Photo #6

(© Jens Juul/2013 Sony World Photography Awards)

(© Jens Juul/2013 Sony World Photography Awards)

The only bit of smooth flesh on her face was at its center, as if her head were once a pond and the tip of her nose was where a stone dropped in. She was finishing her story. Her eyes were somewhere near the water in Manhattan during a summer a half a lifetime ago, but her nose was here with her in North Carolina in the dead of winter, a weak winter, and as she talked smoke escaped her nostrils like her body had an endless supply of it. 

They’d been to a show, her and him on their third date, and then taken a cab down to Battery Park to watch the wind make the water hit the rocks. It was his favorite thing, he said, “Because no ocean never bowed to nobody.”

He’d been home from Korea for a month when his mother and her father had the two of them meet at a little café three blocks north of where she was born. They had lasagna. She nearly died of thirst, she remembered, could barely even talk through her dry lips, on account of her unsteady hand avoiding the water. He had no problem drinking. Never did. He always noted, after his fourth or so bourbon, that a man earns the right to drink once he sees other men “come apart.” She giggled the first time he said it, the first of many times he mentioned men cracking, because she imagined a puzzle being shooed off a table, dripping into individual pieces, but her smile faded, his brow a crimped hose to her happy flow.

A ship sat on the horizon and its lights vanished when the statue floated before it.

She could smell the motor oil beneath his nails when he pushed her hair behind her ears and from that moment forward she’d prefer the smell of garage floors to flowers. She’d look for it, the sweet iron scent, many years later in the air between perfume and booze when he’d come in with the sun. It was always a different perfume, which she thought might be better, and always her digging at the air, prospecting for hope or something to cling to.

The fireworks began just before nine out above the torch. He was standing behind her with his forearms across her chest, holding his own elbows tight. A storm couldn’t break them apart, she thought, because as strong as he was he was no match for her.

The crowd had grown with the noise in the sky and somewhere in the wash of people beneath the bright booming a mother scolded her son. The kid showed his mom a penny he found but she fancied him a peeper. Beside them a little girl was sitting atop her father’s shoulders pulling his hair, paying little regard to the decorated sky. The smell of boiled hot dogs sulked in the dark nearby. He released her to light a cigarette.

When the fireworks died he crushed what remained of his smoke beneath his toe and extended his elbow and she took it. He led her to the park and they sat on a bench.

“Your dad wants you to have this,” he said, passing her a box.

Her grandmother’s ring contained the slightest sparkle centered atop a gold band, the band wider than what gleaned, and inscribed on the inside was BELIEVE. She’d memorized all the details long ago when she came across the little blue capsule in her mother’s attic. The little box was in a big box with a baseball glove and a handful of yellow-paged books. The whole parcel smelled like melon rinds.

“’Well, do you want me to have it?’ I asked him,” she said. “Only I asked a little sweeter than that. He crossed his legs tight and pulled a smoke from the breast pocket of his blazer and lit it. There was a haze over the water like all the light from the celebrating hadn’t yet left. I told him I wanted it before he said anything else.”

I was sitting in the rocking chair that cried when it rocked. She was in her chair, where she’d been since I could remember, telling us about the night she and Papa decided on forever.

“Told the guy he should never forget our anniversary, both the time we got engaged and, a year from then, married, since it’s the noisiest night of the year. I would sit there all day most years and we would go to picnics and get the kids dressed in colors and then night would come and when the fireworks banged for the first time his brow would jump. ‘Oh hell,’ he’d think, and then kiss me real quick and tell me something was in the mail.”

A lady walked over and balanced a plate of cheese and crackers in her hand as she bent down to kiss Grandma on the forehead. Another stranger did the same. A man was standing behind the kitchen table carving a ham and all I could think was that all the old folks here could never eat as much ham as he was piling, but he didn’t stop and I don’t think he stopped the whole time he was there. Later, after everyone left and they let us kids change our clothes, mom was stuffing Tupperware containers with ordered stacks of groomed meat for the whole duration of the nightly news.

