Saturday, January 25, 2014

It Always Hurts Til Someone Gets Funny



Okay class, welcome back to Bruce Reminisces, the exciting series of essays that reconstruct the thrilling adventures of a sexually frustrated pubescent boy in his lifelong journey to become a sexually frustrated pubescent man. If I remember right--and that would be a first--I left everyone at the end of my poetry-related Life Lesson  in Mr Lariscy's seventh-grade English class at Oak Grove Middle School. Let's go back, shall we?

It was getting near the end of the year...not quite final-exam-class-party season but pretty close. In Lariscy's class, we had already traversed he spectrum of contemporary literature: poetry, essays, memoirs, drama, and selections from novels. Now we were delving into short stories: O Henry, Saki, London, Harte, Poe, Twain, even some Asimov, which warmed my sci-fi fanboy's heart. This was the year I was introduced to Ambrose Bierce's "Chickamauga",  Hemingway's "Hills Like White Elephants" and Ring Lardner's amazing "There Are Smiles". Tarzan and The Hardy Boys were never really the same after that.

(That's not totally fair. I had been weaning myself into adult fiction since ten, having been exposed to one of my brother's Book Of The Month Club selections, Ira Levin's dystopian thriller This Perfect Day. He had described it to me, which had intrigued me to the point where I spent an afternoon flipping through it randomly, which in turn led to my discovery of a scene that started with the sentence "Fucking began", which in turn led to my decision to read the novel straight through. As awesome as "The Secret of Wildcat Swamp" was, I knew deep down in my heart that Frank Hardy was never going to boink Callie Shaw, so my interest began to wane.)

After the obligatory reading and analyzing we were once again given a writing assignment, which went something like this: Lariscy gave us a list of six "characters"; actually, six names, with brief personality details underneath them. We were instructed to choose at least two--a protagonist and an antagonist--and write a short story around them. He also gave us a small selection of situations to put them in, and each situation had a "first line"  that was supposed to kick off our story. We had the weekend to compose, all were due on Monday, and we were to spend the rest of the week reading our stories aloud and commenting on them. Furthermore, Lariscy told us that he was grading our papers from A to F based on grammar and punctuation, but then assign everyone either a "Plus" or "Minus" based on creativity.

I had this. I chose a handful of characters and the situation that interested me--something involving a bank robbery--and went home and knocked it out in about an hour. No sweat, easy "A".

Monday morning I turned in my paper, and Tuesday I--along with the rest of the class--got it handed back graded. I got an "A". Minus. I blinked and looked at it again. Surely this was a mistake. An "A-"??? ME?? This was unprecedented.

I didn't need the extra points. I was already going to end the year with an A in English. This was a matter of pride. What the hell Lariscy?

I sat through that day's class, hardly noticing several of my classmates' droning recitations, knowing I was going to confront Lariscy at the end of the day. The bell rang and, as everyone else headed out the door and to their next class, I marched up to the desk.

"Ah, Mr. Driggers, I've been expecting you," he said with a lopsided smile. Asshole. "Let me guess, you're wondering why you got an A minus instead of the expected A plus, right?"

"Well, yeah." I plopped the graded paper back down on the desk in front of him. I was a presumptuous little prick.

"Well Bruce, there was nothing technically wrong with your paper...but you know that already I'm sure." Yeah, go on. "I didn't get the feeling you really gave it your best shot," he continued. "It was as good--better, actually, than almost everyone else's. But you're capable of so much more."

Okay, whatever, I've heard this one before. You're not applying yourself. We expect better from you. Blah blah blah. He picked up the paper and flipped to the second page. "You dialed it in," he said. "There's nothing technically wrong with it, except it's kinda dull."

"You're the one who assigned us the stories, and the characters," I countered. I was being petulant, my pride was wounded.

"True...but you're the storyteller, it's your job to entertain me. You told me a story about a guy who foils a bank robbery and becomes a hero. It was, at best, a lesser episode of Dragnet."

Oh no he didn't. He just compared me to Jack Webb. Unfavorably. Now I was pissed.

"Okay fine, you didn't like it, big deal. Here," I offered, trying to regain my dignity, "let me write another one. I'll come up with something different."

He considered this for a moment, then shook his head no. "No need," he said, "this story, these characters...they're as good as any. I've got a better idea." He picked up my Dragnet episode and handed it back to me. "Just re-write this one. Same situation, same characters, same story. Only this time," he said, looking me right in the eye, "make it a comedy."

I took the paper back and stared at it like it was written in Swahili, maybe for a full ten seconds. I was intrigued, but confused. Usually, my forays into humor landed me in the principal's office. This time, Lariscy wanted me to be the clown. It was my assignment. I jumped on it.

