Thursday, November 7, 2013

The Tragedy of Bear, Chapter 1

After years of inactivity in the fiction writing department, I've decided to write a novel. I'm working from an incomplete short story I began back in 2007 for a fiction writing workshop I took at Keene State College. The first half of this chapter is that incomplete story, now edited; the second half I completed this week. Feel free to leave your feedback -- it's been a while since I've done this and I'm looking for pointers.



There wasn’t much to tell about Jack Bophy, except that he had led a short, horribly depressing life and at the age of 38-and-a-half he had decided he would sit on his front porch and let nature take its course. He had, of course, a wife, a boy of about 12 and a small girl about four-ish. But he had grown weary of them, what with his wife constantly chastising him for his continually diminishing physical appearance, and his son being on the cusp of adolescence and at that point where everything Jack said was a point to argue. He still liked his daughter, but he couldn’t, in his constant drunken haze, even remember how old she was anymore. She did look decidedly like old pictures of his wife as a child, so he had a reason to dislike her as well.
It was 8:30 a.m. Thursday. Jack had just settled down to await his eventual end in a white plastic lawn chair on his porch, clutching a packet of unfiltered cigarettes and a bottle of cheap whiskey to his thin, haggard frame. His appearance and carriage suggested a man nearly 40 years his senior. Watery gray eyes peered nervously out at the world from sockets set deep in his veiny skull, which balanced on a chicken neck. His gray long-sleeved polo shirt almost perfectly matched his slacks, giving the appearance of prison pajamas. Jack always wore gray.
The bottle touched Jack’s cracked lips and a thin stream of liquid vaguely resembling baby shampoo in both color and flavor filled his mouth. He coughed and lit a cigarette, exhaling blue smoke. Jack knew that his wife and children would not be back from the Hamptons until Monday. They were visiting with his in-laws, who were disgusting, mole-like people who at one point had been the most powerful couple in the state. Now, they never left their cavernous mansion, and always complained to Jack that their daughter “needed to express her intellectual side” and that his job at the Marriott Hotel on Long Island didn’t provide the necessary funds to allow for that. Like hell it didn’t. Marleen could read Chaucer or Dickens or that twat Shakespeare until her eyes oozed out of her head onto the floor, and it definitely wouldn’t make her any smarter. Or nicer at that. And what did that have to do with him? If she didn’t like it, she could get a job. Or leave. But Marleen wouldn’t do that. She was content enough to spend her days moping around the house, whining at the kids and shouting Jack down every evening over the T.V. dinners that she had “painstakingly slaved away at preparing exactly according to the directions on the package.” He had no idea what she did at night, but he could guess – the two hadn't slept in the same bed for years, let alone made love.
Jack had until Monday to die. He wasn’t brave; he feared death, and he feared any pain over that of a finger prick, so he wasn’t about to outright commit suicide. It would have to be natural causes, which was part of the reason why Jack had purchased nearly five cases of the cheap whiskey that he was currently choking down. His tolerance was not very high, and after about four swigs he was already starting to feel the effects of the alcohol.
Sammy, the mailman, came strolling by on his daily route. Jack and Sammy and Marleen and the kids all lived in a very nice, white-bread community, filled with row upon row of suburban box houses, all with the exact same cream-colored walls, sloping roofs and red-painted shingles. Jack made just enough money to be able to rent one of these boxes and live in a neighborhood full of upper-lower-middle class working stiffs who got off cruising their pickup trucks up and down the street every weekend.
Sammy walked up to Jack’s house without even the slightest interest at seeing a scraggly old man in prison pajamas drinking himself to death on the front porch. After knowing Jack for the past 12 years, he was pretty used to this kind of behavior. Jack enacted this same drama about once every two months, and had never actually succeeded in doing much of anything besides passing out on his porch for a few hours, then going back inside to watch Lifetime movies until 3 a.m.
“Mornin’ Jack. How’s the old ball-and-chain treating ya?”
Jack swiveled his bony skull around and gave Sammy a hazy look. “She was kidnapped by aliens last night. Don’t know what I’ll do with myself now.”
“Looks to me like you’ve got a pretty good idea of what you’ll be doing with yourself for a while.” Sammy continued to walk down the street as Jack flipped his cigarette butt in the mailman’s general direction.
Jack was just about to doze off when he saw something else on the horizon moving down the road, coming back towards the house. At first he thought it was Sammy again, until he noticed that whatever it was most definitely had wheels. The wheeled object was moving steadily towards Jack, pausing every five seconds or so for some unknown reason before picking back up again at a slightly faster pace. Jack made a move as if to get up out of his chair, then decided that it didn’t make much of a difference anyway. If whatever it was coming down the road on wheels posed any sort of immediate threat, it might just kill Jack eventually, which would solve all of his problems. He sat perfectly still, cross-legged, and awaited this new doom-on-wheels.
            He became rather perplexed when a black bear on a tricycle pulled up alongside his house. Initially he felt some disappointment, as the black bear was small and by no means looking like it was about to maul anyone. Still, bears are bears, and this was unmistakably a bear, on a shiny red tricycle stopped in front of Jack’s house. The bear scratched its head and snorted a few times, looking nearly as perplexed as Jack felt. It then rose from the tricycle and lumbered up onto Jack’s porch. Here it comes, thought Jack. He wondered if he should say a little prayer or make a cross over his chest or something. He wasn't religious, but had attended a Catholic school as a youth at the insistence of his mother. She hadn't been a Catholic, either, but felt that the school's strict environment might do some good for young Jack, who was teased mercilessly by his peers for his small stature and by age 8 had resorted to locking himself in his room for days on end and playing his father's old Bee Gees records at top volume.
            But it was too late for even a mumbled "Hail Mary." The bear took a seat in the other plastic chair next to Jack, and clumsily attempted to retrieve a cigarette from the packet on the plastic table. Jack stared dumbfounded for a moment or two before taking another swig of the nauseating whiskey. He continued to watch the bear struggle, too confused to say anything. The bear looked up from the packet, caught Jack’s eye and gave an exasperated growl.