I didn’t know Papa as well as the rest of the people. I figured the man with the knife by the ham would’ve been a good friend of his. Papa would’ve liked his dedication, would’ve said something about “wherewithal.” But I saw in Grandma’s eyes earlier that morning when mom and her sister colored Grandma’s hair that she missed him the most of everybody. More than the ladies I didn’t know and more than the carver. Think that’s why the smoke kept leaving through her nose. She didn’t have enough heart left to conjure a blow.

“And from him I got you,” she said toward me, the tips of her fingers moving on the arm of her chair as the other hand lifted the cigarette to her mouth. She took a long pull and shoved out a fractured smile. For the rest of the day she sat in that chair, the tan one with a pocket for remotes by the lever, pulling on long, skinny cigarettes, trying to replenish what smoldered at her core.

…..

In “Six Degrees of Copenhagen,” photographer Jen Juuls entered the lives of strangers and took pictures. (Note: Not all safe for work viewing. Some nipples.) I saw one of his photos on The Atlantic’s In Focus blog when a colleague suggested we pick a photo and write about it. Then, to me, it was just Photo #6, an old lady with a smoke. The above is invented context for the picture.

View Photo #6, the picture that brought about this lengthy lie, and more 2013 Sony World Photography Award winners, on The Atlantic’s In Focus blog here.

TheRumpus.net | Songs of our Lives: “Angel from Montgomery”

If you chase a song from the tips of its branches down its broad trunk, you’ll eventually hit cold soil and muscular roots. Good songs lead somewhere. They are present and fruitful when you need them. You can follow them the way a family follows a name to a great-grandfather on a boat, follow a song backwards and see where it appeared in your life and how you changed, how it changed you. “Angel from Montgomery” is my shadow. The song has been everywhere, and I follow it back.

Read more >>

BroBible.com | Remembering ‘Road House,’ a Cinematic Tour de Force of Yesteryear

When I was younger, I always figured I’d head west. Maybe pass nights along the way in seedy bars full of loose women and fragile tables, places where the boss man pointed at people like he was holding a pistol. A place where an unseen breeze would keep my bangs in constant flux. I’d head west for an adventure. Along the way, somewhere in Missouri, I’d survive a place with the help of an old friend who showed up on time and an old man who said sage things, and after all the surviving I’d set out once more with a limp to find a girl who would chase with me the sun to its daily conclusion. Together, each adorned in denim, at rest stops and cheap motels, we would pass the nights practicing how someday we’d make more of us.

Read more >>

Jason Molina and why good art is dark

Great art does not smile. And rarely does it shine. The best art comes from somewhere dark in the maker, as if a blackness inside leaks out  through the hand into the world by way of osmotic drips, freeing itself from a place where too much sadness resides. The songs of Jason Molina support such a thought.

My relationship with his work is brief, if not wholly superficial, encouraged by his recent passing. For the last week or so I’ve played tracks from Songs: Ohia, Magnolia Electric Co., and his solo albums constantly. I’d heard his songs before. Had come across a few of his acoustic tracks when working my way through the other great songwriters, but in terms of depth, both in sheer number of tracks and overall despair, it’s difficult at the moment to find a catalog as compelling as Molina’s.

After tonight if you don’t want us to be
A secret out of the past
I will resurrect it, I’ll have a good go at it

Great art does not shimmer because from sadness comes what is next — and so is life. It’s fitting because sunshine is temporary, just a daily hint. Night is more reliable and complete. But in great art, even the darkest, is life, motivation, and heart. In great art is everything the regulars can’t put into words. Jason Molina’s art is sad and heavy, but it has the potential to make someone who just spent hours on end listening set out into the blackness looking for high ground, a peak from which to howl the gone writer’s name at first sign of light.

Mama, here comes midnight
With the dead moon in its jaws
Must be the big star about to fall
Long dark blues
Will-o’-the-wisp
The big star is falling
Through the static and distance
A farewell transmission
Listen

Lyrics from Magnolia Electric Co – “Farewell Transmission.”

Listen to Jason Molina sing “Hold on Magnolia.”

See The Avett Brothers cover “Hammer Down.”

