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Safe Seat.

busA lot of school buses still don’t have seat belts. I don’t know if there’s an accurate counting, and there probably isn’t because it’s something most people don’t think about unless something happens. The rest of the time if it comes up it’s usually controversial because of the cost–estimated between $7000 and $11000 per bus, although that would, for older buses, be a one-time charge. Seat belts could–and should–be installed in new buses. When I was a kid in school it came up occasionally, usually when there was an accident. I thought about it whenever I had to stand up in the back of the bus because there weren’t enough seats and I was unlucky enough to have a class on the far side of school which meant I was one of the last to get to the bus, although the only time I ever felt like I was really in danger was the time we had a substitute driver who not only didn’t know the route but apparently didn’t know how to drive a bus either and at one point took us up a steep hill, stopped halfway, then shifted into neutral so we started rolling backward. I realized the only safety instructions we’d gotten–keep all body parts inside the windows and in the event of an emergency exit through the back door–wouldn’t do a lot of good.

Admittedly neither would seat belts but it’s still criminally irresponsible that legislators agree that adults in private vehicles should be required to wear seat belts but when it comes to the same safety measure on buses they remain stuck in neutral. That’s what I thought of following a tragic bus crash in Chattanooga. Could any of the kids who lost their lives been saved by seat belts? Maybe not, but if even one life is lost because buses don’t have seat belts then the cost is too high.

Looking Glass.

I’m old enough that I watched Barney Miller when it first ran, although young enough that I didn’t quite get all the jokes. A decade or so it ran in late night syndication I watched it again and enjoyed it even more, but one thing remained the same throughout: Detective Harris, played by Ron Glass, was one of the coolest people ever. He was a dedicated cop but what stood out to me was he was also a writer. I have a lot of literary models but even before I knew I wanted to be a writer Detective Harris was my model for the kind of person a writer could be. He balanced his day job and his artistic ambitions–or sometimes didn’t always balance them. Barney Miller‘s opening credits for at least one season show him banging away at a precinct typewriter, using office supplies for his own personal pursuit. And in one episode he used an office phone to have a lengthy argument with his publisher. The lurid cover of his novel Blood On The Badge, which he described as “hemorrhaging”, made it look like a cheap thriller, not the serious work of fiction he’d written. It was the first time I understood the writer as more than just a storyteller. Detective Harris was passionate and thoughtful, an artist.

A few years later I was majoring in English at the University of Evansville with hopes of being a writer myself and learned that Ron Glass had also been a student there a few decades earlier. The irony was not lost on me, although it wasn’t really funny. It was more a feeling that he and I really did share something.

Others will of course remember Ron Glass from the tragically short-lived Firefly. I loved it too. Even though he was a very different character, gentler and more avuncular, I still felt like his playing a scholarly priest named “Book” was a nod to Detective Harris.

And in between he made an appearance on an ’80’s reboot of The Twilight Zone with the also amazing Sherman Helmsley that I’ve never forgotten. He played a very different character, showing his range, but still as cool as always.

Hail and farewell Ron Glass.

 

It’s A Gift.

It started as a joke. I noticed a fair amount of graffiti as I was out walking around and I thought it would be fun to take pictures of it and write about it in a tongue-in-cheek critical way, adding references to art history and art criticism. I’ve always kind of wanted to be an art critic, and have written some serious pieces for magazines, although there’s a lot of art out there that I just can’t take seriously.

penguin1And then something happened. I started to see graffiti seriously. I started to realize that there were people behind these anonymous works that popped up in different places, and they were people with something to say. A lot of them have no other place to say it. They don’t have studios or even necessarily enough money to buy the materials to put their ideas on canvas, and even if they did they wouldn’t reach as wide an audience as they can by putting their work out there in public spaces.

penguin2I’ve stretched the definition of graffiti since I started doing this more than a year ago but I’ve tried to keep one thing consistent: whether it’s really graffiti or not I’ve tried to write about works that are publicly visible, that potentially anyone could see. And it occurred to me that a lot of the artists who share their work are giving the city, the world, a gift. I hope by highlighting that I’m giving something back.

penguin3

Stick A Fork In Me.

whisk

We were sitting in the school lunchroom and a friend and I were having an argument. It wasn’t a serious argument because I don’t do serious arguments. It was more of a friendly debate about something arcane and he made a really superb point and I, stumped, just said, “Oh, fork you.” And we all laughed and went on with our conversation.

And then gradually I became aware of a voice behind me.

“Son, I don’t want to hear any more of that kind of language from you.”

It was Mr. Blankley, my algebra teacher, or, as I preferred to think of him, Human Valium. Mr. Blankley was in a perpetual state of slow motion: he moved slowly, he talked slowly. Algebra was my first class of the day and it was more than I could take as soon as he started talking.

“Studentsss, today we will have a quizzzzz on chapterssss ssssixxxxx and ssssseven.”

