Reading Mr. Mamet

David Mamet’s latest collection of essays, Bambi vs. Godzilla: On the Nature, Purpose and Practice of the Movie Business, zeroes in on the subject of moviemaking — Hollywood moviemaking, in particular — and, as is his way, manages to make the reader feel a) pretty damn smart for understanding what’s being set at our feet, b) dimwitted for sometimes not knowing what the hell he’s talking about, or c) both a) and b) at the same time.

Reading Mr. Mamet is not unlike drinking a dose of cherry-flavored cough syrup: you don’t necessarily enjoy it at the time you’re downing it, you wonder where they picked these particular cherries, but afterwards, if its desired effect is successful, you’re glad you took the measures.
(I speak here of Mamet’s prose writing, not his playwriting. In that respect, I have nothing bad to say about the man who wrote Glengarry Glen Ross, nor, with few reservations, about the man who wrote the screenplays for The Verdict and the Untouchables, and who wrote and directed House of Games and State and Main. This hereby ends the world’s longest mea culpa.)

That being said, the sections of the book devoted to “The Screenplay” and “Technique” prove invaluable reading for any writer. “Storytelling: Some Technical Advice” begins: “Storytelling is like sex. We all do it naturally. Some of us are better at it than others.” Mamet goes on to say that all successful stories utilize the same form: “Once upon a time, and then one day, and just when everything was going so well, when just at the last minute, and they all lived happily ever after. Period.”

He misses the boat, however, with the book’s appendix, which consists of over 30 pages listing the films referenced throughout the book. Rather than enticing us with descriptions of the movies that are salient and incisive, after providing the year the film was made, the principal actors, the director and writer, he boils the plot lines down to their bare bones (sans any marrow whatsoever) and presents capsule reviews that make Leonard Maltin sound like Shakespeare. (For example, his entry for Taxi Driver: “Isolated in New York City, a Vietnam vet takes it upon himself to violently liberate an adolescent prostitute from her pimp.”)

If his goal was to demonstrate how the plots of even classic films can be reduced to a single sentence, he succeeds. But in doing so he also shows why so much of what comes out of pitch-happy Hollywood these days is devoid of mystery, poetry, character, or any trace of art.

Requiem For Mickey D

Saturday night I was invited to dinner at the dancer’s house, way down in Tempelhof, and after the thunderstorms cleared, I started walking. It’s only about three miles, and economics dictated shank’s mare. This meant walking over to Friedrichstr. and then walking the entire length of the street, which is usually fascinating, because after Checkpoint Charlie it turns into a fairly tawdry, largely Turkish/Arab neighborhood, a part of Berlin the tourists don’t see. That culminates in a really seedy housing project at Hallesches Tor, after which you cross over onto Mehringdamm, and into the old Kreuzberg 61.

Anyway, I’d no sooner started out than I got a rude shock. The McDonald’s on Friedrichstr. was gone. A sign for some GastroImmo firm announced it was for rent.

Although I’d never patronized the place, the McDonald’s was a landmark. Visitors coming to my place via the U-Bahn would always get the same instructions: “Okay, take the U-Bahn to Oranienburger Tor station” — and then I’d have to spell Oranienburger, of course, down to the last letter, as if there were lots of similar stations on the line — “and walk in the direction the train was moving and go up the stairs. Okay, now, look left and you’ll see a McDonald’s, so you know you’re in the right place. But you walk right, towards the pizza place…”

That pizza place had been a Burger King, locked in the usual corporate war against McDonald’s, but it probably lost the battle because the word got out that its upstairs bathrooms were ideal places to shoot up, and the local junkies took full advantage. (This came to light, pardon the pun, when it was announced that they’d installed black light in the bathrooms, which supposedly made it very difficult to shoot up. Why this was supposed to be so I can’t say.) Then it was dozens of other things before falling into the hands of the pizza guys. But McDonald’s was always buzzing. It always is in Europe: no other symbol of what makes American pop culture so desirable seems to come close. Maybe if someone would take the time and trouble to learn how to make a good hamburger on this continent this wouldn’t be the case.

(Oh, and this is the place to mention that the place with the great hamburgers I wrote about some time ago, Hazelwood, on Choriner Str., has lost the chef who designed the menu, taken a swift turn towards the Deutsch, and is no longer hamburger heaven in Berlin. The chef says she’s going to have another project soon, and meanwhile your indefatigable BerlinBites team is investigating several rumors of better burgers. Stay tuned.)

The thing I noticed about McDonald’s is that it’s a status symbol for teenagers. A Big Mac is a good deal more expensive than a Döner Kebap (€3.70 versus around €2), and that, along with your fashionable clothing, helps identify you and your posse as the cool kids you are. In Europe, that’s who McDonald’s seemed to be marketing to, too: in America, it seems to be younger kids, but here, the promotions were all about hit CD compilations and iTunes downloads.

So, is this changing? Or is all the construction in the immediate vicinity driving customers away? Why did McDonald’s close at what would seem to me to be a perfect location — especially given that it had traffic all the time? Did one too many Germans see Supersize Me? Do they even supersize in German McDonald’s?