"Don't you have another class to go to?" Lariscy asked, and I realized it was almost Second Bell. "Yeah," I said, and left, my mind racing.

That night, after dinner, I sequestered myself in my bedroom and began translating my Dragnet episode into something closer to Get Smart. I paced, reading it aloud, scribbling notes and ideas down whenever they came to me. My Downtown Tampa bank relocated to Key West. The bank robbers transformed from common street thugs into a brainwashed heiress backed by a group of leftist rebels ala Patty Hearst and the SLA. The bank guard / hero became an overweight bungler named Pee Wee, who had overslept that morning and rushed to work, late, still in his pajamas. The robbery was foiled when the escaping robbers slipped on a puddle of coffee, which had been spilled only a few seconds before by the just-arriving Pee Wee.

It wasn't art. In retrospect, it probably wasn't even funny. But it wasn't dull, and my audience was going to be a group of seventh graders. Not the toughest crowd. I felt pretty confident.

I walked into class the next day ready to wow Mr. Lariscy with my Laugh-In Masterpiece. I tried to hand it to him, but he declined.

"No, I've already graded the paper, Bruce. Now show me why I should give you an A+. You're up first."

Yikes! I gulped. Okay then.

I stood up behind the podium and started spinning my epic tale. My classmates were admittedly hungry for something--anything--more interesting than the previous day's parade of drivel. I had them from the first paragraph, recounting how the stoned, dreadlocked assistant teller had to quickly douse his spliff when Miss Buckles, the Head Teller, showed up to unlock the doors. For the next five minutes, I kept the whole room in stitches, punctuated with frequent bursts of laughter. By the time I got to the part where the bad guys were sprawled out on the bank floor, Pee Wee's pistol pointing at them, most of them were in tears. Then I finished them off with my last few lines:

As the police took the gang away, Pee Wee figured he could relax, and re-holstered his gun. Unfortunately, he was still in his pajama bottoms, and the weight of the gun had the unfortunate effect of pulling them down around his ankles. He wasn't wearing underwear.

"Oh my," said Miss Buckles, "Now I know why they call you Pee Wee."

To the two-dozen or so pimple-faced adolescents that made up my audience, that was The Funniest Thing They'd Ever Heard, maybe even The Funniest Joke In The History Of The World. They laughed at that for a good solid minute, and I'm pretty sure I remember James Elrod falling out of his desk and collapsing on the floor in laughter.
Even Lariscy was wiping his eyes. Cha-ching!

Oh yeah: I got my A+.

*********************************

Barely a month later, and it was time to bid Oak Grove farewell.

We had already had our finals in Lariscy's class, and we were pretty much slacking till the end of the school year. We watched movies one day ("An Occurrence at Owl Creek Bridge"), played records and discussed them the next (just like we'd done during the poetry lessons months before). Mostly, we all sat around and shot the shit, and one time I got a chance to have a little smalltalk with the man himself.

"So, what are you gonna do this summer Mr. Lariscy? Try to recover from all us idiots in time for the new batch next year?"

He smiled. He was sitting at his desk, absent-mindedly thumbing through some papers. Then he responded. "No. I'm going to be taking over my father's business."

I didn't say anything for a few seconds. I wasn't really sure what he meant. "Taking over?"

"Yeah," he said, and I thought I detected a hint of sadness in his voice. "My dad had a stroke a few months back, and he wants me to take over the operation of the family business." Lariscy Drugs had been a northwest Tampa institution since right after the end of World War Two. It was a solo family business, an independent drug store, not tied into any chain.

"Just for the summer?" I asked.

"No," he smiled again, but I knew it wasn't a happy smile. "He needs someone to carry on. He just isn't up to it any more."

I mulled this over for a minute. I knew the implications. Teaching was Lariscy's life, and literature was his passion.  He was keeping mum, but I had a pretty good suspicion he was crushed.

"Well," I volunteered, "Maybe you can straighten out the business and hire a manager, or sell it or something and go back to teaching."

"Yeah," he replied, smiling that wan smile again. "Maybe." He stopped shuffling the papers and looked up at me. "So what about you Mr. Driggers? What are you doing this summer? Even better...what are you going to do with your life? I hear the circus needs clowns."

I gave him my best sarcastic "Har har." Then, impulsively, I told him: "I'm gonna be a writer."

"Oh really? That's pretty ambitious. Good luck to you, really." He was sincere. He was always sincere. He was the real deal, a man who loved to teach, and loved to watch people learn.

"Yeah," I said, trying to give him some encouragement, "all because of you."

