Skip to content

Self Wiring

Among the numerous theories relating to how we come to be who we are is the deceptively simplistic idea that it “all comes down to wiring.” There’s something undeniably satisfying about this approach, as susceptible as it might be to picking apart. Advocates of genetic influence would likely weigh in with support, but it’s difficult to form a sound argument that excludes environment. The same event that causes our circuitry to go haywire becomes no big deal with repeated exposure. Sense of self isn’t an exclusively western concept, but it takes on a different connotation among cultures stressing the importance of the group over the individual. No matter how you look at it, individual wiring exerts irrefutable influence.

“Man On Wire”, a documentary film currently in theaters, details the story of frenchman Philippe Petit’s 1974 high-wire walk between the Twin Towers of the World Trade Center. The idea of this daredevil act consumed Petit from the time he was seventeen and saw a magazine image of the yet to be constructed towers while waiting in a dentist’s office in France. This singular, crystallized dream defined his focus in the coming years and seemed to define him still, more than thirty years after accomplishing the feat. The act itself could be argued selfish, and watching the guy ramble on in excited broken English with a heavy french accent doesn’t embody my idea of a good time. But there is something undeniably spectacular, beautiful even, in what he accomplished. And taken in a metaphorical sense, the act is particularly moving. There’s a moment in the film when one of his accomplices, another french guy who helped rig the wire, is reflecting stoically on the day it all went down. Then, seemingly out of the blue, he breaks down sobbing. Another nice moment comes when Petit speaks of the hesitation in his first step on to the wire, and how all those years of planning came down to this single initiating act. There’s a still shot of him a few steps later, suspended more than thirteen hundred feet above New York City with a look of absolute joy on his face. Here was a man who knew his own wiring so well that he literally needed only the first step in even the most precarious and terrifying of circumstances to feel on solid ground.

08.08.08

I’m in Mazzone’s True Value hardware store buying a quarter-inch pressurized cap for the water line that used to go in to my old refrigerator’s ice maker. I’m fairly pleased with this fifty cent purchase – it’s early in the day and I’m under the illusion that I’ve taken care of another problem. But I should be more cognizant of the signals around me, including the big kid with the square head, board shorts and oversized Jets jersey, asking the Mazzone employee in all earnestness if they sell machetes. I tell myself it’s none of my business, and that he’s likely confusing it with some sort of gardening implement. Heading toward home, I take particular note of the various Virgin Mary front yard displays in this South Brooklyn neighborhood. These multi story brownstones are all pushing two million (and higher) despite a supposedly slumping market, but some folks still aren’t selling and a little gentrification isn’t going to prevent the Holy Mother from getting her props.

Back at the digs I attach the cap to the copper water line and turn the cold water back on, anticipating pushing my new fridge in place and admiring a job well done. But it doesn’t form a seal and there’s a touch of dampness on the side of the copper. So I’m off again to the discount store a few blocks up, to procure some threaded plumber’s tape. Another one dollar purchase – I’m up to a buck fifty now, but am getting some exercise in the process. Never mind the panicking girl running with hands over mouth from behind the register, crying that her wallet’s been lifted. I’m willing to turn my pockets out in proof of innocence if it means getting home and forming a tight seal on my old freezer line. I pick up a few bottles of Gatorade at the shady bodega on the corner, planning on putting the cooling powers of my new appliance to the test. An hour later I’ve gone through both bottles and the entire roll of plumber’s tape, and of course the leak is even worse. Sweating though my third t-shirt of the day, I get the inspired idea to disconnect the line entirely from under the sink, and cap it there. Ten minutes later I’m again soaked, this time a result of the water spraying in all directions. I’ve gone from a passably damp quarter inch copper pipe to a tapped Harlem fire hydrant in full summer glory. I shut off the cold water, bite the bullet, and reach for my phone.