Price of patriotism

Natalie Maines was atop the country music world until she spoke out against the Iraq invasion. The country music world shunned her. They said she wasn’t a patriot. In the years since the Iraq War, a conflict which cost this nation 4,486 soldiers, it’s easy to see who was right in the Maines versus the Country Music Patriots spat.

On the eve of the Iraq invasion I was on spring break with a group of friends at Wrightsville Beach. There was a countdown of sorts, an ultimatum issued, and the same ignorant excitement came that comes to a young person when a hurricane is approaching — an eagerness for the thing to be big and windy and loud. When you’re young a hurricane is not something that kills but something that gets you out of school. It’s an excuse for a candlelight dinner with the hum of a generator calling from the porch. War is the same when you’re young. A part of you wants it, like a hurricane, for all its talk and news coverage, to come and come hard.

It did. And anyone could draw a comparison between the hurricanes cautionless havoc and the indiscriminate bloodshed of a war without reason.

The Iraq War is now over, the way a hurricane turns off the coast and leaves many fallen things to deal with, and I heard Natalie Maines had a solo album coming May 7 and I thought of her. Maines was one of the first people to say something many others would come to know and for it she and her band were rebuffed.

The question of it all: is a patriot a person who supports his/her country regardless or a person who calls his/her country on its failures?

Some people don’t want to believe that what they believe in is wrong and never will. Thus, the teaching of evolution as a theory. A “theory” probably rejected by many in the contingent that rejected Maines.

But that’s another story for another day.

Listen to Natalie Maines sing with Eddie Vedder on Rolling Stone.

More on the solo album of covers produced by Ben Harper. 

RDU Baton Brings the Triangle a Collaborative Photo Relay

We walk through our city everyday, often looking at the same places we looked at the day before. Now, the Triangle has a social platform to let residents share their unique views and, in turn, appreciate the paths other people walk through town.

RDU Baton is a collaborative photo relay that allows participants to access an Instagram account and share pictures of Raleigh, Durham and Chapel Hill each day. At midnight, the next runner in line takes hold of the account and posts pictures throughout the day. Photographers can be professionals or amateurs. Quality or subject isn’t the heart of the idea — it’s about sharing perspectives and building a portrait of the city, each photo a brushstroke.

Read more at NewRaleigh.com >>

Lumina Clothing Company to Open Flagship Store in Downtown Raleigh

Barton Strawn recognized a void in Raleigh’s retail landscape and seeks to fill it with Lumina, a men’s clothing retailer opening downtown this week. Lumina began selling neckwear in 2009 and has since expanded the brand to include shirts, trousers and accessories — all made in America.

Read more at NewRaleigh.com >

A morning commute to Sanford (in a Beat voice)

The coughing hum of tired engine coming to its calculated roar under the dew wet hood. Leaves dancing in the wind. Morning snaps forth in bursts of blue sky and orange-tinged horizon. Wake, children. Rise to your cubicle-clad futures and drive, children of America, boys of grass-stained jean memory, wake and go. Work calls from the abdomen of duty, gut of responsibility. Sleep is a thing of the heart or the head, a bodily function not allowed for thee no more, no more today.

Morning breaks. Go. Take to her highways. Her broken, pot-holed paths to prosperity. Hit the shoulder. Hear her hum, hum like the engine under your hood, a hood holding all the power of your getting there like under the hood is a man’s broad chest, the beating of life, the go. Go. Strangers pass around you in your hesitant slowness like water with little patience for rocks jutting forth in a stream. Strangers pass and take with them other hopes for the day, hopes that are not yours but same as yours, hopes for something more, a great leap, a prosperous day free of penalty, with a penchant for wine, the bearded fellow to the right, who is driving fast like running from his wife, to work and then to a drink, you know.

