Hong Kong hustle

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Bustling, blinding Kowloon, Hong Kong (the only photo here I didn’t take)

The last time I was in Hong Kong it was the early aughts, swamp-butt sweltering in May and as crowded and jostling as Times Square on a swarming summer night.

Laptop open, I write this on my return to the sprawling urban archipelago, propped on my hotel bed, gazing out at floor-to-ceiling views of striking Victoria Harbor and about ten thousand skyscrapers, a glass and steel thicket that plays exuberantly off the verdant, low-slung mountains that make Hong Kong’s terrain so famously picturesque — columns of concrete hugged by lavish foliage. 

On one side of the narrow harbor is the at once lush and deliriously vertical Hong Kong Island; on the other side is Kowloon, all crackling neon bustle, where I’m staying. It’s January and a merciful 65 degrees and the colorful crowds are maddening and unbudging and beautiful. It’s a blast, really.

Politically, Hong Kong is of course a complicated place, a “special administration region” of mainland China, operating with the constitutional principle of “one country, two systems.” If you follow the news you know how that’s working out, bumpy at best. I vow not to write anything here that will rankle the tetchy government and get me deported or worse. I’m not a big fan of prison meals.

I’m on day four of six, and so far I’ve taken a six-hour walking tour of city highlights; watched the popular Wednesday night horse races at the fabled Happy Valley track; did a day trip to the island of Macau, a Portuguese territory until 1999 and, thanks to its glitzy-kitschy casinos, known as the Las Vegas of Asia; visited two exceptional art galleries and the impressively sleek Hong Kong Museum of Art; relished a private three-hour food tour with the sweet, dynamic and aptly named guide Angel who offered everything from dim sum to donuts as well as cultural and historical appetizers; and strolled the renown Temple Street Night Market, where heaps of cheap souvenirs, name-brand knock-offs, geriatric karaoke, fortune tellers, and grilled octopus and other exotic street vittles conspire for an electric buzz.

Hong Kong is curious. Its population of 7.5 million — unfailingly polite and helpful are these folks — skews palpably young; every other person looks to be between 15 and 35, though officially the median age is 46, which is young, but still. As a former British colony, English is pervasive. I haven’t spoken a word of Chinese, not even a “hello” or “thank you,” which is about the extent of my local vocabulary when abroad. 

In many ways, from the sheer human density to the boisterous food culture, HK reminds me of Tokyo. Excitement reigns. Weaving among bodies on the skinny sidewalks — many of those bodies staring at their phones — you pass shops hawking chunky beef offal, luxury bags and watches, shark fins and sea cucumbers, medicinal herbs and incense. And scads of busy 7-Eleven stores, like two per block. It’s a carnival of smells, sights, lights and humanity — especially as it’s the Lunar New Year, year of the snake — a heady, bracing brew that fuels my love of travel, my intemperate wanderlust that makes my heart pound and my feet ache with throbbing delight.

Some Hong Kong visuals so far:   

Nan Lian Garden
Dim sum beef balls
Macau island
Famed Ruins of St. Paul’s Cathedral, 17th century, on Macau
View from Victoria Peak on HK Island. Kowloon is on the other side of the water.

Lighting prayer incense in Litt Shing Kung Taoist temple on Hollywood Road
Hong Kong Island’s nightly light show, viewed from Kowloon

Into the elusive mind of David Lynch (R.I.P.)

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Indelible auteur, quiet crackpot, polite polymath, gentle genius, David Lynch, known mostly for his string of indescribable movies, died today at age 78. A lifelong, unrepentant chain-smoker, the artist/visionary announced he had emphysema last year, and defiantly declared he would not relinquish the pleasures of a good cigarette. And so …

In 2007, on the release of a new film and new book by Lynch, I interviewed him in Austin, Texas. This is how it went: 

Watching a David Lynch movie, you might reasonably think its maker is living somewhere deep in the clouds. Speaking to Lynch only confirms this conceit, but in a charming, even sweet way.

Lynch, creator of some of the most willfully strange, and darkest, American cinema of the past 30 years, comes across as a crypto-naif — a polite, soft-spoken Midwestern gent wearing the mantle of a sophisticated abstract artist obsessed by dark, disturbing and unknowable things. It’s hard to reconcile the voice you hear on the phone — that of a pocket-protector accountant — with the father of “Eraserhead,” “Blue Velvet,” “Twin Peaks” and “Mulholland Drive.”