I don’t know any plumbers in the area, but after a few calls I settle on a firm called “Einstein’s” – an unlikely name for the trade, but there’s something reassuring about the girl’s voice on the other end of the line. I tell her that it’s a straight forward job and shouldn’t take more than ten minutes, and she explains that it’s seventy-nine dollars for a service call and estimate. The guy arrives promptly and when I ask him if he’s Einstein he offers the appropriate response in a thick Brooklyn accent. “If I was, would I be doin’ this job?” We’re off and running. I explain that I’ve bought a new refrigerator and had trouble trying to cap the water line that went to the old unit’s ice maker. He looks under the sink, tells me it’s no problem, and then, with a straight face says “what it’s gonna be is two hundred and eighty-nine.” I tell him he’s got to be kidding, and he offers a slight grin and some form of explanation relating to escalating costs. What can I do? If I send him away I’m out eighty bucks and back where I started. I tell him that it’s almost as much as I paid for the new refrigerator and he suggests that I “shoulda got one with an ice maker.” Fifteen minutes later all is in fine working order, except my credit card, which has been swiped to the tune of three hundred and change.

Later in the evening I’m enjoying some hand-made ice, watching sheet lightning flash between the thick clouds over Jersey. Again with the weather – it seems like I never stop with this. But the entire area’s like some electrical appliance that gets plugged in come June and stays charged through early September. Sometimes it’s a better idea to let the water run.

Drowned


It’s halfway through July, the high point of summer, and a run of ninety degree days has given way to mid eighties temperatures and the threat of heavy rain. I’ve noted it before – New York weather lends itself to the city and possesses weight, distinction and authority. When the sky makes up its mind to do something, it does it. I hang on to this notion as I descend the stairs at the Carroll Street subway station to flag a Manhattan-bound F. These charcoal skies and ominous, disruptive clouds aren’t just hanging around for their health. Nobody shows up to this city without some idea of putting what they’ve got on the table. But for now, they’re just making me sweat.

The temperature seems to bump a degree every two steps down for the turnstile. This counters my memories of the basement being the coolest place in the house. There’s nowhere so oppressively suffocating as a New York City subway platform on a hot summer day. Add to this an impregnated barometer and the impending sense that something, somewhere has to give, and you’ve got a recipe for major league perspiration. Not that I have a problem with sweat. I accepted it long ago as the sign of a healthy system balancing its internal thermometer and ridding itself of impurities. I’ve also accepted my own sweat rhythms; the way I’ll typically drip like a maniac immediately post-shower, soak my clothes through, then dry out nicely an hour later in the complimentary chill of subway car AC or the relief of a breezy Manhattan street corner. Deodorant is a must and part of the unwritten social contract, but antiperspirant is a futile gesture, a band-aid on Hoover Dam. It may work for the elegant post-debutante attempting to guard her silk chiffon from the unsightly damp, but not for me. I wouldn’t trust a guy who wears antiperspirant. People pointed to Nixon’s excessive sweating as evidence of his flawed character, but I think it’s an important indicator of where you stand with someone. Obama’s curiously bone dry dress shirts are still standing between him and my vote.

The drops reach critical mass on my upper back, gravitate toward center, and begin their southern river run toward the lower back and areas less mentionable. I wipe my forehead with an equally sweaty forearm then with the bunched fabric of my small umbrella. The sweat takes on a desperate quality as I strain to look down the rail for signs of an approaching headlight; check the dead air for movement and the glorious stirring of atmosphere just prior to an arriving carriage. And then five minutes later it appears, doors opening to refreshing, refrigerated relief. Say what you will about the trials of the MTA, at least they got this right.

Six hours on it’s dark, humid, and still threatening. I’m above ground in the Great Jones Cafe on the Lower East Side, hunched over a frosty Stella Artois and pulled pork sandwich. The Mets are beating the Phils, the jukebox playing Sly Stone on vinyl 45, and the waitresses scurrying to turn the tables over one last time. Suddenly two of them are at the hinged front door, gazing out in gasped wonder at the New York sky making good on a three day promise. There is no build up or pretense this time, only a crack of thunder like ball hitting bat then sheets of monsoon-quality water drenching the pavement. I throw some cash down and grab my umbrella, determined to put it to good use after toting it around all day. Outside, my bumbershoot proves antiperspirant ineffective; it’s raining so hard that the splash-back from the ground is like an inverse sky drenching. Constant electric-blue flashes dominate above with no gap between lightning and thunder. The storm is literally on top of Manhattan, illuminating walls of concrete like some kind of skyscraper freak show. In seconds I’m drenched.