The one saving grace is he would use up twenty minutes of class time saying that that but I still couldn’t keep my eyes open, much less focus on getting any work done.

Mr. Blankley was also so clueless he had no idea I was one of his students, although I’d be transferred out shortly afterward because half the kids in his class were below average, half the kids were failing, and half couldn’t even grasp simple fractions, but that’s another story.

“I said ‘fork’” I said, holding one up for him.

He sighed for five minutes then said, “Ssson, I said I don’t want to hear any more of that language.”

Fortunately at that moment the end of lunch bell rang and my friends and I quietly gathered up our things and left, a series of actions which, from Mr. Blankley’s perspective, must have looked like hummingbirds around a feeder.

I’m sharing this story now because tomorrow is Thanksgiving in the United States—the Canadians do it six weeks earlier—and for many it’s a stressful time. For many it means getting together with family and that can lead to arguments ranging from the pointlessly political to the annoyingly personal. If things get too stressful for you just remember that Thanksgiving is a feast and if you feel like things are getting overheated in the kitchen or out, if somebody says something or insists on doing that one thing that gets under your skin…fork ‘em.

Road Tripping.

Source: Wikipedia

Source: Wikipedia

When I was a kid I was fascinated by animation. How did they get drawings to move? It wasn’t like magic. It was magic. Luckily there were a few educational programs—although now I don’t remember specifically which ones—that showed animators at work, how they drew on transparent cels and then photographed those against backgrounds, and also how to create flip books. My father worked for a steel company that had paper pads with the company’s name on them because if there’s one thing people associate with steel it’s paper. Anyway I’d take one of those pads and make my own flip books, drawing out the adventures of various characters like Periscope Man who was a vaguely sinister, er, periscope with one eye and arms and legs. He had a lot of adventures mainly because he was easy to draw but that’s another story.

And then I read about this public artwork that would give subway riders a short animation show. It’s the same principle as the flip book but applied differently.

Although I never got to see the Masstransiscope in action the fun part of learning about it is I realized  I could watch out the car window on long road trips and see the white lines along the pavement, or variations in the pavement itself, as strange, abstract animation.

Try it sometime—if you’re not the one driving.

Here’s a video of artist Bill Brand’s Masstransiscope restored in 2008 and a short video about the restoration.

 

 

Scratching An Itch.

I think a lot of graffiti is crude, even ugly, because it’s an expression of frustration. Someone’s pissed off at the world and can’t do anything about it so they deface something. Or they’re just bored and channel their energy into a scrawl, a scribble, into destroying something. The idea that destruction is a creative act goes back at least as far as Nietzsche’s ideas about Dionysus and the Russian anarchist Mikhail Bakunin who said, “The passion for destruction is a creative passion, too!” This was adopted by Picasso and Braque who created Cubism as a way of destroying and recreating the way art is visualized, but that’s another story.

I thought about all this when I was sitting in a laundromat and noticed something. It seemed like an expression of frustration and boredom, but I realized that such dark feelings can still produce something beautiful. Sometimes defacing isn’t destruction; it’s creation, it’s revelation. It takes an empty space and makes it better.

laundrylaundry1And on another note hail and farewell Leonard Cohen. Here’s his expression, I think, of some of the same feelings.

A Very Special Talk.

The winter holidays always meant a few days off from school, and that usually meant my friends and I had a lot of unstructured, unsupervised time, and that usually led to trouble, like the time I told my friend Jerry about sex.

Let me back up a bit.
Learning about sex was like learning there was no Santa Claus, but weirder and more uncomfortable. Supposedly my friend John, whose mother was a gynecological nurse, had explained the facts of life to my first grade class but all I remember was that he told us babies came out of women’s bodies. He didn’t go into specifics about how the babies got there. So I thought pregnancy happened randomly. At a certain point in each woman’s life, I thought, she’d just spontaneously get pregnant. For some it happened multiple times. I held onto this belief through a lot of my childhood. Based on others’ experiences it seems extremely bizarre that at ten years old I still didn’t know that it took two to make a baby.

I knew adults did naked stuff together, primarily from my next door neighbor Mr. Rick who was gone a lot and had boxes and boxes of Playboy and Penthouse magazines in his basement. I mean tons of them. This was the seventies and neither magazine had been around that long, but it seemed like his collection just went on forever. He kept his basement open all the time so his dogs could go in and out. My friend Troy loved going in there and looking at the magazines. I kind of liked it too, but didn’t entirely understand what the big deal was. They were mostly women and mostly naked, which seemed strangely fun, but I didn’t think of it as something that everybody did or that might have some purpose other than just being something to do.