Blue sky now in all its silly university brightness, dotted with clouds with no potential for rain. Over a railroad track you know not where it leads but know it marks some nearly forgotten past made more forgotten by the quick flight of a plane cutting through the dotting and innocent clouds. The highway at the gun-shot-start of day is the American Dream in its hastened beginning, men and women hustling and reaching and hoping and driving and thinking maybe, today, with its clouds of no evil, today will be the day. A red sports car passes fast and you know he too wants the day over before it really begins. Then out of the city, under Highway 55 and the road opens like the arrow of your youth, an arrow in geometry class, a line with an arrow on one end, a thing that just goes to where you can never know because your mind only goes to the edge of the classroom where cinderblock walls stop thought and send back boredom and thoughts of recess. US-1 South, like Route 66 without the rhythm or history or teeming of tumbleweeds rolling. US-1 South, barren, save for pine-soaked land on either side. Unfinished construction of some big highway meant to one day dump cars a plenty onto US-1 South and surely with the dumping of more cars the pine-soaked forest will be a memory like classrooms of days gone and arrows whose endings you can’t see. US-1 South smells like fire and foot, near the brick plant, or is it Sharron Harris Nuclear Plant, a looming tower of something that could make us and US-1 South but a memory, too. Smoking from its tip like a white cigar left upright in an empty cup. Bourbon smell. Or foot. The smoke the cooling tower discards melts into the nice clouds and you’re happy the clouds show no rain for you, wouldn’t want nuclear smoke rain, not on a morning like this, not on a morning where the wind has shed the moisture from your hood and the bright light of the day burns away traces of wet from the roads, not on a day like today when hope is in the highway’s humming and the city noise of Raleigh is surrendering to the serenity of the open highway’s calls. This is your morning commute, America. Raleigh to Sanford, home to work, yesterday to day, morning to today. This is her highway calling you to a brighter day with more jingle in the pockets of your jeans that if you’re lucky will be grass-stained once more this weekend. It is the slipping and sliding jumping joy of autumn announcing the close of another year of your life.

Kindred Boutique Brings Local Artist Retail Incubator to Wilmington Street

A boutique geared toward helping local artisans grow their business is opening in downtown Raleigh.Kindred, located on Wilmington Street near Gravy, will feature up to 40 local designers and provide business mentoring and development classes for artists making luxury products.

Read more at NewRaleigh.com >

Fiction Kitchen Raises Money to Bring a Vegetarian Restaurant to Raleigh

Caroline Morrison and Siobhan Southern are keenly aware of the challenges they face by opening the Fiction Kitchen. Southern mentions to me a familiar statistic about the survival rates of restaurants, estimated around 50 percent. But the two find solace in being an original. They have tested their food on palettes across the Triangle—from monthly brunches at The Pinhook in Durham to pop-up food events around Raleigh, including this week’s Cooke Street Carnival—and now they are ready to open the Fiction Kitchen on Dawson Street near the warehouse district. Its brick storefront, adjacent to Deep South, is painted a neon lime, a shade only someone hoping to be noticed would wear, and the inside is naked to the studs.

Read more at NewRaleigh.com >

The Makery: Three Sisters form Online Marketplace for Local Artists

If you read the coverage The Makery and its recent Kickstarter campaign garnered, you would probably think it’s just another flash-sale site for handmade crafts. Sitting with one of the site’s founders, Krista Nordgren, 22, at Capital Club 16 in Downtown Raleigh, the Durham native tells me how The Makery is different.

Read more at NewRaleigh.com >

The Farmery: N.C. State Grad Fashioning a Sustainable Farm from a Series of Boxes

Ben Greene has converted shipping containers into a farm. The long, hollow boxes, one with transparent walls for the cultivation of fresh produce and herbs, one empty and moist for growing gourmet mushrooms, sit on a farm in Clayton, beyond the noise of the city, and, as Greene shows me what he’s building, eventually he talks his way to a far off vision, the thing in the architectural renderings he sent the week prior. He puts up his arms and maneuvers the boxes, one on top of another, with bright-eyed descriptions, and he tells me he’s going to drop the whole living project in the heart of a city, Raleigh, maybe Durham, and build an experience around fresh food.

Read more at NewRaleigh.com >

Seeking love in the corporate world

or, Everything You Need to Know About Developing a Client Relationship Boys II Men Already Told You.

