Writer of things that go bump in the night

Tag: Extreme

Entre Nous

An old friend called recently for a commensurably old-fashioned reason:  just to say hi.  Turns out, Xers still do that.  Incorrigible habit we picked up in the analog age, I’m afraid.

We’d grown up together in the Bronx, though she’s lived in New England nearly as long as I’ve been in L.A., and we’ve seldom had occasion to cross paths in the old hometown over the past two decades.  Still, we’ve remained close; I regard her in every way as an older sister, indistinguishable from my actual older sisters.  She wanted to know how my wife and I were settling into our new home (more on that matter in a forthcoming post), and asked how my various writing projects were going, citing each by title.  Few of my friends ever inquire as to my writing (they’ve probably long since reasoned I’d be only too delighted to tell them, in exhaustive detail), and I’d buy the lot a round, with chasers, if even one could reference a single project by name.

This particular friend is a registered nurse who took a professional leave of absence to care for her terminally ailing mother after a prognosis set the woman’s lifespan expectations at perhaps a few months.  That was well over two years ago.  My friend’s life and career, accordingly, remain on indefinite hold.  So, when I asked how she was doing, she sighed and blurted, “Not great.”  To be clear:  She wasn’t looking to complain, only to confide.  I think it helped her, however fleetingly, to have the ear of someone who knows and loves her family as if it was his own, but isn’t directly involved with or affected by its short- and long-term dramas.

In May of 2016, we had a rare chance to hang together at the Casino Ballroom in Hampton Beach, New Hampshire, to see old favorite Extreme perform (pictured: Gary Cherone and Nuno Bettencourt)

The entire conversation stood in stark contrast with an experience I’d had only a week earlier.  I was at a backyard barbecue in Jersey—there have been quite a number of those this past August, as it happens—with friends and relatives I hadn’t seen since well before the shutdown, folks I’ve known for at least a quarter century if not the entirety of my life.  We’d all just endured the collective trauma of pandemia, and I guess I had a notion in my head that being in each other’s company once again would provide a tangible sensation of catharsis—a renewed appreciation for our shared history; a deeper sense of trust in one another; a tighter grip on the ties that bind; a desire, for lack of a more erudite phrase, to be real.  To confide.

Heh.  My wife warned me years ago I’m a hopeless Romantic.  Well, she was right yet again, because while it was certainly nice to see them, we mostly just talked about the same old shit:  the Yankees’ midseason slump; the enduring mystery of why Millennials venerate The Office as the Greatest Sitcom Ever; etcetera, etcetera.  I wasn’t asked about my work—I can write about all this publicly with full confidence none of them will ever read it—and I’ve learned to stop asking about theirs; I never get an answer, anyway.  And Christ knows no one expressed a candid or unflattering word about how they were feeling.  No, everyone just put on a happy face—though many of them didn’t seem particularly happy to me—and a lot of perfectly polite if entirely superficial discourse ensued… just like the good old days.

The difference this time, I suppose, was how attuned I was to the skillful manner by which some of those folks—not all of them, to be perfectly fair—fluidly change the subject the instant a question trips the “too personal” wire.  Suddenly, I found myself flashing back on a zillion cocktail conversations over multiple decades and wondering if a piece of information has ever been exchanged that offered even so much as a cursory glimpse at their secret hearts?  I don’t think it has, and not for lack of trying on my part.  I make it easy for people to open up, if they choose.

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Short and Sweet: Talking Spinal Tap for Two-Plus Hours

For those who can’t get enough of my inexcusably verbose essays on pop-cultural arcana, you’re in for a special treat:  Now you can listen to me wax esoteric for four half-hour segments!

I recently sat in on the podcast Spinal Tap Minute, moderated by Heidi Bennett and Sean German, which deconstructs Rob Reiner’s classic 1984 comedy This Is Spinal Tap minute by minute.  Coincidentally, I’ve written previously about Spinal Tap on this blog, demonstrating how the band seamlessly emerged from the contained narrative framework of the movie—in the absence of precedent for such a fourth-wall traversal—to evolve into the longest-running instance of reality-blurring performance art in the history of contemporary pop culture.  (And the joke is still ongoing:  Harry Shearer is currently prepping the Derek Smalls solo album Smalls Change.)  Tap’s influence on comedic storytelling—from the “mockumentary” format so prevalent in our sitcoms (The Office, Parks and Recreation, Modern Family) to the fictional-character-who-walks-among-us pasquinade of The Colbert Report—can’t fully be quantified.

Michael McKean (as David St. Hubbins), Harry Shearer (as Derek Smalls), and Christopher Guest (as Nigel Tufnel)

But it can be more deeply appreciated, and that’s what I attempted to bring to the table during the four episodes to which I contributed.  These are my first-ever podcasts, so your feedback—should you take the time to listen—would be most welcome.  (Who’s gonna be the first to offer up that dreaded two-word review:  “shit sandwich”?)  Here’s a content rundown (with links to each episode):

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The Exodus Is Here: On Saying Goodbye to the Who

There was a lot of contentious shouting in our apartment throughout my childhood, so much so that it could be heard the moment I stepped off the elevator—I’m talking thunderous, mean-spirited bickering.  All of it—every word—was filtered through the tinny speaker of the AM/FM radio that sat atop our refrigerator.

My father listened daily to The Bob Grant Show—at top volume.  He didn’t particularly agree with Grant’s conservative politics, but he loved a good argument.  (I wonder if he’d feel the same today, in this era of ‘round-the-clock cable-TV squabbling masquerading as news?)  When he wasn’t listening to Grant in the kitchen, he had it blasting from the radio in our Plymouth Duster.  I didn’t understand much, if any, of what was being debated, but I laughed every time Grant hollered, “Get off my phone, you jerk!”  (He did so often.)

The endless caterwauling from Dad’s favorite station prompted an antithetical reaction in my mother (whether intentional or unconscious I do not know):  When she had control of the radio, we listened almost exclusively to 106.7 Lite FM.  Up till the age of ten or so, “easy listening” was effectively the only genre of music, save classical, I was aware of.  It was probably upon hearing Ambrosia’s “Biggest Part of Me” for the thousandth time (or maybe it was Journey’s “Open Arms”—like it even matters) that I finally asked out of both frustration and genuine curiosity, “Doesn’t anybody sing about anything besides love?”

My mother considered that for a moment.  “Love is what makes the world go ‘round.”

It wasn’t a particularly satisfying answer, and perhaps on some subconscious level she herself recognized that, because the following Christmas—this was in ’86 or ’87, I think—she gave me a cassette copy of the Who’s 1978 album Who Are You (which I recently rediscovered while cleaning out my childhood closet).

I’d had no awareness of the Who before that; Who Are You was my crash course in progressive rock, a style that came to speak to my more philosophical and intellectual proclivities throughout high school, college, and beyond.  I didn’t always understand what the songs meant—many of Pete Townshend’s lyrics, I suspect, are a mystery to all but (perhaps) himself—but that was exactly the point:  The music of the Who is a Rorschach—a receptacle into which you can pour you own feelings and experiences, and from which take your own meaning and catharsis.  The lyrics—and the narratives of the band’s operatic concept albums—are so specific to Townshend’s particular imagination, but the broader themes are universal.  Take any given Who song, and I doubt it means the same thing to any two people.

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