“Little help, bucko? Not all of us are blessed with opposable thumbs, you know.”
The bear tossed the cigarettes to Jack, who immediately removed one and placed it between the bear’s waiting claws. Despite his shock, Jack knew, as well as anyone else should, that you don’t say no to a bear. Besides, Jack decided upon hearing this bear’s voice that he liked him. The voice sort of reminded him of one of his old roommates from college.
"How 'bout a light?"
Jack dutifully held out a lit match and the bear inhaled deeply, a wet snuffling sound that was loud enough to rattle the front windows of Jack's suburban box. The animal exhaled and grunted, and Jack suddenly remembered a book he had read a long time ago that might help him in this situation. He opened his mouth to speak but was cut off.
"Before you say anything, I don't even like John fucking Irving," the bear said, pre-empting the next thought that popped into Jack's mind. "That man does not know bears. I read 'Hotel New Hampshire,' and I can tell you that no bear I know would have had the patience for any of that 'performing tricks' bullshit. A bear is his own master. I mean, unless it's a zoo bear. Those poor guys are kind of stuck. But they're not doing any tricks for you, believe me. If their cages were ever opened, boy howdy!" The bear attempted to whistle, but his mouth wasn't designed for such an action and he ended up spraying Jack in the face with warm saliva and the still-lit cigarette. "Of course, there's circus bears, too. Now that's a whole other breed all together. I'm convinced that circus bears long ago gave up their bear-ness when they all decided to get all artistic and be performers. That's right. I bet you didn't know they have a union. Performing bears. Hrrrmmph! I'm telling you, no bear–"
"Barry?" Jack said. He was still stuck on that voice. It wasn't a growl, like you might expect a bear's voice to sound like, but more of a lilting sigh, as if everything the bear had to say was so obvious that it pained him to explain it.
"Beary? Seriously? Are you a child?" the bear sighed, more curious than exasperated this time. "Why am I not eating you right now?"
"No, B-A-R-R-Y. Barry was my old roommate in college. You just remind me of him, that's all," Jack said. "And if you'd like to eat me, please do. You'd be doing me a favor, Mr. ... Mr. ...?"
"Bear," the bear sighed.
"Your name is Bear?" Jack raised a stringy eyebrow in disbelief.
"No," Bear replied, impatience once again rising up in his breathy sigh. "But I can't possibly expect you to pronounce my given name with those tiny human lips and teeth of yours."
"Well, you seem to be doing fine speaking my language with that big bear muzzle," Jack said, offended now that this bear was telling him what he could and couldn't do with his lips and teeth.
"Oh-ho-ho!" Bear attempted to jump to his feet, but managed to only knock the open, half-full bottle of whiskey off the table. "So now it's YOUR language? You invented English? Is your name William Shake-spar?"
"Speare," Jack corrected him.
"SPEAR!? WHERE?!?" Bear again attempted to jump up, but this time his chair collapsed in a pile of white, jagged shards, leaving him splay-legged on the porch.
"No, William Shakespeare."
"William had best not be shaking his spear at me," Bear sighed, attempting to wag his claw "no." Jack suppressed a giggle at the phallic implications of this declaration.
"Um, anyway," Jack said, after Bear seemed to calm down a bit. Bear had discovered the puddle of whiskey now pooling by the broken glass bottle he had knocked over, and was leaning over to lick at it every few seconds.
"Up!" Bear sighed.
"Up?"
"You asked me 'Any way?' and I chose up. I want to go up."
"No, it was – you know what, never mind." Jack wiped Bear drool from his eye. "I was thinking that 'Bear' is such an unoriginal name for a bear, you know? And since you remind me so much of Barry –"
"Again with the child speak," Bear sighed. "If I was a mouse, would you call me 'Mousey?' Do you call your wife 'Wifey?' Do you have a jobby and go to worky and come homey and play with your kiddy?"
Jack stared at Bear, wondering if he should once again attempt to explain the different spellings of these two similar-sounding words. He wracked his brain trying to remember what that was called. Homonym? Palindrome? Pseudonym?
"Fine, 'Manny,' you may call me 'Beary' if it makes you happy. And I will call you 'Manny,' since we're all apparently 3." Bear licked at the whiskey puddle, raised his head, snuffled and sneezed, spraying Jack in the face once again.
"My name is Jack," Jack said.
"Very well, Manny." Lick, sneeze. Jack shivered, now fairly soaked through with bear fluids.
"Fine." Jack stood up gingerly. Bear was now attempting to shove his long, pink tongue into the mouth of the broken bottle. "Barry, are you going to eat me or aren't you?"
"For din-din?" Bear laughed at his joke, sounding like a toddler rapidly blowing multiple raspberries. "No, Manny, I have no interest in eating your kind. I've never had a human that agreed with my stomach."
"Fine." Jack turned and opened his front door.
"Wuh .. where are you going?" Bear actually sounded heartbroken. "Here I thought we were having a nice conversation about zoos and any ways and William shaking his spear, and you're just leaving me?"
"Barry, I hate myself and I want to die," Jack said. "If you're not going to kill me, I've just got to find someone or something that will."
"Oh, I never said I wouldn't kill you," Bear sighed. "Just that I wouldn't eat you. If you'd like me to kill you, I can provide that service, but it will cost you."
Jack waited for Bear to name his terms.
"I want a Malgamaloo."
"A ... Malga ... Magamahoo?" Jack scratched his head and sat back down on the plastic chair.
"No, a Malgamaloo," Bear sighed, even more exasperated than before. "Don't you know anything, Manny? You're not much of a manny, that's for sure, if you don't even know what a Malgamaloo is."
"Well?" Now it was Jack's turn to be exasperated. "What is it?"
"Stupid Manny." Bear shook his long muzzle back and forth. "Stupid, stupid Manny. I can't tell you that. I have no idea what your Malgamaloo is. That's something that every bear has to find for himself."
"I'm not a bear, Barry."
"Well, maybe you should think about becoming one."
"I'm going inside, Barry." Jack stood again, checked his watch and found that it was already noon. He felt his stomach rumble. He hadn't eaten before he began his suicidal adventure on the porch, and his hunger hit him suddenly, even with the scent of bear saliva and mucus practically gagging him. "Would you care to join me for lunch?"
Bear thought about this for a moment, his eyes fixing intently on Jack's even while his tongue was suspended in midair, three inches from the mouth of the shattered whiskey bottle.
"Come to think of it, I'd love a banana."
Bear struggled to his feet and shuffled after Jack, claws clacking on the wooden porch.