… or, How to Establish a Personal Brand by Following Boyz II Men: 20th Century Masters The Millennium Collection.

… or, Don’t Leave Your Copywriter With an Hour of Free Time.

Spotify playlist to accompany this post: What Boyz II Men Teaches Us

(Note 1: For the course of this article remember the “z” at the end of Boyz is forgiven because it was the 90s and it wouldn’t be fair if the world’s greatest living R&B soul singers also had perfect taste. They made up for it in coordinated suits, canes, a bundle of hits and one leathery deep and honest voice.)

(Note 2: The composition of 20th Century Masters does not mirror the order in which songs were released over the Boyz’ career — or is it Boyz’s? Wow, that’s a tricky one. Analysis uses the order of this album.)

(Note 3: If you don’t like Boyz II Men, move to Alaska where it’s dark for long periods of time. Your life already lacks light. It’ll be comfortable for you.)

(Note 3b.1.: If you want to continue down 90s Soul Lane, play the following (none on the level of Boyz, but contemporaries):

  • Next – “Too Close”
  • Tyrese – “Sweet Lady”
  • Brian McNight – “Back at One”
  • Dru Hill or Sysco – all
  • Babyface (writer extraordinaire, penned a number of tracks below) – “When Can I See You”
  • K-Ci & JoJo – you know exactly what song
  • Jagged Edge – “Let’s Get Married”
  • 112 – All songs
  • Seal – “Kiss From a Rose”
  • Blackstreet – Everyone knows “No Diggity,” all of the Another Level album is good, “Don’t Leave Me” especially. (Note 3b.2. If you want to hear a good new take on “No Diggity” find the Swedish Idol contestant Olle Hedberg playing it acoustically.))

[Deep voice] Listen, baby. Stop right there. This is a blog. Yeah it’s overwritten and flowery and way too long and it ain’t what you were expecting, but be patient. It’s gonna take a while. We got time.

Boyz II Men is the greatest. Period. Stop. Greatest. Yeah, there is another greatest in every other genre but for what they do they are the best. What they do is make love to ears, in the most non-offensive way, and what they did was convince a bunch of chumps for a long time that, with a cassette, they could be the smoothest cat on the block. For the purpose of our discussion, one of their greatest hits collections provides a roadmap for establishing a respected — er, loved — relationship with a client, and thus a trusted personal brand. A brand people will spend time with, take home and, well [deep voice] you know, baby.

One – “End of the Road” (You have to make a big splash at the start)
Boyz II Men’s magnum opus, End of the Road opens the collection and unfolds as follows. [Deep voice] “Girl you know we belong together / I don’t have no time for you to be playing with my heart like this / You’ll be mine forever, baby.” …… [High voice, medium voice, sexy lyrics, high voice, sexy talk] …… [Chorus: All voices] …. Etc…. Etc… This is your stake in the ground. A great first project. An impactful “You better be listening” statement. Deliver the goods and get them wrapped around your finger. If you need it, stop the introduction song 3:35 in and use your deep voice again to drive home the message that both parties belong together.

Two – “It’s So Hard To Say Goodbye To Yesterday” (You have to do it twice)
Keep delivering the goods. Stay on message. This partnership will work and I’m not going to give it up.

Three – “Motownphilly” – Original Version (You have to share your personality)
Be youthful and fun once you have their attention. Get in the dance. Move. (During “Motownphilly” you think this album has peaked too soon. Then Track 6 drops.)

Four – “In The Still Of The Nite (I’ll Remember)” (You can do the basics, too)
Yeah, you’re hip. You gave your client something awesome. Something memorable. Get back to basics. Deliver a good, clean brochure. Give them a staple, a tune reminiscent of what they’ve already had just with added spice. Familiar made great. “… Shoowop shoowaaa shoowop shoowaaa…” (See Note 1 about the misspelling of night.)

Five – “Uhh Ahh” – Original Version (You sometimes trip)
Okay, you messed up and missed a deadline. Admit it, make up for it and move on. Everyone makes mistakes.

