Beer Mystic Burp #14: Beer = Food = Books

Apparently I said “In NY the louder and crazier you sound, the more attention you seem to get,” and this was quoted in the Sunday Boston Globe about our Cambridge gig. Luckily they used a photo of Judy Nylon and not me.

We’re [Jordan Zinovich, Judy Nylon, Jill Rapaport, me and Nina, I think] headed northeast out of NYC toward Cambridge, shoulder-to-shoulder in a Japanese compact, dodging potholes the size of kiddy pools. It’s the mid-90s and spoken word is out-hyping cigars, Hush Puppies, melodic noise bands with hair, and retro bad-is-good re-appropriations as the thing for the idle to wrap their egos around. A Gap ad by early Unbearable Max Blagg, a major article in Time, one in The Face, national TV coverage, a full-page profile of the Unbearables in the Daily News had upped the anty and lowered my threshold of tolerance for stand-up poetry. You suddenly overheard people who had never suffered a day in their lives [which is probably a kind of suffering after all] in bars declaring that they were now “doing spoken word. I’ll be reading at Sinead and No Bar …” Like a makeover or diet or health club regimen or pedicure… The differences between these endeavors was slight and could barely be measured using a skin conductance biosensor to gauge galvanic skin response [i.e., sweat levels].

A few weeks earlier they were still bragging about their NA attendance or enslavement to a certain brand of frozen yogurt or a speed-knitting circle or Korean sushi-making workshops … You crack a side window and the stale smell of flatulence soon departs. That is a law of nature.

As soon as you’re above the Bronx you feel the rubber bands holding your puppet anatomy together begin to slacken. Your initial urban fears of what if you go too slack like Turkish Taffy left out in the sun soon give way to a breath of fresh air that feels like breathing room for your thoughts. Really. I’m not crazy. I think Jordan was driving. He had read way too much – or was it just enough? – Neal Cassady and liked dodging debris, potholes and pedestrians in a daze.

We had, over time and many readings, converted our word addictions into something high and mighty, moral and right – the word will smite all mendacity and idiocy… And each word will be worth $.10. I mean that’s what we were good at, making words alter our reality if ever so slightly for a few seconds even if payment was usually a feeble discount on the venue’s overpriced beers.

We were riffing on the value and utility of books and readings, defining our mission as wordy rapping hood evangelicals. Although, if pressed, we, the Unbearables©® or self-styled “literary interventionists” [Jim Feast], couldn’t really say what it was we were trying to tell people: Words are naughty fun? Will annoy, provoke or set you free? Buy our books?

Enlightenment can materialize in very unlikely venues. Halfway to Cambridge we spotted the sign FOOD and BOOKS. We took a quick ramp off the eastbound I-84 at exit 74, pulled into the Traveler Restaurant lot in Union, Connecticut [pop. 700], an obscure roadside corner of eccentricity, it turns out, in the middle of a grand homogenized nowhere [not like some of the nowheres with their pretensions of being somewhere significant].

The signs in the restaurant say: THESE BOOKS ARE NOT JUST FOR DECORATION THEY’RE HERE FOR YOU TO TAKE HOME!!!! RIGHT NOW EVERYONE IS WELCOME TO TAKE HOME 3 BOOKS… FREE… HAPPY HUNTING…

So while you wait for your meal you wander through this informal, family restaurant full of clutter, crazy wall paneling lined with makeshift shelves of pawed-over books falling, leaning and stacked in no known order, mayhem and chatter, framed photos of famous authors like Dr. Seuss, looking for your 3 free [left behind] books that are included in the price of every LARGE plate of diner food: fish sticks, tomato soup made with low-fat milk, open-faced meat sandwiches, clam chowder, pumpkin or blueberry pie a la mode, the kind of roadside food Kerouac used to rhapsodize about.

Most of the books on the shelves were of the fat tree-in-every-copy, 600-page variety with their embossed covers with scimitars, cherubs, renderings of Fabio-like men bare-chested on a white steed, with their raised lettering, promising rueful romances set in Atlantis, El Dorado, Camelot, Avalon or Elmira, read by women who’ve opted for weird mid-life hair dye colors that declare utter, desperate availability. We did manage to find some oddities: a 1940s medical book full of debunked theories about electroshock therapy, another on tapping maple trees, a novel told from the viewpoint of a shoe, recipes made with corn flakes, touring fish hatcheries around the world, and a romance novel where the women faint, wearing corsets made of a magical fabric that turns them into their dreams but is actually set in LA, circa 1982.

Two hours later we’re back on the road, driving through the rampant sprawl where you sense there were once great forests of tall trees that had been confiscated in dubious manners from the natives but now all is scarred, bald land as a price we pay for progress. We’re [you’re] in the backseat not even really wondering [are you?] and only vaguely acting like you’re interested in whether you are going anywhere. Our “astute” book choices highlighting our character better than the handwriting on the wall. We begin reading passages from our finds with gusto: “Primitive races assumed that the soul actually departed via the lips” [How Did It Begin?]. But eventually we all fall silent with our 3 books on our laps, staring out of our own windows, not caring [that’s precisely its effect] that the landscape is a scar of careless ennui. Free as these books had been, some among us may have realized how easily they can turn on us, declaring in their own way that, from one day to the next, we could become as obsolete, remaindered, and discarded as they already were – like that…

Enlightenment strikes twice: In our case, the legendary Cambridge, Mass. rock club with the unfortunate name TT the Bear’s Place [a kind of CBGB’s]. Paramour Magazine‘s Amelia Copeland had arranged this gig and we were honored. But how would we hit it off performing with trans-whatever post-Dolls meets crunchy garage lounge bands like Lars Vegas, Seks Bomba, and white trash rappers Double Dong? We held our own although who was listening?

I think we drank whatever T.T.’s served us whenever we said “Beer please.” Or was it Sam Adams? Our enthusiasm for the task of obliterating the terror of thinking that all these words during readings, no matter how perfectly ordered and precisely arranged like Pythagoras’s harmony of the spheres, may actually betray us or be even more easily ignored by bystanders, forgotten or not even listened to, not even attaining the distinction of being worth forgetting. You spend most readings getting psyched, gearing up to forget, drinking to steel your nerves, wrapping your soul in a kind of liquid oblivion in preparation for hecklers or hurled projectiles. Strange, however, that we voluntarily chose to participate in these discomfiting rituals and stranger yet: these events sometimes actually had some pleasant side effects, but this usually required attaining an intermediate limbo state somewhere between stone cold sober and embalmed lush.

I remember a gal dressed for Rocky Horror who’d had a few, twirling like a Sufi interspersed with conniption hiphop moves as I read [did my prose really have some hiphop goin’ on?] with the sound man every few minutes announcing precisely how much time I had left, while others politely applauded like they do at golf tournaments or after Rotary Club speeches. Were we even listening to each other? Did we really want to recognize how good each one of us was as a writer? Also reading that night were the estimable Joe Maynard, Michael Carter, David Polonoff, Michael Kasper, Jill RapaportJordan Zinovich,  and Judy Nylon.

Afterwards, we all gathered around the Autonomedia books and zines table womaned by Nina. The table was doing briskly heartening business. Better than we were, although, a local stripper-poetess [self-described but I could imagine], hugging her copy of Wiggling Wishbone, did softly breathe into my ear: “Thanks for having an edge.” Her breath piqued with the scent of radish and rutabaga like some Old World soul. The fantastically handy nature of naiveté coupled with vanity allows my mind for the rest of the night to feed off of this one offhand compliment as casual as a sliver of fingernail bitten off and spit into the urinal.

This then was the survival strategy of beer and books: readings for audience and reader alike has always implied a ready supply of the plying stuff to wash down those dry, brittle words without a squeak. A reading without a beer was like leaping out of the trenches without a bayonet or engaging in coitus without a French Tickler.

On my long torturous journey that is truly not worth recalling in placing the Beer Mystic in a series of host sites that would wrap around the world to create a literary pub crawl I often thought of this Beer and Books idea, this complementary fusion of essential life elements. And in the fine tradition of famed &-appellations like Sonny & Cher, Smith & Wesson, ying & yang, bacon & eggs, black & tan, rock & roll, Bert & Ernie, S & M, Food & Books, there’s also Brews & Books, a site dedicated to the marriage of the 2, which seems a natural although you seldom see people reading in a bar.

Josh Christie: Is a young Maine bookseller, avid blog-geek, book fanatic, amateur brewer who hosts beer tastings, is a Maine Beer Writers’ Guild member, photographer, writes the Hop Press blog and manages Brews And Books.

bp: What made you create the Brews & Books site with the motto:  Read Great Books / Drink Great Beer?

JC: A couple things. Mainly, I just wanted a creative outlet to talk about beer and books. I’d been using Twitter and commenting on other folks’ blogs for a few months before I started my blog, and wanted a place to write in one place without a limit on the number of characters I could use. Otherwise, I wanted to improve my ability to talk about beer and books in a critical and intelligent way. I hadn’t done any real writing since college, and it seemed like a good way to learn and improve rather than let those writing muscles atrophy.

bp: What’s the relation between beer and books for you?

JC: As I write in the intro to my site, Brews and Books  is written for everyone that loves a good book in one hand and a good beer in the other. I’m not sure what the connection is, but I know it’s there. There’s plenty of people in the beer world that are literature nuts or otherwise obsessed with books. Sam Calagione of Dogfish Head, for example, was an English major, and the owners of Cisco Brewing on Nantucket also own the island’s bookstore. As I’m sure you’re aware as the Beer Mystic, there’s examples of libation-obsessed authors all over the book world. Hemingway, Fitzgerald, even Thompson. Maybe the link is that, at the end of the day, good authors and good brewers put a certain amount of artistry into their products, and we appreciate that in the same way as consumers.

bp: Bukowski used to get lucid with a bathtub of beer on stage. Chandler [‘"Alcohol is like love.”], Dorothy Parker, Berryman, Dylan Thomas … How do books and beer relate for you? Did it happen in college or elsewhere? to me the 2 create a kind of alternative universe… when you have books, it’s pretty straight and straight forward, when you have brew, you have all of the craft beer nerd / junkies vying to become consumer pundits. but when you have books plus beer you get something entirely new and different – you get something many aren’t bargaining for like inspiration, like moving beyond the page, beyond the glass into some new convivial hanging out phase that means ideas, dreams, plots get discussed…

JC: Well, while you mention that books are pretty straight and straightforward, I think the truth is a little blurrier than that. Just as you’ve got the Cantillon-loving, Budweiser-despising beer geek crowd, there’s plenty of book geeks that will go nuts for Murakami and turn their noses up at Nicholas Sparks. For me – and, trust me, I’m aware that this will sound cheesy – books and beer relate to me because they are amazing, transporting, and potentially life-changing things. The right beer will remind me of a different time in my life, a girlfriend, a place I lived. Similarly, a really good beer can help cement memories in my head. A book can subvert your view of the world, and memories will be evocative of those “a-ha” moments in the same way. Though the love for (good) beer definitely started in college, the love for books goes back to reading under the covers with a flashlight when I was a tyke.

bp: Great beers may have a narrative of flavor all their own but I still prefer subtle libation – beers that don’t announce themselves overbearingly – you know, like the annoying loud drunk who wants to butt into your conversation with his witty repartee. I don’t want to be unduly distracted from the main event which is conversation. Sure, let’s talk about the beer’s qualities and its character but let us not be diverted from our human interaction. So great beers are those that are not filled with a lot of overkill, presumption and fanfare. Do you think reading and drinking go well together?

JC: Good beer and good books are two of my favorite things, so I certainly love the idea of combining the two. And, as you said, alcohol can lubricate creativity and facilitate conversation, and beer is a very communal, conversational drink. I think the inverse is a bit trickier, though I’m certain I’ve been more receptive and obsessive of some books I’ve read while having a pint or two. There’s a handful of bookstores and libraries around the world with beer bars (rather than coffee bars), and I think they’d be the first to tell you that, yes, reading and drinking definitely go together!

bp: Can you name a few? I seem to remember the Globe Bookstore in Prague having books and beer in the early 1990s… There’s the Library Bistro in Seattle…

JC: See my Book Bars! Beery Bookstores!

bp:  You’re in Maine. Are there any good beers up there?

JC: Heck yes! Maine has over 20 craft breweries, and they brew styles from British (Shipyard, Geary’s, Gritty’s) to Belgian (Allagash, Oxbow) to the traditional and extreme threads of American brewing (Baxter, Marshall Wharf, Sebago). We’d have enough variety with just Maine beer for the rest of our lives, but Maine also has great distributors who bring in beer from around the US and the world.

bp: We hope to go up there next summer to visit friends who own the renovated Birchwood Motel in Camden. Might be a good occasion to try some of these.  Is there an underground that sees what you are getting at with brews and books?

JC: Certainly. As I mentioned, there is some serious crossover between the worlds of beer and books. I get loads of comments from beer lovers who stumble onto the site about what a great combo it is because they love reading, too. Same from book lovers. It’s probably even how we got in touch with each other!

bp: I know somewhere in here there is an audience for BEER MYSTIC. I’ve for years been talking with the editor of Smoke Signals about printing out laminated copies of the novel to be attached to the bar of special handpicked bars like Rudy’s in NYC so that imbibers can read parts while they’re drinking. Still thinking about some updated version of this idea [iPad / kindle or some app or some link left at bars so people can read it on their smart phones].  I notice there are thousands of people profiling themselves on blogs, facebook and twitter as beer experts. mostly come from either the totally gonzo end or from the consumer/expert/critic end – they provide a service… how do you fit into this?

JC: Ugh, “expert” is a very tricky term. In the most recent issue of All About Beer magazine, Fred Exkhardt writes that an expert “learns more and more about less and less until finally he knows everything about nothing.” I prefer the term he settled on for himself – enthusiast. That goes for both books and beer. I don’t have a cicerone certification or an English degree. I just know what I like, I enjoy enthusing about it, and I want to turn others on to my favorite reads and drinks.

bp: Great Exkhardt quote. So true what you say. I notice that bars with interesting beers but not too self-consciously obscure are often a lot friendlier – there is some conviviality that is probably based on the surprise of great new beers recommended by patrons or bartenders and the general atmosphere is one of casual interaction based on the intriguing nature of the beer selection. This is a far cry from years ago when bars could be deathly with them serving up swill with no attachment or sentiment or enthusiasm… A beer should only be as good as the drinker. If too overwhelming it greedily draws too much attention to itself.

Read Beer Mystic excerpt hosted @ Brews & Books.

Beer Mystic Burp #13: Without the Voodoo of Hope

Hitching through mid-1970s Canada usually meant Canadian Border Services stopping you, inquiring how much money you had on your person. If it was under $25 they’d refuse you entry, which meant hitching the long way round Lake Erie through Cleveland, which could take 3 to 12 hours longer depending on your hitching luck.

The secret: get a ride across the border with some reputable type, preferably a businesswoman who didn’t mind the adventure of lying to them – claiming I was her son or brother or something. Incredible how energizing telling a white lie to border cops can be for these types. Sometimes so grateful that you’d forced their hands into this type of emboldenment they might even buy you lunch somewhere or hand you a fiver as you part ways on the off-ramp.

Entering the US out of Windsor in the 1970s with the wrong hair [long and unkempt] meant the border cops – their mendacity directly related to ill-fitting uniforms – could apply the things they’d learned in Border Cop 101: intimidation, toy with your prey, use language beyond your ability to pronounce it, stare down detainees with a glare that betrays their god-given right to embrace the “Little Hitler” syndrome…

My ride had panicked, coughing up the truth under pressure. He’d picked me up along Highway 401 somewhere out of Duttona Beach[!]. The guards loomed and hovered in closer, giving me the whatever degree but came off like prison camp guard extras in a failed WWII comedy.

I had to “disembark the auto” and turn out my pockets, showed them everything, stood there with what looked like 2 rabbit ears on my hips, biting my tongue as they snicker, comment on my looks and, no, I didn’t do drugs – I’m a bad liar so luckily this was true, unless, of course, rapid consumption of beer counts as a working-class approximation of opium.

Amongst the lint and fuzzy peppermints, I was carrying $19.24 or something like that. My ride was sent along his way with a stern warning… And there I stood on the on-ramp to the Chrysler Freeway. Along came a souped-up SS-396, metallic red, mag wheels, spoiler, the deal. The 3 slackers stopped, apologized; they had to make 1 stop before they’d take me up I-75 part way to Flint up to Troy. We emerged from the Beer Depot drive-through as an Unstable Molecule, like it was missing an oxygen or IQ atom or something.

The Slacker must go through life avoiding hard labor and seek out any and all consciousness-obliterating mischief on this here earth. hey with their yellow teeth, dirty sleeveless Budweiser: Breakfast of Champions tee-shirts, leather headbands, singing – screaming! – along to Bob Seger as we laid a patch of rubber that obscured our vehicle in blue smoke, Marvel Comics style. We tore up I-375 to hook up to I-75, tailgating unassuming motorists obeying the speed limit as they chucked empties grenade-style out the side windows, mooning cars, flipping drivers the double-barrel bird, passing them like they were standing still.

They were “drinking” – actually shotgunning – cans of Carling Black Label [the rise of Heavy Metal, I propose, meant any beer with “Black” in the title sold well to these guys]. Plus it was cheap.

I sat in the backseat suspended somewhere between mortification and exhilaration like some Ralph Steadman illustration for a Hunter S. Thompson story, ripped to shreds and then glued to the fake leather backseat by the weaselly tag-along using his spittle in an entirely haphazard way and then begins grinning like a petty criminal as we’re topping 100 mph, with the 2 slackers in the frontseat hollering as if they’re communing, harmonizing with the insane metallic howl of the engine.

