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28
Aug
17

9bb) Liner Note: Ahmed Abdul-Malik—New Jazz Imagination

Available on Umlaut Records

Globalization has been a fait accompli for some time now. While it continues to pose serious challenges to long-standing cultural, economic and political orders, and although—as conspicuously demonstrated by Brexit and the elevation in America of a Donald Trump to the presidency—it has ignited reactionary movements that will doubtless interrupt and impede its progress, it is here to stay. Indeed, one area in which it is already fully rooted and very much in blossom is the arts.

I’m thinking, in particular, of the art of improvised music—or “free jazz”— an art of which the recording at hand, a tribute to multinational musical unity as well as to the late visionary bassist, oudist and composer Ahmed Abdul-Malik, is in every respect exemplary.

Jazz, from Ragtime to Dixieland to swing to bebop has, of course, always been a hybrid music, a happenstance of multiple migrations, voluntary and otherwise, that joined Africa and the West Indies to Europe in the United States. If the balances of the sources feeding jazz were in flux from the beginning, and sometimes dramatically, the most radical shift took place in the late 1950s with the emergence of “free jazz.” The intention of the first generation “free jazz” players (most of whom were black) wasn’t to entertain as such, but to enlighten. Animated by the Black Cultural Nationalism and Civil Rights movements, the ambition of these men, in addition to asserting the hegemony of jazz’s African strain, was to restore black music to its original role as a music of spiritual utility. They wanted to affect a spiritual awakening, a spiritual revolution that would transform nothing less than the way we lived. As the bassist Alan Silva breathlessly remarked to me upon coming off a thirteen-piece, hour-long collective improvisation: “Man, in another ten years we won’t even need traffic lights we’re gonna be so spiritually tuned to one another.”

For the most part, the musics of the early “free jazz” players were informed by ancient African methodologies on the one hand and the European avant garde on the other. (In the latter instance, the avowed purpose was to incorporate experimental European concepts into a black aesthetic.) But another group of players was guided by a somewhat different perspective. Contemporaneous with the Black Cultural Nationalism and Civil Rights movements in the United States were major upheavals in Africa, and these men were drawn to the modern African musics that accompanied those upheavals—to the soundtrack, if you will, of decolonization. And in the process of exploring the African musics of the period they became enamored of still other existing musical genres that were not normally associated with the African underpinnings of jazz. I’m referring to the Arabic musics of North Africa and the adjoining Middle East. Prominent among these individuals was Ahmed Abdul-Malik.

New York-bred, Malik was thoroughly steeped in the jazz tradition. He worked, at one time or another in literally every jazz idiom, and with the likes of Bob Wilber, Coleman Hawkins, Randy Weston, Thelonious Monk and John Coltrane.

He was also a deeply religious Sufi Muslim who was increasingly at odds with much of the secular and materialistic Western ethos, an ethos he believed was reflected in certain Western musical approaches. In his own work, represented in groups that he led and which is preserved on several albums, he largely eschewed those approaches and gravitated to ways of organizing sound that spoke to his spirituality, to musics both old and current from North and East Africa, the Middle East and Asia. Fusing them with the aforementioned spiritual inclination and procedures of the new jazz, he fashioned an original synthesis of ostensibly disparate traditions that would yield some extraordinary music.

A portion of that extraordinary music is on exhibit in this album and it is played by a group of renowned and exceptionally gifted European musicians—virtuosos all—who know how to listen to each other (a crucial aspect of improvised music) and are more than up to the endeavor.

Seymour Wright has devoted his career to an exhaustive examination of the alto saxophone’s resources—the instrument would seem on occasion to be an organic extension of him—and he is capable of creating astonishing textures of sound with it. It is in no way hyperbolic to say that Wright is redefining the alto’s very scope. Turned on to the piano by Oscar Peterson, Pat Thomas took the leap into “free jazz” in his teens, and in gigs with luminaries like Derek Baily and Tony Oxley quickly became one of its most lauded practioners. Double bassist Joel Grip is no less versed in the intricacies of improvised music and his intuitiveness and ability to intermingle with the other players is central to the unit’s success. The master percussionist Antonin Gerbal, whose prodigious technical proficiency gives full expression to the sonic possibilities of the drums, expertly propels the group.

Calling what they play “New Jazz Imagination,” the quartet makes music, Wright says “inspired by our shared love of the work of Ahmed. We use memories and ideas that we draw from his music as a core for our improvisation and imagination. We excavate and re-inhabit documents and fragments of plans and compositions that he left behind to make music that though it originated in the twentieth century will speak to the twenty-first. We play the notes, but we use them and the ideas contained within them as vehicles for our own creativity.

“We want to move from the known into a new creative space.”

And that they do. Introduced by a simple folk-like tune and quickly advancing into a hypnotic use of repetition, almost as a motif, the music ultimately gives way to an ensemble improvisation that is at once loaded with heat, tension and surprise and remarkably controlled and contained. The intelligence here is stunning and the music produced is of the loftiest caliber. Building at times to ecstatic heights, it never once descends to the anarchic cacophony that often taints the “free jazz” indulged in by the lesser equipped. Albeit openly emotional at various points, it can claim coherence, subtlety and structure, not to mention a fidelity to the multicultural material and philosophy of the musician it honors. And the freshness of ideas it exudes will invite and reward repeated hearings.

Though he did achieve a measure of recognition during his lifetime, a proper acknowledgement of his unique vision and contribution eluded Malik. This recording is offered as a correction. If Malik was in many ways ahead of his time, globalization, and the phenomena of mass migration and racial intermingling that are among its components, has profoundly altered our aural landscape. It may well be that his time has finally come.

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21
Apr
17

Donald Trump and the Fear of Death

The following was originally published on the Across the Margin website.

To varying degrees everybody lives with a fear of death and, in one manner or another, attempts to deny death’s finality. In the case of Donald Trump, all those steel and granite edifices emblazoned with his name have long struck me as evidence of a terror of extinction. Their presumed endurance is intended to at least assure him of a symbolic immortality. And the achievement of symbolic immortality is also, I’d submit, the underlying motive behind his decision to run for the presidency, an office for which he has no discernible vocation but which guarantees him a place in history.

A pronounced extinction anxiety is what afflicts the majority of Trump’s supporters as well, and it’s precisely this anxiety that—coming from his personal angst?—he recognized and addressed. I’m speaking of the white population’s declining preeminence in America and of the existential dread it has stirred in much of that demographic.