Six – “I’ll Make Love To You” (You have to eventually make the big pitch)

(Note 4: When you put Boyz II Men on for a lady back in the day, the smart play was to throw out an initial dance move, a sideways hip thrust with a smile, as if you were trying to tap the push lock on a doorknob with your coin pocket, and if she laughed you laughed and kept dancing. If she took it seriously and danced, you danced. If she did neither she could walk back to her parents’ house. Constantly judge your audiences state of mind. Do they have a sense of humor?)

Stop. Pull the shades. Dim your computer screen. “Close your eyes / Make a wish.” You’ve put in the work. “We’re gonna celebrate.” Your customers have come to love you, be loyal to you, accept what your selling as what they need. Now, “pour the wine.” “Throw your” big pitch “on the” counter. It’s time to make the big sell. Bring it home. “And I will not let go until” it’s a reasonable time to “let go,” like 5:30 p.m., yeah, 5:30 p.m. is reasonable time to go home. “I’lllllllllll make” money. “And I’ll hollllllddd youuuuuu,” on line 1. Seriously, got someone on the other line. Back in a minute.

But really. Once they trust you, convince them to take on a project or idea that would have scared them before. They trust you. Lead them to something wonderful. [Deep voice] And, then… No, never mind.

Seven – “Thank you” (You have to say ‘thank you’)
This song is the holiday card you send after the client relationship has been good for a while. It’s not really awesome, because you spent all your time on client work.

Eight – “Water Runs Dry” (You have to remind them occasionally why they chose you)
You’ve grown as a company. The client relationship has grown with you. Your product is trusted and just when they are starting to wonder if you’ve still got it, you give them what you gave them on Track 1 — everything you are.

Nine – “4 Seasons Of Loneliness” (You have to be consistent)
By now they trust you and you keep delivering.

Ten – “A Song For Mama” (You have to be better)
Everyone has a song for Mama in some respect. Ozzie Osbourne. Carrie Underwood. TuPac. Kanye West. It’s obligatory. If you don’t have it people will notice. In business, there will always be a lot of people who do what you do, who can offer the same services. Just do it better. Use your deep voice. Use what separated you in the first place. Trade in the ball cap for tails and a cane occasionally, but, really, do what you do and do it better.

Competitors will fall and you will soar.
Soar. Oh. Forgot “I Believe I Can Fly.” Amend Note 3b.1.

Hopscotch 2012 Night Three: Finishing off in style

For a city to ascend to its cultural potential, it must first prove a serious capacity for strange. I’m beginning to believe Raleigh has what it takes to be great. Hell, thousands of Yankees and other non-locals are already living in Cary, banging at her gates, trying to get in. People are coming. Raleigh is undergoing the curse, or blessing, — depending on one’s financial stake in the matter — of a downright infiltration. Our universities, our businesses, and now, thanks to Hopscotch, our music and overall ability to dominate at the good parts of life are going to bring the others in at rates we can neither fathom nor fight. This is Raleigh, a beautiful city inspiring jealousy in all other frumpy towns. Put your ear to the east, Charlotte. Hear us roar.

Read more at NewRaleigh.com >

Hopscotch 2012 Night Two: Dan Deacon Gives

and the smell is akin to wet laundry being pulled from a bag after a week in a trunk. It is everywhere, like air, and, I suppose, a testament to the effort required to experience Hopscotch in full. The house lights are mostly out but the man on stage is asking and asking that the last light up top die. Dan Deacon wants the last light killed so he can give light back to the crowd in greedy portions.

Read more at NewRaleigh.com >

Hopscotch 2012 Night One: A Cautionary Gust

I got off work and borrowed a bicycle and headed downtown for the first night of Hopscotch, a three-day music event in Raleigh. I met my wingman for the evening and his girlfriend who, in some respect, is related to me because my sister lives with her brother. I chose my wingman because he has a ponytail and a bike and he loves music — all prized assets. His bike is nicer than the one I borrowed. It’s a clean chariot that looks like something retired from Olympic competition, while mine is orange and has all-terrain tires, which I guess is good, should the sidewalk ever unexpectedly quit. From his house near Krispy Kreme’s caloric glow, we set off into the night, cruising to the rhythmic thud of bicycle mud tires on pavement, toward places we will let make sexual advances on our ears.