The driver, tore open his tee-shirt, poured a can of beer over his chest, threw one back to me and insisted I drink it. No thanks. DRINK IT! If I didn’t he was threatening to stop the car dead – Boom! – in the middle lane and just let me out there. I drank their beer. Two of them to ensure my survival.

The weaselly one with the awkward grin said “LOOK,” took an empty, pressed it against his forehead and then crushed it into his forehead with a wacked WHOOO-HOOO.

That I ever managed to overcome the associative trauma of beer to this furious ride is evidence that beer is special. It was in fact my conversations with Edmonton, Canada author and editor of Urban Graffiti’s  Mark McCawley that stirred up this dusty tale of inglorious times in the Midwest.

McCawley is a literary outlaw in a land that assures it citizenry with the argument that at least their not Americans. His book of short tales Big Empty is unapologetically realistic, undermining all of the little lies we’re taught about life and writing about it.

bp: The gloomy “Scream Your Head Off” about finding the drugs you need to mitigate the pain caused by “the industrial accident, anhydrous ammonia burning away my sinus membranes” is definitely based on a lot of reality.

MM: All my fictions are based on some reality. Unlike Canada’s creative writing programs, which still cling dogmatically to the concept that “fiction is a lie which tells a truth,” the NY urban post-realists [see Sensitive Skin] I discovered in the 80s liberated my thinking regarding what fiction is capable of, and the subjective possibilities of one’s own personal narrative.

bp: Inspiring Canadians: There’s Leonard Cohen [loved Beautiful Losers]. K.D. Lang, Neil Young. Michael Ondaatje can be good. There’s William Gibson! Wyndham Lewis…

MM: Interesting writers. They’re indeed outlaws. Cohen had to leave Canada to be recognized as a songwriter… He is also the only writer ever to refuse the Governor General’s award for literature in Canada for his 1969 Selected Poems. Lewis is also a great outlaw, though a more intellectual one. His novels, poetry, and especially his criticism make him one of the most astute thinkers of his or any age.

My own entry for Sensitive Skin [with] the working title “Where the Exiles Are” ponders the idea not that Canada has no outlaw writers – it does – rather that Canada – as a literary culture – does not nurture it’s outlaw (read outsider) writers, poets and critics [like] other countries do. Look and you will find Canadian exiles everywhere. The writers you mentioned are also rugged individualists, which is why they thrived as they did in exile. Canada has always been far too insular as a culture, leaning towards group identity as opposed to the individual. Which is how one can feel like an exile within one’s own borders.

bp: You’re from Edmonton. Canada, at least up until its somewhat recent lunge to the right, was considered the reasonable or affable northern neighbor. I think you will seriously dispute that. Why?

MM: Because it is based on an image that Canada has long projected of itself: the friendly, peacekeeping, reasonable, and affable nation that has solved all its problems and is in a position to assist others with their own. The truth is Canada revises its own history, blotting out that which does not fit into the “reasonable or affable” view of itself, often actively refusing funding and airtime to artists and documentaries that illuminate these truths.

bp: Is Canada just as prudish as the US or as paranoid? Actually does the very nature of a national government mean that it is magnetically pulled toward maintaining itself at all costs?

MM: I suggest that Canada is just as paranoid as the US in its need to maintain itself, the status quo, at all costs. From spying on its own citizens, to special, secret deals with other levels of government and business. Check Secrets From The Past and Democracy Now!

bp: I notice I knew very little about Edmonton. Until our discussion of some months back I pictured a quaint post-cowboy mid-sized city, relaxed, oriented toward the great outdoors, hosting things like rodeos and country music festivals. Colorful, robust, rugged and individualistic.

MM: Some of that is true. Edmonton does host rodeos, though in all my 47 years I’ve never been to one myself. While rural Alberta can easily be described as “Big Sky Country” that harkens back to the days of cowboy on the range, that cowboy has gone through major changes. He’s still colorful, robust, and ruggedly individualistic. But his numbers are dwindling as small family farms are replaced by industrial ones. Those who are left battle with the encroachment of more and more oil derricks on their farms (Canadian farmers do not own mineral rights, etc.) and the environmental effects of byproducts they release such as the flaring/fracking of sour gas/hydrogen sulphide (linked to miscarriages in livestock and women).

bp: Your stories have a touch of Hubert Selby in them – set in Edmonton. It gives a thorough peek into underbelly life there. Who were your influences?

MM: Yes, Hubert Selby was one of my early influences. One cannot help but see oneself, one’s community in the pages of Selby’s novels and stories. They were so far ahead of their time in terms of his explorations of North America’s increasing social barbarism. Not just a peek into the underbelly of life, but where and how it breaks through so called civilized society. Mordecai Richler, Malcolm Lowry, Louis-Ferdinand Celine, James Joyce, Henry Miller, Jack Kerouac and William Burroughs were also early influences. I’d have to say that Jean Genet was a profound influence on my writing and the direction it took in terms of levels and degrees of individual transgression; Genet and David Wojnarowicz. Wojnarowicz influenced the way I viewed narrative and memory, or as he referred to it as “vision and memory”. Other influences included John Rechy, Bob Flanagan and Dennis Cooper. In terms of Canadian influences, yes, Leonard Cohen was a very early influence. Both Cohen’s writings and the writings of Jim Carroll got me through that difficult youth in the late 70s and early 80s. As did my discovery of the Canadian micro-press movement (of which I am still an active part). Each helped, I’m sure, clarify for me how the world was put together in their own way by bringing my own particular world view into fuller focus. It was a cynical view. A view without the pretense of the voodoo of hope. It was beautiful, it was ugly, it was passionate, it was real. It was not easy to look at. Nor should it ever be.

bp: I discovered Edmonton suffers from all the same ailments as any city – ugly architecture, poor urban planning, blight, social problems, crime and refinery pollution. Through your writings of aimless deprivation it looks something like Northern England’s post-industrial cities…

MM: Edmonton has it’s flaws – it’s dusty as hell, never rains enough to get rid of all the particulate matter floating in the air (a result of the petroleum industry), which gives anyone living here long enough chronic sinusitis.

bp: When I think Canada I think Toronto, Montreal, Vancouver, this image of a progressive, healthy populace …

MM: Indeed, some areas of Edmonton are quite beautiful. For instance, at 7,400 hectares, Edmonton’s North Saskatchewan River valley is the largest stretch of urban parkland in North America. Others, though, are sheer industrial with no concept of beauty whatsoever.

Edmonton is both a university and government city, as well as an industrial city. It is the most northern city in North America, located on the 53rd latitude (about equivalent with Scandinavia), and like most other prairie cities, is separated by empty prairie. Every city has a homeless problem, Edmonton is not immune. For a downtown core, Edmonton’s is quite vibrant and growing. It certainly is no downtown Toronto or Vancouver, yet has it’s own unique flavor.

bp: How did Canada mold you as a creative person? How would it have been different growing up in the US do you think?

MM: That is a very difficult question to answer. I suppose Canada, generally, molds it’s creative artist’s through subtle and not-so subtle modes of conformity – artistic communities, associations, guilds, etc; through the jury system of awarding grants to individuals, magazines, publishers; as well as the “great culture machine” of which creative writing and the arts are a very large part. I don’t imagine this would be very different had I grown up in the US. Having become increasingly anti-academic, though, I suspect I might have had an easier time of it, and faced far less opposition culturally. As an underground writer and literary outsider within the Canadian cultural context, one is snubbed, sneered at, ridiculed, or simply ignored altogether. Indeed, an early review described me as a “literary transvestite” right down to the ruby lipstick, fishnet stockings, and stiletto heels. Little did the reviewer know about my transgressive literary tendencies. That said, though, I’m sure my heredity of coming from multiple generations of Irish alcoholics – and indeed my own recovered alcoholism – played as much a part in my development as a creative person as anything else, particularly growing up and living through continuous cycles of economic boom and bust, and how that skews whatever sense of values you happen to have or bring with you.

bp: How is it being a cultural resisting, contrarian?

MM:  For as long as I can recall I have been a cultural resister and a contrarian. It certainly is not easy, especially within such a conformist culture as Canada. Indeed, the pressure for a writer or artist to conform to particular cultural and literary attitudes and values is overwhelming throughout the Canadian educational system right up through post-secondary studies. To take an alternate path of self-education – which for me was an absolute necessity since my interests in urban post-realism, transgression, and deviant culture within a Canadian context were unheard-of – was in and of itself an incredibly slow process. From the start, my views, my fictions, and especially my critical writings were in direct opposition to much of popular opinion… I’d say it takes fortitude to stand by one’s views and philosophy in the face of such overwhelming cultural opposition, and a steadfastness in one’s aims and goals since the rewards are so few. A steadfast belief in the works which you publish, the writers you support and promote — and trusting the brilliance that you see in them and their work that countless other publishers and editors have overlooked. It says something that over two decades of writing and publishing that I trust my own instincts more than any other Canadian publisher or editor. True, I am still without a book deal. Yet, I always did suspect there would be a high price to my cultural resistance, my contrarianism.

bp: Didn’t you go through a health bureaucracy fiasco with your foot? How did that come about and how is that symbolic of today’s health care and whatever else you want to add?

MM: Very symbolic. It’s interesting you ask, since I am about to reach my one year internment in my downtown flat since I was wheeled into Emergency in November, 2010 with an infected left foot. The May before I had stubbed my toe, and then went to see my doctor who then referred me to see an infectious diseases specialist. But for the next 5 months they kept sending the referral to the wrong fax number, and the specialist never received the referral until I showed up nearly septic in Emergency. Of course, this is an extension of an ongoing chronic pain condition resulting from a work injury in 1991 in which my sinus membranes were burned away.

bp: That’s documented in your factory realist story “Just Another Asshole”  where the character works the dri-print machine called “widowmaker.” I quote:

The ammonia fumes the machine spewed out sunk into the cuts, burning like acid. With each breath I took, I felt the ammonia burning inside my nostrils, down my throat, and inside of my lungs. It’s only a matter of time and exposure, I thought, before we all become casualties. At first sign of trouble, I’ll quit, I assured myself. But by then it might already be too late.

MM: My entire experience with the healthcare system is based on whether it’s the public system or the private. The private system is atrocious. People are barely trained, and no wonder, they are right off the street.

bp: About beer: what drinks or beers did you turn to?

MM: I was a big stout enthusiast back in the day when it had to be imported by the keg and tapped – Guinness, Russian, Irish, Oatmeal, etc. But once the great European breweries began licensing out these stouts to North American brewers and bottlers they lost their magic. I mean, imagine a carbonated Guinness stout? Fuckin’ sacrilege! My spirit of choice, though, has been, and will always be, rot-gut Dark Navy Rum. Even now, 23 years clean and sober, I drool at the thought of a wee drop of the dog that bit me… even though it would kill me to do so… what a way to go…

bp: About beer and escape from mundane realities. An issue NEVER addressed in drug/alcohol [ab]use discussions is the issue that the architects of life – the politicians and business gurus – have created an unadventurous life and so escape from the tortures of ennui begins early by purchasing one’s way out via extreme sports, behavior, television – extreme escape in general. If life in this system is so good then why are so many people trying to escape from it? I believe beer [among others] is escape but also access to another plane of being. It’s a tricky trip – not enough means boredom and too much means veering off into the distractive minutiae of inebriation. Ride that fine line and you arrive at altered states…

MM: Indeed, bart, that is so very true. For the longest time, in my teens and twenties, I used beer and spirits, and whatever mind-altering drug I could get my hands on, to escape a culture I could not stand, whose artificiality was so obvious it was painful. Nothing was real anymore, or authentic, just endless cycles of superficiality. It might be cynical, yes, but damn, it was liberating.

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Beer Mystic Burp #12: Stroh’s Cans to the Head

I suddenly have vivid memories of survival in Flint, Michigan, Motor City Jr., birthplace of GM. I was a stranger here because I rode a bike with books of poetry in my back pocket and some locals could smell this alienness a million miles away. Riding a bike was simply deemed unpatriotic, weird. Motorists cut you off the road because, as they made quite plain yelling out the side window, that since bicyclists don’t pay road taxes they were justified in hurling empty Stroh’s cans [or not always so empty] at your head – and somehow manage to hit you in the head! – as they pass you in maybe a souped-up Wildcat [or Olds 442] at 45, turning up WRIF as they passed – AAAARRRRGH! How did they do that; where is their practice range? Is there a Stroh’s Empty Can Lobbying Range out North Genessee Road?

So, instead I’d bike to school on the sidewalks only to come out of my Native American History class to find my tires slashed [radical motorists?] and then one day, stolen. Me and my father headed down to the police station on a Saturday morning to browse through the hundreds of recovered bikes, unable to find mine. I considered picking out a nice one and claiming “There it is!” What would have been the difference to them, to anyone? But I’m as bad a liar as my father was. That’s a lie, some will say. See what I mean? [Was my father loyal to my mother only because of his inability to lie convincingly and thus never risked having an affair?]

After that I’d either get a ride with my mom on her way to some housecleaning job in Grand Blanc [perfectly named suburb, really] or hitchhike, giving myself enough time, knowing most days I wouldn’t get picked up and I’d end up walking.

I never got picked up much on my way home either. Until one day a cool, spacy lady, with a Ziggy Stardust-type shag haircut stopped, leaned forward across the steering wheel – her perfect smile and cleavage creating a makeshift sign of the cross in my mind. She owned the Hair to the Throne beauty salon at the mall. I tried to remember Ziggy lyrics to impress her: “she could lick’em by smiling / She could leave’m to hang…” But these just seemed too suggestive, maybe they weren’t even right…

I thought of other beauty salon names: Hairport, The Mane Attraction, Hair Brained… as we rode in, but didn’t say a word lest she think I was disrespecting her career. I watched her shift gears perfectly, her perfectly tanned and contoured limbs in total sync with her Porsche. “I like a manual; I like control.” I could barely speak – beauty [especially from outer space] does that to me. She turned up her tapedeck: “… droogie don’t crash here / There’s only room for one and here she comes…” With hair, lyrics and music all totally in sync. I was hopelessly in awe.

She picked me up about twice a week, and always offered to shag my hair – for free. I always managed a smirk. “Don’t you trust me?” “Yea, but…” There was a date or something like it in here somewhere but opportunity-snuffing levels of shyness prevented any advances that might have led to drinking Blue Nun on her couch, listening to her records, staring at a framed Helmut Newton nude on her wall…

You know what I did? I changed my schedule at college so I would no longer run into her. Such is the annoying power of beauty.

My parents had moved from Upstate New York to Wisconsin to Flint, Michigan, in the space of a few years; the American dream eluding them like a quarter rolling down the street and down a sewer grate. What a coincidence, my father was a metallurgical engineer who “made” that very sewer grate and that one and – and no, I didn’t know Michael Moore or members of Grand Funk Railroad, although my brother had Mark Farner’s English teacher, so you can stop asking…

They found a provisional apartment in a cheap part of Flint, downtown, near the Buick plant, with a view over its expansive flat roof – maybe on Industrial or Stewart Ave. The apartment was a noisy, dingy hole with smokey shag carpet that had absorbed its share of suspicious bodily fluids. They lived here for 6 months as they searched for a more suitable home in an affordable suburb.

The Lion’s Den or Flintstone Bar & Grill or something, was located right under our front window. Assembly-line workers would hang out here after their shifts, all times of the day; some coming off the third shift were already drinking by 7 in the morning. There are some truisms that are true: wherever there’s demeaning labor, there’s a bar close by – usually right across the street from any factory.

I came to visit my parents from college during holidays. My father would get up at 5. I’d watch him leave the house – tie, white shirt – passing the men hanging on the corner, leaning against the mailbox, the lamppost, just starting to drink or wrapping up a bender. He worked at the General Foundry, which produced heavy metal parts – brake drums and stuff – for GM cars, mostly Buicks and Chevy Suburbans.

Late at night I couldn’t sleep so I’d stare out the window and felt like asking: “Don’t you have any place you need or want to be?” I knew they didn’t; wasted, they couldn’t even dream where they wanted to be without seeing a commercial of it first. Guys hacking and spitting, horsing around with cocked revolvers and karate moves – “From One Beer Lover To Another” [classic Stroh’s slogan]  – trying to forget the way home to wives who’d long ago given up on them and their stories. Too high, too wired, chugging beers outside, chucking the empties against a side wall under my bedroom window.

One night a bullet shot through our front window; nobody got hurt, no one found the bullet. My father called the cops who came shuffling in on their heels. They were immediately perturbed that he’d called them; it wasn’t urgent, no one had been hit – at least not in our place. Flint had a high murder rate back then, similar to Detroit’s I think, a quite hard little city and so, don’t call the cops unless its bingo, and you can produce an actual shooting victim.

I looked it up: Flint still has a high murder rate to this very day, ranked 7th among US bigger cities, only 4% of US cities are less safe than Flint. This was stuff you didn’t see in documentaries about America at that time, at least not the ones my parents had seen prior to emigrating from Amsterdam. Socialists handing out The Militant newspaper at the plant gates knew why and they didn’t mind telling me or anybody else: these images simply don’t jive with capitalist propaganda’s “roads paved with gold” – ending their sarcastic phrases with an all-knowing “HA!”