But cognitive dissonance is the currency of Lynch’s weirdly wonderful, inveterately arcane body of work. Take a look at his new film “Inland Empire.” The three-hour movie and my conversation with Lynch affirm the artist’s unbending faith in the abstract. Abstraction trumps the literal, he reasons, because it gives viewers a participatory role, allowing them to unriddle the conundrums he puts forth.

Lynch refuses to plumb the meaning of his work, asking audiences to approach the films with no prior baggage or knowledge. Which makes our job simpler, as it eases the obligation to write about what the sprawling “Inland Empire” is about.

Some facts: Lynch wrote “Inland Empire” as he went. He shot on digital video for the first time, making him an outspoken convert to the medium. He pieced a lot of it from previous projects, including 2002’s “Rabbits,” a nine-part, 50-minute short featuring actors wearing giant rabbit heads. 

“Inland Empire” stars Laura Dern, who also co-produced, Jeremy Irons and Harry Dean Stanton, and features a handful of cameos. It is a difficult movie.

Lynch, 60, is on the road plumping the new film and his new book “Catching the Big Fish: Meditation, Consciousness and Creativity.” In the slight and gnomic book, the Montana native shines a light on his 30-year devotion to transcendental meditation and its scuba-like potential to let practitioners dive many fathoms into consciousness and make otherwise unavailable discoveries in the mind’s darkest depths.

This, Lynch says, is where he finds his ideas. Lynch recently began the David Lynch Foundation for Consciousness-Based Education, which is aimed at teaching children transcendental meditation, a monument to his creative wellspring.

I recently spoke to Lynch.

The long, piecemeal process of making “Inland Empire” is becoming legend. Can you explain its unusual gestation period?

Well, it was a little bit unusual, but still the same, because it all starts with ideas. I got an idea that started when Laura Dern told me she was my new neighbor and her saying we have to do something together again. Thinking about that, things started rolling out and I started catching ideas and then I would write those ideas down and a scene appeared. Instead of keeping going and writing an entire script, I saw this as a stand-alone thing, not thinking in terms of a feature film at all. We got people together and shot that scene. Then I got an idea for another scene, unrelated to that first scene.

What was that first scene?

I don’t say, because I don’t want to putrefy the experience. Sometimes when people know a bunch of things they just start thinking about that. For me, I like to go into a film not knowing anything and letting it just happen. So I was shooting scene by scene, not thinking it was a feature until a bunch of ideas came that united the things that had come before. At that point I wrote much more and we shot in a more traditional way. Everything comes from ideas.

Watching “Inland Empire” is an often jarring experience and it does feel cobbled together from totally independent ideas. You’ll be in one scene or situation, then suddenly those darn rabbit-headed people pop up again. It’s discombobulating, but I assume you have a master plan holding the logic together.

Well, everything comes from ideas. And every idea starts talking to you and somehow things get together and the whole feels correct. 

Why are you having ideas about people wearing giant rabbit heads?

Why does any idea come along? And why do we fall in love with them? Ideas that you fall in love with and think about and feel start speaking to you in a way that feels correct for the thing. If they’re abstract, you don’t always have a way of putting them into words that make the same feeling. That’s the beauty of cinema. Cinema can conjure things that can’t be said in words, except maybe by the great poets. They can stay abstractions. Many times in a film something pops up and then later the same thing pops up in a continuation. It’s the way stories unfold. It’s just the way it goes.

It sounds very organic put that way, but a critic might argue, “Yeah, you have a lot of ideas, but not all of them are thought through. You put the rabbit people in a satirical sitcom, but now what?”

I understand 100 percent, Chris. But if you just willy-nilly put things in, what is the point? The ideas start feeling correct even though you don’t know the whole story yet. A thing starts happening where the whole thing starts making sense, and it’s saying something for you, and it’s feeling correct. That’s how it goes with all the films. You may not know everything at the beginning, but you’re working on a script and it unfolds. It’s a huge gift, all these ideas holding together for you the filmmaker. And so you go like that, all pumped up with enthusiasm, feeling it and knowing it for yourself. Then you translate that through cinema and you’re rockin.’

Much of “Inland Empire” is easy to follow. Still, one might wonder what it’s about. Your official plot synopsis is just a single phrase: “A woman in trouble.”

