01 May 2008

It Was a Pleasure to Burn

The way we were

Tom Robbins, in his novel Still Life With Woodpecker, submits one of the more poignant assessments of smoking to be found in literature:
Three of the four elements are shared by all creatures, but fire was a gift to humans alone. Smoking cigarettes is as intimate as we can become with fire without immediate excruciation. Every smoker is an embodiment of Prometheus, stealing fire from the gods and bringing it on back home. We smoke to capture the power of the sun, to pacify Hell, to identify with the primordial spark, to feed on the marrow of the volcano. It's not the tobacco we're after but the fire. When we smoke, we are performing a version of the fire dance, a ritual as ancient as lightning.
At the time I first read this - my senior year of college when I ought to have been working on my then-long overdue thesis - I was myself a committed smoker, already at my apex of roughly a pack a day. It was a habit that I had flirted with at first during my freshman year of college, a flirtation that intensified into a fling during my sophomore year when I began to associate with more and more people for whom smoking was an occupation rather than a hobby; a mere year later I consummated the relationship, taking up the habit full-time as a result of having to play a character who smoked (well, a character whom the director believed should smoke) in a production of David Mamet's The Cryptogram. Well, I would like to believe this last part, as it provides a sort of alibi for my decision - "I sacrificed my health for my art, you see" - but the fact of the matter is that few people play with fire as long as I did without being consumed by it.

I was a committed ideological, pathological smoker for about three solid years. My brand was Camel Lights; Parliaments or Kamel Reds would do in a pinch, American Spirits for a brief change of pace, but I abhorred the cardboard proletarian taste of Marlboro Lights. I smoked them anywhere/time I could: in between classes, during a break in a three-hour seminar, out on the "balcony" of The Arch (Penn theater!), during intermission of plays I was watching, during intermission of plays I was in (there I was, standing outside in the snow in an alley next to the Annenberg Center dressed like a redneck between acts of True West), surreptitiously leaning out the window of my shared dorm room (sorry, Steve), unsurreptitiously in the single apartment I had my senior year. I, like all smokers, structured my life around my habit: I avoided places I wouldn't be able to smoke for long durations, and always tried to ensure that I would be appropriately, and when possible, cheaply supplied. The high point of this determined routine was when I was at a 7-11 on 42nd and Walnut one evening, buying a pack: a woman wielding a butcher's knife chased a man inside, during what seemed to be a domestic dispute; I calmly prompted the cashier, temporarily paralyzed with fear, to hand over my Camel Lights and change before I walked out the door. (For the record, I did not call the police, and to my knowledge, everyone survived.)

At that time, I had nothing but contempt for non-smokers who condescendingly chastised me for what they perceived to be either my stupidity or suicidal impulse. "Lung cancer! Heart disease! Emphysema!" they'd say; "Go fuck yourselves!" I'd reply. Smoking brought out the libertarian in me: why couldn't others just mind their own goddamned business? I contorted logic to defend what few easements remained for us smokers, such as the besieged right to light up in bars and casinos, even though I knew in my heart of hearts that the infliction of second-hand smoke on others was unconscionable. My outward facade of intractable defiance towards the non-smoking world was a manifestation of my well-deserved insecurity; cigarettes made me a hypocrite, but it was a small price to pay for the passion we shared.

I knew I would eventually have to quit, of course. Like the Second Coming, I knew not the day or the hour, but I knew that it was inevitable. Even at 23 years of age, I could feel what cigarettes were doing to me: my breathing was becoming more labored, my nicotine-stained hands would begin to shake, I was coughing up phlegm routinely and getting sick more often, and some mornings I would wake up and it would feel like there was a man sitting on my chest. Occasionally, especially after a period of illness, I would try to give up smoking, but like one of those abandoned dogs you read about that traverse half the country in search of their rightful owners, cigarettes always seemed to find me in the end. Faced with such admirable persistence, I would give in, telling myself that I would cut back or some other such ameliorative; it was all bullshit, of course. Big Tobacco always won in the end.

Until, one day, it didn't. It was August 7, 2005, and I was lying in bed, sweating profusely, my heart racing, considering the larger issue of my own mortality. I don't know why, but I imagined that doctor's visit, The One, the one where he pulls out the results of the biopsy, gesticulates at the otherwise unremarkable white dot on the x-ray, and tells me, "It's malignant." Sure, there will be courses of "treatment" available: chemotherapy, surgery, a transplant, an amputation, a tracheotomy, whatever. But all of it is a mere formality; he and I both know that I'm going to die. And what's more, we both know that I deserve it. I thought about where I might be at that point: in my eighties, with the better part of my life well behind me? In my sixties, with my children mostly grown up and out of college? In my forties, with my children barely in their teens yet? What would I tell them the day I got the news? "It was worth it?" "Sorry I fucked up?" I was afraid of dying an idiot's death.