I arrive home an hour later leaving my soaked clothes and shoes in a pile just inside the front door, the ineffective umbrella a disheveled afterthought and useless cherry on top. I’ve gone from wet to dry to wet again, all within a single day’s rhythm. Changing in to a dry pair of shorts, I set the bedside fan on medium-high, click the reading lamp and open my book. Outside it’s quiet and the rain has stopped.

Some Truths About Baseball

I used to have a love – hate relationship with baseball, but in recent years it’s evolved into an indifferent – somewhat less indifferent relationship. I played as a kid. My brother’s a big fan and the game occupies as much of my dad’s frontal lobe as eating or sleeping. Back in 1987 I attended enough Giants home games to be named an honorary usher. But somewhere along the line I lost interest…not all interest, but the kind that maintains a constant awareness of pitch counts, even when traveling abroad. I didn’t outgrow the sport. I still believe it’s a beautifully constructed game whose imperfections only lend to its appeal. Arguing against inter league play or the designated hitter is as valid a means of putting a bar idiot in his place as any. And I can still get excited about and follow individual players (the Giants’ pitcher Tim Lincecum being a current example.) I just don’t get as pumped up as I once did. But this doesn’t preclude my knowing more about the game than your average fan. As we’ve reached the halfway mark in the 2008 season, perhaps it’s time to share some insight.

You only get to pick one team per lifetime. A lot of so called “fans” seem unclear on this concept. While it’s perfectly acceptable to follow other teams and players and to root for specific teams once your own has failed to reach post season play, you can’t “adopt” another team as your own. Proclaiming a team one’s own is a rite of passage and something that often occurs on an involuntary level. Typically speaking, your father’s team is your team – although this rule isn’t automatic. It’s OK for adolescents to experiment with “other” teams the same way they might drugs or growing a mustache before they’re ready. But at a certain age, typically in your late teens, you must commit. I’ve committed to practically nothing in my life, and yet I still understand this. I am a Giants fan, end of story. You don’t go away to college in San Diego and “become” a Padres fan. Baseball is about suffering, not reinvention.  And it isn’t like marriage or the church; you can neither weasel nor grow out of it. One life, one team. If this is too difficult to grasp, switch sports or become a Buddhist and put your faith in returning next time as a Mets fan.

Guys over thirty-six should not wear jerseys with player’s names in public. I realize that this is going to dash whatever hope a certain segment of the population has for ever achieving an individual sense of style, but something needs to be said. When a kid or younger person wears a player’s jersey in public it says “I really like this player, and while I realize that any aspirations for a professional sports career are likely delusional, I’m still allowed to dream.” This differs from the intoxicated oaf sporting “25 Giambi” on his back, despite enjoying long standing employment with the local pipe fitters union and being ten years Jason’s senior. OK, you’re a fan .. I get it. And you really like Giambi. Your overt exuberance and ability to almost scream his name correctly after twelve beers already suggest this. Let’s leave the dressing up to the kids. My aversion to this breed of fan may have a knee jerk element and be related to Ken Young, a middle aged white guy from the Giants games of my youth. Young sported an impressive boiler, resembled Barney Rubble, and not only wore a jersey, but a full uniform with batting helmet. The batting helmet would have been the capper (completely disallowed unless you’re Clint Howard in “Gung Ho”) had it not been for one other detail: Young also wore Willie Mays’ name and number twenty-four on his back. Mays was the greatest Giant, and possibly the greatest player, to ever put on a uniform. I wouldn’t know where to begin in listing what was wrong with Ken Young assuming his persona. To this day it’s slanted my stance on the civilian jersey wearer.

