BRIDE OF THE MOTOR CITY MADMAN: James Parker reviews Shemane Nugent’s memoir (Arthur, 2003)

BRIDE OF THE MOTOR CITY MADMAN

by James Parker

Originally published in Arthur No. 6 (Sept. 2003)

Reviewed:

Married To A Rock Star

by Shemane Nugent

197 pages

The Lyons Press

$19.95/$32.95 Canada

As something of a haunted carnivore myself, hearing the groan of the abattoir every time I bite into a burger, I’ve always respected Ted Nugent for killing his own meat. No flinching from reality there, no insulation from the dripping fact; every day he eyeballs his naked lunch. Then there’s his music, his killer dinosaur rock, with the big bones and the tiny gem-like brain, ancestor of nothing, an influence on nobody, awesomely stranded in time. And then—for which I most esteem him—there’s his MOUTH, his stupendous verbal barrage. Between songs, the freaky preacher-babble; on air and on the page, comic rant-power. Here he is in 1977, telling High Times why he doesn’t use effects pedals: ‘When the fuzztone first came out, I fucked around with that. When the wah-wah came out, I fucked around with that. I fucked around with flangers and phasers. But my ears are the man in charge, and I just like a powerful guitar sound through an amp.’ Undeniable—the champing rhythm, the build, the final resolving chord. Heavy metal speech!

The Nuge has always hunted, always barked about guns and freedom: this strain of Amerimania has always been part of him, like the militaristic guitar-drum tattoo–POM-POM-POM-POMMM!–that suddenly rears up, tumescent with martial pride, from the psycho-murk of ‘Stranglehold.’ In his middle age the arteries have hardened and instinct, as it tends to, has become ideology: he’s officially gone Republican. His seat on the board of the NRA, his campaigning with the Ted Nugent United Sportsmen of America—banging out articles for Razor and The Wall Street Journal, gnawing at the mike in his radio studio—the Nuge-ian agenda advances in step with this country’s ruling party. But he’s still the NUGE, punk. Metal fans have always ‘got’ him better than anyone else: his sly bombast is part of the metal vocabulary, and ears sophisticatedly attuned to monstrous overstatement will have no problem with Nuge-isms like ‘whack’em and stack’em’, ‘rape o’the hills,’ ‘I am the most intense human being who ever lived’ etc. Voters, on the other hand—and one day soon it will come down to voters—are, like the innocent fawns of the forest, easily startled. Act too loud and they’ll prance away in terror, never to return. So the Nuge, now going mainstream, coming in from the grizzly Right with his message of clean living, fresh meat, family values and guns for all, has been toning it down. Hence, we must believe, the publication of Married To A Rock Star, this book by Mrs Shemane Nugent, his ‘veteran rock wife’ of 14 years. Graciously blurbed by all the Right people—Charlton Heston reaffirms that ‘Ted is one of the good guys,’ Sean Hannity of media duo Hannity and Colmes promises the reader ‘a renewed sense of the morality and faith that underlie the important institution of marriage—Married… is soft-focus, vaseline-on-the-lens Nuge: something for the lady electorate.

It’s not a great book. It is, unforgivably, a boring book.

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RECENTLY DISCOVERED DELIGHTS by Farmer Dave Scher (Arthur, 2008)

Twenty-One Recently Discovered Delights

by Farmer Dave Scher

Originally published in Arthur No. 28 (March 2008)

1. Otto Hauser (musician) and Brandy Flower (visual artist)

Two really great men who’ve never met, but were my 2007 favorites for the same reasons: they are really talented and humble, and they both travel where they’re needed and just lay it down, making them pillars of their respective communities.

2. Persimmons

I was astonished to eat this thing for the first time… like a dessert bread… heard if you freeze them, it’s like ice cream.

3. Local media in Los Angeles

L.A. morning TV news, papers, and radio stations… I’ve really been enjoying tuning in to see what everybody’s watching and hearing.. never used to do that, but I like the immediacy of receiving something at the same time as millions of other people around you… I’d forgotten that feeling after spending so much time on more obscure books, news sources, music, and movies that you usually watch alone or with a couple of other people, tops… (Channel 9 News, News 980, LA Times, KPFK, KXLU, Dublab.com, Classical 91.5 fm, Latino96.3, Indie 103.1–Jones’s Jukebox and Rollins’s show).

4. NYC

I spent more time there this year than I ever have before, and really enjoyed it. Thanks to all my people over there for taking me under your wings, especially Miss Carol Sharks xox

5. Traveling

See the world, get around, gather no moss, get oxygen.