The major consequence of the white American’s dread has been, of course, a heightening racism which, further energized by Trump’s blatant denigration of Muslims and Mexicans, played the decisive role in his election. Racism is born of the impulse to transcend a finite existence. We can talk about economics, about crime rates and about Islamic terrorism, and they are significant factors. But to dwell on them obfuscates the reality that racism is rooted in the wish to feel superior to other humans in the judgment of a higher power, in, most especially, the wish to own an exceptionalism that implicitly signals a fitness to survive one’s death in a rarefied afterworld. Presenting an effortless way to define, separate and elevate our identities, differences in color or culture afford those ill-equipped to otherwise distinguish themselves, an opportunity to claim that fitness.

For so many white Americans, the prospect of relinquishing their purchase on supremacy, and of surrendering the divine approbation that they’d like to believe attends it (a concern deeper than a loss of jobs per se), made Trump an ideal candidate.

Politically surfacing at a dire moment—during the first presidency of a black man!—Trump cast himself as a white savior and, in doing so, secured what amounts to a religious allegiance among his followers, an allegiance that blinds them to his monumental deficiencies.

But if globalization (manifested by mass migration and racial intermingling) is the phenomenon that’s produced our current circumstances, it’s been a done deal for awhile now. As difficult as the fact of death and the reactions that fact causes makes such a possibility, globalization needs to be embraced. The resistance to it that Trump embodies (along with comparable figures in Europe where Caucasian dominion is similarly threatened) can only be destructive to everyone. His strategies to reestablish white precedence are not merely empty of substance and futile they are dangerous. For one illustration: His pledge to reboot the all but obsolete coal industry, and revive the status of a remaining handful of white miners, by summarily rejecting measures to combat climate change is likely to have a catastrophic impact on the planet’s future inhabitants, including, ipso facto, the miner’s progeny.

I could, to be sure, enumerate countless more examples. But Trump’s dearth of virtues as a leader and the jeopardy in which, in so many respects, he is placing us are, at this point in time, well-known to anyone with the capacity to regard him objectively. It may have been innocuous when it was confined to real estate, but a President Trump’s immortality project is putting civilization itself in peril.

20
Apr
17

Waiting for the Cut (a skit)

1991
With Matt Gaetano Levin

Two men, STEVE and HAROLD, both in their early twenties, and with long hair styles, are standing outside a small hair cutting salon on a sweltering July afternoon. The salon is closed. STEVE, after offering a cigarette to HAROLD—who waves it off—lights one himself and begins to pace.

STEVE: [Checking his watch.] I hate fucking Brooklyn.
HAROLD: [Wipes his face with a balled-up handkerchief.] Brooklyn? I don’t know about Brooklyn. Brooklyn may not be as terrible as I thought it was. It’s hard to form an opinion when you’re rapidly losing consciousness. Jesus, it’s like we’re standing on the sun here.
STEVE: [Looking away.] Brooklyn’s where you have to wait for this jerkoff.
HAROLD: [Rolls his neck.] This isn’t what you meant when you said he always keeps you waiting, is it? He doesn’t pull this every time you come here? Did you confirm the time with him?
STEVE: Yeah. Yesterday.
HAROLD: And he’s got your number? Could have reached you this morning?
STEVE: Yeah.
HAROLD: [Feeling his wrist.] Dude, my pulse is gone! [Panicked. Holds his head with both hands.] And my memory—it’s gone too!
STEVE: All of it?
HAROLD: No. I think just the last year.
STEVE: If it’s just the last year then you can still remember the last time you got laid. [Shades his eyes. Peers into the salon window. Then looks down the block.] He’s never been this late before. He’s gotten much better at it. [Looks at his watch again.] My fucking watch is sweating.
HAROLD: [Calmed down. Wipes his face again.] I think they said last night that, factoring in the wind-chill index with the temperature-humidity thing, today would be the hottest day in the history of the world.
STEVE: [Distracted.] If they did they got it right. [Looks up and down the block.] It’s a goddamn hour. Where is this asshole?
HAROLD: Don’t quote me on that. Okay? I could be way off.
STEVE: [Shaking his head.] I wonder sometimes why I come here. I mean I probably should have mentioned something else:
HAROLD: What?
STEVE: He can also fuckup. In fact, he can also fuckup in a major way. There was one fuckup that was actually beyond major, really spectacular—worthy of its own wing in the Hall of Fuckups.
HAROLD: Yeah?
STEVE: He loved what he did. He was proud of himself. He even took a Polaroid.
HAROLD: Yeah? I don’t remember. . .
STEVE: You don’t remember because you didn’t see me for a month. I cancelled all my public appearances.
HAROLD: Wait. That was. . . ? It was that bad?
STEVE: Put it this way: I would definitely have gotten mucho action—if it’d been 1964 and I had a cockney accent.
HAROLD: You looked like a Beatle?
STEVE: Early Ringo Starr.
HAROLD: Okay. I’ve got a statement and then a question. The statement is: Yeah, when you were bugging me to give him a shot and finally getting me to make this trip—which I never wanted to do because nothing I’ve seen of his work for you has blown my skirts up past my ankles—you fucking probably should have mentioned that! The question is—and I’m anxious to have your wisdom on this before it’s too late, while your brain scans are still registering occasional blips. Do you figure I can find my way back to Manhattan by myself? The “3” train, right? What is it—four blocks this way, then hang a left?
STEVE: Let’s give him a little while longer.
HAROLD: Why? Damn. I was expecting an acceptable level of mediocrity. I thought the worst thing I had to worry about was getting wasted in a crossfire.
STEVE: Because you’re my friend and because speaking of “getting it right. . . ”
HAROLD: You know the barbershop in the 86th Street subway station? It’s beginning to loom as a viable option.
STEVE: We’ll give him another fifteen minutes. Okay? [Looks at his watch.] Fifteen minutes. Exactly fifteen minutes. You can handle fifteen minutes, can’t you?
HAROLD: [Hugs himself and pretends to shiver.] My sweat just turned very cold. You ever hear of someone freezing to death in his own sweat?
STEVE: Listen to me. Let me tell you this. The first haircut he gave me—when I was working the lights for a music thing in the little park around the corner and needed a quick trim. It was strange because I asked him for just a simple trim and at first that’s all that I thought I got, you know? There was nothing noticeably out of the ordinary. If anything, it seemed a little on the flat side.
HAROLD: Right. But after you washed it—and probably factoring in certain favorable atmospheric conditions…
STEVE: No. Yeah—maybe something like that. I don’t know what it was, what he did, and whenever I bring it up he changes the subject.
HAROLD: When was this exactly?
STEVE: 1987.
HAROLD: 1987? That’s four years back in the dank and murky past—that’s back when you were with Beth, the lost love of your wretched, woebegone life.
STEVE: Actually it was the day before I met Beth.
HAROLD: [Startled.] He gave you a haircut the day before you met Beth?
STEVE: [Looks away.] Beth came here with me for the haircut after that one. It was on a perfect fall afternoon—cool and clear. You could smell apples in the air.
HAROLD: [Stares at STEVE. Then abruptly turns away from him; walks a few steps off; stops; comes back.] Let me have one of those.
[STEVE gives HAROLD a cigarette, takes another one himself; lights them both.]
HAROLD: If he’s not here yet he’s not coming—we know that, don’t we?
STEVE: Yeah. . . I guess.
HAROLD: [Turns away again. Turns back.] Actually. . .
STEVE: What?
HAROLD: I was thinking that he could be coming. I mean there’s a chance that he stumbled into a serious crisis situation on his way here, you know? It’s possible that he was called upon to administer multiple emergency mullets and buzz cuts and shit, and he could have every intention of showing up when he’s done.
STEVE: This is weird. I was just thinking the very same thing.
HAROLD: [Motions toward STEVE’s watch.] How much time did you…?
STEVE: [Looks at his watch.] Twelve minutes now.
HAROLD: Considering that the disaster he may be dealing with could have a heartbreaking size and scale, he might need more than just another twelve minutes.
STEVE: A disaster of the magnitude we’re talking about. . . Yeah, I’d say he…
HAROLD: What I think is that, under the conceivable circumstances, we should go another round—give him another full hour.
STEVE: [Taken aback. Emits a quick laugh.]
HAROLD: Hey, another hour’s not unreasonable, man—not under the conceivable circumstances.
STEVE: [Holds up his hand.] No. You’re right. Absolutely. Another hour’s more than reasonable. [Looks at Harold with a suddenly pensive expression. Says softly. . . ] You’re on my page now.
HAROLD: And, if you think about it, man, under the conceivable circumstances we owe him that much, don’t we? Under the conceivable circumstances it fucking behooves us to give him another hour.
STEVE: [Looks at HAROLD with mock admiration.] That’s very good. Shit, I could learn a lot about living from you.
HAROLD: It’s not like we even have any respectable options here.
STEVE: I can’t think of any.
HAROLD: Then we’re doing it—we’re doing another hour?
STEVE: I don’t think we could live with ourselves if we didn’t. [Looks at his watch.] Make that sixty minutes. [Squints down the block. Looks at his watch again. Purses his lips. Grimaces.] Exactly sixty minutes.
HAROLD: [Sits on his haunches. Wipes his face with his handkerchief. Thinks aloud.] Yeah, another hour. Who knows? That might do it. That might be just what the prick needs us to give him.

