October 04, 2012
Watch this Funny or Die production starring Christopher Walken, Richard Belzer, and some “lovely assistants,” and you, too, will envision Walken spending his days taking close-up phone pics of his nose and sharpening knives with alarming gusto:
September 18, 2012
Ahead of a longer Killers concert documentary that legendary filmmaker Werner Herzog is directing, Rolling Stone premiered this exclusive Herzog mini-doc with the band on the magazine’s website today:
David Lynch’s video for the title track from Crazy Clown Time (2011) is here at long last, and in it Lynch demonstrates his special gift for approximating what goes on in the mind of a patient in a vicodin funk after wisdom-teeth extraction, complete with the tiny, twisted kid-voice of your nightmares explaining precisely what you’re seeing, mohawks aflame and all. Warning: NSFW … and possibly NSF anyone with eyes and ears.
And then the second story.
This atypically mild take from the Melbourne Herald Sun:
“Mr Russell, 33, was taken to hospital last week after being spotted by passers-by ‘running in the street, interfering with traffic, screaming; one person said that he was naked and masturbating,’ a police spokeswoman said.
It was 4:30 p.m. by the time we got on the road. Me, Melinda, and Jane. The sky over the southern San Joaquin Valley was heavy with rain clouds. I drove. The road was slick. The San Emigdio Mountains were topped with snow. “You sure are quiet,” I said to Jane. Normally she was ruling the conversation. She called it a “Janeopoly.” I figured she was plotting out her novel, Puro Amor. Not long ago she told me she could write entire paragraphs in her head and remember them for transcribing later.
An hour or so later we zoomed down the Hollywood Freeway, took the Highland Avenue exit and headed west onto Hollywood Boulevard, on our way to Book Soup. We were nearly late for the reading.
The bookstore was small, cramped, packed floor-to-ceiling with shelves. The reading area was an aisle essentially, a few folding chairs leading to a podium. Bunched in the crowd were some writers from TNB, several of whom I’d never met. Kimberly M. Wetherell, filmmaker and writer, wore black glasses, her red hair a fire of loveliness. She mentioned that I was no longer two dimensional—no longer just words on a screen. I said something about being a figment of her imagination.
Duke Haney, author of Banned For Life and Subversia, stood in a corner wearing a black newsboy cap and a leather jacket. He was talking to Rachel Pollon, another TNBer. She stood about half his size and got shy when I asked her to talk on camera. “Meet Hank,” Duke said, pointing to another tall guy. Hank stepped forward and handed me a photo of a face with the word “awesome” on it.
Lenore Zion had long, curly hair—different than when I last saw her. She looked younger. She asked what I had been up to. I mumbled something about 2010 being a year to write off and later bought her book, My Dead Pets Are Interesting.
Greg Boose came up and offered me a friendly hello. He was taller than I expected, and handsome. His wife, Claire Bidwell Smith, was taller than expected, too. Both have striking eyes the color of the sea. Greg asked me how long I was staying in town. I wanted to say a week. I wanted to say I had a suitcase and was looking for a nice padded bus bench. “Probably headed back tonight,” I told him. “Though maybe I’ll just stay and find my way back in the morning.”
Joe Daly, TNB’s music editor, came over and introduced himself. His hair was shaggy, he was unshaven, he looked like rock and roll. For some reason I had expected his hair to be short.
I met Ben Loory, too. He has a gentle soul and a contemplative smile. Later, when he read a story of his called “The Well” and said he might cry, I almost started crying myself.
I didn’t get to meet Victoria Patterson. She read an essay about farts in literature, and her hands were shaking as she read. It was hilarious. Everyone laughed and held their gas.
Then there was the master of ceremonies, Greg Olear, author of the new novel Fathermucker. A dark sweater covered his “Brave New World” T-shirt. He gave me a guy hug and we made small talk. I met his wife, Stephanie, too—not a writer, but a ferocious singer. Steph was all hugs. She talked to a college friend from Syracuse, and they laughed about old times.
After the event, many of us headed over to Mirabelle, a nearby bar and restaurant. Brad Listi carried a sack of books and asked what I was up to and where I’d been. I didn’t want to dish out my sob story right then, so I just talked opportunities, my new book of poetry, the interest of an agent in my novel Anhinga, and so on.
Inside the bar, Jane came suddenly to life. She talked and talked and I grew quiet as she and a new friend walked to where Ben, Duke and the others were hanging out. Greg was at the bar drinking a beer. He ordered me some water. I listened to Stephanie and her friend talking about their college days. I was content.
Melinda was quiet. She used to write (Lenore recognized her from her defunct blog), and she does have a voice. But now, for the most part, she just comes to my Random Writers Workshop, where I prod people like her to write novels and dream big. Jesse from the workshop was there, too. He downed a few drinks and talked shop with Ben Loory.