You weren’t that great a player in your day. Maybe it’s the pastoral mythology or hanging on to the American Dream, but something about baseball breeds delusion. And among the more delusional offshoots of the game none is as inexplicable as the number of guys secretly harboring the idea that they could have played on some sort of competitive level. These fantasies don’t transfer to football and basketball. You don’t find many middle aged guys sizing up Warren Sapp or Kevin Garnett and thinking “if only I’d stuck with it.” Yet something about baseball engenders this Peter Pan reality substitute. Perhaps it’s because there are still professional baseball players who are constructed like somewhat normal human beings. Although this is an increasingly rare phenomenon – I once attended a game in San Francisco and stood by the clubhouse entrance (a perk for season ticket holders with “Field Level” seats.) These are not small boys, not by any standard. On occasion someone like the above mentioned Tim Lincecum comes around who, despite being five foot ten and a buck-seventy, can throw a baseball at close to a hundred miles an hour. These exceptions may be what make baseball great, but they are far from proof that you could have done it. Standing in the box while this guy threw you one hard curve without giving in to the temptation to bail or collapse would be more than any mortal could hope for.

Let’s break it down: looking back on it, there were several categories with which to associate when you were young. There were the guys who didn’t play, the guys who played but sucked, the guys who fell in to that vast middle range, the guys who were good, and the guys who were among the elite three or four best in your high school. Among these select elite, if you went to a large enough school, there might have been one or two who were good enough to play college ball, and maybe one who was good enough to earn a minor league contract. The odds are that even he, the elite of the elite, never played pro ball. Sure, there are exceptions and somebody had to go to high school with Barry Bonds, but someone had an algebra class with Albert Einstein too. As with this rant, it’s time to let it go.

Clint, Spike etc.

One of the better moments in Oscar history came in 1993 when Barbra Streisand stepped to the podium to present the award for best director. The theme for that year’s ceremony was “The Year of the Woman” and Streisand was introduced as the “woman who directed The Prince of Tides.” Before opening the envelope, she said she looked forward to the day when such distinctions (‘woman director’) would not be necessary. And then, tentatively, she read Clint Eastwood’s name. The still formidable sixty-two year old star accepted the award gracefully and with his trademark squint. “Seein’ as it’s the year of the woman and all,” he said, “I’d like to thank some of the gals who worked on the film.” Clint’s film “Unforgiven” also won in the categories of editing, supporting actor, and best picture and, had there been a category for “Most Effective Use of the Word ‘Gal,’ ” he would have taken that too.

I received the Dirty Harry Collector’s Edition box set for my birthday last weekend and watched them in sequence. The original film can’t be properly evaluated without taking the setting and time in to consideration — San Francisco in 1971. Despite its somewhat effete reputation, San Francisco’s roots are in the Gold Rush and Barbary Coast. By ’71 the Summer of Love had taken on a darker incarnation. Speed and pushers usurped grass and dealers. A decidedly un-flowery vibe pervaded the Haight with the return of war-hardened Vietnam vets. The Zodiac killer was the Chronicle’s favorite new pen pal. And in stepped Clint with wrap around Ray Bans, elbow-patched sports jacket and a big gun. A very big gun.

The term “fascist” was bandied about in reference to the first Dirty Harry film, but “unapologetic” might be a better choice. Harry Callahan offered a mythologized version of the American Hero, and one subconsciously embraced by varied persuasions. What some took as a regressed, archaic version of suppressed male fantasy was actually an emerging archetype. Eastwood never had to speak more than a few lines to define a part; his mere presence did the talking. Whether best attributed to luck, timing or talent, it’s hard to deny that the man has possessed vision and star power.

The climax to the original film was shot across the bay from San Francisco, in Marin County. If you freeze the frame in one of the shots of Highway 101, you can make out my parents’ home in the distance, tucked into the dry, summer-brown grass hills of California. Nordstroms had yet to lay claim to valuable Marin real estate and the climactic shoot-out scenes utilize the old Hutchinson Quarry in Greenbrae. This was my backyard. My older brother’s friends bragged of being there when Clint jumped from the train trestle to the top of the speeding school bus. Some even exaggerated braving the murky waters of the quarry lake to retrieve the SFPD badge that he chucks away in a final show of contempt for The System.