At this time I believed we men were unnecessary. I didn’t think women would undertake wholesale slaughter of roughly half the population, but I also thought that men should treat women with respect and give them equal rights and pay. I was the only boy in my fourth grade class who supported the Equal Rights Amendment. I didn’t do this because I wanted to curry favor with the girls. The whole idea that girls and or boys had cooties and purposely stayed away from each other never seemed to be the case when I was in school. Most of my friends were fellow boys, but I had no problem hanging out with the girls as long as they weren’t playing with Barbies or doing something stupid like that.

To clarify: I no longer thing playing with Barbies is stupid. In fact it was a notion I got over pretty quickly. I was never big on playing with army men either, which are basically just tiny dolls with guns. I realized this when Star Wars came out. I became an insane collector of the action figures and I spent hours playing with them. And one day I heard my mother describe them as “dolls for boys”. Okay, I thought. I play with dolls. They just happen to be special science fiction dolls.

Eventually I’d figure out the basics of reproduction, mainly from what I read about animals. As a kid I had dreams of growing up to be a marine biologist like Jacques Cousteau, so I was always reading about ocean animals, especially octopuses. There was a book about octopuses I checked out from the public library so many times I had it memorized. It included an explanation of octopus sex. I took this information in stride, and even once explained octopus sex to my grandfather. The male develops a modified tentacle as it ages, I told him, and shoves it inside the female. He was silently impressed.

I knew that among octopuses, frogs, lizards, crabs, snakes, and all sorts of other animals that interested me the females would have eggs and the males would fertilize them. It just took me a long time to extrapolate that humans, being animals, must be the same way, that human males do have, to quote Navin Johnson, a “special purpose”. It took me a while because it’s not like nature is consistent. Hermaphroditism is rampant in the animal kingdom, and anyone who’s seen Jurassic Park knows certain reptiles and amphibians can self-fertilize or even change sex under duress. And humans don’t have sex solely for the purpose of reproduction. Neither do some other animals. It was confusing because it was complicated, and made even more complicated by how uncomfortable it makes some adults even when they try to talk to each other about it, never mind trying to explain it to children, and it doesn’t help that a lot of adults find it so uncomfortable that if human beings reproduced by spontaneous parthenogenesis it seems really unlikely we’d have ever developed stand-up comedy or even jokes, but that’s another story.

What finally settled it in my mind was an after-school cartoon I happened to stumble upon about the changes boys’ and girls’ bodies go through when they hit puberty. It showed an egg rolling down the fallopian tube and explained that the egg would dissolve unless it was fertilized by a male. I had no idea how the fertilization took place exactly, but from bits and pieces I’d picked up from other places I realized it would be sort of like how the octopus did it, except that human males are born with a modified tentacle between our legs.

I don’t know why but at eleven or twelve when I first realized all this I felt like it was something I shouldn’t know. I felt like I’d stumbled upon something that was supposed to be kept locked in a box until I was eighteen, or at least until my parents had The Talk with me. I knew about Talk from Very Special Sitcom Episodes that conveniently avoided including the actual talk but made it clear from the context what it was about. And I felt like I would be in serious trouble if my parents ever found out.

So naturally I talked about it. I did manage to keep my parents from knowing what I knew for three or four years, but then one day when we were out of school I talked to my friend Jerry about it. Jerry was a year younger but knew pretty much everything I knew about sex. He’d been in Mr. Rick’s basement too. He’d even torn pages from some of the magazines and kept a pretty big stash hidden in his room. But for some reason when his sister, who was two or three years older, heard me talking to Jerry about sex she was horrified. He was too young to know about that stuff! And she told my mom.

Deep down I like to think my parents were relieved they didn’t have to have The Talk with me in its entirety, that I knew enough that there wasn’t much left for them to fill in. The only bad part was my mother asking me what exactly I’d said to Jerry—his sister was sketchy on the details—and then telling me we’d have The Talk later on. Please, please, please I thought, let her forget about this. Let’s skip The Talk. Having been caught talking about it was punishment enough, I thought, without having to talk about it with my parents. And my mother did seem to forget about it for about a week until one night when I was about to go to bed and she started talking about it. I think it was a spur of the moment thing on her part. And fortunately my mother’s version of The Talk was very sparing on details. The most memorable part was her saying, “Your father and I aren’t embarrassed when we see each other naked because we love each other.” I could almost hear muscles popping in my father’s head as he strained to keep his eyes from rolling. I wish he’d just given in. It would have given both of us permission to acknowledge that I was fourteen, not four.

Fortunately that was the end of it, at least as far as my parents were concerned. I never wanted to talk to them about sex and, beyond that greatly modified version of The Talk, never would. And I wouldn’t become a marine biologist. I also didn’t really understand sex until I’d done it, so there at least I learned something every scientist knows: theoretical knowledge is worthless without fieldwork.