My mom, in 1961, descended our Hawthorne hovel stairs down to the luncheonette to confront the be-bopping rockabilly types – or were they bikers? – demanding they pleaz turn the jukebox down. They fooled with her, trying to dance with her to make light, you know, harmless… Ah, it’s a generation thing. And here she was [a notoriously light sleeper who can hear a gun being cocked a thousand miles away] up to her old tricks again. Heading down our stairs in her pink deja vu night gown and curlers, calling my father a lafaard [chicken]. On the street, confronting these men, pointing her finger like some half ghost – “I haf to werk in de morning!” They couldn’t believe their eyes; there they stood with gashes in their foreheads [like shimmering wounds you swear could talk], holding their paper cups filled with rotgut vodka and diet Faygo Red Pop, or crushing beer cans in their bare hands or flicking their butts at the dogs scurrying by, knocking each other’s hats off, some rough-house punches launched now and then. But suddenly you could hear the chuckles trailing off and you could hear Flint’s “quiet” – the eternal plant hum – meaning that in some way they respected her as a working-class lady or something.
By the time I came back in the spring, my family had found a home in the suburb of Burton with its winding, bird-name, dirt roads where my father announced he’d gotten me a job at the General Foundry as a fill-in and molder’s assistant. You have to understand that working in a foundry where they bribed every OSHA guy to ever come through it was dangerous to life, lung, and limb.

I rode in with my father at 5:15. The first day he gave me all the standard safety equipment he could find: earplugs, air mask, helmet, gloves, goggles. Walking onto the foundry floor that first day was like something out of “Man Who Fell To Earth” – I swear I was the only one wearing any of these recommended safety devices. And one of the only ones to ever wear any of these things, many didn’t even know this equipment was available, not that they would lower themselves to  faggot status and requisition any of it.

My father never said much but some mornings he would say something that would just hang there in the car like an aphorism propelled by flatulence. One morning he described his blue collar crew: “It’s good people forgetting how good they once were and too tired to act that way now anyway.”

The work was so hard, dangerous, suffocating, hot, and mindless but still you had to manage to keep your wits about you or die. My entire body ached for weeks like it was entering some new devolutionary [reptilian] phase. Every afternoon at 3:30 I’d take a really long shower at home noticing that the smell of hard labor in a dangerous place – the soot, the oily coal dust, the grime, the  stink, the fear – “never” really came out of your nose, pores, ears with ordinary soap. Blow your nose, it came out black. I remember staring at the white toilet paper holding my alien black snot.

By 3:45 I’d be out in my parents backyard with a book of poems; I was reading Leonard Cohen’s The Spice-Box of Earth as I sagged into the lawn chair in the sun … “Beneath my hands / your small breasts / are the upturned bellies / of breathing fallen sparrows” … drifting in and out of sleep. A kind of hypnagogic state of reverie where your dreams are still enamored of life’s possibilities, which I now remember with some fondness as some of the most satisfying moments of my life. That is how good it felt and I don’t know exactly why.

I was awakened and staring into a late afternoon sun, which was suddenly blotted out by a dark head, a pretty eclipse in the shape of Faith, our cheery neighbor girl. Robust with baby-fat arms, a cheerleader-hopeful, and a body already developed far beyond her ability to know what to do with it. You know the kind, always futzing with their bra straps and saying things like “You gotta have Faith,” without any sense of irony or self-consciousness. But, you know, you never know.

Blond, Botero-esque, tentative, crossing her legs – I’m squinting into the sun and now her eclipse – fingering her bellybutton, wondering “what do you think of this bathing suit? My mom thinks its too much.”

“There’s not too much of much there.”

“So you agree with me?”

“I guess.”

Her smile was like quicksand, it took possession of her entire face, totally transforming it – dimples, freckles, green eyes enlarged and then disappearing, before her smile took possession of you. It was summer and for Faith it wasn’t much of a vacation, having to babysit her bratty brother all alone every weekday, cooped up in the house, with a strict prohibition on friends – her parents enlisting neighbors to keep an eye on the house. Faith was all of 15 [she may have even been lying about that] and no ordinary girl and she was bursting at the seams to have me notice that. Or so I thought.

Her father was a dour guy in an Army jacket with a perpetual scowl even when he was on his beloved riding lawnmower. I only learned later how brutal he was as an ex-military whatever. Her mother was an overworked drone [accounting at Fisher Body] the dread of consumption far outstripping income weighing heavy on her former good looks. She was someone you’d have compassion for her if you didn’t know her daughter.

“My parents say they can’t afford to take us on vacation, so we’re not goin’ anywhere.”

Over the course of the summer she would regularly – every day! – invite me over to listen to records: Uriah Heep, Peter Frampton, Jojo Gunne, Todd Rundgren, Bad Company, Grand Funk – did I like them too? You can be honest without being too dismissive – I liked this and that by Todd, 1 or 2 by Grand Funk…  that is as close as a 19-year-old guy comes to tenderness.

Should I bring over Neil Young’s On The Beach, Van Morrison’s Veedon Fleece? Eno, Roxy Music? Better not. If her father were to come home drunk or sober after work he’d be pissed if he found me there and he would, as I understood it, beat her. She said he liked the belt, with the buckle. She could show me. I said I believed her; no need to yank down your hot pants to show me the bruises… OK, I see and, yes, definitely dramatic and he’s definitely a shithead [she may have called him that herself more than once] …

Her brother played up his full brattiness, announcing at regular intervals that he was going to rat on her for showing her butt to me. “She shows her boobies all the time. Give her a quarter and you can see’m too. Mom says Faith’s a slut.”

“SHUT UP!” she chased him through the house, swinging her fists in the stale air. Chased him up the stairs and locked him in his room.

He chanted “Slut! Slut! Slut!” as he banged on his locked bedroom door, the walls and floor.

“He was a jerk when he was born.” Exasperation, furrowed brows. “I’m not like that. Really!”

We went downstairs to listen to her records. She sang along to Uriah Heep: “We must keep them away / Or pretty soon we’ll pay / And count the cost in sorrow…” gazing at the wall, on the edge of the couch. “That’s ‘Circle of Hands’ and if I saw them live – that’ll never happen with my prison-guard parents – I wonder if Heep’s words could help me…”
She closed the door, put the needle down on another record – JoJo Gunne. It was pretty dark and I could hear her breathing, singing along “I make love, I make love, duduhduh / But just don’t gimme none of that / Too cool for love / It might just hit you right between the eyes…”

She guided my hand over her wounds, duduhdu, like I was a marionette who, by tracing her body with my hands, could give her shape and meaning. But how all this escalated in conjunction with blood pressure, blood engorgement, pulse rate and a scandal involving exhibitionism, and blackmail is another intriguing story altogether.

Her brother had opened his bedroom window was yelling “HELP!” at the top of his lungs and started tossing stuff out – lamps, board games, puzzles, clothes, model cars, walkie talkies …

Faith had an absolute fit. Screaming, her hands flexed like a bobcat’s claws. I helped her gather the stuff off the front yard – the kid, I agreed, was a brat, definitely disturbed. We brought the stuff back into the house and upstairs because if she didn’t put his room back in order before her mom or dad got home she’d get a whipping. “Whip the slut,” I heard him say in a creepy tone of voice.

“My dad likes the belt. He’s Army. I hate Army.” She opened the closet, showed me the belt with a buckle of two rifles crossed over a Confederate flag. “The only way to make him happy is let him watch TV.” And that is what he was now doing – well, that plus yelling at the screen and pelting it with his favorite toys. Knifing a stuffed animal with a scissor. Fluff all over.

“You want lemonade? I don’t have beer.”

“No, I better go. I don’t wanna cause any problems.”

“Can we do the same thing again some other time?” She sounded so desperate. Like your arm is a lifeline.

“Why not. I’ll bring some LPs over.”

“Totally Cool!”

“I better go.”

“ OK, but remember ‘today is only yesterday’s tomorrow’.”

It was around this time I started drinking beer. I’d had beer in high school but shotgunning clandestine Genessees outside a pup tent along a trout creek and then chasing trout with your bare hands in your underwear wasn’t quite the same thing.

After a long, cold spell in relations with my father due to the complications highlighted by the generation gap, my disdain for authority and preference for an unruly haircut, his relationship to me and to the labor market slowly began to evolve. It would take another 10 or so blows – being summarily dismissed for doing his job too well, seeing the people who worked for him being treated better – to his upstanding belief in the work ethic and that quality and experience were always in due time justly rewarded… before I would eventually be proven right. He asked, “What’s so great about being white collar anyway?” There’s no dignity in being right, there is no victory when all we have left is bitter memories of the moment we began buying into the big lies told to us by men in suits. He even traded in his Green Card and became a US citizen, hoping that would further prevent his being dismissed/fired so easily. “First we have to pay for the big lies with taxes and then we pay for them again later with our dignity.”

We didn’t drink a lot together, just one or two before and/or after dinner, usually what was on sale at Meijer’s Thrifty Acres – Stroh’s, Milwaukee’s Best, Pabst, Bud, Schlitz, Heileman or sometimes something exotically “foreign” like Molson’s or Coor’s.

We’d sit in the setting sun in the backyard – you could hear the clack of dishes as my mom cleaned up – discussing, ah why not, the Maize & Blue’s Big Ten fortunes, the boldness of young women today, did women “belong” in factories? My mom now yelling at my brother to do his homework. We even improvised a tenuous version of the Stroh’s commercial we both loved where a father emotionally confronts his son asking: “Son, answer me. Do you drink beer?” The son responds tearfully: “Yes, dad, I drink beer. I’m 34 years old!” The father places his arm around his son, and simply wants to be assured that when his son drinks beer it’s Stroh’s.

I personally preferred Stroh’s, still a local beer at that time, not because of any inherent great taste, but because it was local, affordable and certainly did not taste any worse than the giants. We poured the on-sale beer into our glasses and then crushed the cans in our hands as we looked toward the horizon, an empty lot with mounds of dubious landfill dumped there. We both smelled of sweet bug spray. Few words were spoken – a little baseball or football, the foundry, the ex-murderer I work next to, shoveling off the foot of soot off the sagging foundry roof and whether this job was safe, how difficult it was getting up at 5 when I only just got to bed at 2, with Faith hearing me returning, whispering out her window: “I SEEE you! Do you want to see ME?” I could only think  about her old man, and, NO, I do not have a death wish.

There was an element of bonding, something challenging, something alchemical about discovering how far down the price scale you can go before beer becomes undrinkable. Where is your threshold, that moment of equilibrium where beer is both affordable and still tastes good. Where does affordable become cheap; where does beer slide from hops to piss; where does that delightful buzz crash dive into headache? You squat down by the cans on the bottom shelf that don’t even bear a logo and are just called BEER.

We established that the secret of a drinkable, mediocre beer is this: you must enlist your own taste buds to collaborate with imagination, speculation, a greater narrative and through some willful, although not altogether clear, alchemical formula of equal parts hope, magic, thirst, air temperature, beer temperature, and a beer’s inherent hopsly qualities plus the ingrained conviviality bred by comradely consumption of beer. And thenamong the interworkings of all of these variables, a standard, mediocre, factory-brewed beer may actually emerge as a good-tasting brew, well beyond even its own wildest advertising claims and for a few moments then you [we] are engaging in heady alchemy, making of a mediocre brew something special, something other worldly.

As someone wise or drunk or both – or was it just me? – once said: “It’s not you, it’s not the beer, it’s the story you and beer together tell.”

Beer Burp #11: Obsolete Drunken Nirvana

Rich Dana, is not just the editor of the retro-future activist aesthetics journal Obsolete but also a guy doing battle – and making his own peace – with the various seemingly overwhelming forces of displacement, corporate branding, the government, neo-colonialism via Monsanto seed patents, which is creating an entire caste destined for long-term indentured servitude and various other nefarious forces. His approach is one of spirited pragmatism, iconoclastic critique, and a holistic approach to one’s existence on the land – not easy in the designated most-normal state in the union, Iowa.

b: In an effort to profile the hosts of the Beer Mystic Global Pub Crawl, I’m interested in hearing about your general approach to issues concerning the environment, political activism and how they relate to things like art, writing, bohemianism, individual resistance and beer.

Your magazine is called Obsolete, and I was honored when you hosted a chapter of the Beer Mystic in the first issue. Obsolete is an ironic title. Does it refer to the print medium or to the idea of classic resistance or to the contemporary dead end of politics as usual between 2 dying Republicratic dinosaurs who keep getting massive, expensive heart transplants that, in a sense, makes it imperative that the massive investments of blackmail money from special interests keeps them artificially alive?

R: Obsolete! came out of my own simple desire to read a real underground tabloid newspaper. I miss that format. As much as I actually love technology and computers, I just don’t enjoy reading in a digital format. I figured there might be some other analog dinosaurs like myself out there.

The name comes from the Twilight Zone episode “The Obsolete Man”  in which Burgess Meredith plays a former librarian in a 1984/Fahrenheit 451-style, anti-intellectual, totalitarian state. This was a popular theme among the 1950’s and 60’s libertarian-leaning sci-fi that I grew up on. That type of distrust in government – any government, any authority, actually – was prevalent in my youth, even in the movies. Serpico, Dirty Harry, the anti-heroes of the 70’s all fought the corruption within. The Weathermen and the Panthers were heroes. My civics teacher took us to the Cedar Rapids courthouse to see the trial of Leonard Peltier when I was a sophomore in high school. That was a formative experience. About that time punk came along.

b: “The board finds you Obsolete.” “You come to my room to prove that the state is not afraid of me. What an incredible burden that must be; to prove that the state is not afraid of an obsolete librarian like myself. Well, I’ll tell you the reason you came… I don’t fit your formulae…” In other words, can out-of-the-box progressive thinking succeed or even survive in this stultifying climate? I know my partner was called a traitor for voting Green rather than for the lesser of two evils in the hope that this lesser – Obama – will respect this hope that he might be something other than business as usual…

R: I have never been a member of a major political party, and I don’t believe in them. They both rely on the fear and/or faith of their members. I don’t do religion. Ericka [former WFMU DJ “Wildgirl”  and hot rod fanatic] ran the Nader campaign in 2000 and we still have Democrats who won’t talk to us. Honestly, I feel like soon, the whole fake representative system will become obsolete- that people will continue to ignore it more and obey it less. If we ignore it long enough, maybe it will just go away.

b: Nina was a Nader supporter. Among some – wasn’t Bush’s approval rating around 2003 around 89%!? – we were also non-patriotic [I’m not even american, so moot point] regarding the invasion of iraq. now Johnny-come-lately Dems act as if they came upon the WMD revelations themselves. To me, the Republicans are bad fucks but Obama is a bad fuck wearing a smilie mask who can beguile with his smooth lay-up. Nina now works for friends of the earth international, which early on denounced Obama’s energy plans as totally antagonistic to sustainable strategies banged out in international conferences – goodbye campaign promises.

The Netherlands has a system of about 6-8 parties repped in the equivalent of Congress. It is also relatively easy for marginal parties to at least get heard. The campaign only lasts a few months so the window of opportunity for moneyed corruption is smaller and money does not really BUY elections here. The electorate is vaguely split along left and right leaners: 3 major parties are conservative [1 of which is tea-partyish] with numerous left-leaning parties like Christian Union, D-66 [think Kennedy-style liberal dems], the Animal Rights Party [leftoid with 2 reps in Congress – Wildgirl will like them], Socialist Party [a major party] and Groen-Links [green-left].

The name of your organization or alternative persona is feral tech. Does that refer to off-the-map-out-of-the-box thinking beyond the current media-defined choices?

R: It’s a catch-all for my personal hands-on projects. I’m always looking to mine the effluvium of culture to make art, tools, energy, dwellings, vehicles. I tell people that the goal is to bring third-world technology to the first world.

b: How are you coping in Iowa as the designated bellwether of normalcy in America? Although it’s in the “middle of nowhere” that nowhere seems critical on numerous levels, not the least of which are environmental and political as in several thousand Iowans deciding on this year’s flavor of Republicrat.

R: We left New York at the onset of Gulliani-fication of the city.  Now, it’s really not that different from anywhere else in this country.

b: I think this opening up to mega-stores and chains and the mallification of NY began before Giuliani with Dinkins. But Giuliani probably embraced it as some kind of genius political move…

R: Iowa’s political significance as the so-called “first in the nation” makes it a very strange place every four years. There are days when you literally see 3 or 4 presidential candidates a day on the street.  It’s a cottage industry for a lot of small-time political hustlers in both parties.

Basically though, the rural image of Iowa is just a farce. Farming is all industrial, and the fields are just production facilities.  Only a few Iowans actually farm anymore.  Insurance is the biggest industry in the state, not farming, although they need to keep up the pastoral image in order to keep those farm subsidies flowing into corporate troughs. A few people are making advances in the “local food” movement, but the deck is definitely stacked against them. I can see a time in the near future where it will be easier to grow food in urban areas, because the countryside is just too contaminated.

b: it’s weird, its the same in the Netherlands, Switzerland, Germany, France… This need to hang onto, this deference paid to, the illusion of bucolic farming and small farmers – there is something instinctual or religious, which leads us to float toward romantic illusions of a past that probably never really existed anyway. I seem to remember you mentioning that you had been advocating against Monsanto’s gen-tech scenarios as not good for farming and its patents on seeds that would make farmers beholden to this multi-nat like indentured servants who can never again buy back their freedom/ independence.

R: That’s true. MonSatan’s model has been to crush any competition by intentionally allowing genetic contamination to occur and then claiming ownership of anything that contains their proprietary genetics. Their plan is, apparently, to control markets in vital resources like food and water.  A while back they were buying up water rights in developing countries. This is not about competing in a free market by making a superior product. It’s about controlling life on a genetic level on up. It’s God-tripping shit.

b: There is definitely some bio-tech hubris going on. The assurances of the snake oil salesman but all good cons come to an end. Read Mother Jones recent portrayal of bold, self-assured Monsanto declaring that their products would kill insects and weeds and the rest is farmer heaven: Attack of the Monsanto Superinsects. How do you see aesthetics – anything from locally brewed beer to local resistance via alternative artistic visions – as a way to critique mass corporate, conformist culture?