Thursday, October 24, 2013

No defending Sebadoh's "Defend Yourself"



The long-awaited new Sebadoh album, "Defend Yourself," released on Tuesday, has got me questioning: have I outgrown Sebadoh?

Ever since I discovered the scrappy western Massachusetts trio in my freshman year of college in 2003, they've been my favorite, still-in-existence band. Granted, they were not very active at the time I got into them, having bottomed out with 1999's "The Sebadoh" – a great album, but a departure from "Harmacy" (1996) and "Bakesale" (1994), both of which got some commercial attention in the '90s alt-rock boom.

I saw them in 2008, when the original trio of Lou Barlow, Jason Loewenstein and Eric Gaffney reunited for some touring in support of a reissue of 1993's fantastic "Bubble and Scrape" – far and away their best album, in my opinion. Later, when "Bakesale" got the reissue treatment, I saw them again at the same Northampton venue, Pearl Street, in 2011. I got super drunk that night after wandering out on Richard Buckner's incredibly strange opening set, consisting of 45 minutes of non-stop songs that just kind of turned into one mushy song. Sebadoh sounded even better this time out with new drummer Bob D'Amico, an opinion the drummer in my band The Hearing Aides, Mark Adamo, shared, and he knows way more about that than me. They did an updated rock-out version of "Harmacy's" "Willing to Wait" that just slayed the album cut. I still think they should re-record that song the way they do it now.