It probably isn’t difficult to anticipate my take in regard to the recent exchange of words between Eastwood and director Spike Lee. For those unfamiliar, Lee criticized the lack of black actors in Clint’s two Iwo Jima film, Eastwood suggested that Lee ‘shut his face’ and Spike intoned that Clint retains a “plantation mentality.” This seems less a black and white thing than a generational divide. There are plenty of less accomplished directors more deserving of Spike’s words. Calling Clint “old man” was as classless and ill-placed as any racial epithet. “Shut your face” isn’t the most subtle response, but it wasn’t racially-fueled either. Clint’s twenty-six years on Lee perhaps allow for not mincing his words.

As to racial representation, there are a few Italian Americans who would have preferred exclusion from Lee’s “Do The Right Thing” to Danny Aiello’s portrayal of a Brooklyn pizza parlor owner. Even as a caricature devised to make a point it lacks subtlety. The vision of Black America eighteen years earlier in Dirty Harry was indeed retrograde, but so is much of the film’s 1971 subtext. Even as a ‘fascist’ statement the film seems dated and Harry is referred to as a ‘neanderthal’ and dinosaur.’ And yet the film still holds up. Acknowledgement is due for Eastwood’s consistency and body of work, if not for the sheer number of years he’s been at it. He’s come a long way from Dirty Harry to “Letters from Iwo Jima” and “Flags of Our Fathers.” Spike might consider giving it a few more years on the trail before weighing in the next time.

Max Orange Logic

I wouldn’t belong to any club that would accept me as a member
-Groucho Marx

I’m not certain on the definition of a successful writer, but when your novel’s title enters the modern lexicon as an independent entity, you’re probably doing OK. Such was Joseph Heller’s experience with Catch-22. The book has been praised as one of the great literary works of the twentieth century, but I’m more impressed with the idea that the phrase will live on forever. I read and discussed Catch-22 in high school – the topic of an oral book report for Stan Buchanan’s English class. Stan played next to Bill Russell on the 1954-55 NCAA Champion San Francisco Dons basketball team, and described himself as the “last of the great pee-wee forwards.” Most people would list this accomplishment as the pinnacle of lifetime achievement, but Stan spoke of walking the streets of Kansas City alone in the wee hours following the championship game, with an oddly empty feeling. The thrill, it seemed, was in the climb and in beating the odds. Now, despite the victory, it was all over. I’m not certain, but I suspect there was some form of catch-22 in Stan’s experience. Fortunately, Buchanan had another specifically idiosyncratic talent: teaching the novel The Great Gatsby. I count winding up in his freshman English class and having him present this book as one of the lucky breaks of my life.

I don’t think my Catch-22 oral report represented the pinnacle of personal achievement for me either, but Stan Buchanan was impressed and told me that I was a smart guy. I was too much of a goofy kid to take the compliment seriously, but I do remember him repeating it to emphasize that it wasn’t the sort of praise that he threw around lightly. I recall small bits from my report, including my mentioning that in order to appreciate the basic premise of the book, one would have to be open to the idea of war being an absurd concept. My Uncle Ned, I suggested, wouldn’t dig the novel. I also mentioned that Joseph Heller spent some time as a screenwriter, working under the name “Max Orange.” This was one of the questions on the test that Buchanan later gave to assure that the class had been paying attention to the various reports: “Who the hell is Max Orange?”

The catch-22 in “Catch-22” is deceptively ingenious. A fighter pilot wants to get out of flying missions, and in order to do so must be declared insane by a military psychologist. The very admission that he wants to stop flying these potentially fatal missions is proof of his sanity, and he’s sent back to fly. While not in the same league as The Great Gatsby, it is a decent book. And the idea that life is filled with catch-22s has come back to me repeatedly over the years. Some of us, it would seem, are better at both spotting and creating them.