This time, he didn't smile. I think he got a little choked up, and I was starting to feel a little sniffly myself. He covered it, best he could. Looking back down at his papers, he said: "Well, you make sure you come and see me at Lariscy Drugs, okay?"

"Of course!" I replied, as chipper as I could manage. "I mean, after all, I'm about to be a teenager. I'm gonna need a drug dealer."

He didn't respond at first, and for a split second I thought he was mad. Then I noticed a slight movement on his cheeks, which got more pronounced until it was obvious he was smiling. Then, suddenly, he threw his head back and let a huge laugh escape.

"I needed that," he said, still chuckling. And I'm sure he did.

But not as much as I.

Of Poetry and Poontang




"Poets' food is love and fame."
~ Dude that was married to the chick that wrote Frankenstein


I was a "bookish" kid, a voracious reader, one of those kids who would just as soon hide away in his room with a good book than listen to his parents yammer over the family budget while Boots Randolph belted out Yakety Sax. I always aced English classes no matter what the topic: poetry, literature, grammar, it all came easy to me. I could diagram sentences and analyze Shakespearean sonnets by sixth grade, no sweat. Good thing too, because--aside from history--I pretty much sucked at everything else. Algebra gave me diarrhea.

Writing came easy for me too, though I wasn't remotely motivated to do it. Until Mr. Lariscy's 7th grade English class.

Lariscy was not only a great English teacher but also a fellow science-fiction fan. He knew who Lester Del Rey was and could pronounce Atriedes correctly. We bonded. His classes were more open than what I had been used to in elementary school. One time he asked every student to bring a 45rpm record of their favorite song to class. We spent the week playing and analyzing the lyrics to pop songs. I remember having some intense discussions over the allusions embedded in The Doors' Break On Through, the topical references in Marvin Gaye's What's Goin' On, and the plethora of alliterative imagery packed into Don McLean's American Pie. I felt pretty awesome when he praised me for my choice (Lennon's John Sinclair ), though I kinda felt sorry for the cute raven-haired girl who sat behind me, having to explain to the whole class her interpretation of Jam Up and Jelly Tight .

Lariscy's classes were always fun--well, for me anyway, I was a sci-fi bookworm--and he's easily one of the two most influential teachers in my life. He lit my writing fire, twice.

The first time was immediately after the record-party week (I knew he was up to something!). We spent the first part of that week analyzing modern poetry with the same fervor that we had delved into our song lyrics. Now, I appreciated poetry, but it was never really my thing. Unless it was written by George Carlin (The Hair Poem : I can still recite it from memory! Remember to not mention that if you ever run into me in public) or began with "There once was a girl from Nantucket", I didn't really pay much attention. 

On Thursday he dropped the bomb: he put a list of topics on the blackboard, and we were all instructed to write an two-stanza poem on one of those topics.  Eighty to a hundred words, metered, rhyming optional. Then recite them in front of the whole class on Friday.

Myself, I was neither bothered by, nor particularly interested in, this assignment. But I couldn't help but notice an audible sound of dread emanating around me, sort of a collective groan from the rest of the class. And from behind me I heard, sotto voice but clearly discernable: "Oh shit!" It was the cute raven-haired girl, the one who had brought Jam Up and Jelly Tight.

We all began composing, in earnest, while Mr Lariscy made the rounds offering feedback and occasional pointers to those who needed it. I finished the first draft of my masterpiece in ten minutes, at about the same time I felt a tapping on my shoulder. I turned and saw the pleading eyes of Pam--the raven-haired girl--her face stricken, hovering over a completely blank page. "I can't think of anything," she whispered. "Can you help me?"

Well, I was never the teaching type, but there was just something about her pleading blue eyes and cherry-glossed lips that brought out the tutoring impulse in me. I cheerfully agreed, and we began a whispering conference which basically consisted of me tossing out random metered rhyming nonsense while she furiously scribbled it down verbatim. In other words, I was dictating, but I didn't care because a) I was finished with my own poem, and b) she was wearing a strapless yellow sun dress. The way her jet-black hair tumbled over those bare shoulders...damn.

"Mr. Driggers?" I turned to see Mr. Lariscy hovering over me. "Please concentrate on your own poem and let me do the assisting, thank you." Reluctantly I turned around and went back to polishing off my poem while Lariscy offered a few words of encouragement to Pam, and then moved on.

Pam tapped again a few minutes later. "Help me!" she whispered, sounding desperate. She hadn't written a word since where we had left off. I tried to re-track my train of thought, stay focused on whatever topic it was she had chosen, but it was taking all the will power I could muster...I was mesmerized by her dark-tanned legs and glistening, silvery toenails.