R: I am a big fan of regionalism, and hope to do what I can to preserve and/or reestablish it. I moved around a lot in my younger years. I loved living in the Cass Corridor in Detroit, The Irish Channel in New Orleans and Fort Greene in Brooklyn. I loved that the food, the art, the writing, the music – they were all different and all reflected life in their place. William Gibson talks about how Bohemias are the product of cultural backwaters, where ideas and aesthetics have time to cook into a tasty stew. I don’t think that happens a lot in the era of the internet. That’s one thing I like about Cedar Rapids, Iowa. It’s just a smelly backwater industrial town, but it’s full of talented people, just doing their own damn thing.

b: We seem to have a lot of geo-psycho-historical inspiration overlap – I also grew up with posters of the Panthers, SDS books, Steal This Book, MC5, music and resistance, poetic resistance, alternative film, Weather Underground, Catch-22 and on and on. I once wrote a term paper on the plight of the Native American in Michigan and the US. Still a pretty amazing story of genocide. Are you combining aesthetic resistance to conformity / the cynical erosion of pleasure in the thrall of mass consumerism with pragmatic local solutions – recycling, grow your own, solar panels…?

R: Yeah, my money work is doing construction and installing solar equipment, renovating old buildings in efficient way, re-using salvaged materials, all that stuff. I just really like old buildings, and I don’t do well in an office environment- we aren’t independently wealthy, so I’ve always found problem-solving and working with my hands to be my marketable skills and that helps pay for my other less lucrative endeavors. It kinda seems like people might be waking up to those ideas lately. I’m not talking about “buying green”. You can’t buy “green”. A new house or car can never be truly green if there is an option to reuse an older one. I drive a 1986 army surplus Blazer that burns used fryer grease biodiesel. No hybrid car is as green as that. Ericka is working on repopulating an heirloom native peach tree that was once in every farm kitchen garden, before they were all torn out to make nicer lawns. We grow food and buy beef from the local cattleman. I just had my work boots re-soled. Fuck, even that is a radical anti-consumerist act these days.

b: Great to hear this. I think that commerce is so strong, like faith, that contrary messages just seem weird, or when not backed by ad dollars they seem suspect, because the norm is so well funded and the outlet of consumable extremes [extreme sports, mtv reality shows, binge drinking, whatever] has made buffoonish behavior a kind of new controlled nonconformity but if you are TRULY weird, like alternative thinking/living you can still easily be ostracized because you’re not playing the ironic-nonconformist game. Did you move out of NYC – wasn’t it the late 1980s, about the time I moved to Paris – to return to your roots to have an effect there?

R: Not so much. We just wanted to get the fuck out of the city. Things had really run their course in NYC for us and we had a sort of poorly formulated back-to-the-land fantasy. We got here and were faced with chemical farming contamination, government run by agri-business, and a bunch of corrupt corporate fist-puppets like Governor Tom Vilsack (who Obama named to head the USDA) to contend with. Ericka really got into politics in a big way first, running the Green Party. I tried my hand later- I actually served as a lobbyist for the Iowa Farmers Union and the Iowa Renewable Energy Association at the state capitol. What a soul sucking vortex of hell that place turned out to be.

b: Since I’m dealing with the projection of my novel Beer Mystic, a novel of beer, mysticism and cantankerous resistance to the urban plight of residents whose souls are compromised by the effects of banking machinations and the greed of landlordism but also by the omniscience of the car as invasive projectile into every aspect of our being. It also deals with the blight of light pollution – New York may be the city that never sleeps but it is also the city that never lets it denizens sleep: this leads to an almost insane wakefulness that has its effects on our abilities to logically and successfully interpret our position in our surroundings. New Yorkers [urbanites in general – of course people in the suburbs and rural areas have entirely different sets of issues] must learn a series of coping mechanisms: mass consumption is one that makes it look like life is dandy. Another is obliteration of surroundings via headphones, psychological withdrawal into obsessions, drink and drugs. Turning to beer was one way to prevent New York [in my case] from getting a total hold of my soul. Does that speak to you in any way?

R: It does to a degree, but to be honest, I was a pretty hard drinking fucker when I got to New York. Maybe that’s why I went there. Drinking always took me to a place where everything was okay-  but it was so fragile. I could never drink one beer. I had to drink enough to flip the switch, and then it was walking a tight rope to stay in the zone without falling overboard. I’ve been sober for 8 years now – so is Ericka – and it really has allowed me to clarify my ideas and do things I never could as a drinker. I miss the escape, I miss the social aspect, but not a lot else.

It was a huge part of my life in New York, though. The ritual of the afternoon 40, the evening pints of Guinness at the Alibi Club on Dekalb Ave., the smell of the paper bag around the Budweiser tallboy on a bench in Tompkins square, the taste of that first beer after 36 hours in King’s County lockup….but that’s another story. I would not be who I am without lots and lots of beer. And all of the experiences, good and bad, that came with it. Maybe I’ll have one again someday.  Not today.

b: Beer combats urban hyper-stimulation, over-caffination and over-documentation-justification…

R: Beer has a really different connotation here. There is the micro-brewed goodness and the nice head that comes with it, and all of that. Then, there is the Busch lite 18-pack drinker. The blue cans in the ditch, tossed there by the anesthetized NASCAR fan. Who can blame them?  This world is too fucked up to figure out. Why not just suck down a shitload of crappy beer and forget about it? Sleep, motherfucker. Payday is friday and the boat payment is due.

b: Its finding that fine line between taste [before it becomes snobbish branding] and getting soused [a necessary escape that is considered declassé by the new beeroisie] and perhaps drinking beer that tastes good instead of just the cheapest piss but not needing to congratulate oneself on your genius craft beer purchases with a hundred tweets and a few blog entries. Just drink it and enjoy the human interactions it creates.

R: One more thought about beer, aesthetics and regionalism: Before I quit drinking, microbrews were just finding their way into grocery stores. The big brewers were trying to market fake “premium” beers to go after the Sam Adams dollar. Still, and I don’t know about now, but I always loved the regional cheap beers. I don’t know if they still make it,  but once a year Rhinelander would sell Bock. It came in the same brown bar bottles with the same label; it just had red caps that said “Bock”. It was great, and a big treat and when it was gone it was gone, until next year. I hate having “everything all the time”. It’s the same with the internet. Nothing is special; it’s all just 1s and 0s, (and $s).

Obsolete Magazine
Beer Mystic Global Pub Crawl

Beer Mystic Burp #10: The Amble, The Ale

The Amble, The Ale: Walking Nowhere Into the Pale

“Freedom knows no propaganda more effective
than people calmly enjoying themselves.”
• Raoul Vaneigm, The Revolution of Everyday Life 
 
I was pointed to a youtube via another story, which led to others about how more and more teens in the US, UK and elsewhere are abusing, attacking and killing homeless people – bum bashing   – because they are – homeless, evil, ugly, down on their luck, can’t fight back, probably a too-visible reminder of what might happen to them some day and we have obliterate all that might to remind us of that.
 
To rearrange reality I walk, usually off a beaten path, usually where there are less humans, sometimes – when I lived in Paris or NY – carrying a beer for that extra carriage, that extra, distance, buffer, whatever you want to call it because when you walk the rhythm creates a meditative quality that puts you closer to essences allowing you to think again and write them down. Let’s call it peripatetic meditation if you will. That is what I did in NYC as well; to escape the claustrophobic and right-angled obsessed Manhattan grid I would walk and if you walk down certain streets in certain directions headed towards certain shores you can temporarily leave one’s confines.
 
I used to talk about the need to walk to escape to think to write with Jose Padua, a great writer who probably became great in part because he used to wander through Manhattan at all hours. That there is a relation between a long ramble and a few lines of poetry is probably immutable truth although I’m going to purposefully avoid any concrete examples to keep the secret. [I really hate documentaries that reveals how they prroduced the magic in a film I liked].
 
While in NYC I made a point of talking to homeless people. I gave them money and then asked if I could take their picture. None minded, some even thought it wonderful because even sitting on a busy street like Broadway with 100,000 New Yorkers and tourists ambling and shuffling by they feel invisible as if they are reminders of how easy it is to slide into the very misery you have always told yourself is not meant for you because you are not like them: you are educated, handsome, already hired, invaluable to the company or whatever else makes you feel good. But as my friend Brad used to say when we used to drink and balader [its no coincidence that balader  means walk/stroll and that ballad means a sentimental song sung by wandering minstrels] around Paris, upon spotting a homeless man [sans-abris or also the more dignified clochards who choose their addresslessness] he would point and say: “That’s me in 10 years.” Luckily he was wrong but the point being there is a very thin veneer between home and homeless, certainty and doubt…
 
Anyway, the interesting thing about walking is that it frees you from certain grid-related confines but it exposes you to ever more details of reality as well – unless you can enter that state of reverie, sometimes accompanied by humming, a light-headed state where you are carefree up to many hours at a time before the reality that one has to sleep in one’s substandard housing becomes ugly reality again.
 
I inhale the head of a beer the way others breathe oxygen. And then I walk. And when I walk I think, and when I think I become a genius; beer bottle reserves in breast pockets, tracing enigmas to their source, noting incidents of autumnal light, imbuing jails, detention centers and chopshops with the ecstasy of its collapsing light.
 
I wander around, discover hints of being in the lucent light, a celestial, bedouin, navigational starlight. Not your average horrendous watt overkill, households lit like sagging jack-o-lanterns, overlit to barricade the cellmates inside against all fear, all curiosity.
 
Here, at the frontier of where light goes limp and darkness blossoms, one becomes privy to chance discoveries; scuffling through dingy snow as grey as the grey matter that no longer matters, to find the roving ghosts of Stephen Crane, Henry Miller, Hart Crane, Hubert Selby, and Carson McCullers – their presence like watermarks on forgotten stationery.
 
I discover the knowledge of perfection like an alchemist with a 6-pak coursing through my alimentary canal – colon and rectum – ancient phantom stops along the Rockaway-bound A train. Brew is the sextant of elixir, an alchemy that transforms sharp objects, projectiles of control, architectures of neglect and belligerent light strategies into a soft contoured womb, spinning everything of mind and blur, of environ and reverie, into its non-spatial and non-temporal delirious core. This state (migration inside stasis, daydreams of the stoneface) is attained, some say, as we move from light beer to dark, where the blood becomes aqua vitae and the conscious will becomes flooded with personal lumen naturae or psycho-magnetic bio-luminescence.
 
And with the knowledge that “fermentation and civilization are inseparable” I uncap a Lambic, an old Belgian beer fermented with wild yeasts, matured in wood from Bordeaux, something special from the surreptitious confines of a paper sack! “to feel a euphoria steal over [me] that effectively blots out the harsh realities of life.”
 
A paper sack so that those whose function is defined by how well they contain vision and funnel yearning through the various official and constrictive sphincters. They tinker this zeitgeist into shapes that will allow them to flatter themselves. This is not unlike the way statues of soldiers in parks begin to define heroism.
 
Don’t guzzle a Lambic. Let this most unusual beer linger on the taste buds. The Lambic aligns itself with anarchist thought because it invites wild microflora to spontaneously ferment. And its surprising taste is capable of convincing me to totally rethink financial priorities – I spend rent money on it.
 
A Belge Lambic can be traced, in the etymological sense, to the Middle English, alambic, now alembic, meaning anything that transforms, purifies, or refines. An alembic lamp, for instance, provides heat but also light, a special kind of light, a light that purifies and more. The word alembic continues back to the Arabic word for still; stillness and tranquility or perhaps still; as in distilling device consisting of a vessel – the Greek ámbix means cup – in which a fluid is heated and vaporized and a cooling coil condenses the vapor.
 
There’s a map on the back of the beer label which guides my nocturnal circumambulations. I keep it in my breast pocket.

Read entire Mysticisme de la BiereFermentation, Inebriation, & Navigation

Read entire BEER MYSTIC online 

BEER MYSTIC Burp #9: Beernuts are People Too

You can make a lot of friends on social networks if you’re into beer. You can do that quite adequately in bars as well. You buy a few elbow jockeys a round of canned goat urine and you might have friends for life, the kind who will push your car down an incline to jump start it or piss on your car door handle, figuring you’ll appreciate the joke or come unannounced to your barbecue. So, online is safer – no spilled Trippel on your Wal-mart comfort-fit jeans, no errant darts to the back of the head. I found out how many beer nuts are out there when I finally launched my novel BEER MYSTIC online in its present global pub crawl version. Buddy Kold, editor of Sensitive Skin offered to host several excerpts, including #13-14: and now the entire stouty story can be read online.

I found literally hundreds of people hunkered around the theme of beer in blogs, Facebook, Twitter, and websites. The scene is like a bunch of drunks hunched over the bar staring into a lit beer sign rhapsodizing about their Brut Bier tour they took through Brussels in 1996 or acting out the latest Bud Lite commercial they saw during the Super Bowl. You want friends then show you’re nuts about beer. Every craft brewer, every wannabe beer expert spouting the latest enthusiasm for some cranberry and jojoba infused brew, every brewer whose done his market research and has chosen intriguingly goofy-cool names for their enterprises and assortment – Flying Monkeys, Horse Piss, Great Sex, Dogfish Head and its Golden Shower pils  now known as Golden Revolution, Big Sky Brewing’s Moose Drool has a significant hey-look-at-me presence.

This has led to some great quaffables but also some abominations on the level of a beer & passion fruit popsicle. Marketers have also created a kind of beer-label, hopsian haiku subgenre, with names that appeal to both the serious taste of DIY brewing and its po-mo ironic-quirky bad/good–repulsive/attractive marketing approach. The names are like liquid versions of punk band names or xerox punk zines from the 80s. Bonkered brewniks want the attention of wacky names and the esteem of good-tasting hopsian elixirs. Many of those who write about beer seriously rate and analyze their beerhunter prey as if the subtleties are all Consumer Reports crunchable, although some of them do manage some poetic quatrains dedicated to imminently quaffable pints. There are many serious zines but one of the best is Rate Beer. But I do wonder what the qualifications of most of these self-declared beer experts are: I guess lots of intense and hyper-conscious drinking and then converting their enthusiasms into words – and ratings with a drinker’s thesaurus on hand.

On Facebook and Twitter, I’m friends or following or followed by or stalked by or hit up for loose change by some great sudsly characters like Beer Guru Atlanta, Hopmonkey, BeerSnobBob, BeerPoet, and Dirtybeerguy. Others profile themselves as decadent advocates of louche lifestyles like SexCigarsBooze or Modern_Drunkard, while still others aim for the opposite, proposing that beer fits tastily into a healthy workout lifestyle marked by sensible quaffing like TheBeerRunner. There are thousands of breweries begging for your friendship. Here are just a few I have friended: Leelanau Brewing, Offbeat Brewery, Holy Brew, Brasserie Schoune BreweryNew Glarus Brewing Co. [because I went there while in Wisconsin], and BrooklynBrewery because I once lived in Brooklyn and BB was a pioneer of tasteful and not willfully outlandish brewing manners – with head on both shoulders and in the glass.

There are beer valhallas like Bierkoning in Amsterdam, but also beer cash & carry joints, personal beer trainers, lager activists, pils perverts, mega-FB-pages like Beer and sites with snob appeal [beer is the new wine]. But, besides beer drinkers and those debating obscure spontaneous fermented brews made in barrels from driftwood taken from the shipwrecked Good Ship Lollipop, which gives it extra mystique, we also have beer babes, a category now fully exploited by… beer babes, because there’s nothing sexier to the average 90% of scruffy, male beer nuts than a gal who out-guys the guys, can lick the foam from her upper lip in a certain suggestive manner and can, local legend has it, grip a stemmed tulip glass in her cleavage – at least in the deepest thoughts of our privacy settings anyway: Beerchick, Classy Beer Broad, BeerFoxTM, Hopsdiva, LaFemme de Beer, The_Beer_Bitch, SudsyMaggie, BeerZenGirl, Beer_Goddess, Beerwhich, Girlbeergeek, BeerGeekAmy,  RealBeerGal, Brewstress, AGirlandHerBeerJulie PubQuest Wartell, Drink With The Wench, The Beer Wench

But the weirdest beer-related Internet presence is no doubt Beer Buckle. Just the name “Beer Buckle” rhyming with knuckle as in head as in novelty, as in actual belt buckle collectibles, some of which are as elaborate as a wall mural, with an assortment of messages from Freudian to brand-loyalty and running as large as those belts worn by boxing or big-time wrestling champs, makes your head reel. The beer belt buckles may be one of the single strangest “inventions” of humankind – somehow weirder than a pet rock or a yodeling pickle – combining the utilitarian belt with the billboard – most beer buckles advertise one or another bland, heavily branded beer like Coors – or, in our case here, Olympia – and may very well serve as a bullet-proof or punch-proof accoutrement that may come in handy in the event of a barroom brawl.

And then suddenly I remembered my friend Brad-Lay who I’ve known for over 30 years. We used to work at the same mid-Manhattan photo lab where we egged each other on to truly and creatively despise our bosses. I may have called the old boss an asswipe in a tone as clean and sinister as William Burroughs or something more colorful and true – he may remember. This is likely how me and Brad-Lay became friends. That he may be the funniest human this side of George Carlin has probably done him more harm than good although it probably has also helped save some aspect of his remaining sanity although it just as likely has gotten him fired from countless jobs over the years. That he is basically unemployable [not totally true] makes him an utterly noble guy and that he takes the world’s hypocrisies to hear, which probably has led him to sharpen his wit so that not a note of mendacity or injustice can ever slip by him – the burden of awareness….

