Archive for January, 2005

Battleship Rainbow

Wednesday, January 26th, 2005

I took my camera on a bike ride today. The route was nothing special, just my normal short base miles trip through Alameda. Señor Kingfisher was around, displaying his typical knack for the dramatic. Look at him, he’s standing on a tower of lockjaw! Out on the estuary two tugboats were busy escorting a sexy mamacita into dock. I never would have guessed the Port of Oakland could so throughly capture my imagination, but I’m hooked. I can’t get enough of the floating monoliths; they’re beautiful, they overload my senses in a pleasant way.

Out on the Navy base the USS Hornet was looking sharp, vigilant. I like to stare at its chin; it always seems to be coming to get me. But I’m too fast, I ride no handed and make funny face. One of the secrets in life is to act like a tourist in your home town.

When I reached Bay Farm Island the grey had thickened into rain. Water drove horizontally, filling the wells underneath my sunglasses. I stung with collateral salt. But when it cleared there was a rainbow over the Oakland Coliseum (that’s it, down on the inside corner of the strike zone.) Baseball’s coming soon! And spring! And summer!

Honey, and Other Syrups

Tuesday, January 25th, 2005

Lately I’ve been fascinated by Van Morrison. Now, VM is an easy guy to dislike. He’s so distinctive with his delivery that you know it’s him from the first syllable. At first his voice perturbed me, it seemed the distillation of earnesty and wank, silly blue eyed soul. I didn’t want to hear any more about his Brown Eyed Girl or anything else. He touched my sensitive 70’s bone, the same panic button that’s engaged by other cloying, brown and yellow anthems.

But I started listening closer, I gave him more chances. He struck out a few times, so I gave him a few more innings. I got Tupelo Honey, just to see. For my musical education. And finally, it stuck; he reached me. Packaged in a twangy boogie, I could listen long enough to hear what he was saying.

You know what I realized is great (at least for me) about Van Morrison? He’s unfiltered. He’s messy. He’s pushing saccharine and then the next moment he’s spouting blood. He’s dancing in a circle practicing crazy alchemy, not really aware of what’s coming out of his mouth. He doesn’t appear to have a self censor. What you get with him is what seems to be a direct window to his inside, crafted out of cheese and magic alike. He really startles me, he often produces something brilliant then next thing something that makes me wince. I bask and squirm through his songs.

And you know sometimes it gets so painful,
Just like talking to yourself.
When everything don’t seem to have no rhyme or reason we all go
Do do loo do do, do do loo do do
Waiting for the sun to shine

There’s something so true (and even disgusting!) about this. He seems to be a deeply emotional guy and he’s deeply self-connected, but he’s not worried about trying to filter this emotion or self criticize. Me, I’m ruled by strict filters. I’m deeply self involved and emo, but I view myself through series of strong rules. I deal with my emotions in their raw states and I believe I feel them deeply, but they pass through slow, heavy machinery in their translation to the outside. I press my feelings through logic to try to save them for future use, to try to understand and learn from them. Van Morrison, as far as I can tell, he just vomits up his heart and that’s okay.

I envy him. I’ve been having a tough time lately, tectonic plates shifting in my head, rumbles and earthquakes. I have fissures that I’m processing, trying to bring back together. I have segmentation faults that yield sadness. They don’t rationalize easily. I wish I could just turn off the processing devices for a while and let this body of energy pass out of me, spit it up like Van. It would create a momentary nebula in the room, a singularity of drivel and depth. But maybe I would feel better.

So now I listen to him more and Astral Weeks is truly amazing. I want to cozy it up to my ears to examine the display of beat and wack. I’m trying to learn something.

Elvis Presley Pinball

Sunday, January 23rd, 2005

I just checked into La Val’s to see which pinball machines they had. It turns out they have the new Elvis table! I’d read about it online but never seen one in person.

So I deposited $2 for 5 games worth. The first thing I noticed was that HAL had been there and the replay value was fairly ludicrous. (Often the replay value is set as dynamic function of the high scores.) I earned one replay in five games worth.

But anyway, Elvis plays loopily, sort of lazy. The table feels wide and the ball likes to float from side to side above the lanes, drifting like a hot air balloon. There’s a disturbing plastic elvis doll that looks undead; when you do well it starts to twist and shake. There are fun tricks with magnets, two extra flippers and one extra second story playfield, which amounts to extra fun.

Pinball is difficult, can be extremely frustrating. There’s a saying heard among enthusiasts: good at pinball, bad at life.

I still don’t know exactly which state I play best in. You start to realize quickly how one’s reflexes feel a certain day, how sharp your field of attention is, how keen your focus. Since I’m a caffeine drinker, coffee and coca cola comes into play; do I play better sped up? I still don’t know for sure. After all this time I can’t decide which proportion of the game is luck and which is skill.

I can say that when a pinball game is going well, I feel relaxed. I’m not thinking about the ball draining, or second guessing any attempts at dangerous shots. When the game feels free and easy like this it’s a riddle: I know how it feels, but I don’t know what physical chemistry yields this state (and more importantly, the superior game play that surrounds it!) I do know that pinball doesn’t tend to award trying too hard, or flipping too furiously. It requires confidence wielded with finesse.

I’m listening to Eric Dolphy’s Out to Lunch, and it occurs to me that free jazz resembles the physics of pinball. Listening to it feels like being inside the machine, with flashing lights and unperceived ricochets.