"Mr. Driggers!" Lariscy again, noticably more agitated than before. "Will you please TURN AROUND."
I'm not sure what came over me, but I decided to stand up, turn completely around, and sit back down the way I was before, facing Pam. Her jaw dropped, the whole class erupted in laughter, and I could see Mr. Lariscy trying to hold back a grin. Nevertheless, he had to respond, so he made me stand outside the class, and Pam was left on her own.

He came out a few minutes later, verbally reprimanded me (kinda...I think he was secretly amused), and then let me come back in right before the end of class to gather up my books. I glanced at Pam's paper and saw that it was frozen in time where I had left off. She looked at me and shook her head. When the bell rang, she followed me into the hall.

"I'm terrified...it's only half done...I can't recite this tomorrow....will you come over and help me finish?"

I gulped. "Come over?" I'm sure my voice cracked. I really wanted to, but I needed a way home. I was a bus rider, she lived nearby. "I don't think I can," I said. "I'll miss my bus."

"My mom can take you home," she offered. Well, I guess that would be okay. "As long as you don't mind waiting til about six. She doesn't get off work til five-thirty."

"Okay," I said, and this time I'm absolutely certain my voice leapt several octaves into a falsetto. Pam chirped "Good!", threw her arms around me and kissed my cheek. Then she skipped away toward her last class, and I walked to mine, my books strategically located in front of my pelvis to disguise the bulge in my jeans.

I met up with Pam at the side of Oak Grove Middle School to walk her home. She only lived a couple of minutes away, two blocks into the residential area on the other side of the baseball fields. "We" (I) finished "her" poem in about ten minutes. That still left us alone, in her house, for a good two hours.

"You wanna hear some music?" she asked, and I shook my head Yes, hoping to god she didn't play Jam Up and Jelly Tight. She put on an LP by The Raspberries, another teenybopper band notable for songs such as Ecstacy and Please Go All The Way . I was quietly having a heart attack.

The record played, side one, five or six songs I don't remember. She didn't bother to flip it over. We were preoccupied.

The next day we all read our poems aloud. Mr Lariscy called us to the front, had us recite them, and announced our grade when we finished. I went first, got an A, and waited for Pam's turn. After she finished hers, Lariscy looked at her and said "And Pam gets an "A"...well done!" She was overjoyed. As she walked back to her seat, I saw her mouth the words "thank you". Then she took her seat and began playing with my hair.

This was my first lesson in the power of poetry, the advantages to having a way with words, and the benefits that can accrue from being the class clown.

I never did thank Mr. Lariscy.

The State Can Ban Guns, But Only I Kanban My Writing

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I'm a total sucker for productivity apps. I am, by nature, a complete sloth, and a poster boy for Attention Deficit Disorder. And yet, I've always had an Inner Neat Freak vying for my affection. If it wasn't for lists, honestly, I wouldn't get anything done outside of those activities which literally scream for my attention: eating, sleeping, masturbating.

There are a bunch of worthwhile productivity systems out there, from the late Stephen Covey's epic 7 Habits to the relatively over-hyped Getting Things Done (GTD), and probably hundreds of desktop and mobile apps to help you implement them. Personally, I'm an evangelist for Gqueues , a Google-centric to-do list that has a shit ton of features and integrates seamlessly with Google Calendar. I could probably write an entire e-book extolling the virtues of Gqueues, I like it that much. Remind me to add that to my to-do list.

But sometimes you need a specific tool for a specific job. When I was in restaurant management, I separated my regular day-to-day goals and tasks from my job-specific duties with different planning systems. I carried a pocket Daytimer to remember sundry personal data, like doctor's appointments, grocery lists, and girlfriend drink preferences (ordering a PBR for a Martini drinker can get you permanently locked out of the pelvic pond). But when I stepped into my workplace I had a desk reminder that had the various tasks, appointments, and duties laid out for me. That list stayed there; I had no need for it at the bar.

When I sit down to write I rely on a project management system to keep me focused. If I don't, I'm liable to spend a majority of my time engaged in useless timewasters like browsing my RSS feeds or checking my email or Twitter or Facebook pages. (I realize I'm the only person on earth with this problem).

However, up to this point, "project management system" was usually a fancy term for assorted sticky notes strewn across various places next to my computer. I tried various approaches to digitalizing it, including utilizing Gqueues, but nothing really clicked until I stumbled across KanBanFlow .