We were there for about an hour before heading home. Jane fell asleep in the back of the car and began snoring. Rain poured over Interstate 5, turning into slush as we hit the Tejon Pass, the hump over the San Andreas Fault that marks the downward slide into the Central Valley.
“You okay?” Melinda asked. She could tell I couldn’t see the lines on the road.
“I’m fine,” I told her. “Just gotta see the lanes. I don’t mind driving in storms.” I was smiling a little, eyes straight ahead. I felt strangely at ease, like I was passing through a kind of personal storm, releasing it, washing it away on the rain-slicked desert road.
As we rolled back into Bakersfield, Jane woke up. By now it was one o’clock, and still raining. I pulled into Melinda’s driveway. We got out. Jane said a quick goodbye, ran to her car, and drove away. A pile of leaves in the neighbor’s gutter had caused a flood in front of Melinda’s house. I grabbed a hoe from the garage and started moving the pile. Melinda watched me briefly, then went inside, to bed. I stayed outside and pushed and pulled and hacked at the pile of leaves and branches until a stream was created. I stood alone in the rain and watched the water flow down the street. Rain came down against the lawns and streets of Bakersfield in the night. It was quiet otherwise, no signs of life, and I stood alone in the rain, content to know that the flood was gone.
This has been a bad month for earthquakes. The Pacific is working things out with its tectonic plates in a spectacularly violent fashion, affecting those near and dear to us in dramatic and terrifying ways. Our hearts, usually occupied by the few square miles around our own lives, become pained by the vision of devastation of those we love far away, and we struggle to make sense of the distances between us, our inability to run at a moment’s notice to the aid of the victims.
I have a love-hate relationship with images. I’ve written about them before, in a more personal context. But every massive quake or tsunami or hurricane in the era of the 24-hour news cycle becomes one more opportunity for me to dip into helpless depression, a feeling of impotence. The horror that we all experienced watching September 11 unfold internationally, I still remember with crystal clarity. I also remember the depressive episode afterward, culminating months later with me jumping in a car alone for a road trip, trying desperately to shake the grip of helplessness that had strangled me since September.
Our own Zara is in the middle of the most devastating event of her life, her world having been literally shaken to its foundation. I can only watch with grim respect as she answers her own need for understanding by writing it down and sending it to the rest of us via the wonder of internet connectivity. And in the face of this most recent earthquake, Japan’s northeastern shore being washed away by an unimaginably horrifying wave, I find myself torn in twain.
My son goes to a Japanese immersion school in Portland. Every day, he goes to school and interacts with his Japanese teachers, and a host of interns who, for one year, elect to uproot themselves from Japan to learn how to be teachers in the United States. The interns are woven into the fiber of our school: we have to do fund-raising, an impossible amount of it, every year to bring our interns here, and every year the community rises up to pull us through the financial gap. They live in our houses, they celebrate holidays with us, come to parties with us, share meals and laughs. They become family.
We’re saying good-bye to this year’s Japanese interns tonight at a party thrown for them. They will perform for us, we will give them awards, there will be Taiko drumming.
But I’m not sure it will be so celebratory.
As the first video of Japan was coming in last night, my husband and I watched the tsunami roll in over a tiny town. It was gripping and slow, the first wave having already flooded the area, the surges behind creeping up to continue the brutal work of the leader. The journalist in the helicopter above must have been dazed: every time he turned the camera to the sea, there was wave after wave, lined up like battalions, ready to smash into the already wracked earth below. On live television we watched as entire neighborhoods were washed up into the interior, cars, planes, houses. At that distance one can imagine that these are but toys, but we know with grim certainty that those cars and houses belong to people who are also being washed away.
I fight internally with myself. My need to be informed about these horrifying events, which touch people I know personally, rubs against my knowledge that if I look too deeply at the crisis, I can be thrown into another bout of useless debilitating depression. I’m not being useful if I just fall into the trap of watching the videos roll in with the same regularity as the tsunami surge to shore. I’m only creating that special fragility in my own psyche where the darkness can enter and take hold.
So my heart goes on being pained and open and broken on behalf of the victims, but I willfully turned off the video this morning when I could feel the chinks in my armor start to give way. The video is too visceral, too overt. And I wonder if we, those of us so far away, are actually experiencing shock–misplaced because the horror is not ours.
I understand the need for the images to get out. It makes our world small, and we reach with tiny hands across the breadth of the ocean. We rally our resources to aid strangers, we donate money and send rescue teams, we wish we could do more, but do whatever we can to bridge the space between. But I feel the media fatigue already. I’m turning off the video storm surge, and going to the party for our Japanese interns tonight instead, to ask them what they need, what we can do, maybe just listening to them talk.
I can do nothing else.
July 21, 2010