He has lived in the middle of nowhere – lots of flowers and really pungent cheeses – between EuroDisney and Paris for what seems like 20 years. That Disney employed him at all is probably a sign that miracles exist. He was eventually fired, although not before he played an evil Pirates of the Caribbean guy in tights. Another job sent him wandering the Disney grounds, serenading the public with real [NY Jew] folk and cowboy songs dressed as a cowpoke. Out of boredom he would sometimes fudge the lyrics to cowboy standards to suit the situation; he once serenaded a group of German tourists, altering the lyrics to “Ghost Riders in the Sky” to sing about how “they” had killed off all his people, the Jews. His revenge was finding a temporary respite from total boredom and the fact that the tourists cheered and clapped enthusiastically when he’d finished.

During a visit to EuroDisney for my 6-year-old-at-the-time daughter, partner Nina took a picture of the 3 of us standing on Main Street USA, posed in front of Dapper Dan’s Hair Cuts – and just before Nina took the pic, Brad undid his pants and let them sink to his ankles and there we stood with Brad in his underwear, pants at his ankles, with that sly smirk that made it seem to the thousands of tourists passing by that it was all just part of the magical Disney experience.

Well anyway, his dad died some years back and he had to fly back to the US, rent a car and head upstate to the Kingston, NY area. Disagreements with hospital staff as his dad lay dying got him tossed from the premises and ultimately – was this his dad’s way of getting back at him? – Brad inherited his gun collection, something he has absolutely NO use for, in fact, he did not even want to touch them or dignify their existence by selling them to gun nuts on eBay. He even investigated the option of shipping them off to some peace organization that melts guns down and makes peace symbols out of them. But the costs were prohibitive.

 Me: Tell me more about that beer belt buckle you gave me from your dad’s collection. What does this buckle say about humans, about your dad? Maybe we’ll never know exactly why people collect what they do; I’m sure someone out there collects dried dog truffles, for instance. Why did he collect belt buckles.

B: I don’t know why … Could be he started when he was going through what I call “Macho-pause.” Macho-pause strikes middle-aged men when they realize that they are NOT cowboys, or deep-sea fishermen, or coal miners, or any other really macho, manly profession. My father worked in an office most of his life. Some other symptoms of macho-pause are getting a motorcycle and trying to play a musical instrument, typically, the saxophone. My father also started wearing boots instead of shoes, and bought a 4×4.

Me: Isn’t it strange that most of the guys collecting and/or wearing these buckles would never be able to show them off because they’d be hidden behind their over-sized tee shirts covering their prominent beer bellies?

B: In spite of his being a bit overweight, he came from a generation that always tucked in their shirts, button-down shirts, often “western” cut and in bright colors, so the belt buckle was always visible.

Me: Didn’t you get this as part of the settlement of his estate along with his guns?

B: Yes, I got the belt buckles as part of my inheritance; I also got $1000 cash. He told me to take whatever tools I wanted from his workshop. The one thing that was interesting, and portable, was an electric wood chisel. I brought it back to France and donated it, with a 120-220 adapter to the local association where we do pottery. They promptly ignored the adapter, changed the plug and blew it up. The rifles and shotguns and the one pistol all belong to my [ex-cop] sister as does the house and all the rest of his and my mother’s possessions…

Me: Was your father a beer drinker? Did you ever hang out with him and share beers?

B: He did not drink. Once every couple of years he wou’d have a Fosters lager – at the time this was exotic in the States. Of course, at Passover, he would hardly touch the ceremonial glass of sickeningly sweet Kosher Mogen David Extra Heavy Malaga wine. You don’t want to know. At least my family did not follow the ritual to the letter, which calls for the drinking of 8 glasses of wine during the meal. If a Jewish friend ever invites you over for Passover, in the words of Nancy Reagan, just say “no.”

Me: Do the belt buckles have sentimental value as memento?

The belt buckles don’t mean anything to me. I’ve given a few away. I’m glad you like yours. I had one in the form of a circular Skillsaw, which I gave to the carpenter who redid our roof. He was really taken with it and wears it every day. There was another one with a pig on it, which I gave to one of our vets, who is especially partial to pigs; she went and bought a belt especially for it and  thinks it’s great. I’ve offered them to musician friends who play bluegrass and country music, but for the most part, they declined. Big belt buckles scratch the backs of instruments. The rest are in a box under the bed, waiting to be stolen.

Some of my other so-called beer nut friends: Beer Aholix, Beer Anyone, Beer Bureau, Beer Commissioner, Beer IntheWorld, Cosmic Ales, Beer Obsessed, Beer-Stained Letter, BeerTrips Beer Tours, Bier Koning, Craft Beer, BadAttitude Beer, Boring Beer, Brew Dudes, InandOut BeerGuys, Brewski Bros, Brewclub Ny, Brewing Communities, Abby Brew, Brew Chatter, Craft BrewHome Brewing, boozecolumnist, Tequilawife, DailyBeerNews, Alcademics, DeschutesBeer, MustLoveBeer,  Whydrinkbeer, BeerAmericaTV, Beer47,  Beermentv, PrettyBeer, DailyBeerNews, Drinkersworld,BeerClassifieds, Idrinkgoodbeer, Boozecolumnist, MikeLovesBeer, BeerCruiser, BonLarryBeer,  Draftmag,  Brewhiker, thefullpintBeer Appetit, Beer Connoisseur Magazine, Beer Geek, Beer Pioneers, Beer To Buds, Beer and Whiskey Brothers, Beerpulse, Blog About Beer, BrewDog, Brewed Life, Brewers Publications, Craft Brew, CraftBeer.com, DRAFT Magazine, Drink Craft Beer, Drink Eat Travel, DrinkedIn BarFinder, Drinking Beer, Home Brewing, I need a BEER!!!, Ice Cold Beer, InandOut BeerGuys, Malt Advocate magazine, Pretty Things Beer & Ale Project, Road Trips for BeerTwo Guys On Beer

 

BEER MYSTIC Burp #8: Eddie Don’t Do Beer

No, Eddie Woods don’t do beer, he does white wine, anything above 3 euros is just fine. Pinot Grigio or Chardonnay is more than OK by him. Not before 5 and thereafter, he switches to red – Merlot [EW correction] or Beaujolais is, again, OK by him. Modest, not bottom shelf rot gut, but also not something that a Goan would have to work 6 months to afford… Because, you see, wine, like beer must not dominate or distract from the essence of the evening: human interaction.

That is why some time ago he insisted on In De Wildeman [literally In The Wildman], a bar – no a beer-tasting room – in Amsterdam’s scrunched-alley center. Not only do they have a great selection of Flemish, Dutch and other beers on tap and in the bottle but there is also a code of silence – there is no canned music, no manufactured frivolity, because all attention must fall on conversation about and/or with beer and even the tourists [pils pilgrims] generally behave here.

I usually accept advice and luckily some people love to recommend beer. But I am just as likely to be won over by a beer name or label. Pursuing beers like Rasputin, De Wildeman en Flying Dog, Piraat, Morte Subite means pursuing poetry, word association and happenstance, where a great name can lead to a sublime beer and a few choice words written down on a coaster. Most of their 200+ beers on hand are great beers with more history than hype as their witness. Not bland and gimmicky, not piss or maple syrup, not liquid white bread or crack cocaine – a complex and subtle partner in the evening’s intricate proceedings. [When in Amsterdam also visit the Bier Koning or Beer King, emporium of 1100 beers. What Lourdes is to believers, the Bier Koning is to beer-lievers.]

After all, flamboyance [the embodied craft of hype] contains its own denouement and disappointment. Like the leaky balloon, like the promise you shouldn’t be promising, like the brag that leads to nothing beyond attention for attention’s sake, like mediocrity with cleavage, like the lonely all-eyes-on-you gesture, like sad people who run out of conversation once they’ve discussed all of their tattoos. This is how I would describe some new [craft] beers although I’m terrible with names.

Eddie’s a poet, an ex-pat-in-the-true-sense-poet like as in exiled [from the US and his native Queens], and a good one, a really good one at that. You learn from him that a good [modern] sonnet or haiku can actually out-dazzle the obligatory Hollywood car chase scene.

I’ve known him since 1978 when he had just moved to Amsterdam and I was passing through on my first return since immigration in the 1960s. I think of that period now as a period overshadowed by extreme shyness, you know the kind where you either don’t breathe enough or you’re hyper-ventilating out of nervousness and so all reality passes through a not always un-delightful fog as a result of perpetual lightheadedness, add a few beers and I needed no opium. Luckily I wrote it all down but then lost the notepads while hitchhiking.

Eddie has had his forays into flamboyance – i.e., a decade of psycho-chemical excess as well as developing a well-honed persona sculpted out of a certain brand of – what was it? – cognac and poetic spare parts to carve out his magisterial gangster poet persona, wearing a certain insouciant slouch hat way before gangsta rap,.

His true terror is his talent for parsing syllables [“How easily we succumb / to the sharp edges / of imaginary splendor” (“White Lady”) or "my words are like bullets" ("Bloody Mary")] like someone humming Sinatra while separating the cocaine from the gun powder, grain by grain. See him hunched over his mechanical typewriter [now a Mac], fluttering curl of cig smoke [shag], window cracked to ventilate, key pressing into the soft paper to leave its mark, a physical indentation like a tattoo of erotic intimacy between paper and ink, between kinesis and stasis, between contemplation and rough and tumble… “on the edge of total recall.” Passion is his crime and contribution with all of its inherent and messy idealism or naiveté.

Eddie proves that a whisper can trump a bang and insight exquisitely rendered can beat Jersey Shore in the ratings. His Tsunami of Love  is a case in point. You resist, ask why not just “Storm of Love” or “Squall of Love”? Because in his own inimitable way this intense love affair was a tsunami, having gone all the way to Devon to slide from all to none, from mountaintop to sea bottom in one bungee-cordless leap of faith, which only the writing of this book could rescue him from. Let him explain how he entered the hell of heaven: “I didn’t invade your privacy, my love; your fevered willingness invited me into it.”

From his earliest Amsterdam days, he has served as a conduit, an underground railroad, a hitching post, a saloon, a virtual B&B [Bohemian & Breakfast] at his Ins&Outs Press haunt in the groin of the Red Light District. Here bohemians, outlaw poets – Jack Micheline, Harold Norse, William Burroughs, Ira Cohen – meandering mendicants, impassioned photographers from several continents passed through and linked into one another’s magic, which morphed into Ins&Outs Magazine and a series of cassettes. It’s this kind of passion that can melt egos, can explode indifference, shove guardedness into the nearest gracht. People get along, they feel welcome, in the realm of kindred spirits, commiserate and beg to differ.

This is what passion can do is what I remember thinking – put your mouth where your heart is and your heart where your mind is and then lance it with a fountain pen. What I also remember is that he really reads your work when you send it to him and this can be unsettling if your used to skimmers and people who talk over your words like its background noise. Not Eddie, he treats it all like a personal letter addressed to him. This became most evident when I helped organize his archives some years ago for sale to Stanford University – this passion produced an archive full of correspondence about literature, an invaluable contribution, a missing link between worlds and times.

I remember him shoving me, shy beyond measure, onto the floor to read just before William Burroughs was to read in the Melkweg during the 1978 P78 Readings that forged an awkward link between punk and poetry. I read – the words shaking like a Halloween skeleton in an autumn gust – too nervous, jittery, voice breaking, not a yodel, but cracking  and then fading, the words betraying me. And that was just the level of cruelty I needed.

Whenever we get together now we may discuss how subtlety has its own rewards – or revenge – even today in a world where extreme is everywhere. Craft Beer, for instance, with overblown head demanding the world revolve around it, with one too many flaky ingredients – it’s like a drag queen, dowsed in cheap perfume, without a story. Like the gregarious overbearing tourist with his arm around your neck, buying you one more round if you’ll just listen to his Indiana hunting stories. You partake, slake, finish and then take a pee, and return down the other end of the bar seeking subtle insinuation, a stare into the head of your beer. Beer should speak to you but not for too long and not too loud – remember that.

We survive the misconception that we thrive in a world of hyped extremes, of entitled thrills to consume our way out of consciousness, where every sentence is a one-liner with its own attached file of generic laugh track. Even a basic handshake where one’s warmth negotiates with another’s has given way to elaborate high-five slaps of flesh celebrating the most mundane of successes – gimme five, you finished your porridge, gimme five, I bought those shoes. And yet, we greedily, desperately seek our escape from our homemade boredom via ever-escalating extremes – outlandish, oafish behavior to shake off any suspicion that you may be a bore – our souls becoming these insatiable black holes greedily sucking up [cell/mobile phone] stimuli at twice the speed of film. Extreme is just our escape clause.

Twenty years after 1978 we met again when I attended a reading [series] Eddie was organizing at the notorious Co-Meyer bar in the Jordaan in Amsterdam. I was by then a veteran of a tough Lower Eastside poetry scene, where people attend readings just to loudly ignore you – or that’s what I thought anyway. I still imagine a happy medium between the suburban audiences with their polite silence and respectful golfer’s clap and the calamitous reading scene where everyone reads but no one hears a word.

That first night, Eddie coaxed me to read and read I tried. But mere seconds into my text, a loutish gal, drunk beyond her talents began to heckle and just could not shut up. So I did what I had never done before. I confronted her, engaged her, jabbed my finger into her deltoids and kept on with her well beyond the sell-by date.

A few weeks later I got my revenge by reading a piece called “Nina Hagen’s Cold Cut Couture” with live modeling of cold-cut couture by the inimitable Anna Montana. Imagine a fashion line of selected meats, a salami skirt, that when you strip it means the guy has to eat it off of you… The triumph could easily be measured in the number of denizens who offered to buy me a beer and thus inebriation emerged as a measure of my success.

Eddie hosts Beer Mystic exc. #25 

Follow the Beer Mystic Global Pub Crawl

The Gangster Poet, photo of Eddie Woods in 1984 © by Cristi Kluivers

BEER MYSTIC Burp #7: Beer = Liquid Cartoonist

BEER MYSTIC Burp #7

X-Large I see is the new large in clothing sizes. Size matters, so now a medium cup is like a trough of soda at McSubWenNuggests. They even try to super-size you when you rent a car, from an obese sedan to a 4WD monster at no extra charge so that we, the disinherited, can feel like royalty for an hour. So that the buyer can yell “Beware, this purchase represents power.”

Shifts occur not only in quantity and magnitude but also in quality. Many serious [acoustic/classical] musicians hate the idea of popular icons being treated as serious composers. This happened to soundtrack composers: in the 1980s, people like Bernard Hermann, Nino Rota and Ennio Morricone were accorded serious composer status.

The same happened to cartoonists-illustrators. Some of my favorites are: Joost Swarte, Kaz, Jonathon Rosen, Ned Sonntag, Yossarian, Ken Avidor, JD King, David Sandlin, and some others. They combine a certain dark bemusement, befuddlement, indignation and humor to portray the horrible events of everyday life in their own unique ways, simultaneously mirroring and egging the zeitgeist on so that it emerges as an enlightened mediocrity and then entering these stories to become the very personas they so ferociously render or they alter historical inconveniences so that they can get the babe or the last laugh. You can almost feel the bug-eyes popping, the sweat dripping from their neuro-squiggly lines gone post-Cubist or post-Boschian, Kafka-with-a-smilie-sticker-on-his-lapel surveying both inner and outer cores, the lust, adrenaline and angst gurgling around in their 2-D herky-jerky bodies of misbehaving body parts. So don’t call them genius because this just cramps their styles like R. Crumb-types crumbling into mounds of undulating, bodily-fluid oozing, ganglia when a woman offers a compliment or quick gander of top shelf cleavage.

Beer is a liquid version of cartoonist; after all, it wasn’t until the later 1990s that beer began to go micro and then craft, enhancing not only conversation and life but also the style of your lifestyle. Exquisite, rare, weird, unpronounceable brews became the early 21st-century porn stars. Wine has always lent itself to a culture of leisure, luxury, tasting, it was meant as accompanist, as partner in crime, as facilitator into that state of graceful satori known as the buzz. And beer wanted in on that.

But cartoonists continued to opt for the shock value of the bad and the “bad is good” strategy, opting for stylishly bad beer [not Coors] during some wild East Village parties of beer-guzzling intemperance, gangly bodies in stoopidly smart tee-shirts reeling near rooftop edges without railings. Wasn’t the beer purposely “bad” – Iron City, Milwaukee’s Best, Olde English 800, Keystone – to deconstruct status, snobbery, make of disaster something glorious, to make of piss a nectar so exquisite that alchemists will be knocking on doors.  I mean, wasn’t there a party at a cartoonist’s Village pad where guzzlers crushed cheap beer cans into their foreheads? Crush-yukyuk-crush…

From BEER MYSTIC: There must have been more than 100 from all crawls of life at this party of the underground graphic-novel-comic-book-post-punk-grumpy-ocracy. You didn’t even notice that the more ditzed you got – wipe your chin with someone else’s chin – the more you ended up dressed in beer and other proofs. Beer heals and binds all alienated souls. Yea, OK, until things go too far. But you drink too much water, you die too….

We insist we know we are all funnier than Don Rickles or the “Wild and Crazy Guys” or Foster Brooks or Sam Kinison [funny or not? the debate goes on], Gilda Radner, Jane Curtin [are women funny? Hmmm.].

I ran into Jess JezaBelle, a tough baby-faced beauty with dynamic definition in her limbs, attractive muscles in her cheeks and neck – you can’t take your eyes off her features – who had become a surprise treat at the Gas Station with her act that combined cooking and stripping, in the show “Gastronomical Burlesque: From Apron Strings to G-Strings.”

“SShh, somebody brought English beer. The beers are flat but the women are not. We English are always drinking whilst under the influence of alcohol or drugs.”

“Maybe it has to do with loss of Empire.”