KanBanFlow is a digital project management tool based on the concept of kanban boards, those three-stage visual tools used by project management teams to coordinate and track progress. The kanban board is itself simply one part of the overall kanban system, which was instrumental in helping Toyota perfect its Just In Time production paradigm. I have used whiteboard kanbans for various management projects in the past, but again, never particularly contemplated its usefulness for writing projects.

I first started seeing online kanban systems promoted as task management tools about two years ago. I subscribed to one, played around with it a little, but eventually just dumped it in my YAWN pile (joining Google +, Springboard, Pinterest, and a few dozen others collecting digital dust).

KanBanFlow, however, marries the concept to several other productivity systems. Each post can harbor a to-do list, a description, and unlimited notes and attachments. Furthermore, the app itself has a Pomodoro timer at the bottom, an essential tool for those of us with Social Network ADHD (it doesn't, alas, have a rooster's crow option...that's only on my android...I need to write them about this).

As soon as you decide on a project, you add it to the To-Do panel and assign it a color (I color code based on type of task--writing, outlining, submission, posting, etc--and what genre--blog post or other project). Then I'll choose a project and move it to the Do Today column, where I can start adding attachments or come up with subtasks. I will usually put a couple of tasks in the Do Today column, and then start on the one that has priority. When I do that, I move it to the In Progress column and start my timer.

You can move your task anywhere on the spread you wish, in fact, you can order it around like your naughty little sex slave:

TASK: "Oh noooo, Task Master, not over here"
     ME: "Yes, Miss Add-Tags-To-Blog-Post, you bawdy wench, over into the Finished Panel!"

I get chills.

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The KanbanFlow Screen
As I complete each project, I move it into the Done file, where it sits and broods like a spurned lover, or collects dust like all those other boring has-been apps mentioned above, while I gloat over my conquests like a fattened nimrod. I don't think I can pack any more mixed-metaphors into one paragraph, but you get the idea.

I keep KanbanFlow on a pinned tab on my Firefox browser, but it doesn't have a desktop app (yet). That's discouraging, because I like to keep all my writing-related items off-line (Storybox , Evernote ), so that I can access them even when I'm in my favorite writing environment: deep in the woods, far away from any WiFi hotspots. (I prefer the solitude, and I concentrate better without easy access to distracting websites like Facebook or LesbianToesuckingOrgy ).

Luckily, they have a native Android app, so I can just use that when I'm offline, and it will "update" as soon as I get back to civilization.

So there you have it, the "productivity system" I use to keep me focused writing, all thanks to the assembly-line whip-crackers at Toyota. A pretty cool app, really.

Check it out here: KanbanFlow .

Bangs-A-Gong!


I first decided I wanted to be a writer when I encountered a rock music fanzine called Heavy Metal Digest in the early 70's. I was a - rock & roll nerd, had every Beatles/Stones/Who/Kinks album and was just starting to get into the heavier sounds like Zeppelin and Black Sabbath. To accommodate this enthusiasm, I voraciously consumed every available copy of Circus magazine--a picture-heavy industry puffmag marketed toward impressionable pre-teens, which is exactly what I was at the time--as it hit the shelves, and eventually saved up enough lawn-mowing money to purchase a subscription (with the little I had left over from binge-buying LPs, of course). It was in the classifieds of Circus that I saw the ad for HMD. I figured, with a name like that it must be right down my bowling alley, right? I shoved some bills in an envelope and sent off for a subscription.

It was a classic "zine", 2-3 sheets of photocopied text stapled together and folded in half, published by a teenage Doors sycophant named Danny Sugerman, stamped and mailed out whenever he wasn't too strung out on heroin to get around to it. The bulk of the writing was done by Sugerman himself--who unfortunately couldn't write his way out of a Munsters lunchbox (a handicap he'd carry with him all the way up to his ponderous dumber-than-dogshit bio of Jim Morrison, No One Here Gets Out Alive)--or his own tagalong Cameron Crowe--who wrote flabby and pretentious puff pieces that effectively foreshadowed the flabby and pretentious movies he'd go on to direct in the 1990's.

But then, there was Lester Bangs.

Lester was the managing editor of CREEM Magazine, a job he scored after getting booted from Rolling Stone for being "disrespectful to musicians". He contributed exactly one article to HMD, as far as I know, but that was enough to convince me. This wasn't Circus Magazine / Rolling Stone tripe, this was writing with piss and vinegar...vulgar, obscene, and as pungent as a fart. But literate! Bangs used words like "puissant" and "atropine" and dropped references to Artaud and Malcolm Muggeridge. I was sucked in, dazzled that such a dangerous thinker could be both eloquent and brutally crude at the same time, in the same article, and often in the same sentence. This was outlaw stuff, forbidden and dangerous, and--like those paperback "porn" novels that graced the pre-video era--worthy of being smuggled into Jr High and passed on to my fellow pimple-pocked metalhead friends, just make sure you hide it behind your World of Botany textbook lest you incur an unwanted faculty confiscation.