Read more at NewRaleigh.com >

Almost on the campaign trail

Notes from Tuesday, August 21, 2012.

It’s Tuesday and I’m home sick from work. There’s a demon inside of me I won’t describe. Since I’m home from work I decided to get off the couch for an hour or so, shake the self-pity that slides in with any sickness, and go see the Republican vice presidential candidate Paul Ryan for a half-hour while I grab some lunch.

He’s visiting SMT Inc., a metal fabrication plant off ACC Boulevard near Brier Creek. I want to go see the crowd. Political crowds are welcoming, as they attend events to hear a man they want to like say thinks they want to hear. Of course, approaching any political rally, for Democrats or Republicans, one’s bullshit meter beeps and beeps and beeps, quickening, until it beeps into a high-pitched consistent drone, as if the meter’s holder was standing over an iron deposit beneath on the beach. But the crowds have a way of shutting this off. Giving in. And it’s fun to watch.

I arrive shortly after 12:30 p.m. for the event scheduled to begin at 1:30. The parking lot is scarcely full and a group of men are playing basketball next to a squat grey building, an office complex situated before a large white factory. I imagine the men are on a break and care little about what is going to happen inside, not wanting to sacrifice their break on a warm day. I’m terribly early so I circle the block and sit in a parking lot to read an article of mine NewRaleigh.com posted about a band.

I had Googled Paul Ryan earlier in the morning so I’d know what to expect. He is taller than I imagined — six feet two. I once had the privilege of working at a fancy local hotel as a doorman where I saw Bill Clinton who was shorter than I had imagined. It was off-putting. You never expect to look down at the president of your country, but that’s a whole other story. Ryan is in good shape. I read he did P90x and this makes me not trust him. I did that devil workout for a number of weeks before Tony Horton’s inhumane treatment of my psyche drove me back to ice cream and booze. Ryan has a widow’s peak, which means nothing, other than the point of his hairline and the point of his muscular chin give his face a wedge-like appearance, something exact and hard that could keep a boat in place on an incline.

I should have dressed nicer, I think in the parking lot nearby. My khaki shorts and comfy Blitzen Trapper t-shirt make me look like I don’t love America as much as some of the folks who will surely dress up. I should’ve worn a shirt with buttons.

Near 1:00, I return to the parking lot at SMT Inc. and there is still not a lot of cars. I wonder how the lack of attendance will be reported or how it may reflect the Republican ticket’s support in North Carolina. The men are no longer playing basketball beside the short grey building and I think maybe they will get to watch the event, be spared a few minutes of labor, the way a visitor to a classroom steals kids from an everyday routine. In school it didn’t matter why you were pulled from class. Fire drills. Smokey the Bear. D.A.R.E. All were welcomed escapes.

Ryan will shake hands with a lot of people at this event, I’m sure. So I’ll pick a place out of his way. I do not want to be close enough to extend my hand, being that I’m sick. Imagine the headline tomorrow: “Raleigh Dem Gives Ryan Runs.” I can see it now, FOX News.

I wait in my car until just after 1:00 and another man pulls in and backs his truck into a spot. His reverse parking reveals his Republican beliefs. He’s wearing khaki shorts and a t-shirt and when I see him I feel better about my attire. I decide that on the ride home, after the event, after filing through the light traffic to leave the fabrication plant, I’ll call my wife and, using my sick voice, ask her to swing by at some point during her busy day with ginger ale or Popsicles, but then I think after hearing Ryan’s talk I’m sure I won’t want to ask. The handouts, I believe, even from my wife, would surely come off as asking for a charity or, worse, help, and a Republican man who finishes P90x would surely expect another man to be more self-sufficient.

I get out of the car and leave my notebook. I’ll use my new tape recorder app to record the stump speech. I’ll whisper notes about the well-dressed crowd and the people who brought their children and the event’s setup into the mic during applause breaks.

