got hooked on the good shit when he was in the Army. Jazz was the popular music of the day during WWII, but all the Swing Era stuff like Count Basie and Duke Ellington was watered-down ear candy for the masses. Mario sought out the edgy and hipper material like anything from Gene Krupa. When Mario was stationed in England, the black soldiers on the kitchen staff had a small collection of records. They turned him onto "Bird", an unknown Kansas City musician named Charlie Parker. Mario got an introduction to bebop and was hooked for life. After the war, Mario returned to NYC and worked in his father's coffee shop. Within a few years, West 52nd Street would become the epicenter of the (downtown) Jazz world and Mario's family business was only five minutes away.
Mario was sympathetic toward the working musicians. Most of them were perpetually broke, which didn't help because crooked club owners constantly screwed them out of a fair wage. A lot of them ate on credit. All they had to do was flash their union card and they got set up. The broke guys without credit had to wait until the end of the night to get paid for their gig and they went directly to coffee shop to chow down. For the saddest bunch of them, that late night feeding of steak and eggs was their first meal of the day. They played three or four sets utterly famished and hoped their growling stomachs did not drown out their horns. A few musicians ran up ridiculous tabs, but Mario was not vigilant in getting paid back. He felt it was his contribution to the arts and he happily fed starving artists.
Mario only got pissed off with Bird, but then again, Bird pissed off everyone at some point. Bird ran up a $33 tab (coffee and donuts mostly, but Bird loved fried liver and onions too) and had broken the heart of Mario's cousin Maria. She was one of the best waitresses at Leo's and she fell hard and fast for Bird. Maria was way down the list of Bird's priorities, something she discovered too late.
Bird had an unwavering loyalty for two things: smack and music. Most of the time, the smack was got the top-billing. Finding his fix was the main priority. He tried to make music #1, but if he was too sick to play, then it made sense to get well first before he could play again. He couldn't earn money for junk unless he played, but he couldn't play unless he wasn't dope sick. And if he couldn't cop any dope, he'd get shitfaced on whiskey. It was a nasty cycle. The club owners should have just paid Bird in heroin and cut out the middle men uptown.
Bird ran up tabs all over Harlem and midtown. The owner of M & G's chicken shack up on St. Nicholas' Avenue had a legendary dispute with Bird. Not only did Bird run up a tab (twice as much as his one at Leo's), but Bird also slept with the owner's wife. He tried to stab Bird and almost got away with it before he was tackled by a couple of cooks. Bird shrugged off the assassination attempt and joked, "Looks like I won't be eating fried chicken anymore. I needed to go on a diet anyway."
Sometimes Freddy "Snooze" Bones hung out at Leo's. The legendary bass player from South Philly grew up with Coltrane and they played in the Navy band for a stint. Freddy Bones told the funniest stories and he'd always have a group of five or six young musicians crowded around as he spun tales about being on the road with Dizzy, or jamming with Coltrane, or getting robbed at a brothel in East St. Louis.
Freddy Bones had a nasty junk habit and he'd often nod out in mid-sentence. Someone would have to kick him in the shin, and he'd shake his head and pick up where the conversation left off. He'd snooze in mid-conversation which is how Freddy Bones got the nickname... Freddy Snooze. Bones wasn't even his real name. Neither was Freddy. He was born Clarence Fredricks, but a clerical error with the Navy meant he became Seaman Fredricks Clarence. Everyone in the Navy called him Freddy and he as skinny as a skeleton and the original "Bones" moniker stuck. After he developed his $15/day heroin habit, he because "Freddy Snooze" or "Snooze Bones." No one was bold enough to call him "Snooze" to his face, but it was such a common occurrence that everyone eventually had a Freddy Snooze story about him nodding out at the strangest places.