I'm not sure how long HMD published--I only remember getting two or three issues, though I think I paid for a "year's subscription", which was supposed to be four. No matter, I knew where to find Lester, so I subscribed to CREEM and never looked back.

At CREEM, Bangs entertained me with his hardcore junk-culture stream-of-consciousness freeform rants--about Sabbath and Purple and Zeppelin, of course, but also about bands I'd never heard of like the Velvet Underground and the Stooges and the MC5. This was my first exposure to the term "punk rock", and right after getting my first issue, I bought Iggy and the Stooges' Raw Power  and the first album by the New York Dolls .

But it wasn't just my musical taste that changed. Bangs influenced me in a way no other writer had before. He was my first real taste of the gonzo school, and while he may or may not have been influenced by Hunter Thompson himself, they certainly drank from the same well of Beat-prose-cum-new-journalism that had influenced such disparate voices as Tom Wolfe, Truman Capote, and Marshall McLuhan. And Richard Melzer, whose Aesthetics of Rock  was a harbinger of the whole Bangs/CREEM mindset, but more about him later.

Bangs connected with me. He was my unwitting mentor, my literary role model. He wrote about things I wanted to know about, and wrote about other things in a way that made me want to know about them too. Because of him, I learned about reggae and existentialism, Dada and White Light White Heat . He was a punk rock Pauline Kael, he illuminated the works and artists he wrote about, he didn't just give a "thumbs-up-thumbs-down" observation but dove headlong into whatever it was he was writing about and opened up its vein and made it bleed. He could write with awe-inspiring praise or acid-drenched damnation and hellfire, but he was always eyes-wide-open, vibrant and funny as fuck.

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But don't just take my word for it. Here's the Man himself, waxing poetic about the Stooges:

Some of the most powerful esthetic experiences of our time, from “Naked Lunch” to Bonnie and Clyde, set their audiences up just this way, externalizing and magnifying their secret core of sickness which is reflected in the geeks they mock and the lurid fantasies they consume, just as our deepest fears and prejudices script the jokes we tell each other. This is where the Stooges work. They mean to put you on that stage, which is why they are super-modern, though nothing near to Art. In Desolation Row and Woodstock-Altamont Nation the switchblade is mightier and speaks more eloquently than the penknife. But this threat is cathartic, a real cool time is had by all, and the end is liberation.

In Stagger Lee Was A Woman, Bangs explained to me why Patti Smith's Horses  was essential:

Which brings up one of the truly ballsy things about this album: that she is meeting the Mademoiselle articles and Earl Wilson columns, not with some slicked up tech-mech superproduction (which John Cale is certainly capable of), but the finest garage band sound yet in the Seventies. The band cooks primarily because, with certain momentary exceptions (Richard Sohl’s beautiful piano intro to "Free Money," Allen Lanier’s ghostly guitar in "Elegie"), they’re all used either as percussion instruments or (as in the halcyon days of the Velvet Underground) for the sustenance of one fortifying drone. Lenny Kaye gets off some of the best one-note distorto guitar since the Stooges’ "1969," and the general primitivism makes you realize you’re a mammal again and glad for it, licking your chops.

And his review of Van Morrison's Astral Weeks  is almost as inspiring as the album itself:

“Astral Weeks,” insofar as it can be pinned down, is a record about people stunned by life, completely overwhelmed, stalled in their skins, their ages and selves, paralyzed by the enormity of what in one moment of vision they can comprehend. It is a precious and terrible gift, born of a terrible truth, because what they see is both infinitely beautiful and terminally horrifying: the unlimited human ability to create or destroy, according to whim. It’s no Eastern mystic or psychedelic vision of the emerald beyond, nor is it some Baudelairean perception of the beauty of sleaze and grotesquerie. Maybe what it boils down to is one moment’s knowledge of the miracle of life, with its inevitable concomitant, a vertiginous glimpse of the capacity to be hurt, and the capacity to inflict that hurt.