I mean, other than having a familiar place vanish, it’s no big deal for me: I haven’t eaten at McDonald’s since the ’70s, when one opened up on Market Street in San Francisco, the first non-freestanding McDonald’s in America. At the time, I was writing for a brand new magazine called Mother Jones, whose offices were immediately above, and whose elevator was one of the slowest I’ve encountered outside the Communist world. (Soviet elevators are a whole ‘nother tirade.) The exhaust from the McDonald’s fries leaked into the vestibule, where you waited and waited for the elevator to make its mammoth three-story descent, and a certain amount of the grill odor did, too. It was like standing in the middle of a Big Mac and fries, and, like the doughnut bakery that vented directly into two (unusable) rooms in an apartment I rented in college, the smell permeated my memory to such an extent that I can taste McDonald’s fries (or doughnuts) just by closing my eyes and concentrating for a couple of seconds. Plus, of course, until I moved here, there were always much better burgers to be had when I wanted them.

This leaves the pizza place, Dada Falafel (run by Iraqi refugees from Saddam), and, of course, the great YumMee bánh mi sandwich joint (now serving pho!) as the only fast-food alternatives in that vicinity. But it doesn’t make the mystery of why McDonald’s would vanish overnight from such a plum location any clearer.

STICK YOUR HANDS INTO MY PINK LUNCHBOX

Yeah, “that’s what she saidâ€Â, right brother? So sayeth JOHNNY HASH on this absolutely immortal 1993 single that came out on IN THE RED, and is still vinyl-only unless you search high & low for a Japanese CD that had a bunch of old singles from the label. I love the stupid-sloppy slide guitar, the drawly vocals, the “breakdownâ€Â guitar solo, and the general garbage-blues piss take of this whole thing. One critic of low renown called it:

Drunken, animalistic slide guitar blues, backed with precision cardboard-box drumming and barked vocals. A gnarly, no-fidelity blues trash masterpiece that still makes me weep with desire for the LP that never came from these guys.

It’s genius. In fact the 45 was actually called “Blues Is Depressingâ€Â , but I feel like it’s a joyous, rapturous celebration of life the way these yokels play it. Let me know if you agree.

Play or Download JOHNNY HASH – “Pink Lunchboxâ€Â

Overlooked 90’s album of the week.

 

(8th worst album cover of the 90’s)

Shoegazer. Brit-Pop. Indie-Rock. Retro Nonsense. Their respective asses are served by The Boo Radley’s Giant Steps (1993). A subtle job on white-boy dub years before that was cool, a better noise pop than Mercury Rev, driven into nothingness by Creation’s coke-drenched negligence (1), and followed by lesser albums (2), this (true) song-cycle sounds like several bands heralded yesterday (literally, May 25) on Sirius’ sad “Left of Centerâ€Â channel (that’s a compliment). Head to your nearest cut-out bin and drop that four dollars!! Better yet, steal it from the internet!!!

1. I could be wrong here. It’s been years since I’ve read My Magpie Eyes Are Hungry For The Prize: The Creation Records Story (and I recently lent it out…please remind me to get this book back…another copy will not be found for a reasonable price), so the reason lurks somewhere in an unreachable part of my noggin.

2. The next two, Wake Up! and C’mon Kids are oooooooooh keeeeeeey. ’92’s Everything’s Alright Forever is a pretty strong, by-the-numbers shoegaze album that beats most of the usual MBV farts.

 

My succinct review of Babel

WAKE UP, PEOPLE!! I live in a fantasy world with the stupid comedies and romantic dramas, so I must hand it to the Arriaga/Gonzalez-Innaritu team for continuing the trend of stirring moviegoing and attending church/going to rehab into a blur. Thank goodness we have these merchants of emotional suffocation to hand out the needed shots of REALITY. That’s what movies are for. Time to leave your comfort zone!! I-N-T-E-N-S-E.

Like the equally unrelenting and pretentious 21 Grams, Babel feels like eminent disaster as each scene begins. This genre reached its pathetic conclusion with Crash, gave the movies of Todd Solendz an unfortunate reason to exist, and should have ended with American Beauty. Sure, they look different, feature disparate cultures, but the message is the same: We need constant reminders of just how fucked-up the world has become. You know what does a good job of letting me know how fucked-up life can be? Life.

 

Self-Promotion Update

Good news!!

The next time you’re loitering in a book store or dumpster diving, look for my various pieces in both The Onion and Harp Magazine, two brand new additions to my resume. Maybe you should buy Harp, so I can continue writing for them, and The Onion is free.

I’m especially excited about the Harp feature (should be the issue hitting stands next week). It’s an extensive interview with Tom Scharpling and Jon Wurster of…Scharpling and Wurster fame, plus a sidebar history of seminal comedy duos.

For The Onion, I’ll be penning an essay about Marilyn Manson (among other things). Yep.

PEACE OUT!!

Surviving On Crumbs

Well, I’m still here. I guess that’s the good news.