The next morning I read that Peter Jennings had died of lung cancer. I crushed a half-full pack of Camel Lights and threw them away, started chewing Nicorette, and went cold turkey. It wasn't easy: that first day smoke-free stretched out like an ocean of banality, devoid of the spark that punctuated even the most mundane task, my great reward for simply enduring. The nicotine proved easy to conquer; it was the habit, the routine, the ritual that vexed me. But I beat that, too. It's been two and a half years and counting since I picked up my last cigarette.

Just as there is no such thing as a former alcoholic, no one is ever truly an ex-smoker. The intervening years have done nothing to sever that elemental, ineluctable connection between me and the flame. In my dreams I put the next cigarette to my lips again and again, the guilt of failure drowned out by the sweet rush of endorphins that feels more real than real; in my dreams I cradle the smoke in my lungs and return from a self-imposed exile. My subconscious conspires against me still. I continue to burn.

Stand Up, Margaret

Normally, I would make a pithy observation in this space, but considering the fact that most Americans know fuck-all about what U.K. Conservative Party leader David Cameron looks like, well that's him. I don't know who the puppy is.

"Where once voting Tory would have to have been hushed up by over-zealous PRs, no one cares any more. Talking the right wing talk is part and parcel of the rock n’roll experience - the real rock n’rollers are now the landed gentry, they hunt, shoot, fish and then reform for tax purposes. They own cheese farms and write deli columns for Sunday papers, they trade on their youth and pat their well-fed stomachs, but they know the truth.

"And the truth is that all rock n’roll is Conservative."

29 April 2008

More More Mux


Stacking Bodies:
  1. Cabaret Voltaire - Sensoria (12" mix)
  2. Peter Gabriel - I Don't Remember
  3. The Juan MacLean - Happy House (Lee Douglas Remix)
  4. Ratatat - Seventeen Years
  5. Mariah Carey - Emotions (DJ Copy Remix)
  6. Death From Above 1979 - Romantic Rights
  7. Lindstrøm - I Feel Space
  8. Bloc Party - Banquet (Boys Noize Vox Mix)
  9. The Passions - I'm in Love With a German Film Star
  10. Section 25 - Looking From a Hilltop (Restructured)
  11. Johnny Boy -You Are the Generation That Bought More Shoes and You Get What You Deserve (Crews Against Consumismo Extended Mix)
  12. Laurie Anderson - Big Science

28 April 2008

You Want to Hear About the Deal We're Making

New muxtape over in the sidebar: the tastefully named MJB Vol. 2. Track listing:
  1. Dr. Dre feat. Snoop Dogg - Still D.R.E. (Megasoid Remix)
  2. Chromatics - Running Up That Hill
  3. Santogold - You'll Find a Way
  4. The Knife - We Share Our Mother's Health (Ratatat Remix)
  5. Re-Up Gang - Roc Boys
  6. Feelies - Paint It, Black
  7. Orchestral Manoeuvres in the Dark - Enola Gay
  8. Sally Shapiro - I Know You're My Love (Juan MacLean Remix)
  9. Spoon - Don't You Evah (Doc Delay Fixerupper Mix)
  10. Titus Andronicus - Arms Against Atrophy
  11. The Go-Betweens - Draining the Pool For You
  12. Phoenix - Playground Love (Air Cover)

Okay We Get It/Yeah You Too

"Run up in your loft/Put the gun up in your mouth/Get the money out the couch"

Megasoid are a production duo from Montreal; their Tank Thong mixtape can be downloaded free of charge here. On it, you can hear their remix of "My Love," one of the few successful reworkings of a Timberlake track out there. Alert ears will also pick up on some other familiar voices (Dre, Clipse, Missy Eliot), buttressing the oft-voiced contention that much of the innovation in hip-hop is being practiced by scavengers more interested in pummeling your lower intestine with waves of bass than creating new and interesting ring tones for you to hear on the 7 train. Megasoid will be DJing at Low End Theory, a party imported to N.Y. from L.A. going on at the Knitting Factory on May 2; I'd be more interested in seeing them at an as-of-yet undisclosed "rooftop venue in Buffalo" on June 13.