BLACK

20
Apr
17

3 Poems

2002

THE POET FINDS HIS ACTRESS

“God,” he gulped, tearing down his pants, “I wanna be the third of your
five husbands-the one…”

“Oh! Honey! Yes! You!” She opened in love, in trust, beneath him. “The
one who makes the funeral arrangements!”


LOOP

Give me a beer!” Tom who wants to be a painter said, coming in and
pounding his fist on the good wood of the bar.

“It’s done man. We’re doing it. We’re doing the divorce. Two fucking
years. I feel sentient and lean for the first time in a year and ten
months.

“Now I need to find me a girl and get down to work.”


KARL REMATERIALIZING

Lately, on the street, at the bank, I’ve been seeing guys who look like
Karl—two last week and then, today, another one.

He must be coming home soon.

12
Mar
17

Foul Shots

2002

The fitting response to “gatekeeping” doctors who refuse to order certain procedures or make specialist referrals because it means losing a percentage of their HMO take is, of course, to break their collarbones. But short of that, I think physicians found capable of compromising patient care for financial gain should thereafter be addressed not as “Doctor,” but as “Mister,” the appropriate title for the businessman they’ve opted to be. It may not seem like much in the way of revenge, but I’ve noticed that doctors get seriously unhinged when you call them “Mister.” (No, I’m not going to bother reconstructing any sentences to accommodate women doctors. Women are supposed to be more compassionate than men. If they pull that “I don’t think the hole in your heart is big enough yet to warrant a cardiologist” shit, they don’t rate even gender recognition—call them “Mister,” too!)
***
When you’re put on hold in America you might very well be subjected to a lackluster Naval Academy Choir cover of “Bitch Better Have My Money.” But when I called a company in Italy recently I got to hear the entire first act of La Bohème.
***
In my experience, if a relationship survives the first fart there’s a better than even chance that it’ll last for a while.
***
When individuals or groups demand that I respect them, they are displaying an uncertainty about their respectability—and a need for my reassurance—that only makes me contemptuous of them.
***
How slovenly we’ve become in our pursuit of money is no way better exhibited than by the loose subscription cards that cascade from our magazines. I appreciate the fact that a lot of magazines are in trouble and I know that good subscription numbers sell advertising, but for me these cards have only resulted in a pronounced aversion to newsstands. And I can’t be alone. The choice of having a torso that’s permanently bent at an angle perpendicular to your asshole, or leaving a trail of “blow-ins” from your subway stop to your apartment door—tipping off the entire neighborhood that you’ve squirreled a copy of “Miraculous Mammaries” inside the annual face towel issue of “Macrame Times”—has to be hurting magazine sales at least as much as the dwindling literacy rate. (It should go without saying that those were arbitrary titles that happened to come to mind.)
***
I’ve never been represented by anyone in the House of Representatives.
***
In most of our stores these days, trying to negotiate a simple purchase with personnel who, by all appearances, were clients of the City University of New York placement service, is to subject yourself to a degree of torture the proverbial Turkish prison warden would be loathe to inflict. But it’s stores where the salespeople are trained to pounce and hover, and where the security guards greet you at the door like they haven’t seen you since you did hard time together, that irritate me the most. Betraying both desperation and a guiltiness about something, they automatically lose any prospect of getting my business.
***
Have you seen a Public Service Announcement that’s been running on late-night TV? Opening in a hospital nursery with white and black babies in adjacent cribs, it ends with a shot of a cemetery. I don’t recall the voiceover well enough to quote it right now, but the point is that life’s too short to waste a moment of it on racial discrimination.
Whenever this spot comes on I’m reminded of how stupid people can be. I’m referring to the statement, not the bigot. Because as well intentioned as it presumably is, the only effect a statement like this could possibly have (and especially at three in the morning) is to strengthen the reality of racism.
Notwithstanding the plethora of studies that choke our libraries (and which serve only to obfuscate a simple truth with discussions of social, historical, political and economic factors), racism is rooted in a basic human need that derives from the very fact that life is short. I’m speaking of the need to feel superior to other humans in the eyes of the gods, to own a positive distinction that implicitly offers the assurance of one’s eligibility to transcend one’s death in an afterlife, where space is assumed to be limited.
By presenting some of the easiest ways available to define and separate ourselves, differences in color, culture or customs afford the less resourceful among us an opportunity to claim such a distinction.
You want to end racism? Abolish death!
***
I wish I could make my cat laugh.
***
The real mission of proselytizing religious groups isn’t to share a revelation; it’s to validate beliefs they’re not sure of by securing the agreement of others.
***
Since I think that, for the most part, the people in charge of educating New York City’s children would be more suitably employed as highway dividers, I certainly don’t want to appear to be coming to their defense. But it should be pointed out that in its front page story about that faculty-written junior high school graduation program with all the spelling errors, the “Daily News” incorrectly identified “programme” as a misspelling of “program.” In fact, “programme” is a legitimate, if chiefly British, variant. Apparently the folks who wrote and edited the “News” piece are themselves products of New York’s school system.
***
It’s true that not every country can claim the sophistication to properly handle democracy. And nowhere is this better demonstrated than in the United States where George Bush was twice elected president.
***
Where can you relax or drop your guard these days? I’m thinking of how stressful and enervating the dumbing down vogue has made all but the most basic of verbal exchanges. I’m also thinking of the automatic defensive posture rampant greed forces you to take when you enter into the most elementary of financial transactions. I’m thinking as well of the increasing incidence of random violence. And I haven’t begun to talk about what you have to face after you’ve left your family in the morning.
***
People tend to be confused about this. I’m not pro-choice, I’m pro-abortion. There are currently six billion humans on this planet, most of whom are stupid and unattractive and all of whom show up at precisely the moment I’m in a supermarket aisle and reaching for something on a lower shelf.
***
Since I get all the violence and profanity I need at home I only go to the movies for sex.
***
You want to know what’s wrong, why I’m so jittery all the time? I’ll tell you. It’s the stunning flaws in nature’s design of the female body. I mean a freshman at Pratt, for Christ’s sake, would have known better than to locate the portal to the world in such close proximity to the anus. On the order of something my plumber might try to get away with, this demoralizing arrangement has made the moment of one’s birth tantamount to exiting a subway station in downtown Jersey City. Yes, there may have been some practical justification for joining the female genitalia and the birth canal (although I find it interesting that even the manufacturers of Coke machines, and in a time of budget constraints, have managed to maintain a respectful distance between the coin slot and the delivery bin.) But at the very least, these organs should have been positioned where the former would be quickly accessible, where the necessity to get undressed would have been eliminated. (The spot I’d have chosen is the side of the neck, just above the clavicle.