4.5%

I was seven when George Carlin’s “Class Clown” came out. I remember being at a party at the Picetti’s house and being sent to another room with the rest of the kids while the adults listened to the album in the living room. The next weekend, my older brother procured the LP at Tower in San Francisco (a fact that raised a few parental eyebrows) and within a few weeks I had the whole thing memorized. There was something about his intonation and rhythm that made it like memorizing a song for me. All these years later I can jump to any part of the record in my mind and do it word for word. Interestingly, I bought a record that day myself – Johnny Cash at San Quentin. It was the first music I ever bought on my own, and I committed that to memory too .. not just the songs, but every bit of dialogue in between. It would be easy to hang this memorization trick on some sort of fascination with early vinyl impressions, but it was much more than this. To this day I’d assert that there’s something special in those two recordings.

Class Clown presents Carlin at a potent juncture: He’s at the top of his game after honing his talents with his earlier, more conventional act, and he has the energy of a man unchained and venturing into riskier territory. There’s a political element to his material, but he never descends into blatant posturing. Instead he focuses on universal and semi universal curiosities; language in particular. On a later album he muses about the expression “at any rate.” ‘At any rate‘ .. what does that mean? And then in another voice: what about four and a half percent? He seemed attuned to the idea that, if we can’t trust the basic building blocks of communication, how can we put much weight in anything? And indeed, as he got older his humor became darker and defiantly fatalistic.There seemed to be a more antagonizing motivation behind his shtick – he became less concerned with eliciting laughter and more focused on driving home the realization that we’re all screwed.

My friend Heather sent me the preface to Carlin’s 1997 book “Brain Droppings” in acknowledgment of his death yesterday. For anyone interested, it can be found here. He makes some valid points and edges into some areas that, frankly, hit a bit too close to home with me. I prefer to remember him a decade or so past his prime but before this dark period, when he was still musing about such things as the flame thrower. As Bob Dylan might have put it, it wasn’t dark yet but he was getting there. (6.24.08)

Rain Shame

The Scottish are a bit like Joe DiMaggio – they don’t get it. The great Yankee Clipper reportedly failed to comprehend the Simon and Garfunkel line “where have you gone, Joe DiMaggio?” and his own status as a national icon. “I’m still here,” Jolting Joe protested. “Haven’t they heard of Mr. Coffee?

The passport official at Edinburgh Airport recommends the whitewater rafting up north. “It’s nothin’ like ye’ve got in America .. but it’ll git yer blood pumpin’..” But it isn’t Colorado we’re after, replete with ball cap wearing vacationers fresh from a spending splurge at The North Face and anxious to stave off increasing signals that middle age is taking hold. It’s the rolling hills of lush green. The fresh air. The ample helpings of mince and tatties that Oor Wullie dug into while Fat Boab waited patiently outside the hoose, in the shed. (OK – that last one may apply only to me.)

And the weather. Don’t get these people started on the weather. “Ach, I cannae believe it’s been rainin’ since ye got here – we haven’t seen one wet day fer all of May ..” It’s a documented fact that most of the UK (and particularly the English) regard Americans as a thick lot of uncultured morons. But there’s a limit to what even we will swallow. If it never rains here, why is everything greener than a Boston bar when the Celtics are playing? Why does the satellite shot on the news have a permanent dotted outline where the country is supposed to be? Why is that entire dining room set making its way down the River Tay? But still they persist, as if the subject of weather is akin to a misguided cousin prone to taking in high school girls lacrosse games and about whom the family doesn’t speak. Let it go – we’re not that stupid. We knew where we were going and don’t suspect a misprint on our tickets to Scottsdale.

The sign posted outside Saint John’s Shopping Centre on the High Street in Perth boasts “Now open late nights Wednesday until seven.” When do these people sleep? Perhaps it’s our long established independence from England that they wish to emulate. Indeed, the Scottish Nationalists seek secession from the UK, sighting rights to ample North Sea oil supplies as sufficient means. But I tend to place some value in the opinion of long time Perth resident and former City Planner Denis Munro, and his reticence regarding the matter. His concerns over who would fund the legions of his dole-seeking countrymen are well-founded, and a stroll through town shortly after the pubs close is enough to give one pause for thought. That’s a lot of North Sea oil, indeed.