That’s what it’s about. Obviously there’s more than that, and it’s there in the film. It’s not that I have fun not telling people things. The analogy I always say is that there are books where the author is long since dead and all that remains is the work. And you read it and the author isn’t around to ask questions of and you make sense of it yourself. To me, there’s a joy in that.

Do you mind that it sometimes seems like your ideas are vaulted in your head, inaccessible to everyone else?

No, because I think if it feels correct for one human being, chances are it can feel correct for others. When it’s abstract the correct feeling can come out in different interpretations. It’s like a long line of viewers stepping up to an abstract painting and each viewer getting a different feeling. If you wanted everybody to get the same thing you would make no room to dream. When things get abstract it’s open to whatever. Viewers know much more than they give themselves credit for. After a film, they go get a cup of coffee and talk to their friends, and before they know it they’re arguing over interpretations. All this stuff comes out, showing that they kind of internally knew (what was going on).

So you don’t mind asking a lot of your audience, particularly with the new film, which is nonlinear, opaque and a whopping three hours long? As one critic has written, it can leave an audience “baffled to the point of numbness.”

Some might feel that way, but if you talk to 10 people, all 10 won’t feel that way. It’s the viewer.

You’ve recently — and eagerly — joined the digital video revolution, and in Austin we have filmmaker Robert Rodriguez, who’s been evangelical about the medium’s virtues.

He’s a hero-champion. Digital video is a runaway train. Look at what people are taking still photos with now and you’ll see what’s happening with all of cinema. It’s digital and it’s here. There’s an opportunity for more and more people to let their voice out and realize their ideas. Freedom.

“Inland Empire” has a meta, film-within-a-film quality, echoing ideas of Hollywood, fame and moviemaking that you explored and critiqued in “Mulholland Drive.”

In a way the films are companion pieces.

That’s exactly how I felt. Can you elaborate?

No.

What are some of your obsessions? Lately you’ve gravitated to ideas about identity, split personas and parallel lives.

What I love are ideas, but not all ideas. How come certain people fall in love with certain ideas? It’s just the way they are. When you’re in love with an idea it’s such a beautiful thing. Then you know what you’re going to do and you can really enjoy the doing and translate that to a medium. It’s not like I say, “OK, I’m going to do something about an identity thing.” You get some ideas and later you realize, “Oh, it’s about that.”

In “Catching the Big Fish,” you are very generous sharing how you feel about transcendental meditation and how it’s transformed you. How has it affected your art?

One definition of human beings I’ve heard is we’re “humanoids reflecting the Being.” The Being is an ocean, unbounded, infinite, eternal, at the base of all matter and all mind. This ocean of pure consciousness, of bliss consciousness — creativity, intelligence, love, energy — is there and always has been there. It’s a human thing to learn how to contact this field and grow in it. And that means growing in creativity and energy. 

The side effect of experiencing that deepest level is negative things start to recede, dissolve. That’s like stress, anger, fear, sorrow, depression all going. So beautiful for the artist or for any human being. It affects all avenues of life, and big understanding starts to come, appreciation for things and people. It’s so important to expand this consciousness and get yourself better equipped to catch ideas at a deeper level and understand them more. 

As I put in the book, the artist doesn’t have to suffer to show suffering. Let the characters do the suffering. People say artists should suffer, they get ideas from suffering and all this. The more the artist is suffering, the less he or she can do. Real depression, real anger are a killer to creativity. So if you really want an edge, really want to do what you really believe in doing and have the power to have huge stressful situations come off your back like water off a duck’s back, just expand this bliss consciousness. The Being, this beautiful, beautiful, beautiful unified field — unity — expand that. Transcending is the only experience that utilizes the full brain.

Wow, whoa. You have your own coffee now, David Lynch Signature Cup. It seems a little gimmicky.

See, there’s the thing. There’s another expression: “The world is as you are.” There are lots of people who have their own coffee and there’s not a problem. We can do anything we want. So to put out a coffee that’s a good coffee to me is a beautiful, beautiful thing. I do love coffee, so roll it out.

Is it a special coffee; did you hand-pick it?

It tastes good to me. It’s the coffee I drink. It’s organic. It’s all fair trade. It’s a beautiful, beautiful thing.

***

Lynch on Lynch

In a game of free-association, I asked Lynch to offer a brief comment — or a single word — about some of his best-known works:

ERASERHEAD (1977): “My most spiritual film.”