17
Feb
17

When Pacino’s Hot, I’m Hot

Blanche Dubois always depended on the kindness of strangers. Me, I’ve always depended on strangers thinking I’m someone else.

I’m referring, in my case anyway, to getting sex.

I know it’s weird, but the assumption some women make that I’m one or another of a certain group of actors and musicians has been, from my early adulthood to what’s now my middle age, how I get my pipes cleaned more or less regularly and for free.

It’s also made it possible for me to have (however briefly and if you’re willing to stretch the definition) an actual relationship.

I should make it clear right away that on my own terms I’m not someone you’d describe as spilling over with attractive qualities. For one thing, a future with the second towel man in a car wash certainly isn’t something a lot of women lie awake at night fantasizing about. No, it’s not that I’m dumb; it’s a problem that I have with applying and executing. I’m not good at those things. In fact, I’m terrible at them. I think this is because I’ve never been comfortable with the whole business of living. There’s something unnatural about it that I find unsettling and I tend to lose my concentration in the least challenging of situations. You might want to indulge a generous impulse and remind me that anyone, on a given day, can screw up the Post Office test. But when I tell you that I also failed the New York City Transit Authority’s dispatcher quiz, you’ll have to agree that the condition of ineptitude here does for sure have a stunning dimension.

And if my level of achievement and corresponding financial circumstances aren’t enough to give a lady pause, there’s my appearance. Although I’m of Greek ancestry, the figure that I cut is something less than Greek. Just under average height, more skinny than slim, and with long, usually unkempt hair hanging over my ears and forehead and down the scruff of my neck, I also have heavily lidded eyes, sunken cheeks and a pallor that’s cadaverous. While we may not be talking Elephant Man, this still isn’t a picture I’d want to keep in my heart-shaped locket.

But here’s the thing: When I look in the mirror I see (if a likeness is to be drawn at all) Ratso Rizzo or Sonny, the pathetic loser in “Scarecrow.” But a number of women, when they look at me, see Dustin Hoffman or Al Pacino. Or, for that matter, Bob Dylan and Leonard Cohen, among others.

Typically, and on an average of once a month, I’ll be in a bar, seated alone in a corner and nursing a beer when, just like that, a woman will be at my shoulder.

“I know this is rude,” she will say, “but I couldn’t help myself. I had to come over to tell you how mesmerizing you were in ‘Godfather II’.”

Or: “‘Positively Fourth Street’ — it changed my life.”

I realized some years later that the “strange thing” (as I came to call it) surfaced for the first time when I was only twelve. A dozen or so teenage girls were exiting a theater that was playing “A Hard Day’s Night.” As I passed by on the other side of the street, one shouted something and then three or four of them broke from the others and began to run in my direction. I can recall my sensory equipment registering a small blip that this wasn’t necessarily a bad thing. But terrified by their shrieks and the predatory way they were licking their lips, my reaction was to flee.

Nine years would pass before anything remotely comparable happened again, but by then, though no less mystified by what was taking place, I was at least ready to respond more appropriately.

Two weeks after my twenty-first birthday (and just one week after my graduation from high school), I was working as a messenger and in a cab on a summer morning with a package to deliver. Heading across town we were paused at a light when an incredible creature materialized. Wire thin, without a curve or a bump in her entire torso, and all arms and legs (especially legs — in my memory, doubtless distorted by time, her skirt is hemmed at just under her chin), she had to have been seven feet tall, and I’m not even counting the fuck=me heels and tendril-like spikes of hair that, drooping just a bit at the ends and gently waving as she moved, erupted from the top of her head. Factoring in the enormous sunglasses she was wearing on an oval face, she resembled nothing so much as a giant insect.

Coming alongside the cab, she did a broad double take, exclaimed, “Holy shit, I don’t believe this,” and yanked the door open. The light was still red when, tucking me back into my pants, she said, “Say ‘hi’ to Miss Baez for me, Bobby.”

(I remember that my driver was holding both sides of his head with his hands and that his eyes were popping out like cartoon eyes on springs. When we arrived at my destination he not only refused to take any money, he actually gave me a roll of quarters.)

I still had no reason to regard this incident as anything more than a bizarre and isolated case of mistaken identity, until I encountered, a couple of weeks later in a bar, another woman who was under the impression I was Bob Dylan — and then another who was thoroughly persuaded that I was Al Pacino. With these events I could hardly fail to recognize the pattern that was developing.