There isn’t any oil, as far as I know, in the hills east of Pitlochry, just north of Perth and south of the Highlands. There is, however, the smallest distillery in Scotland – Edradour – where they produce a fine, handcrafted single malt whisky. There’s an older Scottish gentleman with white beard and kilt who will show you the facilities and offer a complimentary dram. And if you’ve hiked the two and a half miles up from town and take the trail back down, there’s an expanse of farm land and mountains in the distance for which no words could do apt justice and no inclement weather could spoil. Scotland needs no apologies. The place speaks for itself.


Good Hearting Gone Bad

you got a heart so big
it could crush this town
-Petty

I think I used that tune as a lead in about five years ago, and wrote something about the heart .. how some claim that it has intuitive properties much like the brain and is capable of influencing reason, spirit and behavior. Most doctors would point out that it’s really just pumping blood, but don’t get me started on them. There must be a reason all those old sayings came to be. How you’ve got to follow it and be true to it. Heck, how you’ve just got to have it. The kids use it in their language today as a literal and mocking translation for the annoying emoticon symbols that crept up years ago. They’ll say “I heart cupcakes” using the “heart” effectively in place of “love” and as a slap in the face to the whole lol, brb, and lmao text culture (as well as NYC shopping bags and countless bumper stickers.) Most people over the age of thirty probably wouldn’t even get this, but fortunately I’ve regressed. And I hold it as singular proof of hope for this generation – a one word “f*ck you” to cutesy computer shorthand and powerful affirmation of this heavyweight vital organ.

The tune is “Walls (No. 3)” from the “She’s The One” soundtrack ..an interesting example of something I wrote below; that the observer often brings more to the table than the creator. In this case the observer was Tom Petty, and the creator Ed Burns, who asked Petty to do the soundtrack for his film. The film was a colossal piece of sh*t, but Petty wrote at least a few accompanying tunes that were as good as anything he’s ever done. The opening lines alone are fairly brilliant: some days are diamonds / some days are rocks / some doors are open / some roads are blocked. He keeps it simple, uses an unexpected rhyme scheme, and transitions into sundowns are golden / then fade away. It’s as if Rainman got in Nick Drake’s head and made everything all right. But what I really like about the tune is the power that the protagonist attributes to his object of affection’s heart; that it could crush this town. Don’t always assume that just because you’re dealing with a big heart, it will rule in your favor. And like the boy says, even walls fall down.

Reelin’ In The Spears

I think you’d better call John ’cause it don’t look like they’re here to deliver .. the mail.
-more Neil

I was showing someone an old comic strip of John Spears the other day, by way of explaining who he was. It was in a large album of other strips I’d done, with titles like Dad in: The Diet and Jim Moye in: Jim Moye, Intercom. The response came back “you really missed your calling,” which was a bit confusing, given the album in front of me. Nobody called, but I still drew them. I suppose I may have failed to understand the potential global appeal of Dad in: Painfully Shy, but at least I got it down on paper.

This particular early nineties Spears strip featured him crashing through the restroom door of our company lunchroom after he became convinced that someone was blocking his exit from the other side. Of course nobody was – he had simply failed to turn the handle and unlock the door. The resulting expressions on the faces of print department veteran Kevin Chan and his domino playing cronies were strip-worthy in themselves. I’d used the Coyote-Roadrunner effect of exact body outline to represent Spears breaking on through to the other side. In reality the door was broken at the lock and badly splintered. As others shuffled in for their lunch breaks and observed the structural carnage, “Spears thought he was trapped” was the only explanation necessary. I suppose we can all relate, at different times in our lives.

I guess I’m whoring the old boy out a bit by writing about this, but my conscience can live with that in light of my limited audience and the Powderfinger obscurity of my references. “He’s got a webpage,” my mom informed a neighbor the other night. A little too close to “she also tap dances” from where I was standing. That was one consistently admirable quality about Spears – no matter how brutally and insightfully over the top the depiction, he preferred it to not being noticed at all. He was never one of those to profess not wanting the attention while secretly craving the reverse. And you can always replace a lunchroom door.