THE ELEPHANT MAN (1980): “When I first heard the title an explosion went off in my brain, and I said, ‘That’s it.’ It was a true blessing to get that movie.”

DUNE (1984): “Heartache.”

BLUE VELVET (1986): “Hidden things.”

TWIN PEAKS (TV series, 1990) : “The mystery of the woods.”

WILD AT HEART (1990): “True love in Hell.”

THE STRAIGHT STORY (1999): “Forgiveness and brotherly love.”

MULHOLLAND DRIVE (2001): “A wondrous, hopeful dream of love.”

I’m dreaming of a white … well, sort of

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Overnight, unexpectedly, snow fell, making for a delightful slush-fest this afternoon, one that I have to brave in order to walk the dog and neither one of us is gleeful about it, especially me, who can’t find his snow boots and must stroll in wee leather sneakers, ha ha, squish.

The snow, it’s not so bad, a solid inch and half or two, and the sun sliced through before I had to actually pull out the shovel and clear the sidewalk, the kind of toil that kills hundreds of hale men via heart attacks each year. (There’s no way I’m dying from shoveling snow. Manure maybe, snow, no.) Yet, as noted, it’s slushy out there, which beats crunchy. That stuff sticks for days and mocks you as you scrape windshields and, yes, shovel like a chain-gang prisoner.

Snow on Christmas Eve — how can you complain? While this powder is so slight that it won’t really make for the dreamy, coveted white Christmas — get ready for tomorrow’s brown Christmas — it’s still a tiny treat that shouts seasonal sentimentality. I’m getting misty already.

Friends are flung cross-country, from California to Florida, and the immediate family absconded to a Cancun resort for the holidays in order to swim and sweat. So I am, once again, a solo character in this festive narrative. It suits me well.

We opened presents on Sunday and a fine bounty was had, including a giant bottle of my beloved Monkey 47 gin, which goes down smooth if you ignore the price tag. My brother loves 19th century Russian playwright Anton Chekhov, so I got him a finger puppet of him as a stocking stuffer. It was that kind of Xmas exchange — practical and comical.  

So snow. I get it. I got it. The tree is lit. Tonight I’m going to either rewatch the classic ‘70s noir “Chinatown” (I’m reading a book about the making of it) or pop a gummy and watch “The Wizard of Oz,” which seems positively made for gummies. Cubby the dog will be my companion. And I will pour a Monkey 47 and truly have a Christmas on ice. Cheers to all.

Berlin boogie

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So there we were, rambling the hip Berlin sidewalks, hopscotching crumpled cigarette packs whose contents the locals so blithely puff, and glancing at the endless walls of colorful graffiti that looks like so much bubble-lettered gobbledygook, when we stumbled on a little shop that sells porcelain pups. Yes: glazed Great Danes and shiny Schnauzers. My brother and I peered in the windows, pointing, laughing, pining. Too bad the damn place was closed. We moved on, slightly crushed. Onward.

Berlin is a beaut. It may not be the prettiest or most charismatic city I’ve been to — you win, Paris, Istanbul and Tokyo — but it is relentlessly amicable, stylish, pulsing. The city, from which I just returned, has a big determined heart, still pulling itself out of the twin muck of Nazism and Communism, that makes it both a little staid and also, wildly, weirdly, the techno-rave dance capital of the world, a pent-up human energy explosion.

It’s an offbeat charmer, animated by a vibrant polyglot and a diverse people, be it leather-clad Eurotrash, Arab falafel slingers, or well-heeled bougies and their primly groomed doggies. It presents an alluring jumble of history and humanity, culture and cuisine, with a dash of decadence and the pesky ghosts of a bleak past that’s shudderingly recent.

We spent six full days stamping the streets, alleyways, museums and squares of this relatively young metropolis, whose US-backed west and USSR-backed east didn’t reconcile till the Wall came tumbling down in the great thaw of 1989. Much of the architecture looks shiny-new, replacements for the rubble left by ferocious Allied bombings during WWII.

Berlin was also rocked by rock ’n’ roll. We took a tour of  the city’s grungy, arty, DIY underbelly in a vintage 1972 Ford Econoline van driven by the shaggy founder of the Ramones Museum Berlin, which is really just a funky bar strewn with punk artifacts. It’s cool. The tour was happily heavy on David Bowie and Iggy Pop’s ‘70s stint in Berlin, which forged a collective creative milestone in rock, including Bowie’s wondrous “Heroes.” We can be heroes, just for one day. Or, in our case, six days.