Freddy Bones almost died when he nodded out while smoking a cigarette and it slipped out of his fingertips. The thick smoke woke him out of his deep nod. He was able to put the smolder mattress out before his entire room caught fire. You woulda thunk that incident woulda encourage Freddy Bones to quit, but it had the opposite effect. That wasn't the first time he nodded out in bed while smoking. Freddy Bones felt untouchable for several reasons: 1) he must've avoided four or five other potential bed burnings, 2) his ship in the Pacific survived WWII without a scratch (narrowly avoiding two kamikaze attempts), and 3) a pimp once tried to shoot him at point-blank range and fired five shots, but four missed and the fifth grazed Freddy Bones' shoulder and he was left with a minor flesh wound. He liked to show the scar to anyone who asked.
Whenever Freddy Bones was broke or the dealers on Lenox Avenue were out of supplies, he resorted to Seconals or other heavy sleeping pills. He washed them down with whiskey and tried to sleep for a couple of days while his body went through a tumultuous storm of detox. He stayed in bed and fought back the unpredictable flashes of hot sweats and teeth-chattering chills. He only got up to take more Seconals and hopelessly waited for a new package to arrive. He waited. And waited. And waited. When he got that knock on the door, he'd jump out of bed to get his medicine. It was a ferocious monkey on his back, but it gave him the strength of fourteen stampeding horses.
The initial shot made Freddy Bones feel normal again. The flu-like symptoms magically dissipated for the first time in days. The second shot was an impenetrable cocoon that protected him from the slings and arrows of the outside world. With an outer shell in place, Freddy picked up his bass and hopped on the downtown subway. After being out of commission for a couple of days, he needed to get back to work. Like so many hep cats hooked on junk, if he didn't play then he got gravely ill and puked and shat himself. Freddy Bones played every night for his fix. The rabid monkey welded to his back needed to be fed every couple of hours.
Los Angeles, CA
1953. Leo's coffee shop on the corner of Ninth Avenue stayed open late. Every night. Leo's catered to working musicians, surly teamsters, and the occasional stray drunk who sipped scalding black coffee in a futile attempt to sober up. The last of the union guys left around Midnight after the theatres shut down for the night, but musicians trickled in at all hours. They walked down from Sixth Avenue and popped in during an extended break in between sets at the Three Deuces or Onyx. A final wave of musicians came in around 2:30am when they were officially done gigging for the night. They often hung out around the corner and dragged joints mixed with tobacco and reefer before going inside Leo's.
Leo, the original owner, had passed a few years earlier and his son Mario took over. Mario felt honored to feed the best musical minds in the city. Mario got hooked on the good shit when he was in the Army. Jazz was the popular music of the day during WWII, but all the Swing Era stuff like Count Basie and Duke Ellington was watered-down ear candy for the masses. Mario sought out the edgy and hipper material like anything from Gene Krupa. When Mario was stationed in England, the black soldiers on the kitchen staff had a small collection of records. They turned him onto "Bird", an unknown Kansas City musician named Charlie Parker. Mario got an introduction to bebop and was hooked for life. After the war, Mario returned to NYC and worked in his father's coffee shop. Within a few years, West 52nd Street would become the epicenter of the (downtown) Jazz world and Mario's family business was only five minutes away.
Mario was sympathetic toward the working musicians. Most of them were perpetually broke, which didn't help because crooked club owners constantly screwed them out of a fair wage. A lot of them ate on credit. All they had to do was flash their union card and they got set up. The broke guys without credit had to wait until the end of the night to get paid for their gig and they went directly to coffee shop to chow down. For the saddest bunch of them, that late night feeding of steak and eggs was their first meal of the day. They played three or four sets utterly famished and hoped their growling stomachs did not drown out their horns. A few musicians ran up ridiculous tabs, but Mario was not vigilant in getting paid back. He felt it was his contribution to the arts and he happily fed starving artists.
Mario only got pissed off with Bird, but then again, Bird pissed off everyone at some point. Bird ran up a $33 tab (coffee and donuts mostly, but Bird loved fried liver and onions too) and had broken the heart of Mario's cousin Maria. She was one of the best waitresses at Leo's and she fell hard and fast for Bird. Maria was way down the list of Bird's priorities, something she discovered too late.