“More likely loss of hormones. I can tell you on reasonable authority that this practice is very much the English Way. The English Way is akin to the Way of the Samurai, for example, in every way except one: the rigorous code of discipline is not something that must be painstakingly learned, but something that must be painstakingly unlearned.”

“I always suspected that.” I said with a smirk. A scrum of very American guys in fashionably threadbare and obscure tee-shirts overheard and began howling with approval because this meant, in effect, that because English guys were wusses, there were basically some 30 million men less to compete with.

“And for my part, I am, as you all know, a perfect fuckin’ Englishwoman – nay! Lady! – and hence, you see, never, EVER to be found drinking unless thoroughly under the influence of alcohol. But the mystery is why Northern Europeans like their Anglo Sexin’ poached and pickled in a urinary brine of too much booze?”

“To better spot god?”

“I doubt it. More likely to give’m an excuse for non-performance. Alcohol in extreme is the ultimate escape clause. No, it’s not a joke, fellas. Present company definitely included. I see the same bad reviews here I can tell you! I’m going to have to issue some of my own very soon, I’m afraid. That’s the fuckin’ punch line, isn’t it?”

“The Brits have a more obvious problem with alcohol than others because they seem to be in direct competition with drink – conflict over dialogue.” …

Heated arguments abounded: Was this a national, human or gender-related trait? Was Debby Harry, in fact, better-looking than Madonna? Phyllis Diller funnier than Moms Mabley? What’s wrong with the Yankees? Somebody wondered whether the Beastie Boys were still really punk. Fuck, yes! I had Licensed to Ill with me and threw off the Butthole Surfers and flopped it on, cued it to “Posse in Effect,” turned up the vol., sang along “I got a girl in the Castle and one in the pagoda / You know I got rhymes like Abe Vigoda / I’m a Def Manhattan killer, a rhyme driller / A mike in my hand and a mouth full of Miller / I got a hat not a visor, I drink Budweiser…”

Some saw this as evidence of pure punk, while others saw it as total wankerdom. So I put on “Slow Ride,” get half the party given up for dead shaking limbs and singing along: “Because being bad news is what we’re all about / We went to White Castle and we got thrown out… duhduhduuuh… I shot homeboy but the bullet was a dud / So I reached in the Miller cooler, grabbed a cool Bud…”

Does intelligence lead to suicide? And what about the mystery of the “33” on the Rolling Rock label?… illuminating the wall was a magic lantern projection of a pussy shaved to resemble a smiling face and emerging out of the pubis [by artist René Monsveneris], the haircut if you will, was a mysterious spiral that seemed to be spinning. The music was now obscure 60s garage rock, the Claxons, the Corporation Headz, psychobilly, the Cramps, the Psycho-Semantix, Hasil Adkins, Wanda Jackson, Jesus and the Mary Chain, Alien Sex Fiend, Johnny Thunders.

“‘On tenement roof illuminated.’ Kerouac.” I heard Nice say on tar beach rooftop.

“Kerouac’s a fuggin’ hack. Kerouac’s a hack!” Someone – it may have been J.D. King – chanted, as Nice, glared back, ready to slam dance him into the brick and tin chimney.

[J.D. King is a cartoonist built like a stork. His only tools are drawing and a profound knowledge of obscure freeform jazz. Wrote for OM, an obscure Jazz zine. A quote: “Discordant music hints at a far-off cataclysm.”

“I was at that party. I’m confused by this Furman thing, call it a spin, call it a hype. What pisses me off most is getting confused for him. Fuck him. Especially by people who oughta know better. Furman is this: Spit at a mannequin and whatever bounces off is him. I don’t have much to do with that type o’ character. Wake up the morning after a party and there he’ll be, seemingly right where you left him, like a gargoyle guarding the fridge. He’s always in close proximity to all beer. That gives him cachet, I guess. Did he sleep? Standing up? Meditate? Levitate? Yuh just never knew. And those who thought they knew don’t. This describes his so-called nocturnal habits. Don’t ask me any more. I hear his favorite artist is Albert Bierstadt. Why’s it matter. If it’s rumor or truth we don’t care as long as it fits in somehow to the grid. Like the Cloud of Turin or Kennedy’s exit wounds. Truth is like ice. Is it water or solid or... Hey, anyhow, I’m busy doin’ damage control. Plausible denial. New haircut on the way. I’m not him and don’t know him. But maybe that won’t stop you askin’ questions anyway.” King was heard to spit from the gash between his teeth. “Any case, the guy’s certified, a case, a kook, man.”]

I saw Jude being propped up like a doll against stacked crates of empties by one of the hosts. Suddenly she laughed menacingly, as if the cool wit and promise she’d once offered us in her writing were now just quaint doilies upon which she placed her heavy goblet of very Bloody Mary. The host struggled to remove the glass from her stiff grip before the Mary spilled.

The rapper-actor L-Dopa offered to take Jude home. In a dignified way, like you could trust his honor. The reviews had already compared him to Run-DMC, James Earl Jones, and Amiri Baraka. His single meltdown of LL Cool J and Richard Wagner, “Reingold Beer Ring” goes like this: “I seek de ring, ding-a-ding ding. / I seek the thing, ‘at make my heart sing. / I seek the wrong, that make my ding dang dong.” He’d just completed an Off-Off-Off Broadway run in the punk-rapper version of The Wiz stood before her solemnly and observed: “Shakespeare in Macbeth writes: ‘What three things does drink especially promote? …nose-painting, sleep, and urine.’ Jude, you live uptown, I live uptown, I’ll take you home in the friendly sense.”

A more opportunistic sort, the man dressed as a tattooed model [or had he just come as himself?] or Brat Pack hanger-on, what’s-his-name, peeled Jude off the host’s forearm. He tried to steady her head, that aquarium of murky concoctions. He was not distracted by her string of invective aimed at “Furman the Louse” as Brat Packer schemed to release the cups that ranneth over and liberate her ample, but gravity-victimized breasts.

“Furman the Louse!” He tried to sooth and seduce her with some small talk about his nearly miss in getting a major part in “Snow Black”.

“Hair of 6 dogs for her tomorrow morning.” Brat Packer cleverly observed to the thinning, departing crowd. He was the ideal human subject for research on the emerging subject of date rape.

And when it was time to leave, none of us wanted to make that move to say adios [from inside our drab, smoke-brew-reek-rank rags, like survival camouflage that successfully imitates NYC’s gloomy architectonics] because you were afraid what the rest were definitely going to say about you after the front door was shut and you could be heard stumbling down the cruel spiral staircase. But I made a daring move because beer had sufficiently bludgeoned me with the regret of squandered idealism. I’d had 8 or maybe 12 beers and suddenly had no home. Or rather, EVERYwhere was now considered home.

I could hear Luc Sante talking to Runkle Köln about living in NY: “All of us are still in that stage of youth when your star hasn’t yet risen, but your moment’s the only one on the clock.”

“Clock! Holy shit, reminds me, I gotta get down to the Lost Manuscripts Show. They got open bar from 11 to 12. They got Belgian Palm in bottles.”

“Smooth to tipple, not heavy, full of flavor, opulent aroma.”

“Precisely!”

“But it’s 5 of 2.”

“I’ll make it. These openings stretch out to sunrise. Got to go. Duke & Jill are playin’ live and Furman’s ex is doin’ a limbo strip to reprocessed Les Baxter tapes. Illuminated backdrops by Lady Pink and Lady Bug. Life is short but my dick is long. I gotta run.” And he was gone. And the cartoonists, true to their stylish and practiced misanthropy, spared him no invective.

“R.K. what a fuckin’ wanker!”

“Can’t write his way out of a shopping bag.”

“And one sloppy fuckin’ drunk! The drool, the drivel!”

I somehow lost Nice and she lost me. This would not be good for my bearings. And from the death of the party I bade Jude a last fruitless good night, licked her arm up into her armpits – “Ewh!” – and around and around spiraling in ever closer to her nipple. A squeal concealed inside a groan for fear that anyone this side of cool should ever show signs of coming undone by passion. Messy passion was out – lush = asshole. I gave L-Dopa my last crumpled fiver toward cab fare and watched him stare down Brat Packer. I saw Jude’s eyes become black fish doing the dead man’s float across my dreams. I could hear the uncharitable, muffled, stabbing guffaws from behind the closed door as I headed down the cruel spiral staircase. The joke being it wasn’t even a spiral staircase. [BEER MYSTIC excerpt at Unbearables]

• Sensitive Skin BEER MYSTIC excerpts 13-14 , 35-36 illo by Kaz, 44  illo by Ken Avidor
Ken Avidor hosts BEER MYSTIC [illustration "Serious Beer Drinker"]
David Sandlin hosts BEER MySTIC

 

BEER MYSTIC Burp #6: Plagiarism and Unpaid-for Beer in a Paris Swamp

BEER MYSTIC Burp #6

We made a toast. “To he who casts the first kidney stone.” Clink of beer glasses, tink-tink, small amber waves sloshing over the sides, beer-head mustaches as our only disguise in the Pik-Clops in the Marais.  Marais means “swamp,” which explains why where we lived around the corner you could see your breath on November mornings as you squeezed the baguette, soggy as a sponge in a pail of water. The city does not take kindly to sweating-wall living conditions, however; eventually an inspector declared our apartment unlivable or insalubre [if not heroic and bohemian], which meant receiving a 50% reimbursement of our rent. That’s life. That is the life. Events like this clearly depressed my partner but made my day, so much so, that I could actually feel the slide of consciousness from atheist toward agnostic.

Upon entering the Clops our barman Jerome who, today, might remind you of a rugby-playing Stephen Fry, would inevitably greet us with a “BON SOIR MESSIEURS ET MESDAMES!” We were infamous for stretching our francs, opting for quantity over quality: piss beer and,” les Americains qui demander le picrate!

Picrate?”

Oui, le vin that rots a trou in your shoe sole.”

Poets prepare for logorrheic invasion. Photo: Audrey Lecoq.

Indeed, in the Clops we drank vin rouge and whatever beer was on tap – as long as it was not too annoyingly dégueulasse or distractingly superb; pissable 33 Export or Kronenbourg or some equivalent a la pression, was fine. Because, after all, beer was a tool, a conveyance; less important than where it took you. Like renting a car: as long as it gets you to where you’re going you’re not about to quibble about the brand of automobile or the lack of a backseat DVD player … [In its day – 1987-1992 – the Pik Clops was an unpretentious hipster joint with reasonable prices, good (non-annnoying) music and an incredible variety of denizens from well-tanned artist-designers to clochards].

Here me, Guyla Halasz and Frank Lengel, sometimes Sonia, Sighile, Ivan Chtcheglov, (Chiclet to us), maybe Bud & Norm, would hold court, plot our rise to literary power. The Clops’ walls consisted of strips of mirror alternating with photographs of people you wished you were, then another strip of mirror to show you sipping here, the back of a woman, the woman you are with, then another black-and-white print – this time of someone who seems to be staring at you, studying how to become you, it’s of a clochard [hobo] the kind every neighborhood has one of, the kind who is cared for by the locals, the kind you talk to, the kind you keep alive and embrace periodically because you are glad you are not him, making him as essential as a priest or a boulanger. That was Jean-Luc’s function in the Pik Clops: resident clochard. He with his knowing, deep-set eyes that seemed to say: ‘I was once just like you, juiced on hope and speed, and just like me, one of every ten of you [pointing] who see my face hanging here will end up like me.”

We did not admit it then but we – all in our late-20s and early-30s – were witnessing the dusk of our last true indulgence. The last gasp, the last waltz, the last call for unrepentant alcohol consumption. Drink without status, esteem, brands, upscale lifestyle attached, solely fixated on where it took you – a reality that had more rhyme and less reason, more conversation than strategy.

Indulgence – which sometimes required drinking just enough of too much to enter a necessary oblivion where, enigmatically, you give up self to find self – without fear of consequences, hangovers, aging, ill health, spare tires, death or dying. In your youth [which ends at noon for some and for others goes on till past twilight], your very prowess is based on defying the laws of human frailty and for a long time you can survive, even thrive, even look mystifyingly radiant after a bender. But then suddenly the calories are no longer burnt away and the genes controlling consciousness suddenly switch over from daily death-defying acts to looking both ways at crosswalks and calibrated consumption, sipping to outsmart the hangover with alternating glasses of water and washing an A-B-C vitamin cocktail down with a Coke …

If we were feeling “rich” in the Clops we might opt for a Jenlain or a Belgian standard like Jupiler or Stella Artois or a Trappist specialty.

“To he who blows the first head gasket.” Life often came your way here: mysterious women might insinuate their beauty into your midst, the magic of serendipity, which is as close to religion as I get. And I would smile through my beer glass and notice a missing tooth in her otherwise voluptuous smile. The soundtrack usually spoke to someone and tonight it was the hard-of-hearing rockabilly clans that often hung here in their somber, hunched-over snarls, with big sculpted unicorn pompadours that they tended to with much ado, which meant a lot of varnish and ducking in through 17th-century doorways. It meant avoiding humidity. It meant loud music and some singing along – even on our part.

Was I showing off Fabienne, a delirious hybrid of Tina Turner and Ronnie Spector in their prime? No, not exactly. I sipped casually, twirling my glass slowly, which probably is body language for contemplating a delirious horizontal encounter with Fabienne. But one must not chomp at the bit, one must savor postponement. We continued to gorgenner [knock them back] until I lost track of which ones were the mirrors and which were the framed photographs, becoming convinced that a photo was really a strip of mirror. Perhaps this was where the photographer’s genius for deception was fully realized but I was totally convinced that my face was part of the show. This is where Fabienne in her splendid Salvation Army found ensemble of glitter and blossom sat. We exchanged sip for sip and stare for stare and suddenly she had absorbed me in her presence and I was nowhere to be found.

We had been discussing our impending attack on the American University – with funding! We were going to get paid for reading at the university. Would we read scurrilous material; would Fabienne appear semi-naked as part of the evening’s events? [We did ultimately bring down the house in more ways than one but that is another story because, really, the drunken speculation, the potential for chaos, nudity, mayhem and delirium were ultimately just as satisfying as any poetic consummation thereof.]

We had evolved into a glowing, oozing, state of brilliance – caterpillar to papillon – hanging, elbows sliding off table edges, singing along in slurred, broken French, making it up along the way, to Serge Gainsbourg or Brigitte Fontaine or Gilbert Bécaud or Les Garçons Bouchers when in strode the gallant American with his entourage. This guy, Edmond Blanc, was known to many – not me – for his gay take on Paris, naughty tell-alls, his part Wilde, part Wolfe, part Quentin Crisp wardrobe, snicker perpetually edging into a sneer. But tonight he was in a grand state, celebrating his latest publishing triumph. Bastard.

He heard us discussing Pynchon, clochards, Costes [should this transgressive performer be invited to perform, bodily fluids and all?], J.G. Ballard, punk poetry and the notion of farting as entertainment art and the presumption that we could change the world by forcibly ignoring the zeitgeist and in that way wrenching it to a stop or even reversing its spin.

Edmond liked what he saw and heard. Frank, ever the prankster, dared Edmond to exchange shoes with him, Frank of the perpetual holes in soles, although the uppers often looked classy. Edmond’s pointy black Prada oxford’s were a sight to behold but too small for Frank and Frank’s shoes were just too big for Edmond. Although he did hold them up to the swirl of ceiling neon marveling at their decrepitude.

Edmond reacted quickly, swished his foppish hair back with a nice forehand and announced he was buying us all a round to show what a guy he was and show that money was no object [it can only be no object if you have enough of it]. We cheered when he said “top shelf included” and his entourage was impressed by his ability to muster street cred.

As Frank was tying his holey shoes he said, “I had some long talks with this guy. He is as gay as an antique dealer tipsy on 2 glasses of Chardonnay. But he was always interested in my stories. Pumped me, man,pumped me. A story for a beer so what the hell, 10 stories in a night. Did I even make it home that night? Said he sometimes wrote for the New Yorker or The Saturday Review …”

And then we heard: “Another round for my friends upon the event of the French publication of my latest novel L’empreinte Digitale sur le Penis! A work of genius and already a New York Times Bestseller in English!”

Yea, we cheered because the louder you cheer in these kinds of situations the more likely another round will come your way. And suddenly we were focused on these very last calls, contemplative, searching, yearning, Fabienne ready, her glistening bouffant, the swish of her pantyhose as she crossed and recrossed her legs. With clenched fists, we vowed to attack the American University in a month’s time, bring down whatever it was poets could still possibly bring down. We were still squeezing the last flat drops from our glasses when Guyla turned and noticed: “Hey, your friend Edmond  Il a prendre la fuite! He’s fuckin’ absent from our midth, midn, midst…”

“FUCK!”

And then Jerome, probably a guy who simply liked a challenging crossword late at night, came with the bill, the damage and we asked him whether our Edmond left du fric, some cash.

Mais non mes amis, rien!”

He didn’t leave anything? Nothing? And it was then that a feeling of panic emboldened by a sense of indignation and frustration set in. We began to empty our pockets to come up with the 589 francs [$100].  The bastard. Some of us dredged up 5-franc pieces, some loose centimes scooped up from adjacent tables, some titre-restaurants [employer-supplied, lunch vouchers] courtesy of Bud and Norm.

But Jerome, notre ami, let us suffer, sweat and negotiate, let us turn out every pocket, every shoulder bag, and book bag, shaking loose a few lint-covered centimes here and there, letting us go at it with recriminations, who ordered what, our doubts about humankind, Americans, gay novelists, guys wearing yuppie shoes, humanity swelling like a dark tumor, when finally Jerome who had by now seen enough suffering patted some of us on the back and with a grin said “c’est bon et bien.”