A side note: For all its diversity — the Turkish and Arab worlds exert strong stakes — Berlin has blind spots. I saw fewer than three Black people in six days, and that’s troubling and hard to fathom for a US visitor. I googled this and read that most of the Black population lives in the so-called African Quarter, an area I’m pretty sure we didn’t hit and whose existence rather unsettles. Ignorance may place me out of my depth here; facts are elusive. And yet.

And now, a smattering of visuals — alas none of those porcelain pups that so capture the whimsy, artistry and dog-love of the bounty that’s Berlin … 

Berlin Cathedral with the famed, kitschy TV tower of East Berlin

Memorial to the Murdered Jews of Europe — stark, contemplative, abstract

My bed at the lovely Chateau Royal Hotel, with mystifying skeleton-emblazoned canopy

The Tiergarten park, a 520-acre urban oasis in West Berlin, where I sipped a stein of lager in a leafy biergarten

Tiergarten

A bar I wish was open when I passed

Cafe Frieda, my favorite restaurant in Berlin, swathed in that glorious graffiti

Some of the bar staff at our arty hotel, a fantastically hospitable crew, slinging mean, creative drinks
Guinea fowl dinner at my second favorite Berlin restaurant, Eins44 Cantine

The iconic Brandenburg Gate, doing its thing, just sitting there, from the 1700s

One of my new Berlin buds

What a prick

~ Chris ~ 3 Comments

When the needle goes prick, lancing flesh and entering my vein, I reflexively turn away to avoid the carnage. I instead picture the syringe slurping up my blood into those glass vials containing the violent harvest, which I also won’t look at, lest I get lightheaded and require smelling salts to keep me from passing out. 

That’s what happened to me as a 12-year-old sick with mono. (The kissing disease. I rule.) I had to get regular bloodwork, but my body and mind weren’t having it. Even lying down so I wouldn’t topple over, I got woozy when the nurse drew blood. More than once she had to fetch smelling salts to prevent a fainting spell. It was a spectacle, drama, like a scene out of  “ER,” pediatric unit.

I’ve gotten much better about being pricked. Getting bloodwork, as I did yesterday, is child’s play of the more mature sort. Pivoting my head from the procedure is merely habit, and if I happen to catch a glance of the needle and the blood, I’m sturdy, acting my age. I even thank the blood-tapping technician when it’s over, like he’s some kind of hero.

I’m also rather effusive to those who jab my arm with flu and Covid vaccines. It’s a thankless job, poking the skin of a nervous needle-phobe who tries to crack jokes to lower the pressure. All business, they rarely laugh. I recently got both vaccinations and thanked them like a madman, even though my jokes tanked.

Incidentally, if you ever need smelling salts, they are amazing. Perk you right up, like a cartoon character.

She’s handling it slightly better than me.


My shy misanthropy

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The annual block party is coming soon, usually a week after Labor Day weekend, and I alternately embrace it — deviled eggs, beer keg, a fiery grill — and dread it — all those people. Yeah, they’re my neighbors, but I’m a confirmed introvert, socially awkward and not very, well, peoplely. So it’s all a little trying, despite the spread of killer homemade guacamole and fried dumplings, and a pretty decent jazz band that plays right on the street. 

It’s like the 58th year for the big outdoor bash, which tends to run from 5 to about 10 p.m. on a Saturday. The weather is typically clement, not too warm, with cool nights enveloping a thinning crowd bloated on burgers and beer. The music goes on and on, complementing all the chirping and chattering. You can hardly sleep.

It’s an end-of-summer scene, ripe for people-watching and, in my case, dog-watching — the street is speckled with dogs of all shapes and breeds. Cubby the marvelous mutt joins the parade briefly, just long enough to get his bunghole sniffed. Then he goes inside so I can hit the keg, hands free. Oh, and I’ll take that piece of curry chicken, too, please.

Children run and scream and catch air in the bouncy house. Teens strut, flirt and steal hard seltzers from the icy tub. And parents drone on about sports, home improvements and their lousy kids. 