I’ve survived May Day, with its illiterate marchers:

These posters (above) were everywhere. Everywhere. You just have to wonder about people who’d represent themselves like that. Let alone march with a huge banner with a boner like that in it. (You may have to click the photo to get my point here). Thanks to Kean for snapping this.

* * *

I’ve survived Christi Himmelfahrt, the silliest-named German holiday, on the 14th, which is also “Men’s Day,” with men roaming the city drinking beer until they can barely stagger. This is, as you may have parsed, Ascension Day. What that has to do with men in particular I have no idea. But it’s a good day to hole up inside. I had to go to Hauptbahnhof, though; I had no idea it was a holiday.

Modest suggestion, Germany: In America, you’ll find signs on many businesses saying, for example, “We will be closed all day on Tuesday, December 25, Christmas Day.” Now, Christmas is not only a date everyone in the U.S. recognizes, but it’s one that never changes. It’s always December 25. Things like Ascension Day and Whitsun (which is this weekend: stuff is closed on Monday, folks) change according to Easter, the date of which is different every year. I know courtesy isn’t big around here, but if Berlin is, as it pretends, a “world city,” perhaps it might actually act like one and tell those of us who practice other religions, or no religion at all, when the religious state holidays are.

Hauptbahnhof was jammed, of course, but not with as many drunks as I’d anticipated. The downstairs is still dark and gloomy, but the Diplodocus skeleton upstairs is a nice touch.

* * *

I survived the reopening of Tresor, although, of course, I didn’t go. For me, Tresor will always be the basement of the bombed building it’s named for, and even that turned into a bridge-and-tunnel-kid club before it closed down. Several people sent me an IHT story about Dmitri’s plans for his new location. Not that he’s ever asked my advice, but first I’d do something about the name. By the time he finally finds the dough to make this happen — if he ever does — people will have long ago forgotten what a “modem” is.

* * *

I’m surviving Spargel season.

I have to say, I don’t see the attraction of white asparagus, which is what Germans invariably mean by “Spargel.” It seems fairly tasteless, is often quite fibrous (not always: when my pals Ranya and Susanna had a restaurant they could make it well), and is served in such boring ways — with ham and boiled potatoes, with schnitzel and boiled potatoes, with Béarnaise sauce dumped over it most of the time, or just plain butter — that I tend to avoid restaurants during the season. (Well, being broke has something to do with it, too).

Fortunately, the Vietnamese guy I buy lots of vegetables from has a good supply of superb green asparagus at remarkable prices, and thanks to him I’ve discovered roasted asparagus, which gives it a totally different flavor, due to the caramelization of sugars I’d never guessed existed, although, in retrospect, they’re certainly there. There’s just so much flavor in green asparagus I’m eternally grateful it’s not in such high demand around here, making it easily found and affordable for the likes of me. But, if a recent trip to the outdoor market in Hackescher Markt means anything, the Germans may be catching on. I just had to snap that label!

Fitness: yes, actual vitamins’ll do that to you…

* * *

And I expect I’ll survive Burger King’s unsettling campaign for its new sandwich: Long Chicken. No relation — I don’t think — to Long Pork.

GHOSTLY 70s DIY TWANG FROM THE UK

I’m posting two lost tracks from the halcyon days of do-it-yourself bedroom recording in England, captured in large part by the MESSTHETICS compilations that roll off the presses a couple times a year. These two are uncomped, at least in CD form, and are favorites of mine that I’ve come to know in recent years. I thought it was high time that I shared them – because now I can! The first is a creepy haunter from a band called SUBVERSE. Finding any sort of information about it or them online is impossible, so I’ll tell you what I know. It comes from an LP compilation called “STARFORCE STUDIOS – COMPILATION 1â€Â. I’m going to guess at a date of 1979. That’s when much of these lost sounds were being laid down, and that’s a year that will probably go down as being, on whole, the most depressing in England’s recent history. “Chance Romanceâ€Â has the feel of being recording whilst looking out the window on a 40-degree, fog-shrouded day at dole queues stretched around the block amid a grim miners’ protest. Good times!

DEVIL’S DYKES (pictured here) are a wild-ass party by comparison. This jaunty holler of a number from a Brighton band was originally found on a 1978 comp called “VAULTAGE 78â€Â , and if you like what you hear here, you can grab the whole compilation by clicking over to here (and ’79 and ’80 too). Just promise you’ll come back to Detailed Twang when you’re done.

Play or Download SUBVERSE – “Chance Romanceâ€Â
Play of Download DEVIL’S DYKES – “Fruitlessâ€Â

“TOURING BANDS ON THE HIGHWAY TO HELLâ€Â

A podcast you rock-n-roll luvahs might enjoy is one I finished listening to this very morning – the always-great NEST OF VIPERS podcast has a thing on touring bands, sharing their stories of car accidents, cop encounters, hotel fires and Philly cheesesteaks. Chuck Prophet (Green On Red), Anthony Bedard (Icky Boyfriends, Resineators, Gaping Wounds) and Gil Ray (Game Theory, Loud Family) join host Danny “Danny Pâ€Â Plotnick for an hour’s worth of roadmouth. Great fun – download it here.