Megasoid Myspace

Oh No, Oh No/You've Got It All Wrong


It's been hard to tell whether or not Norway's Annie venerates plastic pop or views it ironically; the video for "I Know Ur Girlfriend Hates Me" - mysteriously embargoed by her label, so get it while it's hot - decisively places her in the former camp. It's a cross between Destiny's Child's color coded "Say My Name" video, and those Verizon Wireless commercials for the LG Chocolate: simple, bold, effective, and completely devoid of subtext. This isn't a knock unless you need your art complicated; after all, it's not like brilliant disposables "Chewing Gum" or "Heartbeat," the singles that first brought Annie internet fame, have a third dimension either. Sure, she'll never be famous in America (something she has in common with fellow blog sensation M.I.A.), but so what? Hopefully she'll continue to enjoy enough success in Europe to keep her in the music business - after all, we subsidize most pharmaceutical research, so fair's fair.

Grève Indéfinie


Nominally centered around a work stoppage/hostage-taking at a meatpacking plant, Jean-Luc Godard's Tout va bien is a wide-ranging critique of the state of class struggle in France four years after the epochal uprisings of May 1968. One by one, each strata of French society comes in for interrogation and abuse: the bosses, the bourgeoisie, the self-described "intellectuals," the police, the unions, and the "establishment" Communists. Even the (mostly) young workers, with whose ethos of direct action the filmmakers' clearly identify, are portrayed less as a serious force for social change than as situationist clowns in the Merry Prankster mode. The spirit invoked in dialogue and intertitles is constantly that of '68, but the mood that informs the piece is that of 1789 - a blind, unguided application of vaguely articulated principles in the service of an ill-defined goal. Of course, Godard, a committed leftist himself, is hardly a disinterested observer; in an accompanying short epistolary film directed at Tout va bien's American star, Jane Fonda, following her infamous trip to North Vietnam, he asks the surprisingly dilletantish question, "What can cinema do to help the people of Vietnam win their independence?" Yet despite his malformed politics, the director's greatest attributes, his incisive view of human nature and the inherent defects of rigid ideology, are incapable of being dimmed: as another leftist filmmaker, the Soviet master Dziga Vertov said, "It is far from simple to show the truth, yet the truth is simple."

27 April 2008

Greetings From Bergen County, N.J.


Some people hate Bright Eyes because of Conor Oberst's histrionic vocal stylings, which often give the impression that he is singing in a rock tumbler with a bag with a hungry rat in it strapped to his head. If this doesn't deter you, and you particularly like 2002's Lifted, or The Story is in the Soil, Keep Your Ear to the Ground, then you will probably enjoy the debut of New Jersey's own Titus Andronicus, The Airing of Grievances (Seinfeld reference, that), which takes the positive, propulsive aspects of Bright Eyes, and weds them to the Pogues' punk sensibility and (who else) Springsteen's engine. Lead singer Patrick Stickles does borrow heavily from Oberst's playbook, but then again one doesn't have to look far past Conor to find Paul Westerberg or a thousand other unconventional rockers yowling away unprettily. The record is out now, reportedly in a limited edition of 700 CDs, on Jersey City's Troubleman Unlimited label.

Titus Andronicus Myspace
Troubleman Unlimited website

* * * * *


Interesting connection: apparently Titus Andronicus have something to do with a now-defunct party, The Creature, a friend of a friend used to throw downtown. The reason said party is defunct is because its prime mover, a guy who apparently only goes by Alex, has a newish band, The Pains of Being Pure at Heart. Like the name implies, they're an emo-ish riff on JAMC's fuzz; they use the term "anorak" to describe themselves, thus making the twee pop link explicit. Unlike their pals in Titus Andronicus, they're pleasant rather than abrasive. Right now there's a couple of 7-inches, and self-titled EP, which can be obtained over at Insound. Check them out below.

The Pains of Being Pure at Heart Myspace, website

22 April 2008

Saw You In a Mag/Kissing a Man


Now...

The legendary group Wire are headlining a free "festival" on Friday, May 30 as part of New York City's annual River-to-River concert series. The band are best known for the troika of albums they released between 1977 and 1979 - Pink Flag, Chairs Missing, and 154 - which demonstrated their freakish propensity for sonic evolution; while it's impossible to encapsulate the "Wire sound", my stab would be "Beckett-punk." And despite their advanced age (and the departure of original rhythm guitarist Bruce Gilbert), Wire are still vital: last fall saw the release of the excellent third edition of their Read & Burn EP series, and their latest full-length album, Object 47, is slated to drop in July. Suffice to say that I will be there on the 30th - there being, I suppose, the South Street Seaport - and seeing as free is free, I hope that you will be as well.

