February Crumbs

First off, the reaction to my last post was very interesting: I got an e-mail from David Kamp, the author of The United States of Arugula, thanking me for the “review,” and noting that, as he mentions in the book’s introduction, there were threads of the story which he just couldn’t wedge in to the narrative as he was telling it. As an example — also mentioned in the introduction — he cites the history of Chinese cooking in America, which isn’t mentioned at all.

He’s right: once you start a story, it goes where it wants to go, and if it’s going to be readable, you have to make sure there aren’t too many digressions. And, as Kamp said in his note, both Edna Lewis and John Thorne lie outside the narrative he was writing. (He also noted that he’d eaten at Gage & Tollner under Lewis’ regime, but, unlike me, his table had gotten a visit from the grand lady herself, checking up on things. I am officially jealous.) As for Raymond Sokolov, he tried to get an interview with him, but they kept missing each other. This kind of thing happens, too.

As for me, I told him that this piece, like pretty much every post on this blog, was written and edited in an hour or less, which is a discipline I maintain in case I ever wind up with a serious writing career again. And in my case, I left out one of the threads of my argument, which was why I’d mentioned Bill Bruford’s book Heat at the top of the post: that besides the Food Network honky-tonk I mentioned, the other current trend seems to be towards a kind of connoisseurship that takes the ability to make good food out of the hands of ordinary people, be it through the kind of perfectionism Mario Battali practices, or the sous-vide fad or the weirdo-cuisine trend of El Bulli and so on.

Finally, Kamp mentioned that he was familiar with my writing, because of what he called “a morbid affliction of mine”.

***

Not as morbid, of course, as this news about a German Chinese restaurant. It’s pretty obvious — well, pretty obvious to those of us who grew up around organized crime, anyway — that some of the “Asia” restaurant phenomenon here is about more than the bad food they serve. One guy I knew said it was an immigration scam: since Germans can’t tell one Asian from another, successive waves of workers pass through the restaurants using the same set of ID cards.

It’s obvious that something’s going on a lot of the time: people who remember the original White Trash Fast Food club on the corner by my house probably wondered why the Chinese motif, but that was because it was the Kaiser des Chinas restaurant before that, ornately decorated, with room after empty room. You never saw anyone in there, and the one person I knew who’d eaten there asked me if I had. When I told him no, he just said “Don’t.” (And he was German).

And then, one day, it just closed. It sat there, empty, for over a year. When Wally and his crew took it over, he showed me the kitchen. “These people left so quickly that they left the spices still measured out,” he said, pointing at a row of porcelain bowls with various powders and shriveled remnants in them. That was when I remembered having found a bunch of waiter’s wallets in the trash outside my house and wondering how in the world they’d gotten there. Still, nothing like this has happened here yet.

***

Following up on the last set of crumbs, it should be noted that the good voters of Berlin actually went for the renaming of a stretch of Kochstr. as Rudi-Dutschke-Str. a couple of weeks ago. Sometimes the good guys do win, even if it’s just a bit of harmless symbolism.

***

And following up on another crumb, I want to report that the Yum Mee bánh mi sandwich joint up at the top of Friedrichstr. is doing a pretty good job. I think the baguettes could be crisper, and they use some kind of margarine instead of the homemade mayo the place I was introduced to them in Honolulu used, and of course they don’t use shredded green chiles because they’re scared of frightening the Germans. Turned out the guy who actually puts your sandwich together speaks pretty accent-less American English, although he’s apparently never been there, and he interrogated me pretty thoroughly last time I was in there about my opinions on his product and my experiences with bánh mi in America. I told him he should add Vietnamese paté to the menu, but he wasn’t sure Germans would go for it — and he may be right. He is, however, about to add tiger prawns to the bánh mi side of the menu, which should be good. And, as lagniappe, as they say in Louisiana, his co-worker taught me how to say pho correctly. I’d been saying something like “phaw,” but it turns out to be more like “pheu.” Now if someone here would learn how to make that right…

***

I recently discovered that there are so many refugees from Brooklyn’s hipster enclave, Williamsburg, here in Friedrichshain that they’re calling it Friedrichsburg, but that is not why Deutsche Post issued this stamp this year. Really.