6. Symphonic software

Nowadays you can get really decent sound programs that run on your computer and turn you into a one-person orchestra…I’ve waited years for this technology to develop to the point where quality sampled sounds are affordable and accessible to people everywhere …. Faster computers have really helped out, as have the people behind some good new products like MOTU ( Mark of the Unicorn) Symphonic, and M-Tron…

7. Nocturnalism

I spent more of 2007 in the night than the day. This kind of living has its downsides, but between the hours of 1am and 5am, I was way too happy to care. If you’re out on the town, there’s plenty of excitement; if you’re at home, there’s a beautiful stillness and quiet to the world, and sounds float more easily…

8. Marvin Gaye

There’s a live DVD that came out recently called Real Thing: In Performance 1964-1981…. the footage and music video for “What’s Goin On?” is really moving and heavy.

9. Skateboarding again

Last year started riding a big ’80s deck, big Shogo Kubo wheels, rolling around like they never invented the Ollie and having a great time… I’ve stopped worrying about finding good parking spaces… thanks to Eric Shea in SF for getting me started again…

10. Surfing on moving buses/subway trains

Don’t hold on to any handrails, bend the knees and roll with the bumps and sudden jerks.. Place one hand in the air to act as a vibe antenna… It’s a fun practice, and lifts you up….

11. Megauploading

Lots of big information flying around really fast between good friends is awesome.

12. Pynchon’s Against the Day

This 1,000+ page book could be a real chore sometimes, but filled with plenty of enjoyments for the Arthurian reader; it deals with some really fun concepts from the world of the late 1800s through the First World War. You get aeronauts and aether, Robber Barons, Icelandic Spar and a lot of Tesla, amongst many other things.

13. Pandora

Spins a good thread based on your entered area of musical interest.

14. Anchovya the Cat

I’ve been very happy with this cat.

15. Left hand

Develop brains in both hands, try and switch even the most meaningless activities to the other hand… in my case, I want the left hand to be a good low-end piano player. Also switched mouse to left hand to avoid repetitive stress…

16. Heatwarps

Good musical source of information.

17. J.J. Hat Company in NYC

A fine shop with really classic hats. Thanks to Otto Hauser (see #1)

18. Mexico

A nearby faraway place you can still dream in, but staying aware when you’re there is a must….

19. Elliptical Machines

A good workout for the body without taxing any joints too badly or getting too ripped, muscle-wise.

20. Voice development

This life-changing practice involves producing sound via the different resonating chambers of your head and torso…. Really fun and rewarding, great at first in shower and car, then carries over into everyday social life, increasing energy and confidence, alleviating boredom, and boosting conversation skill… just start humming!

21. Aging

Getting on in years, more patience and tolerance, greater perspective… Also, inner depths become vaster, brighter/darker, and way more controlled/chaotic. I’ve really enjoyed marking these changes in myself, friends and relations…

Farmer Dave Scher resides in Highland Park, California, and feels pretty well lately.

ASK JOHN LURIE (Arthur, 2003)

Originally published in Arthur No. 3 (March 2003)

ASK JOHN LURIE

We’ve been informed that Arthur’s supposed regular advice columnist, Fat Possum recording artist T-Model Ford of Greenville Mississippi, is too busy facilitating a 10-day workshop-retreat on “Transpersonal Enlightenment and Ancient Wisdom” in Peru to take any of our goddamn questions right now. He’ll be back next issue, no doubt.

Our advice columnist this issue is John Lurie, who needs no introduction. (pause) Right. For the more curious members of Arthur’s readership, here’s an update on Mr. Lurie’s current activities. John claims that he is on sabbatical from music, and is living in New York City while working on an autobiography entitled What Do You Know About Music, You’re Not a Lawyer. Also, he just fired his girlfriend. 

None of this has been independently verified. 

Onto the questions…

Q: I’m 25 and have two children from previous relationships. I met my boyfriend a year ago and we hit it off immediately. He’s 28, divorced with two sons. I find him funny, gorgeous, witty and charming and we are totally relaxed together. 

When we first had sex, it was the best ever. He is a fantastic lover. We were planning to spend our lives together and I want this more than anything but for some reason I have gone out of my way to sabotage the relationship by sleeping with many other men. I go out with my friends and as soon as another man shows any interest, I’m there. I have met men in clubs and gone home with them. The sex is never up to much and I am disgusted with myself afterwards. I decided to stop going clubbing to avoid temptation and started just going to pubs in town with my mates. 

My boyfriend found out about the flings and was devastated. I seem to go out of my way to hurt him but I felt brokenhearted when he told me recently he was seeing someone else. I thought I had lost him but he was back a week later to see how I was and we ended up sleeping together. He still comes round and we have sex but now I am the one who feels betrayed. He says he has feelings for me but he is still with the other woman. I am at my wits’ end about what to do.