Of course it would be awhile before I got a handle on the amazing gift I’d been handed and was able to realize something like its full potential. But in much the same way that I finally achieved respectable levels of competency in toilet procedures and at masturbating by myself, determination, practice and a willingness to learn from my mistakes paid off and I became increasingly proficient at utilizing it.

In the first of the instances I’ve just noted, for example, my response to the woman who approached me was to thank her for the implicit compliment and then to correct her. But when I observed that being truthful didn’t just dampen her interest in me but provoked a discernible hostility — when, that is, she put her cigarette out in my drink and called me an “asshole” — I understood that denying the identity a woman assigned me was not the way to go and that I’d do well in the future to stifle the reflex to be honest.

And bearing this lesson in mind on the second occasion, I did get the girl to come back to my place.

Now before I go on I should point out that my place isn’t exactly a showplace. It suits my budget, but it’s in an old Lower East Side building where the facilities aren’t in their conventional locations. (We’re talking bathtub in the living room, toilet in the kitchen, that sort of thing.) Plus, I share the joint with several legions of cockroaches, an ever-extending family of rodents and an apparently unprecedented and aerodynamic hybrid of the two. (The biologists who’ve come from everywhere to investigate this phenomenon always leave with very concerned expressions on their faces.)

So as you’ve no doubt gathered, bringing a woman home was a really bad move. I’d go into detail about what took place when we arrived at my apartment, but since the matter is still in litigation it’s probably wise to say only that (as I got it explained to me later) it was almost certainly the sudden presence of a total stranger, especially one with red hair, that precipitated the attack. (Apparently the creature was acting on some primal imperative to protect its young.) Okay? In my judgment it was more of a menacing and hovering thing than what you’d call an attack. But I think that’s all I’d better say about it.

Despite the unpleasantness, however, this episode was an important learning experience, and when yet another woman who believed I was Al Pacino presented herself I not only made no protest but insisted that we repair to her place. Well, a few hours later I was cheerfully extracting my shorts from a tangled mix of hastily discarded clothing at the foot of her bed (and promising that first thing in the morning I would instruct my agent to forward a signed eight-by-ten glossy from “Bobby Deerfield”).

But my education was hardly completed. If, at this point, I had two basic rules to follow — never volunteer the truth about myself and never let a woman anywhere near my apartment — I would soon recognize the need for a third: Never even think about initiating a hook-up. I’m referring here to events that took place on an evening when, horny enough to jerk off to a postcard of the Statue of Liberty but attracting no attention, I approached a woman and boldly introduced myself as Al Pacino. The loosened retina I sustained (and which makes everything get like very white for a second) has served to keep me mindful of just how critical to my success, not to mention my well being, is the discipline of laying back.

Yes, I did feel a little guilty at first but I got over it.

Look, I know what you’re thinking. You’re thinking that what I do isn’t nice, that I take advantage of the women I connect with. Do you know what I want to say when I hear that? I want to say “FUCK YOU!” — that’s what I want to say. I’ve given the matter a great deal of thought and I’ll explain this just once. The women I attract are not what you’d call off the top shelf. Though they all qualify as women in the technical sense, are all, that is, in possession of the crucial anatomical components (which, more often than not, are in something like a normal configuration), they are not exactly achingly beautiful, beaming with mental health or candidates for a Star Fleet Academy scholarship. In fact, and without exception, they are pretty desperate people, sick puppies and three-legged cat types. Many of them suffer horrendous hygiene problems and are also myopic to the point of posing a serious threat to themselves. They are usually very drunk as well. Given their condition the service I provide them is every bit as valuable as what they do for me.

Now don’t understand me too fast — I’m not talking about providing them with sex. I’m talking about helping them satisfy another need, a need that’s just as real and urgent as the need for sex. I’m talking, of course, about the need to feel special. By physically connecting to my celebrity these women can feel that they are sharing in my anointment.

But that’s not all. After suffering the consequences of being truthful, and noticing over time that what questions they would ask me could, for the most part, be readily answered by any faithful viewer of “Entertainment Tonight,” it gradually became clear to me that somewhere in their brains these women understood that I wasn’t the luminary they were taking me for. But given how pressing was their need to rise above their abject circumstances, even for a minute (and something — whatever it was — about my physiognomy enabling them to use me to this purpose), the fact that they sort of knew they were delusional wasn’t about to interfere with their pursuit of me.

So, as you can see, there’s no exploiting going on here — not from my end anyway. I mean the very last thing these women wanted me to be was straight with them. On the contrary. They were counting on me to help them finesse a trick they were playing on themselves.

A trick they were playing on themselves! Get it?

Okay. I didn’t mean to get vicious there, but since it’s never really me who gets laid, I suffer a pretty large indignity myself. So I think people might find it within themselves to be, you know, a little less judgmental.

In any case, with the recognition that my role in the process was just to show up and play along, other methods of procedure I would over time develop are fairly simple, intended only to make sure that I’m presenting myself in a way that’s as amenable to distortion as I can get it and then to forestall the possibility of ruining things.

My manner of dress, for example. To try and stay apace of what some half-dozen affluent and more or less fashion-conscious men might be wearing at any given time would have been out of the question even if I’d been able to afford it. And since I never know who I’ll be before I venture outside, whose wardrobe would I choose? So in the summer I wear jeans and a work shirt (cleaned and pressed to be sure) and either sneakers or boots. In the winter I add a sweater and a pea coat. I might very well be the complete non-entity and total loser that I am. On the other hand I could just as easily be a Master of the Universe in a casual mode.

My demeanor is informed by the same psychology. Once a woman has established contact I try to limit my responses to those rare questions I have no answer for, to an ambiguous smile. Or, when I think it’s best, I become silent and expressionless. Real actors will notice that, in the latter respect, I avail myself of a rudimentary device of their craft. Taking on a poker face, I let the woman read into it what her wishes and expectations dictate and require.

And, of course, no matter how agreeable the experience and melancholy the break, I always make it a point to disappear after one night.

With just one notable exception, I’ve scrupulously adhered to these rules and they’ve helped to assure me a fairly decent range of experiences.

I’m thinking now of a woman who despite an off-putting quirk that she had of blowing her nose with her hair, kept my interest by taking me through not just every position in the Kama Sutra but more than enough new ones to justify a supplementary volume. (It being Lou Reed’s turn to get lucky I was serenaded all the while by her tape of my “Greatest Hits.”)

I’m thinking as well of the time identical triplets, appropriately sharing the same delusion and built like middle linebackers, invited Leonard Cohen to a cluster fuck and wound up breaking two of my ribs.