THE TIME FLYS : “REBELS OF BABYLON” CD

I wussed out on the record release party last Friday but rest assured this thing’s brand new – the second full-length from 21st Century punk rock’s primary exponents. These guys somehow just make it all sound so easy, no straining to be heard, no over-the-top stupidity, just a totally hotwired, glamarama middle point between “The New York Dolls In Too Much Too Soon” and THE INFANTS‘ “Giant Girl In The 5th Grade” (hey, you know, that’s a song we should post here soon...). The TIME FLYS, when they’re on, can make the tired garage punk subgenre seem ballsy & fucking alive again – witness this one’s “This Is Stoner Rock” (wha…?) and “Romance + Violence”, two songs as good as any you’re going to hear this year. Part of the reason I like them so much is they’ve still retained this can’t-barely-play sound that threatens to send each song sputtering into pure noise (“Romance + Violence” almost falls apart at least twice), and yet their chops are loud & fast & wild, just like they are live – and I’ve seen them a good half a dozen times and hope to at least double that amount in 2007. This one’s even better than “Fly”, so take it from a brother and get that wallet in your back pocket now — and see these fellass + gal if they ever come to your town.

Steve Noonan – S/T CD (Collectors Choice)

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On his 1968 Elektra debut, Noonan comes off like a chilly Apollonian antidote to Tim Buckley’s gathering Dionysian storms. Both singers have precise tenor voices they apply to ambitious folk-influenced art songs and a sort of sadly regal air, though Buckley had significantly greater control over the recording process when he was at Elektra, and generated more of a funk. On “Back Alley Dream Street Song,” you can almost hear producer Paul Rothchild (who took his name off the finished work) goading the artist into a Buckley impression, but maybe this was just the local folk-rock style for Orange County kids in the late sixties. Noonan was a high school pal and songwriting partner of Jackson Browne, then in his Nico-backing phase. The album features several solo Browne compositions alongside Noonan’s collaborations with Greg Copeland, including his minor hit for the Nitty Gritty Dirt Band, “Buy For Me The Rain.” Though a slight effort, there are some very pretty moments.

HATS OFF TO THE TWISTED ARTPUNK OF FINLAND

My three personal connections to the nation of Finland are my former Nokia cell phone; my favorite of the San Jose Sharks’ two goalies, Vesa Toskala; and the sprinkling of wacked-out avant-punk I have from Finland in my record collection. To me, a trip to Helsinki or Oulu would be to visit the furthest stretches of imagination, even more so than my visits to the faraway land of Sweden in 2002. Finland to me is cold, distant, dark, scary and full of hard Baltic liquor, but then again, I’ve never been there. It might be a total upscale, yuppified place. I do know that some of the wildest & weirdest records I’ve ever heard come from there. Take “Ma Vihaan” by RUTTO, for instance. Rutto are this total off-the-rails hardcore band from 1983, with this shrieking, instantly-falling-apart shitstorm of a sound that is just candyfloss to my ears. Their “Ei Paluuta” 7″EP is a ballistic, Black Flag-ish classic, and their “Ilmastoitu Painajainen” single from 1984 only slightly less so.

Then there’s THE SILVER. A late 70s lost pajama party stab in the dark, so retarded and fried it makes 1/2 Japanese from the same era sound totally sane & with-it. Yes, “Do You Wanna Dance” is the Beach Boys/Ramones classic. You’ll never hear it the same way again. Finally, the first Finnish band to win my heart – of course I’m talking about LIIMANARINA. Bizarre, low-fidelity, glue-sniffing “snot folk” played at top volume, with the de rigeur Finnish stream of vowels slurred & screamed over the top. This one (“Turistit”) is from their first 7″EP which I believe came out in 1989 or 1990. Amazing, destroying, a burnout classic, and all that. Ignore that Drag City record they did and find their singles – they’re great!!!