John Lurie: You have no business feeling betrayed as you created this situation yourself. You may have to wait a while until he feels he can trust you again. In the meantime, please forward your phone number to our staff.

My daughter spends less and less time with the family since she met her boyfriend. She’s 16 and has just started dating a boy of 19 who we have known for years. He was such a nice boy once but now he is abusive and rude. He has a bad temper and we know he smokes pot. We used to have a good relationship, then he was rude to me. My husband was furious and told our daughter that her boyfriend was a lout who would never be allowed to come into our house again.

Because she can’t now bring him home, the only time we see our girl is at dinner and for a few minutes before she goes to bed. Do you think I’m being too possessive wanting her to spend some time away from this boy? Or should I just leave her alone and hope she comes to her senses?

You are not being too possessive wanting to see your daughter, but I don’t think that is what you really mean. Are you saying you could demand that she spend time with you and away from him? Because that would be a disaster. She is 16 and not supposed to come to her senses for at least another 13 years. One thing you might try is inviting the boy to your house. You must show him how uncomfortable loutish behavior can be. If he smokes a joint, you and your husband could take out your crack pipes and start smoking. Your husband should scream at you constantly, “Smash the pipe! Smash the pipe! We’ll just keep mine. Smash the pipe!” You could suggest that your husband smash his pipe, while you crawl around on the floor picking up pieces of the carpet to smoke. Make sure that you are both hyperventilating. This has been proven to work for many families with teenage daughters.

My boyfriend is perfect for me but he can’t last long when we make love. We are both 22 and have been together four months. I’m multi-orgasmic and self-satisfaction isn’t what I want but most days it is what I end up with. I never tell my boyfriend how I feel because I don’t want him beating himself up over this.

Change the “up” to “off” and have him try it an hour before visiting.

I am 32, my wife is 31 and we already have three girls. We always planned to have four children and would really love for our last child to be a boy. Is there any way we can make this happen?

I would suggest flushing the female kittens down the toilet.

My hubby is 35 and I’m 30. We’ve been married for 12 years and have two children, aged three and six. We have been happy, although things had become a bit dull. We hardly ever went out and only made love at weekends.

Last year two good friends of ours split up. She is 32 and he is 33. They also have two children, aged seven and nine. I should have given them my support but instead I went after the husband, even though I knew she wanted him back desperately. It was exciting at first, meeting in secret and having illicit sex while my husband was at work. We did things that my hubby and I would never do. He made me feel desirable and daring. I felt alive again for the first time in years. Eventually, it all came out and my husband left.

Worse still, I’ve told my lover lots of lies about his wife to keep them apart and he’s treated her terribly because of it. We’ve both neglected our children while we’ve been seeing each other.

This man thinks I’m totally in love with him and that I’ve given up everything for him. The truth is it started out as a bit of fun and a challenge and now I want out.

How do I do it without losing face and owning up to all of my lies? And how do I get my husband back? He has now found someone else but I want him back because I’ve realized what a bad mistake I’ve made.

You’ve already lost face. You have no face at all. If you are seeing a face when you look in the mirror it is the same psychological mechanism that causes phantom limb pain in amputees.

I am 21 and she is 20. We have been together for 18 months and I fancy her like mad. She’s beautiful, loving and sex was brilliant at first. I started having problems six months ago. I can’t satisfy her and she thinks I’ve lost interest. But when I’m alone with a magazine or video, everything works normally.

You aren’t explaining what doesn’t work normally when your girlfriend is there. Perhaps you could get a large cardboard box from outside the local refrigerator store. Cut a large rectangular hole on one side, glue knobs to that same side that say “POWER,” “VOLUME” and “CHANNEL.” Then ask your girlfriend to wear rabbit ears and step inside. Go around the house yelling “Honey! Honey I’m home.” But tell her not to respond.

I’ve been married for six years to the woman I thought was the perfect partner. She’s sexy, good-looking and has been a fantastic mum to our children aged three and 11 months. We’re in our early thirties. For several months my wife has said she is suffering from post-natal depression. Then two weeks ago she said she was was seeing someone else and had also slept with her lover’s friend on one occasion. Then she told me about the group sex video her new man wants to make. The idea horrifies me but she seems to be going along with it. She has changed totally. She ignores the children and won’t do anything for them while speaking to her lover on the phone for hours. She’s obsessed with this man. He’s in his forties and well off. Until the other day she didn’t even know his real name. He lies to her and has no respect for her. 

I’m coming to the end of my tether. I know she uses me and walks all over me but she says she still loves me and he’ll never love her the way I do. I’d forgive anything because I can’t live without her.

I suggest an icicle. There is no murder weapon and no finger prints.