It’s a little off to the side, but I’m also thinking of a period that lasted several months during which I was continually approached by men. “I really enjoyed your work in “Cocks ‘n’ Cocks,” they would say. And they would go on to tell me how impressed they were by the way I took “full occupation” of my “space.” That sort of thing.

It was puzzling. I’d never heard of this film, or of the actor — Johnson something — they were taking me for. At first uncomfortable with their advances, it dawned on me one evening that my chances for scoring had suddenly doubled and that I’d be a fool not to take advantage of this turn of events. (I mean where’s the problem? It’s just friction, isn’t it?) But sad to say, not much would develop for me in this area. Before anything happened these guys would erupt in fits of incapacitating laughter, get really nasty or become crestfallen and disconsolate. It turned out that they’d decided I was Johnson Johnson, a porn actor who (within his discipline) was having his fifteen minutes. Curious, I found “Cocks ‘n’ Cocks” in a theater on 42nd Street and checked him out. To my surprise there were real and striking similarities between us; many more in fact than was usually so. Unfortunately there was also one significant difference. I had barely qualified for the “Woman’s Home Companion” category in the old high school joke. When Johnson Johnson used the urinal in a men’s room he probably had to stand in the hall.

And then there’s the “relationship” I spoke of, which was also the time I broke most all of my rules. We’re going back a dozen years here, but there are still nights during which I’m abruptly awakened by the sound of my voice calling her name. When I’m not alone these outbursts cause my bedmates to awaken rather abruptly themselves, but I think at least a part of what they find disconcerting is that the name I call is “Roger” — her father wanted a boy and he hadn’t taken no for an answer.

A sparrow of a girl, no more than four-foot-ten and alarmingly skinny, Roger had thick black hair that, falling over most of her face, also fell nearly to the floor. The first time I saw her, from the other end of a long and crowded bar, I thought she was a half-opened umbrella standing on its handle.

We were introduced later that evening by a casual acquaintance of mine she turned out to be with who knew nothing about me except my real name (and who was obviously trying to dump her). But when he said, and quite clearly I thought, “Roger, I’d like you to meet Pete Christakos,” her reply was: “Mr. Hoffman! What an honorary and spectaculated phenomination. This is peerless even.”

Now the thing was that when I saw what was happening normal procedure in this circumstance went out the window. I think I knew immediately that Roger was a keeper and at once recognizing how much she wanted me to be Hoffman and deathly afraid that she would turn away at the slightest hint that I wasn’t (which would have been difficult to tell since her hair made it all but impossible to know in which direction she was facing), I went out of way to nourish and perpetuate the “misunderstanding.”

What can I say? I was in love for the only time in my life, and when, in our initial embrace a couple of hours later I must have squeezed her too hard and she urinated all over my sneakers, I just — I guess it was the intimacy of it — went over the top. Indeed, before the sun came up I had invited her to live with me and she had accepted.

“I’m so excrutiated,” she gushed. “I’m besides both sides of myself. And yours too!”

Yes, of course I knew there was no way it could work, that it had to end badly. But I couldn’t help entertaining the fantasy that if I drew her in really tight before she discovered her error, we might achieve a depth of bonding that would make my true identity (or lack of one) irrelevant.

The following morning (and amazed by the soothing effect her presence was having on my flying roommates — who’d stopped fluttering around so much and were making sweet cooing sounds), I was more than anxious to know everything about her.

She hadn’t, I learned, had an easy time of it.

Her father, she said, had been a profligator of languigistics at a presticated universalment but had quit his tender position and dissipated — just, and poignantly, a day after Roger, then a toddler, had spoken her first paragraph.

Even more heartbreaking, her mother, on whose insurance policy she’d been living for the last twenty years, had tragicastically electrified herself when she dropped a George Foreman grill into the bath she was taking — this on the evening of the day she’d come to Roger’s first grade class to hear her recite “Mary Kept A Smallish Lamb.”

But at this point (and apparently wrestling with her delusion — which was something I’d never known any of my women to do and which, I thought, said something about the quality of her character, though I’m not sure what exactly), she began to ask some questions of her own.

“How come you don’t seem to have the majority of cash I respected?” she said. “How come you don’t habituate in a nice place? How come you don’t have a phone in case Steven Spielberg and Sidney Pollack are feeling communicable? How come your closet is only fulminating with jeans? Also, how come you don’t keep your birds in cages?”

Considering that I wasn’t used to such an interrogation — and that I was obliged to think on my feet — I came up with something that I thought wasn’t bad.

“Honey,” I said, “you’ve entered my life at the worst possible time and while I know that it’s asking a lot, I can only hope you’ll find it within yourself to bear with me. I’m afraid that I may be afflicted with what’s called the ‘J.D. Salinger Syndrome’. It’s a condition of creative paralysis that sometimes develops in artists who have achieved a legendary stature. Owning the prospect of a fame that will survive their demise, they live in terror of losing that prospect by producing work that might be inferior to what they’ve already accomplished. Rather than risk tainting their image, they cease to function and, in the worst cases, to even appear in public where the possibility of a clumsy or mediocre utterance could alter and diminish the way they’re perceived. What happens is that they effectively sacrifice the remainder of their lives to their immortality. I may or may not overcome this disease and I’ll understand completely if its something you want no part of. All I can say is that I’m deliberately staying out of the public eye right now and that I’ve cut myself off from even my closest friends and associates who, meaning well but not understanding, would only make light of my problem and encourage me to work. This unfortunately includes my accountant who happens to be the only person with access to my bank accounts. As for the apartment, it’s my hideout. It’s perfect as a hideout because no one would ever think to look for me in such a crummy place. You’re the only one who knows about it, the only person I’ve trusted enough to bring to it. But again, I’ll understand if this isn’t something you want to involve yourself with because it won’t be a whole lot of fun and I don’t know how it will end.”

And it worked. Roger said nothing, but in addition to breaking out in a really hideous rash as I spoke, her chest swelled noticeably, almost expanding into something like a bosom. She must have felt five feet tall to be deemed worthy of sharing in my time of trial.

But her obvious uneasiness with the situation in which she found herself would periodically surface. A couple of days later she wanted to know why more people didn’t notarize me on the street.

“Really good actors,” I said, “have the ability to be anonymous when they want to be, sometimes even invisible.”

I remember that when I said this it made her giggle.

But even putting aside the considerable tensions caused by my charade (and the always frazzling necessity to invent places I was going to when I left the house for the car wash every day), living with Roger was nerve-racking all by itself — like being tuned to two radio stations at once in a room with the light bulb loose in its socket. Periods of incessant chatter, for instance, would suddenly be interrupted, often in mid-sentence, by a dead silence, as though her plug had been pulled from the wall. At such times she might become motionless as well. Although her eyes would remain open I couldn’t be sure if she was actually conscious. In fact, on several occasions, I’d have been ready to believe she’d expired were it not for an odd clucking sound, the origin of which I was never able to locate, and something unattractive that she did with the muscles around her mouth.
Still, as enormous as the problems were, the moments of bliss I experienced in those first weeks more than compensated for them.