 

Those Aren’t Pillows!

hospitalIt was a typical Thursday night in my college dorm. I was studying–specifically reading A Streetcar Named Desire–and my roommate was cutting apart bed springs and twisting the bits into a chainmail shirt since he belonged to a medieval reenactment group, although I didn’t think it was entirely accurate to use stainless steel bedsprings, but that’s another story. Naturally we had our door open when Carol, who lived on the girls’ side of the dorm stopped outside our door and said, “Hey guys, would you help us celebrate Gary’s birthday party?”

My roommate had just finished a chainmail sleeve so he was at a stopping point and while normally it’s difficult to tear me away from Tennessee Williams I felt like I needed a break. I’m also kind of a fan of birthdays and try to have at least one a year myself. Carol explained that

she’d be back later because Gary’s birthday was actually the next day and the plan was to give him a surprise party. Well, it wouldn’t be a party actually–mostly it was just a surprise.

At two a.m. Carol came back by to get us. This was not a problem: my roommate and I were both insomniacs, and it gave him time to get started on another sleeve and I had moved on to The Glass Menagerie. Gary’s roommate assured us he was sound asleep and the door was unlocked when we all burst in, screaming at the top of our lungs. We surrounded Gary’s bed, someone used a tie to blindfold him, and we carried him out to a car. He was squeezed into the back and we set off for parts unknown, not screaming now but jabbering, making up nonsensical chants, and, once we got out onto the highway, throwing out random non sequiturs–”Cheese, that’ll really block you up”–and vague hints about where we were. “Did that sign say ‘Welcome to Canada’?” Of course even Gary knew we hadn’t been on the road long enough; southern Indiana is a long way from Canada. We contemplated driving Gary to Gary, Indiana, and we also pondered how far we were from Normal. In a metaphorical sense we were all a long way from Normal. I’ve told you about my roommate and his metalwork. I was sitting next to Carol who wrote a weekly column for the school paper called “Out Of My Mind”. I’m sure I was weird in my own way, as were the other three or four people in the car. In fact Gary was probably the most normal of the group, which made him pretty weird. He went along blithely, never bothering to remove his blindfold. When we got to the state line and posed him for several photographs under the “Welcome to Indiana” sign he just stood there with a lopsided grin.

That’s a strange thing about this whole experience. It’s the sort of thing you’d expect intimate friends to do to one of their own but neither my roommate nor I knew Gary–until we burst into his room I wasn’t even sure what he looked like and there was only a brief glimpse between the initial entrance and his blindfolding that gave me a chance to say, “Oh, that guy…”

We would, in fact, never really get to know each other and on occasion when I’d pass by Gary and say hello to him he’d say hi in return but there was a look on his face that told me he wasn’t entirely sure who I was. All he knew was that he could depend on the kindness of strangers.

Icons.

Artist Billy Martinez at work.

Artist Billy Martinez at work.

A few weeks ago I was lucky enough to meet artist Billy Martinez as he was working on a mural on Nashville’s Elliston Place. Martinez has an art career that goes back decades and started his own publishing company, Neko Press, in 1997.

While his work in comics and magazines, as well as his stand-alone paintings, are bold and dramatic, often featuring powerful women, this mural is subtler but still just as bold, just as intense. It’s dominated by a black skyline. Rather than deliberately painting the Nashville skyline—in fact there are parking signs up and down Elliston he could have used as sketches, ones with Nashville’s infamous “Batman Building”—he offered a more generic view. And instead of lights he put it in total darkness. The only color, the only light, comes from behind the unbroken row of buildings. This makes the two figures at the edge, where the sidewalk and parking lot next to Smack Clothing, intersect, even more striking.

billymartinez2And the figures themselves are a study in contrasts. Johnny Cash, born in Arkansas, made Tennessee his home for most of his life. As a major figure in country music he’ll always be associated with Nashville and its history. He emerged from the darkness of a rural background in search of the spotlight and found it, and yet, interestingly, in the mural he’s somber, contemplative, focused on his music.

billymartinez3Bettie Page, on the other hand, is fierce and direct, fixing passers-by with her gaze. Former Nashville Scene editor Jim Ridley wrote an appreciation of Page a few years before her death in 2008 and described her as someone who “who deflected the ravenous gaze of strokebook buyers with a look of defiant self-possession”.

Born in Nashville she, like Cash, sought the spotlight, but her career was shorter and she was an underground figure—a pinup girl and a Playboy playmate in the much more sexually conservative 1950’s. She retired from modeling and disappeared into obscurity. She would be “rediscovered” as a new cult following developed in the 1980’s. Although she would profit from her resurgence ater spending several years in poverty, unaware of her own fame, she herself still seemed to shun the spotlight.

It’s not available online but I remember she gave an interview for the Nashville Scene in 2005, when The Notorious Bettie Page hit theaters, but refused to be photographed. A picture that accompanied the interview showed only her hands.

All that makes this mural, seemingly so simple, and something most people will likely just walk by, an intersection of art and history.