Having heard "Defend Yourself" (listen at sebadoh.bandcamp.com), that opinion is just strengthened. Besides "I Will," which is starting to rank with "Soul and Fire," "Think (Let Tomorrow Bee)" and "Spoiled" as one of my all-time favorite Barlow compositions, the album is dull. Barlow's contributions sound like re-writes of songs from his 2009 solo album "Goodnight Unknown" (I don't know how many times he plans on re-writing "Too Much Freedom" – "Rude" from the 2012 Dinosaur Jr. album "I Bet on Sky" was pushing it, and "State of Mine" sounds even more stale) or some of his other Dinosaur Jr. album contributions ("Oxygen" is like a wimpier, whinier version of "Back to Your Heart" from 2007's "Beyond"). "Let it Out" is a tear-jerking ballad akin to "Think" but missing the oomph of that song. Loewenstein's stuff stands up substantially better – "Can't Depend" seems to be getting a lot of flak from critics for being a Wilco rip-off, but I love it almost as much as "I Don't Mind," one of his songs from last year's prequel to this album, the "Secret" EP. In fact, everyone fared much better on that EP – Barlow still had his weak moments ("Keep the Boy Alive") but managed a classic tune in "All Kinds."

Maybe the problem is that I don't find myself relating to Barlow anymore. And back when I was in college, I related to him a bit too much. I was struggling to find my voice as a guitarist, songwriter and especially singer, and up to that point I had been attempting to emulate vocalists like Kurt Cobain, Layne Staley, James Hetfield – gruff, growly, screamy singers that I had no business emulating. Barlow showed me another way, and his dejected baritone actually sounded quite a bit like me. His home-recordings on Sebadoh's earliest releases also seemed to mirror my own experiments with my Wal-mart boom-box and microphone combo. Armed with a new idol, I soon gave up on finding other musicians to form a band with and threw myself into the boom-box stuff. A history of rock 'n' roll course I took the summer before my sophomore year also influenced me, and following the lead of the Beatles and the Beach Boys I began bouncing tracks back and forth, creating on-the-fly multi-track mixes. (You can actually hear some of it at brianpatrik.bandcamp.com/oh – but don't say I didn't warn you.)

Fast-forward to today. I've been playing in a power trio, The Hearing Aides, for close to three years now, and have released two albums with them. My songwriting, guitar playing and most of all singing have all improved. With more confidence vocally, I no longer feel the need to emulate anyone. I can now scream and not lose my voice, a plus in angry, loud punk music – and while Cobain is of course still a touchstone, I could never, ever sound remotely like him, and I don't try. (What the hell, here we are: thehearingaides.bandcamp.com. I swear I'm not just wantonly promoting my music ... well, maybe a little.)

Back to "Defend Yourself." These new songs make me gag. They're whiny in the worst way. I know the story behind at least some of the songs on the album – Barlow divorced his wife, the same woman he wrote "Soul and Fire" and "Kath" and "Two Years Two Days" and who knows how many other songs about/for. Barlow's at his best writing about heartbreak. You'd think these songs would be striking all kinds of emotional chords, but instead I just feel a little gross listening to something so personal and so difficult.

The thing is, that's always been Barlow's specialty, and I used to love it. I have very specific memories dealing with my own romantic ineptitude that are connected to songs from Barlow's back catalog. I'm a grown up now, though, with a job, struggling to pay bills. I've also had my share of relationships, good and bad (but at this point mostly bad). Cut to the chase – I'm way more cynical and far less susceptible to this mushy stuff.

I have to wonder, if I was introduced to Sebadoh today, would I even be into them? Because this album has all the elements of classic Sebadoh, it really does. I've been waiting on the edge of my seat for it since last year. I should be basking in its glory. Instead, I can't make it through a third full listen.
There's no way to answer that accurately, of course. But Barlow always had his moments that were too much, even for me. "Willing to Wait" is actually a perfect example. That's a pretty icky song, when you think about it. Here, check it out: http://www.youtube.com/watch?v=vpVe3qm4rIA. Icky video, too. Here's the way they do it now: http://www.youtube.com/watch?v=zBIkSQWsq5Y. The maudlin lyrics don't matter as much anymore, because the power of the trio takes over and that amazing hook floats to the top.

So back to my initial question: have I outgrown Sebadoh? To an extent, I think I have. I don't find myself listening to them as much anymore. But the more I think about it, the more I'm inclined to think that "Defend Yourself" is just poorly written. And that sucks, maybe even more than me outgrowing the band.