Spring was beginning and, celebrating its arrival, we did the things new lovers do when spring is upon them. We went to a windswept beach where we romped and frolicked in the sand. Locked in an embrace we rolled over and over down a steep hill in Central Park. In the evenings I washed her hair and she gleefully folded my penis into woodland animal shapes.

I’d have to say that, all things considered, life was pretty good.

Then it went bad.

Roger read in a newspaper that Hoffman was going to shoot a film somewhere in the Midwest and that he’d be on location for two weeks.

“Why didn’t you push my head up?” she said, showing me the article.

Even though I’d known all along that such a development was inevitable, I was nonetheless shaken by this news. It took no small effort to collect myself sufficiently to say: “I was going to tell you, but I thought I’d wait until the last minute because I wasn’t sure the part would work out and because I knew how painful a separation now will be for us. I didn’t want to make you sad before I had to.”

But she was happy. Clapping her hands she said, “I’m so glad to know you lastly clambered over your jaded salanjastiker hippodrome.”

“Well,” I said, “ let’s not get ahead of ourselves, it could be just a fleeting thing.”

Needing a place to get lost for two weeks, and with nowhere else to go, it was left for me to seek accommodations at the car wash. And the night before I departed Roger helped me pack my things. When we were done she went to the kitchen and brought back a bottle of cheap champagne she’d concealed in the back of the refrigerator.

“This is a time for jubilating,” she said, pulling the cork herself. Then, touching my glass with hers, she said, “Breakfast with eggs, Duster!”

As you can imagine, the following days were either bad or worse than bad. Sleeping in various vehicles in a lot adjoining the wash, I showered and did my laundry standing behind cars on the conveyor belt. And missing her terribly, the fact that I couldn’t call the apartment because I’d never been able to afford a phone was torture for me. I could only hope that she was okay.

Finally, mercifully, the two weeks were up and I went home.

Hearing my key in the lock, Roger came to the door with one of my “birds” perched on top of her head and holding another newspaper. Without a word, she shoved the paper at me before I’d even crossed the threshold. It was open to a story about Hoffman. Some kind of budget issue had arisen and production on his film had been suspended. During the hiatus Hoffman was staying in New York. The paper had been printed on the date he arrived.

He’d been here for a week!

Putting the paper down I met her eyes and saw that they were red and swollen.

“Where were you?” she said. ” A whole plus seven — and twenty-four as well.”

When I had no quick answer she said, “You’re doing an exquisite triathlon, isn’t it?”

You will appreciate that, as heart wrenching as her question was, my principle emotion at that moment was relief.

“Darling, Darling,” I said, “No way. There’s no way I would ever betray you like that. No, I’m not having an illicit liaison. How could you think such a thing? I’m playing an unhappy man and to stay in character I deprived myself of your company — for as long as I could bear it anyway. It’s just a coincidence that it was exactly one week.

Roger stepped toward me and buried her face in my abdomen.

“I was frightful,” she said

She was trembling and so was I. We stood holding each other for a very long time.

Determined from then on to be more careful, I made a special effort to monitor what she might read, see or hear. But I couldn’t cover everything. Just a few days later we were awakened by the radio alarm clock and immediately heard on a newscast that the budget problem had been resolved and that Hoffman was back on location. Fleeing to the kitchen to find something to kill myself with, I could feel Roger right behind me. I expected flying dishes. What I got was a juicy kiss.

“You didn’t have to submit a misleader about being Dustin Hoffman,” she said. “Why did you think you had to be duplicacious with me?”

I was stunned. Had my wildest dreams come true? Was it possible that Roger had come to love me for myself after all? I couldn’t believe it. Nor could I believe the sex that was
to follow.

I always knew Roger was hot when (it was her signal to me) she lay down on the bed on her stomach, raised her skirt and floated an air biscuit. But that morning’s air biscuit resonates for me to this day. Indeed, it will be forever etched in my memory, not only for its remarkable housekeeping application (it worked to clear the apartment of all vermin for almost a month), but because it served to set the stage for the most incredible orgasm I’ve ever had.

I’ve never been able to faithfully describe that orgasm. If I report that before it I’d had no idea how much sheer joy there was to feel in sex, that never in my life have I known so pure an ecstasy, I don’t begin to do it justice or to convey how, in the throes of it, I felt myself transported to a place beyond time and that, floating free as something like total spirit, I was privy for an instant to the deepest secrets and most puzzling mysteries of creation. (In that apocalyptic moment I actually understood, for example, why Chuck Norris was on the planet.)

And I can say this notwithstanding the fact that the orgasm was somewhat premature — I was still standing over the bed and fully clothed when it happened.

Anyway, when it was done and I lay down next to her, happily exhausted, basking in the afterglow, I was ready to drop my guard and reveal my true self to her in all its emptiness. Brushing away her hair to find her face, which took a awhile, I was about to speak when she said:

“You’ll never assume the crush I had with you.”

“?”

“I saw ‘Our Picnics in Needles Park’ six times and ‘Bobby Dearest’ eleven times. God, Alfredo, how I wanted to sit on your head!”

If, only minutes earlier, I’d discovered what it must feel like to win the lottery, now I knew the depths of despair. Even to think about commencing a new deception was beyond my strength.

I didn’t know what to do.

Just a few days later, and too weary at this point to bother checking the TV listings, the matter was taken from my hands. Pacino suddenly turned up on a live talk show we were watching. When he came on, Roger looked at me, then back at the screen and then at me again.

“How are you doing that?” she said.

When I had no response she bolted from the room and was gone for twenty minutes. She must have lapsed into her semiconscious thing because I could hear that strange clucking sound (which was a lot louder than usual). When she returned she stood directly in front of me with her arms akimbo. (I could tell her arms were akimbo because her elbows were sticking out of her hair at the same 45-degree angle.)

This time there was no mistaking it, she was pissed.

“You haven’t been Al Pacino either,” she said.

“No, Honey, I haven’t.”

Where once Roger had contemplated me with an unabashed reverence, as though an aureole surrounded my face, now she looked at me as though I was the lowest form of nature’s creepy crawly creations.

“I’ve known it,” she said. “You’re a pathoprecocious person. You’re a hypothetical liar. Well, don’t bother to make up something improved because it’ll be too little and without much else.”

“Sweetheart…”

“I mean it,” she said. “I’m cognisacious of the person you really are now. I’ve been expecting it for days.”