I had chana masala at Naan N’ Curry for lunch and the tandoor was acting up again; my clothes reek of burning breads. I like talking about the tandoor.

Drunken Elephants

Monday, January 17th, 2005

Saturday I took an excursion to Año Nuevo State Park to view elephant seals. My Aunt Donna is a volunteer docent; she took us on an after hours tour.

You need an appointment to see the elephants. They run a tight ship there; they have cascading check points, quotas, and communication by walkie talkie. Rangers pace the dunes like covert ops.

I didn’t know what to expect. My vague expectation was that I’d see a few gigantic fat guys lying around in perceived comas. I never knew there would be so much tension. The air was electric. See, the elephants don’t eat at all for the two or three months they’re beached. They come in enormously fat, looking like long stacks of twenty bean bag chairs. Fat, yet totally jacked up on hormones. They’d like to move as little as possible, to conserve energy, but the bulls are strung out on testosterone. So what they do is play a slow, shocking game of chess. They gain strategic outposts then sprawl out like drunks. At first glance it seemed like the valley of the hangover. But then you realize these guys are fully, painfully aware. They’re glaring at eachother out of the corner of their eyes, evaluating the hierarchy, waiting for a security breach to exploit.

When an opening develops, things happen fast. They rise up on their bellies, standing eight feet in the air, and trumpet battle cries. Their cries are incredibly strange; it sounds like a ceramic type of burping, like there’s elaborate plumbing in their throats. It’s a hollow yet explosive bark, with a menacing bass that carries to your center. And when the elephants decide to move, they really move; they move as fast as possible. Elephant bulls surge forth like giant caterpillars. They seem made out of jelly, so jelly bounces, and sand and water fly. They joust and intimidate with pure mass.

grrrrrr

So you’re walking through a field of enraged bulls playing some sophisticated strategy game you don’t know the rules to. There are no set paths; it’s up to the docent to choose the proper route through the dunes that won’t result in any casualties. The dunes are carved out and smooth, like they’ve been terraced by steamrollers. Elephant steamrollers, dragging tracks through the sand.

We tiptoed our way through the peripheral dunes to emerge on the overlook above the main elephant valley. Out in the valley sat hundreds of seals barking, screaming, burping. This was where the females were, and the most gigantic males lorded over them. They ran the show, controlled their harems like gang bosses as the smaller, younger men sprawled around the outside, reading the board game, looking for a way in. When one of the bosses judged an interloper had come too close he’d snort with rage and surge forth without any regard for the much smaller female seals or even their new pups.

It was a sea of brandished jaws and blubber and loud, visceral noise. The females’ voices sounded like screams as their babies made impatient requests for seal’s milk (which is something like 50% fat, we learned.) The mothers and young stared at eachother, bared their teeth, breathed on one another, trying to remember who they were. This is how they imprint, form a bond. Apparently if a storm came the babies would wash out to sea and the white sharks would become very happy.

It was totally awe inspiring to witness so much mass, volume, war and sex. Then the sun went down with so much orange it seemed as if it had exploded.

On the way home my Uncle Mike and I stopped in at Tres Amigos for a burrito, but they were remodeling and there was nowhere to sit. So we sat in the car in the parking lot, listening to Led Zeppelin and pouring salsa on our pants.

You can see the rest of the pictures I took here. It was a good day.

Saxophone Poisoning

Thursday, January 13th, 2005

Okay I’ll admit it: lately I’ve been toying with powerful forces.

Like “You Belong to the City” by Glenn Frey. I downloaded the Miami Vice soundtrack album and have been interjecting passages of 80’s hyper-compressed steel drum between normal music at work.

YBttC is on the album, and it’s powerful. It’s powerfully noxious, invasively saccharine. It begins with melodramatic, pensive saxophone riffs which signify everything a young rock and roller hates about brass and has to deconstruct if he ever wishes to approach jazz. It’s melody and tone from the same DNA as Kenny G.

Then the percussion comes in: bleak, synthesized, bouncing. Cold digital keyboard bass, distant drums. The song becomes wrapped in a cold gray membrane. It frightens and compels me. Then Glenn Frey enters on vocals, you know, the voice of The Eagles. He pleads with you to understand, explains:

You were born in the city
Concrete under your feet
It’s in your moves, it’s in your blood
You’re a man of the streets

Yes, it’s powerful stuff. It’s airborne disease. The saxophone weeps neurotoxins, poisons your well. But yet I’d like to keep listening, there’s something so liberating and startlingly ironic about it. Startlingly ironic moments are rare these days as irony itself is dying. Irony has been reduced to common, drained by leeches of most its power.

But the leeches haven’t reached You Belong to the City yet. The force in it still runs strong. It fills me with giddy power, turbo charged irony, to blast the saxophone at 200 decibels. So I find myself toying with powerful stuff, abusing power. My coworkers have yanked my speaker cables four times in the last two days.

Finally (it was inevitable!) I found myself paying for my insolence. Besides the speaker neutering, which is annoying, I went to play pool with Dmo on Tuesday night after spending a long interlude with the Miami Vice soundtrack. You Belong to the City was in my blood, it was inside my head in a powerful way. And I was okay with it; I tried to bend its dark forces toward my advantage. I burst out with random passages. I was a vector, infecting anyone within earshot.

But in the end, I belonged to the city, and that wasn’t a good thing. The saxophone wouldn’t shut up. It polluted my angles, ruined my symmetry. I was off balance. An important part of me had retreated, ran away from the glut of irony, leaving me a husk of man.