Download RUTTO – “Ma Vihaan”
Download THE SILVER – “Do Ya Wanna Dance”
Download LIIMANARINA – “Turistit”

(click on these links above, then download from the page the links take you to – or just play the songs there first)

There’s not enough gloom in the world to convey wh…

There’s not enough gloom in the world to convey what the loss of Molly Ivins means to this state and this country. She was a gadfly in the best sense of the world, a truly witty person who could lay bare political childishness and hypocrisy with a couple of well-placed words, all delivered with so much warmth and humor that only a withered fig would could refrain from laughing. I don’t know whether she loved or hated her clear predecessor H.L. Mencken, who had a similar way with words but fell on the other end of the political scales, but I hope she loved him. I know she loved Ann Richards, another witty Texas woman with a Texas-sized personality. Here’s what she wrote in her obituary for Governor Richards:

She was so generous with her responses to other people. If you told Ann Richards something really funny, she wouldn’t just smile or laugh, she would stop and break up completely. She taught us all so much — she was a great campfire cook. Her wit was a constant delight. One night on the river on a canoe trip, while we all listened to the next rapid, which sounded like certain death, Ann drawled, “It sounds like every whore in El Paso just flushed her john.”

From every story I’ve heard and from the meager two times I got to meet her, all of this could apply to Molly Ivins, too.

Salon has been kind enough to compile a few choice quotes, including:

On the recent campaign: “It’s like having Ted Baxter of the old ‘Mary Tyler Moore’ show running for president: Gore has Ted’s manner, and Bush has his brain.” (Fort Worth Star-Telegram, 10/25/2000)

On George Bush Sr.: “Calling George Bush shallow is like calling a dwarf short.” (Mother Jones, February 1990)

“The next person who refers to David Duke as a populist ought to be Bushururued, as they now say in Japan, meaning to have someone puke in your lap.” (Mother Jones, May/June 1992)

On Ronald Reagan: “You have to ignore a lot of stuff in order to laugh about Reagan – dead babies and such — but years of practice with the Texas Lege is just what a body needs to get in shape for the concept of Edwin Meese as attorney general. Beer also helps.” (Progressive, March 1986)

(Responding to the Reagan warning that “The Red Tide will lap at our very borders.”) “These sneaky bastards from Nicaragua — there’s 3 million of ’em down there, there’s only 16 million Texans, and they’ve got us cornered between the Rio Grande and the North Pole.” (Progressive, May 1986)

“I have been collecting euphemisms used on television to suggest that our only president is so dumb that if you put his brains in a bee, it would fly backwards.” (Progressive, August 1987)

On Texas: “I dearly love the state of Texas, but I consider that a harmless perversion on my part, and discuss it only with consenting adults.” (Fort Worth Star-Telegram column, March 1, 1992)

On H. Ross Perot: “It’s hard to envision a seriously short guy who sounds like a Chihuahua as a charismatic threat to democracy, but it is delicious to watch the thrills of horror running through the Establishment at the mere thought.” (Time, June 1992)

Here’s a lovely obituary in the NY Times, full of bon mots that you, dear reader, should steal and use often. The Nation, sadly but predictably, is a bit drier, but gives you a scope of the struggles that defined her life. And last, but certainly not least, The Texas Observer, the famous lighthouse in the fog of Texas politics that Ivins edited for 6 years back in the 70s, is chock full of information, with articles, some wonderful tributes, and pictures of Ivins at work and play. She asked that people not waste their money on flowers for her, but donate to the Observer instead. This is the woman who dubbed our President “Shrub” and said of his father that “real Texans do not use ‘summer’ as a verb.” That’s worth at least $10, right?

News! From the blog that promises you the rare gl…

News! From the blog that promises you the rare glimpse into the life of some guy.

My stack of to-be-read books currently includes:

  • The Believer Back Issue Bundle Jumble: 10 back issues for $20 (I’ve read some issues in bits and pieces when I’ve had time);
  • Thomas Pynchon’s Against The Day;
  • John Banville’s The Sea; and
  • Elizabeth Green-Musselman’s Nervous Conditions.

I’m trying to finish my manuscript for Shoot Out The Lights by the end of the month. We’ve also entered into my busiest season at work. Consequently, I am tired.

My son’s 2nd birthday was this past weekend and it was delightful. We gave him a play kitchen that he adores, some age-appropriate legos, and a Huffy tricycle that refused to stay upright (so back to the store it went). He also got some cowboy boots from his Aunt Jen, a Leapfrog doll from his grandparents, and some wonderful books from some of his friends. Yay!