Bird had an unwavering loyalty for two things: smack and music. Most of the time, the smack was got the top-billing. Finding his fix was the main priority. He tried to make music #1, but if he was too sick to play, then it made sense to get well first before he could play again. He couldn't earn money for junk unless he played, but he couldn't play unless he wasn't dope sick. And if he couldn't cop any dope, he'd get shitfaced on whiskey. It was a nasty cycle. The club owners should have just paid Bird in heroin and cut out the middle men uptown.
Bird ran up tabs all over Harlem and midtown. The owner of M & G's chicken shack up on St. Nicholas' Avenue had a legendary dispute with Bird. Not only did Bird run up a tab (twice as much as his one at Leo's), but Bird also slept with the owner's wife. He tried to stab Bird and almost got away with it before he was tackled by a couple of cooks. Bird shrugged off the assassination attempt and joked, "Looks like I won't be eating fried chicken anymore. I needed to go on a diet anyway."
Sometimes Freddy "Snooze" Bones hung out at Leo's. The legendary bass player from South Philly grew up with Coltrane and they played in the Navy band for a stint. Freddy Bones told the funniest stories and he'd always have a group of five or six young musicians crowded around as he spun tales about being on the road with Dizzy, or jamming with Coltrane, or getting robbed at a brothel in East St. Louis.
Freddy Bones had a nasty junk habit and he'd often nod out in mid-sentence. Someone would have to kick him in the shin, and he'd shake his head and pick up where the conversation left off. He'd snooze in mid-conversation which is how Freddy Bones got the nickname... Freddy Snooze. Bones wasn't even his real name. Neither was Freddy. He was born Clarence Fredricks, but a clerical error with the Navy meant he became Seaman Fredricks Clarence. Everyone in the Navy called him Freddy and he as skinny as a skeleton and the original "Bones" moniker stuck. After he developed his $15/day heroin habit, he because "Freddy Snooze" or "Snooze Bones." No one was bold enough to call him "Snooze" to his face, but it was such a common occurrence that everyone eventually had a Freddy Snooze story about him nodding out at the strangest places.
Freddy Bones almost died when he nodded out while smoking a cigarette and it slipped out of his fingertips. The thick smoke woke him out of his deep nod. He was able to put the smolder mattress out before his entire room caught fire. You woulda thunk that incident woulda encourage Freddy Bones to quit, but it had the opposite effect. That wasn't the first time he nodded out in bed while smoking. Freddy Bones felt untouchable for several reasons: 1) he must've avoided four or five other potential bed burnings, 2) his ship in the Pacific survived WWII without a scratch (narrowly avoiding two kamikaze attempts), and 3) a pimp once tried to shoot him at point-blank range and fired five shots, but four missed and the fifth grazed Freddy Bones' shoulder and he was left with a minor flesh wound. He liked to show the scar to anyone who asked.
Whenever Freddy Bones was broke or the dealers on Lenox Avenue were out of supplies, he resorted to Seconals or other heavy sleeping pills. He washed them down with whiskey and tried to sleep for a couple of days while his body went through a tumultuous storm of detox. He stayed in bed and fought back the unpredictable flashes of hot sweats and teeth-chattering chills. He only got up to take more Seconals and hopelessly waited for a new package to arrive. He waited. And waited. And waited. When he got that knock on the door, he'd jump out of bed to get his medicine. It was a ferocious monkey on his back, but it gave him the strength of fourteen stampeding horses.
The initial shot made Freddy Bones feel normal again. The flu-like symptoms magically dissipated for the first time in days. The second shot was an impenetrable cocoon that protected him from the slings and arrows of the outside world. With an outer shell in place, Freddy picked up his bass and hopped on the downtown subway. After being out of commission for a couple of days, he needed to get back to work. Like so many hep cats hooked on junk, if he didn't play then he got gravely ill and puked and shat himself. Freddy Bones played every night for his fix. The rabid monkey welded to his back needed to be fed every couple of hours.
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