But critics don't always rave; sometimes they rant as well. And Bangs could rant with the best of them. His lifelong obsession with Lou Reed was a wonder to behold. Has there ever been an article as scathing as Lou Reed: A Deaf Mute In A Telephone Booth ? And this coming from a man who genuinely admired and respected Lou Reed--which makes this piece all the more resolute. And his review of Lou's infamous Metal Machine Music  is legendary:

I have heard this record characterized as "anti-human" and "anti-emotional." That it is, in a sense, since it is music made more by tape recorders, amps, speakers, microphones and ring modulators than any set of human hands and emotions. But so what? Almost all music today is anti-emotional and made by machines too....At least Lou is upfront about it, which makes him more human than the rest of those MOR dicknoses. Besides which, any record that sends listeners fleeing the room screaming for surcease of aural flagellation or, alternately, getting physical and disturbing your medications to the point of breaking the damn thing, can hardly be accused, at least in results if not original creative man-hours, of lacking emotional content.

But it was Elvis Presley's death that brought out what was perhaps the most poignant statement of Lester's aesthetic. Where Were You When Elvis Died is Bangs at his best, contemplative and angry and funny, all at once:

The ultimate sin of any performer is contempt for the audience. Those who indulge in it will ultimately reap the scorn of those they've dumped on, whether they live forever like Andy Paleface Warhol or die fashionably early like Lenny Bruce, Jimi Hendrix, Janis Joplin, Jim Morrison, Charlie Parker, Billie Holiday. The two things that distinguish those deaths from Elvis's (he and they having drug habits vaguely in common) were that all of them died on the outside looking in and none of them took their audience for granted. Which is why it's just a little bit harder for me to see Elvis as a tragic figure; I see him as being more like the Pentagon, a giant armored institution nobody knows anything about except that its power is legendary.

Obviously we all liked Elvis better than the Pentagon, but look at what a paltry statement that is. In the end, Elvis's scorn for his fans as manifested in "new" albums full of previously released material and one new song to make sure all us suckers would buy it was mirrored in the scorn we all secretly or not so secretly felt for a man who came closer to godhood than Carlos Castaneda until military conscription tamed and revealed him for the dumb lackey he always was in the first place. And ever since, for almost two decades now, we've been waiting for him to get wild again, fools that we are, and he probably knew better than any of us in his heart of hearts that it was never gonna happen again, his heart of hearts so obviously not being our collective heart of hearts, he being so obviously just some poor dumb Southern boy with a Big Daddy manager to screen the world for him and filter out anything which might erode his status as big strapping baby bringing home the bucks, and finally being sort of perversely celebrated at least by rock critics for his utter contempt for whoever cared about him.


Classic Bangs. Respectful of talent, impressed by the power of music, but completely disdainful of authority and pomp. And that's the heart of his writing. Underneath the caution-to-the winds prose and wildman demeanor, Bangs was a moralist. And he was on our side, the side of the audience, the side of the fans.

Okay, I guess I've leaned on Lester enough: this article started off being a tribute, but it's becoming an anthology.

Lester quit CREEM in 1977, and freelanced the rest of his life, which ended all too soon in 1982. He was never a healthy man--overweight, a smoker, and addicted to cough syrup--but he was generous and accessible, and utterly lacking in pretension. His work lives on in anthologies, and--indirectly--in every clumsy attempt I've ever made to emulate him. RIP Lester, let it blurt.

Straddling the Fencepost Like a Horny Giraffe


Kindles are cool, but I still like BOOKS.

There's something aesthetically pleasing about a book, an actual book--paper and ink and raw inspiration--something you can hold in your hand and enjoy without  draining your battery. Something you can autograph for fans and write margin notes in, something that comes in handy as a paperweight, or as a hard flat surface to roll spliffs.

I don't have anything "against" electronic media--said the blogger --it's just that I don't think they can ever, ever, supplant the sublime pleasure reading Walden on top of Cheaha Mountain while the Red Tail Hawks migrate past at eye-level. Or perusing Lovecraft on a stormy night, your lighting snuffed by lightning, candles your only sentry against the things rustling.....bumping......making wet, hungry noises......

It's for this same reason that I've always harbored a fondness for LPs, vinyl albums, not because of any particular nostalgia for the sound quality (iffy, always) but because of the PACKAGING, the large square flat box that was impossible to camouflage in gift wrap, and loaded with cool-ass graphics (almost everyone our age had the Prism-Pyramid icon from Dark Side of the Moon somewhere on their bedroom wall, because it came free with the album and everyfuckingbody had that album). And even if the text was dull and the pictures lame, they, also, provided a hard flat surface to roll spliffs.

It's widely believed that book covers are best for most sativa strains, while LP covers are essential for indica.

But I'm not going to step into that stormy sea of controversy. No, I have more mundane concerns on my mind.

Should I publish in electronically media exclusively, or offer material books as well?

Of course, this isn't even an issue to well-established authors.