...and then

21 April 2008

Today Pennsylvania, Tomorrow the World

You'll never live like common people

Tomorrow is the Pennsylvania primary, a contest that Hillary Clinton will probably win by between 5% and 10% of the vote: sufficient to justify her continued presence in the race, but nowhere near enough to erase Obama's lead in pledged delegates. Seven weeks have elapsed since the Texas and Ohio primaries (how many of us even remember those supposedly decisive contests?), and during the interlude the Democratic race has devolved into a cartoonish mire of negativity and incivility. The chief effect has been that Senator Obama, once perceived as a "post-racial" font of positivity that would vex the Republican attack machine and outshine the superannuated John McCain in November, has been forced to outpace his gaffes and some unfortunate prior associations - first with his pastor, Reverend Jeremiah Wright, and now with Bill Ayers, an unrepentant domestic terrorist with whom Obama has, at the very least, and probably the very most, crossed paths. Meanwhile, Senator Clinton, in attempting to exploit these supposed chinks in Obama's armor, has merely reinforced the prevailing perception that she is ruthless, mercenary, and disingenuous; charges that are by the day becoming more difficult to refute. Americans, to their credit, seem disinclined to reward this distasteful opportunism, as neither candidate's poll numbers have recently budged.

The ringamorale of the past month and a half has reinforced my belief that the electoral process, though it may never have been about ideas, per se (it's not you/it's the nostalgia talking), has now become nothing short of an obstacle course, designed not to allow voters to make the best possible choice, but to see who can play the game best. Of course, no one can win: the omnipresent media-eye withers whichever candidate is unfortunate enough to endure its focus longest. Now it is Barack's turn, as it has been Hillary's, and will be John McCain's, and back and forth again. Some of this scrutiny is useful: I would even argue that the minor controversy over Obama's recent statements ("bitter", "clinging") is at least illuminating, insofar as how the candidate interprets the electorate. Much of it, however, is trash: Hillary crying in a diner, the sporadic appearances of Obama's flag lapel pin, McCain's flat "bomb bomb bomb, bomb bomb Iran" joke. The utility of this information seems to be that it keeps the 24 hour news industry knee deep in grist for the mill between updates on Natalie Holloway's whereabouts and Britney Spears' latest hospitalization.

This year's primaries are particularly perverse inversion of the formula: even as the internet and television have colluded to provide saturation coverage, the primary season has improbably trudged into the spring, meaning that the 2008 presidential campaign has been afoot at least since John Edwards announced in December 2006, an inconceivable sixteen months and counting. Worse yet, most states, fearing the exclusion of their voters in the primary process, front-loaded their contests, sticking us with a lonely archipelago of laggards: as of today, 44 primaries have already occurred, with merely 10, including Pennsylvania, yet to happen between now and June 3. Yet the carpet-bombing nature of 24 hour news cycle has obviated the intent of a leisurely primary season, wherein presidential politics were more human-scale and a candidate's words did not ring instantaneously across hundreds of cable stations and millions of web sites, followed by secondary and tertiary waves of analysis and critique. Back then, perhaps, it was important that Jack Kennedy and Hubert Humphrey take their respective cases directly to Wisconsin's dairy farmers; today if Barack Obama mutters something in his sleep, no doubt CNN will rustle up a polysomnographer to chat for a few moments via satellite with Wolf Blitzer. The only people who don't know are the ones not paying attention, and I'm not sure how giving them another seven or eight weeks of this dreck, as opposed to, say, a consolidated month or two of regional primaries, legitimizes the current process.

What we have now is an endurance test that exists to no one's apparent benefit except the vast army of commentators, analysts, and satirists that thrive on the chaff and choke on the wheat - i.e. where the candidates stand on Iraq, the economy, health care, renewable energy, or their responses to any of the other myriad crises presently wracking our democracy. I won't delude myself by suggesting that the latter was ever wholly front and center: packaging has always had an advantage over content in our politics, dating back to George Washington's calculated decision to wear his military uniform as a civilian delegate to the Continental Congress. Nor would I suggest that negativity is endemic only to our own era; anyone who's taken the time to tune in to HBO's John Adams mini-series knows that even such august personages as Thomas Jefferson and Alexander Hamilton were not above taking liberties with the facts in order to sully the reputation of a rival. Yet our present predicament has all but crowded out the policy in politics in favor of the mechanical aspect, turning what should be a contest of ideas and values into a cynical spectacle wherein only snarky skeptics are rewarded for their raging contempt. What remains is a Rube Goldberg contraption better suited to choosing the next American Idol than the next American president.