Yes, I was ready to say ruefully, I’m Fred the Fraud. I’m Sid the Shit. I’m Deforest the Deceiver.

“You’re Emilio Estevez,” she said. “You’re Emilio Estevez and you’re ashamed of yourself. Why? Why, Emilio? I know you aren’t a word that people keep inside the house, but yesterday when my suspicionings aroused me and I said to myself, ‘Roger, you’re a chimp, this can’t be broccoli you’re smelling’, I went to a laberarium and found you in a book. It said you were a ‘thirdly ratinated thesspassian who sometimes didn’t stink up the place’. Wouldn’t I co-habituate with Emilio Estevez? Am I so stuffed-up, or what the fuck is this?”

“Rog…”

“If only you’d had the retegritude to level yourself for me. But now…. Oh Emilio, I could never stay with a man who has so weenie an esteement for his aural fibers. Nor I myself.”

I pleaded with her not to go. I had no way to pull it off, of course, but I promised to take her backstage to meet the cast of “Cats.” I know she agonized over the proposal, but this lady was not without principles. Indeed, she looked at me then as though it was a few years after Watergate and I was Richard Nixon wondering aloud to Republican Party officials if they might, you know, consider nominating me again.

A few months later Roger took up with a guy she’s been with ever since. I think she thinks he’s Danny DeVito and I’ve often wondered, since they have a phone, how he handles it when Jack Nicholson and Michael Douglas never call.

And while I’m on a sour note anyway I might as well tell you of a period in which the celebrity connection women make for me actually worked to my detriment. It was when Pacino’s “Revolution” was released — and on its heels the video. Amounting to a devastating left jab, right cross combination, these unfortunate events threatened to end my career as well as Pacino’s. In fact, it got so bad for a while that even women who thought I was Gabriel Byrne would suddenly back off and decide to take a pass. It really wasn’t until “Sea of Love” revived Pacino’s popularity that I got hot again.

When I look back, however, it’s clear to me that even during that difficult interval I was better off than I would otherwise have been and I know that I have nothing to complain about. Although I may not have put up Wilt Chamberlain numbers, neither has my life been bereft of carnal experiences.

Moreover, I got a woman to actually live with me and though it was very brief, that union produced a son. (Unbeknownst to us at the time, Roger was pregnant when she left me.) I haven’t mentioned my son because frankly he embarrasses even me. To say it as gently as I can, most people, when they’ve seen him or tried to engage him in conversation, take for granted that his parents were first cousins. But Eileen (Roger wanted a girl and she wouldn’t take no for an answer) is almost a teenager now and I’ve noticed lately, when he comes to visit and we’re out on the street, that he’s begun to turn the head of more than an occasional young lady.

Here’s wishing whoever they want him to be a very long run.

17
Feb
17

On Turning Sixty

Although it’s brought me that much closer to transforming into worm food, I’ve found that turning sixty is not without its compensations.

While it’s true, for example, that my member isn’t getting a proper supply of blood anymore—and that I can no longer write my name in the sand and must settle for my initials—I can still have lots of fun with it. Thanks to an ever-enlarging prostate gland that’s threatening to devour my bladder, my urine stream now bifurcates at the exit point. This means that I can whiz into the toilet and the adjacent bathtub at the same time—which is a kick. My urologist says that while he can make no promises, there’s a good chance that in the not too distant future I’ll be capable of TRIfurcating. This will enable me to whiz into the toilet, the bathtub AND the laundry basket simultaneously.

I can’t wait.

And by making it possible to legitimately deflect questions that have always rankled the hell out of me (“Isn’t it time you threw out those Smurf jars with the petrified flecks of premixed peanut butter ‘n’ jelly down toward the bottom?” is a persistent one that never fails to put me in a homicidal rage), my newly developed hearing loss has a terrific upside as well. Not, to be sure, that its downside isn’t just as major. I mean, how many invitations to lunch have I blown? How many people have said, “Let me buy you lunch,” and I’ve said in reply, “Yes it is great that we got bin Laden.”? (As thorny as this problem is, I’ve managed to ease it somewhat by saying, maybe a dozen times a morning to people who appear to be talking to me, “Thanks, I’d love to.” Though probably several hundred of them have walked away from me very quickly—and two, I guess they had their reasons, punched me in the stomach—I’ve gotten six lunches doing this that I would otherwise have missed out on. Not to mention a free ticket to a WAYNE NEWTON concert!)

But if the benefits and drawbacks of my hearing impairment more or less cancel out each other, the short-term memory loss that’s accompanied my sexagenarianism has a plus side that actually outweighs its minus side. I’m speaking, of course, of the guarantee it can afford me that a movie I’m going to will be a good one. I’ll notice, for instance, an ad for a movie and tell a friend about it. The friend will advise me that I saw the movie just a week ago. I’ll ask him if I liked it and if he says, “Yeah, you couldn’t stop talking about it,” I’ll think, hey, how often does a movie come with THAT kind of recommendation and I’ll go immediately to see it. I’m told that I’ve seen “Pearl Harbor” eight times now.

(I might add here that being strictly of the short-term variety, my memory loss in no way affects my ability to remember the last time I had sex.)

But of the many compensatory rewards that turning sixty provides (and you’ll agree they are not inconsiderable) there’s one that I value above all others. Although I can still croak at a relatively early age I’ve been spared the embarrassment of a TRAGICALLY early demise.




Books by Robert Levin

When Pacino’s Hot, I’m Hot
The Drill Press LLC
Reviews

109415877-0-m31
Music & Politics
by John Sinclair and Robert Levin
World Publishing

“Robert Levin’s articles…make up the second half of Music and Politics, and they’re something else again. He’s a quietly briliant writer (not flashy but subtly dazzling) who knows jazz extremely well and who knows how to let us know what he knows. His piece on Sunny Murray says more about the birth of the New Jazz than most writers could say in a volume; the Anthony Braxton interview is one of the freshest, most reassuring articles on the future of music (of the arts in general) that I’ve read; his ‘found critique’ of ‘Space’ by the MJQ, which contrasts Murray’s thoughts on music at the White House with President Nixon’s introduction of the MJQ in that very place, is brilliant; his piece on the unfortunate evolution of Willis Jackson…is a minor masterpiece; and he’s lucid and painful and thoroughly correct when he writes that ‘What is meant by ‘every man has his price’ is that every man has his uncertainty about the validity and sanity of his perception of the truth. To ‘sell out’ is to capitulate to that uncertainty.'”
—Colman Andrews, Creem

giants
Giants of Black Music
Edited by Pauline Rivelli and Robert Levin, with a foreword by Nat Hentoff
Da Capo Press

Music & Politics and Giants of Black Music are no longer in print, but remain available from Amazon.com and other outlets.