We were 42 francs short and suddenly Fabienne out of nowhere opened up her little fake ermine purse and in the pinch of incredibly long pianist fingers [she played Satie!] she held a 50 note, which she handed Jerome and said “Keep the change,” in perfect English. She got up and asked me “On y va?”

Certainement!” I heard a discernible, tangible, moist, unrequited sigh rise from the collective remains of the bar jockeys as we departed. This was the soundtrack to her everyday existence. She got used to the clucks, smooches, wolf howls, groans, sighs…

But this was not the cool dénouement or happy ending to an annoying moment in a life. Months later, me, Frank and Guyla were hanging with Helene, the artist who did chop meat busts, and, I don’t know who else, a few nomadic ex-pats on permanent parental retainers who sometimes talked a nice diatribe about nomadism and zen-like detachment from material things, when in strode a man in white, in a manteau blanc, white shoes even …

“Friggin’ Tom Wolfe wannabe.” Frank sneered. He had twice since recalled his long conversations with Edmond Blanc in Place Vichy and, when we saw him in the Pik Clops we could not believe our eyes, our fortune. This only happens in movies we were thinking. Frank became livid, his eyes sprang toward his eyebrows, face grew flushed, neck swelled like that of a gecko. But he remained calm because the beers had made us calm, it groomed and sedated, elbows loose and lips always near the glass…

Frank stood up, swaying a bit, hoping for more film noir panache, urged me to come along and we sidled up to the bar. Barwoman, comrade of Jerome, poured us our usual, un demi of low-brow brew, topped it off nicely, served it with an elegant flare that sent it sliding several meters down the bar, right into the palm of my hand. We took hefty sips, put the glasses down with a certain savoir faire emphasis and turned to our bon vivant at the bar holding court with a cane dangling from his arm, kid riding gloves clenched in his fist.

“Hello Ed-MOND!”

“Bon Soir?”

He seemed intent on perplexity to deflect our approach. His flair for indignation a characteristic strategy of his.

“You remember?”

“I remember all too much.”

“You remember me and my friends and this place a few weeks ago? How you stiffed us?”

“Uh, mais non.”

“OH but you do. You ran out on a generous offer of a few rounds.”

Je ne comprend pas.”

“All show and no boat.”

“I have no idea…”

“You do you do you do, oh, but you Do. And you know what, you are going to buy everyone in this place a beer right now.”

Frank turned to the rest of the Pik Clop denizens and declared: “Boissons à la maison les compliments de monsieur Ed-Mond Blanc!”

“DES compliments…” someone corrected.

And everyone remained somewhat suspicious, not totally convinced of the gesture. Frank then  reassured and explained what had happened to some of the regulars, some who suddenly recalled being there that evening, some perhaps Old World Socialists itching for some indignity like this as excuse to get righteously rowdy – and maybe another top shelf drink.

Frank turned to me at the bar and from the side of his mouth told me something even more puerile and perverse. Edmond, he claimed, had indeed purloined one of Frank’s tales word for word, not from memory but what later turned out to be a hidden microphone. Transcribed and folded into Blanc’s latest bestselling novel.

“But why does this honor not feel like value added?”

“Lemme guess.” I concurred.

“‘Boring, pretentious hack job done for the greenbacks’ is how one review summed up his latest.” And then Frank, shoved his beer aside with the back of his hand the way Richard Widmark might have done 30 years earlier and thrust himself into Edmond’s smug jowls. “There are lines, my lines, whole sections verbatim my story, you flaccid prick.”

“Quote me something that you think is yours.”

“‘You say life is chaotic but you keep churning it out like an assembly line worker in a Ford plant.’ That’s my line! If I went to your place had a search warrant to look for the tapes, it’d be on there. Me saying that. I mean, I worked in a Ford plant.

But, ultimately, we began to suspect that the whole world was being documented by people who had been designated as experts or geniuses or cultural ambassadors or … We had already been filmed and we had been cut from the final version.

Some of the above was cribbed from the eternally unfinished novel Paris Sex Tête, a novel which Einar Moos, the editor of Parisianatook a generous liking to and ultimately published half a dozen excerpts of. Einar still edits Parisiana, a very moveable and mobile beast. It is also host to a BEER MYSTIC excerpt. For more on the global pub crawl see Beer Mystic Spins Round the Earth.

 

BEER MYSTIC Burp #5: A Mental Jersey Leads to Spirited Beer Consumption

BEER MYSTIC Burp #5

Before Jersey Shore was a TV show, it was already a socio-anthropological phenomenon of some steroidal bonehead beach bum magnitude. Summers were and still are an excuse for so-called [or seemingly] normal people to act insane – a vicious, almost malicious letting go ritual – blame it on bad rock, questionable fashion decisions, steroids, cheap beer or drinks that rhyme with Draino.

When people ask you where you’re from you gotta say something. The advantage of answering Holland, Amsterdam, NJ, Upstate NY, the Midwest, NYC, Mars, depends on the interrogator and how you define “from”: place born, place of lost virginity, guzzled first Genessee Cream Aleor spent your formative years; formative here meaning where you had the most heartfelt induction into life’s disappointments and mysteries – i.e., age 6-13. I lived in Central Jersey, Edison to be exact, wedged between various toxic waste dumps about to happen – Pittsburgh Paints, Johnson & Johnson, a Ford plant, there were more…  I remember the NYC papers in the mid-80s publishing a map of designated toxic waste dumps in the metropolitan area and my forefinger touching 3 or 4 of them in areas we used to tromp around in in leaky boots.

I spent a second stint in Jersey when I lived with punkette-artist VH in Ocean Grove, a Methodist mecca and a place where you either voted Republican or you didn’t live there or at least didn’t walk around with an Angela Davis or even a Hubert Humphrey tee shirt on. We fled full-time NY, lived mere blocks from the ocean, 90 minutes from the city taking trains that, at that time, were filled with humid steam, rolling and swaying like something turd-colored rolling out of pre-Revolution Russia. Were we pioneers or quitters – you decide. We divided our time between Ocean Groveand the floors of NYC friends who in exchange would vacation down on the shore.

You could hear the ocean on Mt. Hermon Way if you opened a window and here we wrote and did art and sang along to the Fall, Marianne Faithfull and Lotte Lenya. The next day we took a walk, a long, long walk, a walk that took us to strange jetties, past the middle of America, convenience stores where people darted in and then dashed out with cartons of cigarettes under their arms like they’d just robbed the place. Here you saw things falling apart, rusting, abandoned factories, shuttered warehouses, take-out joints with grimy awnings and wobbly plastic patio chairs, cars with missing hubcaps and peeling pin-striping, existence literally falling into the sea in places like Long Branch.

Provocative coifs & styles, c. 1984

It was something like May 1984 when me and VH wandered down to Manasquan with our strange tight print pants, and outrageous [relatively speaking] hair styles, which, back then  along with music formed the barricades you manned, the principles you defended in the conflagrations surrounding identity politics. I can wear my hair any way I want – except along the Jersey Shore, c. 1984, where there were laws that governed normalcy and undue provocation. Maybe they still engage in these battles, enforce these unspoken laws, I don’t know.

Provocation is “fun” in the danger it embraces: only a week earlier in our very own neighborhood – for Christ sakes! – two teens threw half eaten donuts and a can of something at us – really! – yelling epithets they may have learned from their parental coaches. Young teens for Christ for Christ sake in a Christian community!

Halfway on this 15-mile journey you encounter Manasquan’s Carlson’s Corner, a simple seafood outpost with a view and great fishwiches – thick, fresh and unpretentious. Sitting outside at one of Carlson’s picnic tables we took in the view of the inlet, the ambient caw of gulls, the sun glimmering off tiny slices of water.

Our return journey was something like if you saw it in a documentary you would think it was all exaggerated or faked. Let me start with this: being visually provocative has its ups but twice as many downs. Just down the street from Carlson’s some men-boys leaped out of a souped up muscle car with puffed up chests, menacing eyes, weapons maybe close at hand, to confront us as if were trespassing in their kingdom with shit on our sneaks. Their heads tossed back, offering a scary glance of their indignant and flaring nostrils, and the one with thumbs in waist of jeans inquired “ What the FOHK are you doin’ here? And what the FOHK are you? Duh zoo open its gates?”

VH figured it must be a conversation or an interview and earnestly responded, “We’re artists out for a walk.” And something about it being a free country.

“Yea, but it’s OUR free country and we’re free to enforce shit.”

And another mister menace chimed in with: “Nobody’s talkin to you bow wow.” That was supposed to get my gall so I would defend her honor, which, of course, is an old trick that would allow them to justifiably pummel me to within an inch of my death in the name of self-defense.

“Fohk you! You FOHKIN’ faggots. Get a fohkin car!” With ugly images on ugly tee shirts, ugly slouches, ugly misshapen hair, menacing grimaces with ugly teeth, all in all their grimy demeanor somehow mirrored their plundered surroundings [except, of course, for the beach with its brilliant sand and water and salt mingling with the aroma of perfumed suntan lotion].

Even a few gals, usually more reticent or less testosterone-amped, got into the act to show they were just as much men as the boys. Sexy how they enamored themselves to their men. Chucklechuckle wotchu you gonna do about it. Their unbridled and transparent snarls of total dissatisfaction taken to a point beyond lingual articulation – if disgruntlement is not a word it should be.

“Faggot punks go back to your FOHKin faggot city!!” And the one came at me and I easily deflected his flails with my arms. He was fucked up on something. You stand there and wonder would it be better for him to have been sober, more drunk, more drunk or dead drunk – or stoned. Or in the army. He climbed back into his friend’s car; they zipped off,  that distinct perfume of burning rubber, onlookers gazing, looking for blame: suits you right the way you dress.

A bit later in Brielle, a guy came after us like he was a tag-team member of the earlier guy. He had also signed a contract somewhere in a backroom to punch my lights out – me and my belligerent, pesky pacifism or whatever. He came flailing at me only to have noble VH, adorable and diminutive punkette, intercede because hell or FOHKIN’ heck or the Jersey Shore knows no wrath like a woman pissed off indignant. She decided on a change in tactics right there on the sidewalk – traffic rubberneckers, gawkers squinting over sunglasses. We’d ask them in all earnestness what it was exactly that so bothered them about us. Response: “You think you own the FOHKIN’ world.”

“We live here and we’re just out for a walk.” Then something about a relative on her death bed and how that had taken its toll… Very heart to heart and that usually humanized us enough for them to back off some what. Not quite ready to shake our hands or share their bongs but, you know, like if you talk soothingly to a snarling beast… And, if you got past all the bluster, you saw Henry, your friend with a report card full of Cs and Ds. You saw a kind of suffering or uncertainty that knew no precise adjectives. If I was a saint I might have embraced him but I’m not.

Sorry, at that point but we went a bit giddy, the absurdity of it all doing us in. We began yelling funny abuse at cars passing by, yelling at ourselves the very things we imagined they might yell back. [Advice: don’t flash the peace sign around here, it means fuck you or something like that].

Ultimately, we took refuge in “our” favorite place, Vic’s Italian Restaurant along Main in Bradley Beach. We were led to “our” table in a corner, that “our” waitress had selected months ago so we wouldn’t disturb the dull-eyed ambience of the other patrons at larger tables celebrating some intramural victory with a trophy and song and plenty of diet soft drinks. Beatrice was a darling. I remember her early on observing “I don’t know what it is about you two but you make people nervous.”

We instantly ordered a rum & venom and when she returned with our poison, we quickly ordered another, this time a rum & bile and then just stared at the walls of family photos and as always read the family history on the menu: “3 generations of Vic’s Bar & Restaurant has been serving authentic and sought after Italian food at the Jersey Shore. Vittorio “Vic” Giunco and his wife Carmella came from Genoa, Italy and opened Vic’s Tap Room shortly after prohibition was repealed in 1933. In 1947, Vic and son John added our now famous thin crust tomato pie “pizza” to the menu…”

We heaved a sigh and drained our rum & biles then took stock of our day, and with zealous astonishment listed the day’s indignations: the stoning, the canning, all proof that Reagan was the living celluloid embodiment of jackboot politics. The screeching tires, the revved engines of Bitchin’ Camaros, hoots and howls ululated from passing cars, long chains of curse-inflected invective, spat at, barfing noises, car stereos turned up loud past volume setting 13, angry horns laid upon with extra oomph, the scary Hollywood 180s that some managed mid-Main Street in efforts to make a swerving pass at us, arms reaching out and they screaming at the top of their lungs, several empty or half-filled cans of whatever hurled our way like grenades and when they burst on the walk a big whoop from the car and then the personal, physical confrontations, a gun [maybe real] aimed at us and the guy mouthing the words clearly: “Bang, you’re FOHKIN’ dead” in slo-mo like in recent Hollywood movies. We quickly ordered our first pitcher of very cold Ballantine’s beer.

We remembered previous encounters in Vic’s and how Beatrice intervened on our behalf and ever since, we left gigantic tips [25%]: the passing grunts, the groans, the rolling eyes, bumping into our chairs, the leers, the giggles, the loud whispers, the guffaws and pointing but we never really felt threatened in Vic’s. Maybe Beatrice had some Patti Smith in her, you know, like “I’m gonna be somebody, I’m gonna get on that train, go to New York City, / I’m gonna be so big…” Beatrice was like a guardian angel and when she took our order she whispered over her notepad: “You don’t worry about them. It’s not you, you’re cool. It’s them that’s the problem.”

I noticed our hands were shaking our wrists, which shook our elbows, hell, her entire upper torso was shaking. We ordered another pitcher of soothing Ballantine’s [beer was just beer back then] and that is all we really wanted at that moment – a normal beer [literary allusion to a Suicidal Tendencies song]. Midway into the third pitcher we could toast our escape from LES snobbery where every purchase be it toilet paper or rolling papers was freighted with way too much signification [fashion, appearance, status]. We nibbled at the last crusts of our very thin crust pizza and made a toast to the very abnormal and scary details of normalcy that we had thus far conquered and survived while patrons on the other side, as if on cue, were singing along to Christopher Cross, Phil Collins, “Ghostbusters,” BrOOce…

We stopped at Bradley Liquor run by the sweetest couple, both of whom painted landscapes, mostly seascapes with swooping sea gulls and truly appreciated that we – as discerning New Yorkers – could compliment their paintings. We took home a sixer of his recommended on-sale Val-Dieu, a blond abbey beer from Belgium. “The recipe goes back to 1216. It’s re-fermented in the bottle and the name means something like ‘the valley of God’,” he noted with a grin as we departed, knowing full well we lived in “God’s square mile.”

It’s this kind of adventure that makes me want to encourage artistic outposts like South Jersey Underground with their anything-goes ethos, of fostering the “other,” the “abnormal” voice and that is why, when I was looking for a Jersey host for the BEER MYSTIC I was happy when I found SJU and even happier when they reacted so enthusiastically to hosting BEER MYSTIC excerpts 9-10.

Beer Mystic Burp #4: A Weird, Bloody Barroom Ritual Remembered

Beer Mystic Burp 4: A Weird, Bloody Barroom Ritual Remembered

Imagine this, you walk into your local bar, a place where you know where to hang your truss, and upon entering you instantly sense something is amiss, awry – somebody’s tinkering with your gears. Aw shit, it’s as if good beer [at a not-obscene price], good music [although tending to the clichéd – Dave Brubeck, Velvet Underground, REM, Hank Williams, Nancy Sinatra], and good conversation aren’t enough in a place heated enough in winter and air-conditioned enough in summer. Suddenly bar owners all seem to have gotten it into their heads that there’s gotta be more: TVs and slot machines, blinking beer signs, talking toilet seats, poker machines, trivia challenges, darts, billiards – but this one beat them all. It was officially called “branding” by mags like New York and New York Press and “dotting the i” by adherents. Presumably, this rite was concocted by some ad hoc scrum of barroom denizens in, some say, Chumley’s; others insist it was in the Old Town or Rudy’s – at least it was not hatched in the Needham ad agency boardroom. At least I don’t think it was a stealth marketing trend; it really just seemed to pop up out of nowhere and grew insanely popular as barroom activity in a matter of minutes and insome circles and hoods branding became almost impossible to avoid. You simply got sucked in. If you were hovering in at the right angle it could almost remind you of that Russian roulette scene in The Deer Hunter.

Dotting the i required contestants [celebrants, acolytes, dotters] to answer weird questions: What’s the melting point of skin? How many truck tires does Pooh have to pile on top of one another to reach the honey in the tree? How many Yankee baseball caps are sold worldwide annually? Name two famous assassins who shot presidents and then were shot themselves. What was the name of the prostitute who fled Sam Cooke’s hotel room taking his clothes with her. There were a million of them.

Mass consumption of whatever beer was available on tap or in a bottle beforehand was highly recommended as anesthesia because, if you answered 3 questions in a row correctly, one of the other contestants would take a bottle cap from the bar, press it to the victor’s forehead and smash it into his forehead with a fierce elbow or karate lunge punch or sometimes hammered it into the forehead with a beer bottle, embedding it in what little meat is there. And then the victor might do a little mock Hottentot dance or something they imagined “their man” Screamin’ Jay Hawkins might do before someone removed it, revealing a bleeding, branded “O” in the middle of the forehead, which created a near-perfect triangle between the “O” and the victor’s two eyes. And so, for the better part of 2 years [and forever!] people were wandering around the East Village with this “O” brand in their foreheads, which eventually scabbed over, leaving an indelible scar that might come in handy later in life as fount of mythic tales when the past becomes an exciting footnote to a not-so-exciting present.