The guy who (reluctantly) volunteers to man the grill is very cool and very tolerant, and also very sweaty. He sets up the grill in front of his driveway and cooks burgers and dogs that taste like cardboard. It’s not his fault. It’s frozen meat probably bought at Target. He just cooks the stuff. I had a burger last year. I threw half of it away. 

In shorts and tees, hoodies and flip-flops, the assembled are mostly sane, reasonable folks with progressive signs on their lawns and a few who are clearly in thrall of the inarticulate ignoramus leading his party (cult) to the inferno pied piper-like. It’s a good mix of sanctimony and jackassery. 

Frankly, I don’t expose myself too much. I offer a few “Hey, how’s it goings,” careful to avoid small talk, move on to the food, hang for ten minutes, then hole up inside. I do this about every hour. I like to chat with the grill man. It separates me from the bustle. Then I go get some dumplings.

I’m not a complete hermit or monk. I do socialize, a bit. Yet despite my occasional bursts of sociability and philanthropy in everyday life, I’m an uncomfortable human being with a penchant for solitude and self-criticism. A misanthrope? Probably. Shy? Pretty much.

I hit the web for a definition of that big word, misanthrope. I got this: “Lack of desire to participate in social activities”; “tendency to be more sensible and practical than most people”; “lack of effort and bluntness in conversation.”

Oops. Nailed it. 

Maybe this year at the big block party I’ll try to break the ice with my fellow humans. Maybe I’ll let my hair down and be all chummy and extroverted. Maybe I’ll do a high-five with the fellow next door and fist bump his son. Maybe I’ll jig to the music, carefree-like.

Doubt it. Most likely I’ll make an appearance, pile up my paper plate, show off the dog, and get the hell out of there. It’s a party and I do parties as well as I do karaoke or rollerskating. Sometimes at parties in high school, instead of leaving through the front door, I’d hop the backyard fence, jog to the street, and drive off, fast, into the night.

I’m wily like that. 

A Motörhead memory, small but indelible

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Fresh in my teens, I went to a tiny club in Berkeley, Ca., to see legendary heavy metal band Motörhead — a trio of hirsute dirtbags that rocked with the subtlety of a meat grinder.

I was a Motörhead newbie, green, callow, had only heard the raunch ’n’ rollers for the first time barely a year earlier. My deflowering was “Iron Fist,” Motörhead’s fifth record. It practically castrated me. 

There I was, surely the youngest fan, along with my friends, in the closet-size club, a bit nervous amidst the cramped crowd of big, gnarly headbangers, scary-looking dudes with hippie hair and satanic glares. We kind of pressed ourselves against a back wall waiting for the show to start, innocents among animals. 

And then something wild happened. Who did I see playing pinball on a rusty old machine but Motörhead bassist and lead singer Lemmy. The only person with him was a leggy blonde straight out of Playboy.

Now, Lemmy was a formidable, even fearsome presence, especially to a sheepish fanboy from the burbs. An icon of British metal, the towering singer seemed to have stepped out of central casting as a skull-crunching rocker, a road-worn biker from “Mad Max,” or a snaggletoothed pirate: leather jacket, black skin-tight jeans, bullet belt, cowboy boots, long greasy hair and scraggly muttonchops that hardly concealed two marble-size moles that many mistook for huge warts. 

Lemmy drank and smoked fiendishly, and it would eventually kill him. His voice was a burnt-to-a-crisp croak. He didn’t play his bass, he mauled it, strumming it violently like a guitar, making the bulk of the distorted noise the band produced. One of their albums is titled “Everything Louder Than Everyone Else.” An understatement, and a promise. 

(Incidentally, see the 2010 documentary, “Lemmy: 49% Motherfucker. 51% Son of a Bitch.”) 

Excited and wide-eyed, I wondered what Lemmy was doing out there and not backstage committing all things illegal and squalid. Giddy dorks, my friends and I tried to figure what to do. Soon enough, I was the one who screwed up the courage to approach him.

So I went. And I, gulp, asked for his autograph.

He glanced down at me and, gruff, calm, unsmiling, said, “This is my time.” His voice was a gravel road of unknowable debauchery and spilled Jack Daniel’s. “See me after the show,” he added, a nice touch even if it was just a sop.

This is not why some rock stars suck. This is why some rock stars rule.

Chastened but exhilarated, I returned to my friends who asked what happened. Their faces read awe and disappointment. The girl out of Playboy snickered. 