Oh, yeah. eMusic downloads this month included:

  • Jens Lekman – Oh You’re So Silent Jens
  • Charles Mingus Presents Charles Mingus
  • El-P – High Water
  • Deerhoof – Friend Opportunity
  • a bunch of Deerhoof contributions to compilation albums
  • cLOUDDEAD – Ten
  • cLOUDDEAD – Dead Dogs Two EP
  • The Woggles – Wailin’ With The Woggles
  • The Mountain Goats – We Shall All Be Healed
  • Red House Painters – Red House Painters (II)
  • Tortoise – s/t
  • The Spinanes – Imp Years
  • Love Tractor – This Ain’t No Outer Space Ship
  • Acid Mothers Temple – Starless and Bible Black Sabbath
  • Rhys Chatham – A Crimson Grail (for 400 guitars)

If you know me and decide to sign up for eMusic, please tell ’em I recommended it to you. I like free downloads!

Frankly, I’m Beginning to Doubt My Commitment to Sparkle Motion

Not sure when it happened that I started looking back more than I look ahead.

It used to be when, when, when–I was sure that the best was in front of me and I would get there eventually, now I’m not sure. And for this I blame Thomas Pynchon.

Gravity’s Rainbow was the fundamental turning point in my literary edumacation. It turned reading a book into a process of self-flaggelation, humiliation and ultimately, snide elitism (since I could then boast that I’d finished the damn thing).

Okay, maybe not. It really is a grand book, filled with the kinds of inside jokes (in German), rollicking belly laughs and totally inappropriate sexual encounters which I value so highly.

So, why has Pynchon’s newest sent me into such a tailspin of self-doubt? After all, I confidently skimmed through much of Vineland and can’t remember if I’ve even finished Mason & Dixon, after slavishly reading all of his earlier work. Could it be that I’m not sure I have what it takes to read such a book anymore?

So, here in this personal echo chamber of a blog, I am calling myself out–I’m going to read Against the Day–and I’m going to detail my painful progress back to the self-respecting (nay, self-loving) intellectual snootiness that filled so much of my early twenties with loneliness and (most likely) adult acne.

And I’m happy to report that I have opened the book, and it starts out, promisingly enough, with hot-air balloonists on some kind of mission, stopping at the Chicago World’s Fair, the one detailed in The Devil in the White City.

So, progress so far: 10 days — 15 pages

Fuck you, Pynchon. You haven’t killed me yet.

The Sadies – Tales of the Ratfink original soundtrack CD (Yep Roc)

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These 26 instro tracks, each named for an international rock venue, represent the fruits of the long collaboration between the versatile Canadian genre-hoppers and Ed “Big Daddy” Roth documentarian Ron Mann. I’ve not seen the film, but these concise, fuzzy and sometimes silly tracks certainly evoke the trashy spirit of 1960s kar kulture, with side trips to the spaghetti west and Turkish cartoonland, and saved Mann the not inconsiderable headache of clearing twenty-plus vintage surf tracks with licenses owned by cranky old dudes.

Back in Bleck by Johnny Ryan (Fantagraphics)

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Blecky Yuckerella is a nasty little girl with five o’clock shadow living in a world of rubes who inevitably get smeared with Blecky’s snot, poop, gas or barf in four panels or less. The underground weekly strip star is so sincere and delighted with her own grotesquerie that she’s kind of lovable, and you can probably say the same about creator Johnny Ryan. This second hideous compilation features Maakies parodies, some of the cutest testicles in comix, and Black Power Quisp, a cereal that tastes like Kill Whitey.

Steve Wynn and the Miracle 3 – …tick…tick…tick CD (Down There)

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Here’s some belated praise for yet another deeply satisfying suite of impassioned, unpretentious American rock and roll from one of our most understated master craftsmen. From the Dream Syndicate days through his current band, Steve & company can always be counted to forge these perfect organic structures built of manic guitar lines, instantly familiar riffs, surging rhythms and crescendos that demand you hit the repeat button almost before they fade to fuzz. “Came on like a force of nature,” Steve muses in the exquisitely minimalist “Freak Star,” and it could be a snatch of critical autobiography, because these songs feel as necessary and elemental as a sudden windstorm, or the rolling waves that threaten to absorb the narrator of “The Deep End.” We’re damn lucky to have them.