By "well-established authors", I mean--you know--Well Established Authors, writers who get paid, scribes who make the bestseller lists and enough annual income to qualify them as small multi-national corporations . Not just your babysitter Aimee who self-publishes books of poetry or Uncle Rufus' "memoirs" recounting his years working at Chuck E Cheese while struggling with heroin addiction, or That Weird Guy Ralf who keeps imploring you to read his latest work, Practical Implications of Barack Obama's Presidency on the Nudist Community, whichgot 615 "hits" after being "published" in the Naked Lifestyle Examiner .

Oops, digression, sorry.
 The "issue" I'm talking about is: if I decide to self-publish, do I go 100% electronic, or do I spring to put out some dead tree versions, either to donate to libraries, satisfy a narcissistic vanity, or score some quick cash at the local flea market?

Like I said, James Patterson doesn't sweat over this issue.

Honestly, I'm not really "sweating" over it either, 'cause truth-be-told I made up my mind long ago that I was going to write a book you could hold in your hand, autograph, say "it's mine", and hawk out of the back of a Roadtrek at social functions .

So I guess you can say I'm pretty much stradling the fence on this one. I like to play it both ways. Stop. Snickering.
I figure this might be a good time to ask you people, my dedicated fanbase, my faithful followers--and yes I mean both of you:

Would you be interested in purchasing an autographed hard copy of Doobius Wisdom?

I need to know because if I do indeed self-publish I don't want to spend all my yard-mowing money on books nobody's gonna buy. I don't want to end up like That Weird Guy Ralf, who's still hawking is Obama-nudism piece on websites like LesbianToesuckingOrgy.com , and struggling to make ends meet.

I figure at least half of y'all are sincerely interested and the other half is just blowing smoke up my ass, but that still leaves...well....one fan. Ya gotta start somewhere.

Friday, January 24, 2014

Little Ole Wordslinger Me



As I move into what I hope will be the pre-publication stage of my writing life, I pondered whether or not I needed a website. So I asked around, hoping to get some feedback from other authors.
HA! what a dumb question sniffed the several dozen writer-webmasters that answered my query.

A website is a must, they all agreed, an ABSOLUTE MUST, and you need to go to Blogger right this instant and get you a blog going. A successful writer--according to ALL the experts (see above)--needs a website, or at least a blog, to keep their readership informed about current articles, upcoming publications,  booksigning tour schedules and imminent appearances on Letterman.

Uh....er....okay.....so, why do I need a website again?

To build a readership, dumbass. Now, will you please sign up for my webinar ?
Well, no, sorry, but I did decide to put together a website. After all, these were the "experts" right? The successfully published elite, certainly. Right?

Well, no. After slogging through about a half-dozen mostly-dreary and appallingly self-absorbed bores I decided to check out the background of some of these "writers" dispensing advice to "fellow writers". At least three quarters of them haven't yet been published, and the rest are still nursing their maiden offerings, often self-published curios.
And then it occurred to me: HEY! I can do that!

But I wouldn't do that to you guys. After all, you've made it this far! You've navigated the treacherous waters of my consciousness stream and still haven't drowned. Pretty impressive, considering most of it is sewerage.

So here's my promise:
  • No bleating posts about my writer's block.
  • No begging for you to "download" my "e-book" which is actually a five-page PDF no longer than a typical magazine article, full of empty cliches.
  • No article-length "reviews" that are actually poorly-disguised blowjobbery for some affiliate link.
Nope, none of that. That stuff bores me to tears and I'm certain it'll bore you too.

Instead, I want to keep you on your toes. I want to engage you, amuse you, do naughty things to your brain when your body isn't looking.

Let's be honest: I want to sell my book. This isn't complicated. I can only sell my book if people think: Heh, I like the way this guy writes. And I can only make you think you like the way I write by writing something I think you'll like.

I'd better stop now before I confuse myself, but you get the idea.

So here's my proposition, I hope you'll take me up on it: subscribe to my RSS feed or sign up to get Wordslingin' delivered to you by email. I won't spam you, and I'll never bore you. I might make you gasp in horror on occasion, but from what I hear that's really good for the digestion.

And I'd like to hear from you, too! Feedback, accolades, raspberries, the occasional "Meh". Let me know how I'm doing. Bolster my ego or bust my chops, I don't care (he lied). I need to know. After all, I plan on publishing the next Great American Novel, a book that will transcend the generations and become immortal. Or at least help pay for weed. And I can't do that unless enough people decide to flush their hard-earned money down the toilet by purchasing my drivel.

It's either that, or I'll be forced to sell my dogs to a cosmetic company for use in live medical experimentation. And then y'all would just feel horrible.

Thanks for reading! You may now return to your regularly-scheduled programming.