Nightclub shows like that, with three bands on the bill, and a late start time for the headliners, round midnight, meant we couldn’t really hang out afterward and hope Lemmy would be waiting with a Sharpie to sign an autograph. It was a wash and I knew it. Still, I had exchanged a few words with the man himself.

The show itself is a blur now, though the set list is archived online. (I cannot believe they didn’t play “Ace of Spades,” the band’s signature song.) But that encounter with Lemmy is branded in my brain. “This is my time.” I can still hear it in Lemmy’s smoke-charred voice, and it’s beautiful. Like watching a molten volcano, or surviving a shark attack.

Motorhead. That’s Lemmy on the right.

Bro, brah, blah.

~ Chris ~ 2 Comments

Despite the fact that my barber called me “bro” no fewer than twelve times — a word he’s never said in the four years I’ve patronized him — yesterday was fine and productive, a whiff of autumn in the air that had me breaking into brassy musical numbers on the sidewalk, à la Gene Kelly. 

The day went like this: My podiatrist speared a cortisone shot in my foot; it bled like a Tarantino movie, and I marveled at the carnage. I picked up Renata Adler’s great cult novel “Speedboat” at the library. And for lunch I tucked into an elephantine deli sandwich that about made me upchuck thanks to its gut-busting enormity. I felt ill the rest of the day and loved every bite of it. 

I also got a haircut, which brings us back to bro. Besides that it’s the go-to vocabulary of jocks, frat boys, rappers and illiterates who actually think they sound “street,” I don’t know why I loathe that word so much.

I just know that my barber suddenly using/abusing the modified noun out of nowhere was deeply distressing. He even did those lame hip-hop gestures — arms wide, hands contorted in faux-gang signage — as he said “bro” and — yes, it happened — “Yo, bro.”

What was going on? Four years and not once has he stooped to this phony street jive. I’m guessing he’s in his late thirties or early forties, too old for bro, fist-bumps and even, I’m afraid, “dude.” (The less said about “brah” the better.) Married with two young kids, my barber, who I’ll call Miles, doesn’t drink alcohol, so picking this up at a keg-soaked rager is at best categorically implausible. 

(Amusing aside: When Miles did those hip-hop hand gestures he was holding scissors, making him look like Freddy Krueger cackling for the kill. I kind of wish he killed me.)

Of course “bro” is simply short for “brother,” but it sounds like the utterance of monosyllabic dolts. It is largely the verbal currency of very young men and we should cut them some slack until they acquire a full grasp of the English language. Like now.

In the case of Miles, when he says bro with that oblivious grooviness, he’s suddenly reduced to a kid — a bro — himself. Maybe that’s the point, that slang keeps you young at heart. Heaven knows I’ve retained some embarrassing slang in my life, much that’s unprintable in a family blog. 

Miles might be on to something. He’s like a millennial Vanilla Ice, still trying to keep it real even at the risk of fatuity. I might not be a fan of whatever happened to him since I last saw him a month ago, but he’s still a good guy, a mighty barber and a voluble conversationalist (we talk world travel exclusively). It appears, I have to say, that our bromance rolls on.

All about Eve

~ Chris ~ Leave a comment

It is the impoverished soul who has yet to encounter the unbridled bliss that is Eve Babitz’s prose. I’ve written about her several times, but I seem to be on a Babitz kick this summer (when am I not?), and my proselytizing propensities are in full whack. 

There. I said it. I am enamored with Babitz’s writing, and this lust just won’t go away. Last month I reread her infamous 1972 semi-fictionalized memoir “Eve’s Hollywood” and that kick-started my crush on her hip, shaggy, archly observant wordsmithery.

Babitz was Joan Didion with a jolt of sex, drugs, rock ’n’ roll and, crucially, a sense of humor. She’s the cool Didion, the one who laid Jim Morrison, among a murderers’ row of L.A. badasses — “she seduced seemingly everyone who was anyone in Los Angeles” — and swanked her way through the megalopolis’ mega-scenes with abundant beauty and ample talent (she was also an accomplished artist). 

Her memoirs and novels depict “a glamorous and unapologetically wild world.” And a privileged one, too. Her godfather was Igor Stravinsky. She was romantically entwined with Steve Martin and Harrison Ford. Reader, you are forgiven for getting a wee jealous about her oversaturated life. Me, I wilt.