I eventually got tired of hearing about the significance of the equilateral triangle,  the number 3, but also 33, the deity – the beer tapper, the beer buyer, the beer drinker… They had their ideas about how the “O” “mapped” the mind’s eye and they went on and on about Burning Man-like festivals of dotters in the area outside Sedona, Arizona and here they “learned” that triangles represented angels with a vigilant third eye. Some claimed they had pilgrimaged to Sedona’s Dotter Fest, had experienced a mass dotting. There were bands and dotter workshops. Some enterprising participants developed special do-it-yourself dotter bottle cap and hammer kits. Perfect gift for the pagan who has everything. Some predicted that branding would eventually become more popular than tattooing, some were interviewed on local public access TV shows and there was a convention in the Armory on Lexington Avenue eventually busted by the NYPD by order of the Health Department, which was concerned with infection. A band called the Dotters performed. Some Dotters complained that they were being unjustly barred from certain clubs and restaurants, others described discrimination or intimidation at work.

Nice was not a dotter. I was not a dotter. It’s like Nice said, “If you dot all the ‘i’s in your own story you will never end up falling for the latest spiritual or tribal fad.” Sometimes I find myself in NYC staring intently at the foreheads of denizens, convinced that I’m seeing the ghostly remnants, the ephemeral hints of a Dotter scar.

Much of the “Dotting the i” scene occurred near the location of the present-day Bowery Poetry Club, which hosts BEER MYSTIC exc. 34. The BPC is the architectural mirror image of poetry ambassador Bob Holman, alliterational activist and allegorical advocate for the inspired word. The BPC presents an incredible array of word-inspired performance. I’ve always been suspicious of the overweening nature of too much enthusiasm passing as a marketing tactic and early on I assumed Holman’s irrepressible enthusiasm was just another marketing ploy.

But I slowly warmed to Holman’s inspired take on his too-much-is-not-enough exuberance approach to the global poetic pastiche upon seeing him perform at the Crossing Border Festival in The Hague and listening to Mirror Man, his CD collaboration with David Thomas and then his willingness to

host not one but TWO Yodel-Ay-Ee-Oooo: The Secret History of Yodeling Around the World book parties starring numerous yodeling luminaries including Shelley Hirsch and Randy Erwin. If we wordsmiths ever gain representation in the UN, I will vote for Holman to be our ambassador.

Read more about the BEER MYSTIC Global Pub Crawl and listen to over 4 hours of DrinkDrank Drunk songs Wreck This Mess Mixcloud while you read.

 

 

Beer Mystic Burp #3: Pivo is Czech for Beer

Pivo Is Czech for Beer But Also An Alter-Ego

From a Czech cookbook of cooking-with-beer recipes

In 1993, you could live like a bastard prince in Prague – if you had dollars to spend – on a pauper’s wages. Beer was 15 US cents – and we would repeat the names … Pilsner Urquell, Krušovice, Budvar from České Budějovice, Velkopopovický Kozel, Zlatý Bažant, Staropramen, Gambrinus, Braník, like exotic mantras. In my old Prague journals, I kept coming across the phrase “and more beer.” An entire restaurant meal for 2 with innumerable beers could be had for under $6. This made the fact that I was spending money I didn’t have and the other fact that Nina as a Prague school teacher was earning local wages [$100/mo] only a little easier to drink to.

On our way to the the landmark Café Nouveau [which closed in 1995-ish after a major bribery scandal], tour guidova Nina took me past the Loretto with its bearded woman on a crucifix and another monument to a martyr who cut off her breasts for god. We stopped in front of the Hotel Adria to stare at her favorite sign – ever – which stated quite simply in unadorned typography: Plausible Prices. Yes! Sinisterly reasonable, superficially pleasing, possibly worthy of belief.

To avoid the tourist crowds shuffling through the Café Nouveau, snapping pics of the chandeliers, carrying their guidebooks imploring them all to visit the Café Nouveau – no purchase necessary! – we headed with our generous steins of pilsner to the Whiskey Bar upstairs and their wonderful gallery seats, a place most did not dare or know to venture. Is that elitism? So be it then. But it is also discretion; here we could snuggle and grope safely with no chance that any of her students who have been known to come here to treat themselves to a kava or a nealkoholický nápoj [soft drink] passing by might spot us.

Slouched in our sense of luxury, we observe people below gliding in across the floor to sit down at the grand piano and begin playing as the bartender rushes to turn off the sound system. First a nerdy kid, then an older man in a cardigan, followed by a teen girl waiting patiently along the wall who then plays Satie quite exquisitely …

In the Whiskey Bar gallery you could idle away an entire afternoon, with your steins of beer and our plum-based Slivovica brandy poured furtively from the handy hip flask, a present from Deborah Pintonelli, into empty beer glasses … How strange to be making out to Muddy Waters and John Lee Hooker in Prague’s grandest café.

And suddenly it dawned on me: I so much loved the Czech word for beer [pivo] that I vowed it would eventually become the name of the Beer Mystic – and, indeed, Furman Pivo was rechristened there in those gallery seats.

The flask, I must add, was absolutely – ergonomically, aesthetically and pragmatically – a delight to hold and behold but at some point in our amorous tumbles it disappeared with out a sigh or thud, falling from my pocket, lost forever there in the café. A loss of a thing that hit me surprisingly hard. [I must have returned to the Nouveau half a dozen times to ask if anyone had found it – well, yea, somebody found it alright, they just didn’t bother to turn it in. I looked everywhere: among the seats, behind the trash bins, in the bathroom where I was suddenly distracted by the the sign – MIMOZ PROVOZ / OUT OF ORDER – above the urinal, immediately noting how beautiful like the name of an exotic flower or cocktail “out of order” sounded.

In Nina’s foreign workers dům [dorm], if we weren’t busy being harassed by the “other” American, Rick, a guy with a chip on his shoulder accentuated by a case of Tourettes – did he really once grab me by the shirt collar, pull me up into his face and threaten me with a certain kind of creative death [perhaps the very Czech method of defenestration?] if I ever used his frying pan again – we liked reading and I particularly like reading the literature of the place I’m staying in. I read Too Much A Solitude by Bohumil Hrabal [and have read it twice since] and realize Hrabel [or his character Hanta] is probably a quaffing forefather of the BEER MYSTIC because as he notes:

“I loathe drunkards, I drink to make me think better, to go to the heart of what I read, I … Drink so that what I read will prevent me from falling into everlasting sleep…”

In other words, with aid of beer and literature we gain insight, vision, clarity…

With Czech versions of “Mack the Knife,” “Sloop John B,” Donovan’s “Jennifer Juniper” and Roy Orbison’s “Only the Lonely” on state radio I read how Hanta has spent 35 years working for a Prague compactor, recylcing books and waste paper. In the process, he has managed to save some 3 tons of Czechoslovakian banned books with which he has lined his apartment. Over time, he has drunk “so much beer … that it could fill an Olympic pool, an entire fish hatchery.” In his earlier days he fell for a gypsy girl who charmingly refills his 5-liter beer mug – until she is sent to a concentration camp.

Hanta not only saves these books but in the process absorbs them or, rather, he is absorbed by them, entering into another world of imagination, philosophical discussion and inebriation, verily sipping words “like a liqueur until the thought dissolves in him like alcohol, infusing brain and hear,” with the consumption of beer in proper measure further enhancing enlightenment.

He shares his cramped living and working space with the masters of art, thought and literature, wrapping art reproductions around the bales of waste paper, sometimes with a prized book in its heart like a diamond inside a piece of coal: trash as art as revenge. He is the genius who manages to conceal what he knows, acting the buffoon, as he transforms inebriation into illumination.

Yes, Hanta is most certainly a distant relative of the Beer Mystic because Hrabel manages to fold speculation, philosophy, inebriation and words into one another enabling Hanta to manufacture a life worth living in an eviscerated and gloomy society.

but, in the end, Hanta decides to join his doomed pearls of wisdom, one last time by actually entering the compactor to be even closer to his beloved philosophers Kant, Schopenhauer, Sartre, Camus… until he literally merges with the words, the text, the paper, producing a wonderful book full of strong beer and even stronger, very dark humor.

By the end of Nina’s tenure in Prague, the trustafarian litocracy, the Americans sent abroad to find the selves they weren’t sure they wanted to find, were already grumbling about the Czechs and the gentrification of Prague – they had discovered paradise and now businessmen were dealing fast to win contracts to put in a parking lot, and, in the process, Disney-fying Prague’s architecture so that tourists can safely consume exactly what it is they have paid for. Anyway, the American hipster scribes nursing their kavas in the Globe were already packing their bags and I heard one say to another “This place is fucked. Ho Chi Minh City is the next Prague.”

It is because of its relation to beer – having invented pils! – and the many rambunctious and inebriated wanderings into reverie in “old,” pre-amusement-park Prague that I wanted to be sure to include a host site located in Prague and found the eminently accommodating Grasp, a site dedicated to bilingual lit and aesthetics. Here you will find BEER MYSTIC exc. 8.

“I down so much beer to see the future… It’s my only defense against a beautiful misery.”
• Bohumel Hrabel

See more at BEER MYSTIC Pub Crawl or  BEER MYSTIC.

Beer Mystic Burp #2: Spilling Beer

Su Byron Spilling Beer: Late at night Su Byron and I would walk back from whatever disaster, like in Fanelli’s where things happened or didn’t. On the way home – each our own hovel with beds where the sheets no longer needed to be changed every 2 weeks – she would spout invectives aimed at me, god, or any passerby. Parables and pearls, grenades and bouquets, one after another. It was all poetry and true and so you forgave her if that indeed was within your power to do.

She seemed to always be carrying a conundrum like she was hugging a neatly tied parcel just picked up at the cleaners and we may have both been equally lost and just as much into denying this on the Lower Eastside.

I still remember the wobbling façades along Broadway near Houston in 1980 [impossible to imagine it once looked like Dresden after WWII] with no building or life behind it. When we looked through the hole where the window used to be – the acid was just too good to be true – there was only sky but that seemed OK or even preferable.

Byron is a pseudonym, replacing something Jewish I seem to remember, but this never mattered to me especially when pen names were perfect – Richard Hell, Nick Zedd, Sparrow, Billy the Kid, Coco Chanel, Veronica Lake, Sophia Loren – and hers seemed perfect although it could have been Rimbaud but then she would have probably been mistaken for Tom Verlaine’s girlfriend.

I remember tracing out a template of what a poetess should be like and it looked and wrote very much like her in 1980. She with her sneaky beauty like a smooth blade with a serrated bit near the point with words that worked like a zen archer’s arrows. Bam, bullseye and in that bullseye was a hole and in that hole you would find something you could use.

We’d walk “home” [a ridiculous concept at that time] in a roundabout way not before we’d argued with garbage cans or stared up close to see what happens to certain flowers at night. We’d end up at a pizza joint on 2nd Ave. and St. Mark’s and order slices: Just enough for 3, cut the third in half and share that… At that time, this was the cheapest way to have a reasonably nutritious dinner without having to worry that you were going to have to eat it alone.

Back then when I was writing what I thought was good poetry or at least poetry described as solipsistic by a professor at school who, despite this fact, still awarded my poetry a prize – I peaked early here and have never won another since. Anyway, when I was writing quite ferociously, even while walking around at night, I admired her poetry but, later, when I began to betray poetry or it had already been treating me as its clueless cuckold, I started to become jealous of her gift for cutting meat away from the bone sparsely, effortlessly [“The biography of her would be like a ladder you had to fall from”] pretty much saying stuff the way lightning strikes – Boom, fizzle, awe or the aforementioned arrow.

I hadn’t reread Su Byron’s book Spilling Beer in 20 years. It fell fortuitously into my lap when I was pulling out another book from the bookshelf and it came along. The book is insidiously slender, deceptively modest and establishes a world where the boundaries between dream, reality, fantasy and frustration are smudged unconsciously and conscientiously. Her poems document a certain urban dissipation, which, if serendipity is on your side, leads to the distillation and eventual crystallization of one’s identity through dubious indulgences and nocturnal pursuits that may be considered crimes against logic or honor by some, practices whose value may escape you in retrospect but the resulting evidence here is that it worked.

We shared this dissipatory longing or pastime or rite of passage and spent a long period as members of a post-surrealist salon on Bleecker Street, cutting and pasting words together to see if they might not lead to a new place. They do – and did – but I forgot to write down the location at the time. Su, on the other hand, did bother to write it down in this book: it’s in cognac, on 47th Street, in Pigalle, and in a beer’s foam which “became a jungle’s river / where swimming I was able / to escape the light / the damn bright light / and rest in a fragrance of darkest night.”

I realize now that this confluence of beer and darkness, that delicious bower of night, the two feeding sycophantically off one another, is precisely the relationship of beer to darkness in BEER MYSTIC: In the pursuit of darkness using beer + brain to put out streetlights to recuperate the darkness that fosters dreams and reverie.

Byron is a friend of several centuries and not long ago became the host of BEER MYSTIC excerpt #6. Originally posted at Beer Buddies.

Beer Mystic Burp #1

BEER MYSTIC Burp #1: Beyond the 12 Ounces of Craft

The Internet and the world at large currently host plenty of hopsonian enthusiasts, beer nuts, pils pushers, literally hundreds of sites like RateBeer and Facebook pages like Beer Slut and La Femme de Beer devoted to the joys of drinking – and rating beers. Although the BEER MYSTIC [BM] and I are interested in beer that tastes good – great even – and that it does its job to quaff thirst, beer must also enhance encounters, amplify genius, reflect and refract back onto society and back in through the arts.

D.B.A. in NY’s LES, for instance,, became a hang out for the Unbearables for a while in the later 1990s. [Photo shows fashion plate James Feast dazzling DBA roundtable attendees and Maltonian optician Michael Carter.] It was a near perfect place for conversation and crossbred conspiracies. Here we found the mother lode, a hip bartender [he worked Tuesdays and Thursdays I seem to remember] into literature – our take on literature even! So for a few bucks we could drink all night long like kings, like rock stars, like gluttons with a higher purpose at an open bar …

Beer, after all, can ably serve as prosthetic conversation enhancer, launching us into one another’s midst. What me and BM find missing at most of these admirable – dare I say heady – sites is the meeting, merging and slurring of beer and books, ale and allegory, pils and poetry, brew and brain …

The curse of these expert/connoisseurs is, of course, as one’s tastes rarefy these critics tend to become more orthodox, making it increasingly difficult for them to enjoy a simple meal, frites with mayo, a pop concert, an ale of less craft. I know a food critic who is almost always disappointed when he goes out to eat because meals never fully meet the criteria he has honed in order to gain the semblance of authority and expertise he must consistently display. The same goes for music snobs, myself included. How many restaurants or bars have I fled with poor Nina in tow because the music was loud and stupid [the fact that these establishments spend millions on Rietveld-replica chairs, expensive Italian chandeliers looted from abandoned opera houses and expensive computerized ambient lighting installations only to end up scrimping on music – putting on a commercial radio station, or some sly computerized mix or a CD by a band the bartender likes that in no way fits the ambience is an entirely different rant].

The BEER MYSTIC seeks “bars that offer respite from the cumulative insanity outside. Taverns with Coltrane and candles. Cafés with Goa jazz, pubs with music that is played on long, long, wet strings. Bowers of timelessness, quiet temples, Amsterdam’s “brown cafes,” Prague’s rowdy pivnices [Old One Eye], the neon-lineamented zinc bars of Paris [Bar Iguan], NYC’s outpost dives of yore [Puffy’s Sally’s, Downtown Beirut] where clocks are all a mess [at Eike & Linde’s in Amsterdam, the clocks run backwards!]; where play time doesn’t pass so much as nourish; where one doesn’t age so much as beam. Bookbeat

But most beer connoisseurs do not seem overly afflicted by this spiritual shortcoming – oh, you have your experts busy flaunting their bouquet opinions but they also seem to have a lot more fun drinking and then thinking, discussing and writing about it than restaurant, food or IT critics. Although this is all great for consumers it does not usually constitute literature.

What happens after the consumption of too much [which is usually just enough] beer? Beyond flavor or the pure gustatory enjoyment of a tastebudly sort; where does beer lead us? Astray? To a new plane? Beer connoisseurs pretty much vacate the premises as this question makes the last call for alcohol, leaving their empties at the curb before scooting off behind their i-Pads.

Beer is not just something to be consumed for its inherent taste or satisfy one’s thirst; if this were the case, alcohol content (near beer, NA beer, small beer, small ale) would be unnecessary and we all know beer without alcohol sucks, is a pathetic oxymoron or at least a sudsy shame.

I am no expert on the craft of beer: I do not make beer, I do not know the beer-tasting terminology but I do know what happens when you drink beer, where it can take you and that is pretty far beyond the borders of boredom, beyond the confines of normalcy. The philosophical question remains: if this society, system, job, reality, president, lifestyle, or whatever is so great, why do we seek to escape it so often in so many different ways including copious drinking of beer?

Beer is an answer, a tool, an escape route that leads you to parts of reality, parts of the self, or pleasure sectors of the brain usually not readily available to the sober being locked into logic, afraid to let go of the map, the navigational device, the education. Of course the adventure of libationally inspired liberty demands certain responsibilities: quaffing at the right pace [I used to be a long-distance runner], sipping in the right place under the right conditions can indeed lead to a kind of high that wobbles you and all your doubts, quandaries and identity issues on the slippery edge of too sober and too drunk so that one becomes attuned to the true joy of living. So beer comes with a WARNING: If beer begins to bludgeon like a cudgel and you begin to act like that cudgel then you know you’ve gone too far and nirvana will have to just be recuperated at some later date. Even the zen archer sometimes misses the bullseye.

BEER MYSTIC: I close my eyes and I go somewhere else. When the beer closes my eyes I go somewhere else altogether. Social Fiction

[originally posted at BEER MYSTIC Burps; see also BEER MYSTIC Pub Crawl and Sensitive Skin BM 13-14, BM 35-36, BM 44. ]