Next stop, Guam.

Man Devouring Man


Johnny Depp's demon barber sounds like Captain Jack's effete relation; what's more, Edward Scissorhands does not have the pipes for Stephen Sondheim's demanding score. Neither, for that matter, do Helena Bonham Carter, Alan Rickman, or Timothy Spall, though they at least fill out their characters' respective carriages. Tim Burton left a lot of the original Sweeney Todd on the cutting room floor, with the maestro's consent: as Sondheim himself pointed out, the grammar of cinema dictates that you not spoil the ending, hence "The Ballad of Sweeney Todd" is out, as are a number of "unnecessary," far more minor tunes. This streamlining (along with the magic of film editing and the absence of an intermission) turns a three-hour musical into a two-hour silver bullet of a movie, but it also thins out the musical's baroque quality, turning a grand tragedy into a fine thriller. To Burton's credit, he makes up for it by letting the vino flow, with gouts of blood the consistency of tomato soup accompanying each unfortunate customer's demise. (The director also shows the victims' heads cracking open as they hit the bakehouse's stone floor after a ride down Todd's disposal, a gruesome touch illustrating the inherent visual advantages his medium affords.) Sweeney Todd is at its feverish best in its final moments, when it leaves Sondheim's vision unmolested, ending with a perversion of the Pieta; high art reverting to its Penny Dreadful origins, becoming high art again.

18 April 2008

Thicker Than Blood

Cain and unable

Before the Devil Knows You're Dead is an excellent specimen of the "fucked-up robbery" genre: brothers Andy (the schemer) and Hank (the fuck-up) plot to knock off their parents' jewelry store in Westchester, reasoning that they know the place inside and out, and insurance will take care of mom and dad's losses, so what could go wrong? Everything, of course: their mother gets shot in the course of the botched stick-up, and they don't see a thin dime from the score. The best part of this movie is the performances: Sidney Lumet is an actor's director, and this is an actor's film, dominated by towering contributions from Phillip Seymour Hoffman as the self-destructive, self-loathing Andy and Albert Finney as father Charles, a man who seems to wear every emotion as a thin concealment for his rage. Also in fine form is Ethan Hawke, who, in his advancing age, has wisely decided to treat his roles as exaggerations of his public persona: his Hank is a pathetic deadbeat who can't even make his child support payments and fucks his brother's wife (Marissa Tomei, who has spent the decade quietly resurrecting her career with niche parts in movies like In the Bedroom and the underseen Factotum) - a grim comment, perhaps, on the iconic self-regarding slackers upon which Hawke built his reputation in the 1990s. Though there is much bloodshed - like fellow '70s maverick Scorsese with late-period triumph The Departed, Lumet turns the final act of his film into the Grand Guignol - owing to its brilliant performers the most blistering violence in Devil is emotional, the lion's share of it self-directed; one is left to wonder if this family wouldn't have torn itself apart regardless of the artless deception at the film's core.

When the Foreman Calls Time


Danny Federici, keyboard player for the E Street Band, passed away yesterday after a three-year battle with melanoma. Federici played with Springsteen for 40 years and appeared on such classic albums as Born to Run, Darkness on the Edge of Town, and Born in the U.S.A. In addition to his E Street service, he also released two solo jazz albums, 1997's Flemington (named after his hometown of Flemington, NJ and later reissued as Danny Federici) and 2004's Sweet (reissued as Out of a Dream).

17 April 2008

For God, For Country, For Yale Lux et veritas

"With Crimson in triumph flashing/Mid the strains of victory/Poor Eli's hopes we are dashing/Into blue obscurity"

It's on HuffPo, so it must be true: a Yale undergrad artificially inseminated herself, and then took abortifacient drugs in order to induce a miscarriage which she videotaped for an art project. I'm not much of a moralizer generally, but (again, if it's true; this thing has hoax written all over it) I would say that in a country where reproductive rights are a court order away from abolition, it probably doesn't help matters to trivialize abortion.

Thanks to Jorge for the link.

Update: Shockingly, it did in fact turn out to be a lie, to the surprise of credulous journalists everywhere. Yet I can't help but feel that I learned a lesson about "the ambiguity surrounding form and function of a woman's body" anyway.