And it’s this bounty that keeps you reading, carried as it is with earthy writing whose low-slung easiness pops at every turn with a hilarious throwaway detail. “She was a phenomenal writer,” declared LitHub, “the kind people hate the most, the kind that doesn’t have to toil or sweat to turn out something that’s not only decent but often extraordinary. Eve was not a great writer in spite of her unseriousness but because of it.”

Some summers ago, I compiled a blog entry entirely of quotes from Babitz’s fizzy, funny novel “Sex and Rage.” A few brief samples, a sliver of what the book, as slim as it is, contains:

“In the hurricane, the waves were fifteen feet high and roared like lions and volcanoes.”

“He smelled like a birthday party for small children, like vanilla, crêpe paper, soap, starch, and warm steam and cigarettes. Anyone would have liked being hugged by him.”

“She felt as though she’d been in front of a firing squad that had changed its mind.”

Her work is so much more than this. I’d have to transcribe whole pages to do it justice. It’s wily, droll, dry but juicy, real and loaded. And you will laugh. 

Four years ago, I wrote about this book: “Babitz’s raffish auto-fiction, whose subtitle, ‘Advice to Young Ladies Eager for a Good Time,’ is a brazen come-on. It’s so saucy, such unfiltered fun, and the writing so ablaze, resisting it would be dumb self-denial.”

In 2018, I read the Babitz novel “L.A. Woman,” and wrote, “Soaked in sunsets and squalor, glamor and grit, ‘LA. Woman’ traces the squiggly trajectory of a young Jim Morrison groupie through the titular city with a constant stream of poetics and epiphany. It’s funny and mean. It’s about Los Angeles. And life. I gobbled it up in a gulp, like a gumdrop.” 

So, yeah, I dig Eve. Without being her proxy pitchman — Babitz died in 2021, age 78 — I recommend these books: “Eve’s Hollywood,” “Sex and Rage” and “I Used to Be Charming: The Rest of Eve Babitz.” Take a bite.

Or don’t. Remain unenlightened. I don’t care. And Eve, that snarky libertine, certainly wouldn’t either. She’d shrug, chuckle a plume of smoke, then carry on waxing rhapsodic about her capacious life in her crazy city, not a care in the world.

Pet sounds

~ Chris ~ Leave a comment

The animals have it made. They just don’t know it.

Oblivious to their Edenic existence — room, board, vet care, treats, belly rubs — they try my charity and patience with animal trickery, inbred cunning that might serve them in the wild, but I doubt it. Tossed outside, the dog and two cats would eat twigs and weeds and cry for their mommies. That scratching at the door? I’m sure I don’t know.

When they’re not noisome they’re noisy, yawping dissonant arias that would make Yoko Ono reconsider her entire career. Every so often I am startled by the sound of hell’s maw bellowing tortured damnation. It’s just the cat.

While the cats whine constantly, the dog often breathes with the labored wheeze of a Sleestak, the reptilian humanoids from the “Land of the Lost.” He sounds about 100 and sneaks Pall Malls. And he barks at strangers with a fury so committed, you want to reward him with a meatball. But you don’t, because his outbursts are teeth-clinchingly annoying. Told to shut up, he replies: yap!

The male cat in particular, gray and greedy and shameless, is an air-raid siren of plaintive meows, begging for food then stealing that of his push-over sister. The other day I Frisbeed a small plate at him and missed. He gave me the stink eye and stalked haughtily to the other room, where he probably contemplated murder and mackerel.

Cubby the curly mutt is my pal, a boy and his dog and all that. We get along with a fellowship of such purity you could throw up. We’re like bros, even though I hate bros. He doesn’t know this.

The cats are another deal. They’re sweet and affectionate, but it’s hard to get close to creatures that prefer aloof entitlement to purry snuggles. One cat hibernates in the attic all day, zonked, and the other one is on call strictly for food, any food. (This is flagrant feline stereotyping, I know. My ex and I had a cat named Jesse who would play fetch with bottle caps and sleep on your head.)

Watching the animals in repose, on their back or curled up like a large ball of yarn, must be what it’s like when your small child finally falls asleep after a day of tantrums and slobber. Suddenly there’s a still angel in your midst, halo shimmering, mouth miraculously shut. Shhh.

Oft-seen shot of Cubby, blissfully at rest.