Thursday, March 7, 2013

10 Songs I Wish I Wrote


This article was inspired by my good friend Jonas Olivo, who posted his own list of 10 songs he wishes he wrote the other day (here's a link: http://www.facebook.com/notes/jonas-olivo/ten-songs-i-wish-i-wrote/10151333939306733). Reading through his list and listening to his choices was so much fun, and I immediately thought, why haven't I done a list like this before?


And then I realized, it's kind of hard to narrow it down. I mean, there are songs that I love, but loving a song doesn't necessarily mean that I wish I wrote it. Eventually, I narrowed down my list to the 10 below. In each one of these songs, there is some combination of structure, melody and/or lyrical content that just strikes a perfect chord in me. These are songs I strive to write every time I pick up a guitar, songs that perfectly express an idea or an emotion.


"3 Libras" - A Perfect Circle


When I first heard this song as a snotty, punk-ass freshman in high school, I very nearly broke down crying. Maynard James Keenan's yearning vocals, Billy Howerdel's lush fingerpicked chords, the moaning string section - it all fits in so perfectly. The sudden shift into the dark bridge at the song's end marks the emotional climax, building until the final explosive chords but never releasing the built-up tension


"Get Rhythm" - Johnny Cash


Everything about this song is fun, from Luther Perkins' popping lead guitar lines to the simple lyrics about a shoeshine boy rocking out on the job. I wish I wrote more fun songs. Side note - the video I'm including is not a great quality recording, but Johnny is just great in this - I love his "Just like on the record!" as Perkins picks out the song's solo.

"Be Quiet and Drive (Far Away)" - Deftones

A gem found halfway through the band's second album, 1997's "Around the Fur." The chord progression, the melody and the lyrics are incredibly simple, yet all seem perfectly calculated to tug at the heartstrings. This song is all about the need to escape, something I've felt constantly in my life.


"Powerhouse" - Raymond Scott


I've never been a huge jazz guy, mainly because I have a hard time with instrumental music and long songs, and, well, that's the most basic description of jazz. This, then, is the perfect jazz song for me. It first came to my attention, like most people, through cartoons - though not Looney Toons, but Ren and Stimpy, specifically the episode where the two title characters become professional wrestlers. It's such a tight composition, yet it twists and turns in so many different directions that it's hard to keep up.


"Polly" - Nirvana


Not my favorite Nirvana song, not by a long shot, but the one I wish I wrote, for two conflicting reasons. One, this may be Kurt Cobain's finest lyric, inspired by the true story of a girl who was kidnapped after a concert,  raped and tortured, but ultimately escaped by earning the abductor's trust. Two, it's so much fun to play, not for the harrowing words but the bouncy rhythm and hypnotic chord progression. Nirvana did this song acoustically, as a grungy rock song, and as a hyper fast punk song, and I'm sure it would work in about 300 other styles as well.


"All the Kids are Right (alternate lyrics)" - Local H


I found this song one night, randomly surfing Youtube. This is so much better than the version the band released on 1998's "Pack Up the Cats," and subsequently a single, which features clever but ultimately lesser lyrics about a horrible show the band played. Here, lead vocalist/guitarist/bassist Scott Lucas confronts alcoholism head on, with brutal honesty. This was definitely a song I tried to write when I was going through my own battle with the bottle a few years back, but in the end I would just go back and listen to this one. I couldn't add any more.


"Imagine" - John Lennon


OK, an obvious choice, but I still think this is the most beautiful pop song ever written. 'Nuff said.


"Jealous Again" - Black Flag


This song changed my life - for about six months in high school, this was all I listened to. The guitar work is incredible - after over a decade of trying, I still don't know what the hell he's doing to make his guitar leads sound the way they do. This song is hardcore punk through and through, but I can hear a vocal jazz combo covering this.


"Think (Let Tomorrow Bee)" - Sebadoh

https://www.youtube.com/watch?v=lv8WEPPB21c (sorry, it's a crap upload)

Perhaps the most hauntingly beautiful song that Lou Barlow has ever written. Like the Local H tune, this song beautifully captures a situation and mood - in this case, the pain and confusion of a relationship spiraling out of control. There's no perfecting on this.


"Strawberry Fields Forever" - The Beatles


One of the most insane sounding recordings I have ever heard. It starts as a tripped out psychedelic rock song in typical guitars-bass-drums-keyboards mode, and subtly mutates into one of the band's meticulously orchestrated pieces, exploding in technicolor strings and horns before deteriorating into a cacophonous loop of dissonant sounds and mumbled nonsense. And lyrically it's beautiful as well - something I could never write.