The demon inside is talking but I’ll be home shortly.

On the door of the grey building is a typed sign printed on white computer paper that reads: We do not have any available positions for employment at this time. Thank you, SMT Management.

I think they should have removed that sign before Ryan and the public visited.

Inside the little cube-shaped lobby there is a phone and I dial 2-5-0 for assistance because another typed sign tells me to.

“Hello this is Mary.”

Hey, Mary. I’m here for the campaign event. Could you direct me where to go?

“The campaign event in tomorrow. This is Tuesday.”

Thank you, Mary. It is Tuesday.

 

How Britney Spears Helped Me Through Puberty (and Some Hopscotch Advice) // Part of New Raleigh’s Hopscotch Recommendations Part II

Gap and Avetts come together

The Avett Brothers are in a Gap ad.

[Curse], The Avett Brothers are in a [cursing] Gap ad.

In my last blog about 90210, I said I don’t believe in Gap. I believe in The Avett Brothers, though. I believe in their music, their live shows, their songwriting and whatever else a fan can believe in. Seeing them in a Gap ad was, for a moment, crushing.

Here’s the story of Gap as I see it:

In sixth grade, you didn’t take a gym bag to middle school, you took a Gap bag with your stuff in it — a drawstring Gap bag. The kids who didn’t follow this protocol teetered on the edge of social survival. Transitioning to a Gap bag for your things was like switching to a brown paper lunch sack and retiring the Power Rangers lunch cube. That was my first experience with the Gap. It was a place you went for a shirt or two (with your mom) after you spent the majority of what allowance you had at Abercrombie. (Woods cologne, anyone? Or, “The Ivy League of Cologne,” the website boasts. All of my middle school smelled like that oaky slime. You could see the Woods vapor wafting about the reflective hallways.)

Then Gap evolved. At some point it switched to the “Let’s wrinkle the hell out of everything we sell and hang stuff on hooks like we don’t care” retail philosophy, which mirrored Abercrombie’s (and Abercrombie’s poorer cousin American Eagle’s) direction. For a while Gap went preppy, like it saw a girl it liked in a tennis skirt and decided to dress up (insert Gatsby-faking-it reference here). Then Gap settled in. Gap went to basics like khakis, t-shirts, polos and jeans. (Gap’s men’s jeans are okay, but women’s are, eh, not sure how to put it… they tend to square what should be round.) Recently, someone has taken the helm at Gap and kept them in tune with the shifting winds of casual fashion — plaids, chambray, gingham, denim fits, etc. Gap is better now than it was, yet still lacks a definitive identity. It’s just Gap. It’s… I don’t know… individually wrapped cheese slices.

The Avett Brothers on the other hand are not sliced cheese. They’re the cheese that has a little special place in the grocery store only some people go to. They are a cheese that took some old bearded guy a long time to craft somewhere in a barn or shack. Goats bleat on a hillside near where this cheese is made. (Meander through YouTube videos and you’ll find many performances filmed in a barn or yard.) The band’s live shows are pungent, for sake of the analogy — a punch in the gut. So, seeing such a non-generic group of songwriters promoting a rather generic retail store was disappointing.

I guess one must do what one must do. Fathers must feed their children and, if they hit it big enough, they should capitalize and feed their grandchildren. The Avett Brothers’ music went through a raggedy, wrinkled phase. A clean (Rick Rubin-produced) phase. So maybe the histories of these two different entities are not entirely unique, but are a rather good match. Next, we can only hope, the band avoids growing up and becoming the modern Gap, which adapts to the way the breeze blows, however it blows — a one-size-fits-all-and-the-jeans-square-women’s-butts-and-seventy-varietys-of-denim-and-holy-crap-we-love-basic T’s kind of band.I don’t know. Good for The Avett Brothers for being badass enough to strike a major endorsement deal. The Avett Brothers move people and it’s smart for a business to pick them up. It’s just that, for a second, I wanted one of those plastic drawstring bags to put over my head.

Burn.Flicker.Die. is American Aquarium’s Proud Stand

Article on NewRaleigh.com.

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