HOOKED ON POLYPHONICS: Gabe Soria meets the Polyphonic Spree (Arthur, 2003)

HOOKED ON POLYPHONICS

Tim DeLaughter is the cheerful mastermind behind THE POLYPHONIC SPREE, the world’s best happiest symphonic pop band. Ornate on record and staggering live, the grand tradition of Texas psychedelia has never sounded so ecstatic—or tasted so sweet. Text by Gabe Soria. Illustration by Paul Pope.

Originally published in Arthur No. 3 (March, 2003)

“This is going to be fun,” says the impish man with the curly black hair. He’s dressed in a flowing white robe, and he chuckles. The crowd titters in agreement. Then, like the thunderclap before a sudden and wonderful summer rainstorm, a firecracker burst of a drum roll breaks the anticipatory silence and the band behind and besides the man kicks in, and the choir behind them starts boogeying and the hairs on the back of your neck are standing up because for all intents and purposes you feel like you’re rocketing down the first drop of the world’s best wooden roller coaster, full of terror and elation, brimming with the beauty and potential of life, coupled with a stirring acknowledgment of its sadness and inevitable mortality.

“This is gonna be fun,” said the man in the white robe, and he wasn’t telling tales out of school. The band—the French horn player, the trombonist, the harpist, the flautist, the drummer, the ten person choir, and so on—are, like the singer, dressed in matching white robes, and although they’re only two songs into their set at the second anniversary of Dallas’ Good Records store, you can hear that they’re already working up an ecstatic sweat. The audience is besides themselves with excitement. And then the defiant simplicity of the song’s main refrain, almost like a school yard chant, comes in: 

“You gotta be good!

“You gotta be strong! 

“You gotta be two thousand places at once!” 

And by the time the song winds down, the entire audience will be chanting along, singing with the band, hands in the air, beaming, beatific smiles on their faces. And the only people enjoying it more than the folks watching are the band themselves, all two dozen of them looking like they’re fit to burst from elation. That is what watching the Polyphonic Spree live is like. It’s the type of thing that makes you raise your hands up and say “Yeah!” while joyous tears of hope and fear brim at your eyes.

“So… how was your day?” I ask.

“Today was… wow,”  laughs Polyphonic Spree ringmaster Tim DeLaughter, 37, over the phone from Dallas. He excuses himself from his dinner companions – he explains that the maelstrom of noise and chatter in the background is simply the sound of what seems to be his hometown’s busiest Tex-Mex restaurant – and walks outside to continue our conversation in relative silence. And this isn’t the first time he’s going to say that word, that “wow”. It peppers his speech liberally, and the way he wraps his soda-pop sweet Texas accent (it splits the difference aw-shucks good-ol’ boy and cosmic space cowboy) around it, it’s given its due as the English language’s best shorthand for awe and amazement. This fella (and his band) have got a lot of time for the wonder and the glory in this terrible and grim world and he wears it on his sleeve.

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A tribute to sci-fi author Jeff Lint (“the burst sofa of Pulp”) by Steve Aylett (Arthur, 2002)

Jeff Lint: The Burst Sofa of Pulp 

by Steve Aylett 

Originally published in Arthur No. 2 (December, 2002)

Pulp sci-fi author Jeff Lint has loomed large as an influence on my own work since I found a scarred copy of I Blame Ferns in a Charing Cross basement, an apparently baffled chef staring from the cover. After that I hunted down all the Lint stuff I could find and became a connoisseur of the subtly varying blank stares of booksellers throughout the world. 

Born in Chicago in 1929, Jeff (or Jack) Lint submitted his first story to the pulps during a childhood spent in Santa Fe. His first published effort appeared in a wartime edition of Amazing Stories because Lint submitted it under the name “Isaac Asimov.” “And Your Point Is?” tells the story of an unpopularly calm tramp who is pelted every day with rocks, from which he slowly builds a fine house. The story already reflected the notion of ‘effortless incitement’ which Lint would practice as an adult. “Jack was fantastic,” says friend Tony Fleece. “Went around blessing people – knew it was the most annoying thing he could do. A dozen times, strangers just beat the hell out of him.” Lint perfected the technique when he stumbled upon the notion of praying for people. 

Lint’s first novel was published by Dean Rodence’s Never company in New York. The relationship between Rodence and Lint was one of complete mistrust, rage and bloody violence. When submitting work in person, Lint insisted on appearing dressed as some kind of majorette. “He was a large man and clearly wasn’t happy at having to do this,” explains Fleece. “He blamed Rodence, was resentful. I still don’t know where he got the idea he had to dress that way when handing his stuff in.” 

The first novel with Never was One Less Person Lying, in which Billy Stem must tell the truth or be transformed into the average man. Rodence persuaded Lint to change the title word ‘Person’ to ‘Bastard.’ On a night of pre-press jitters, Rodence then partially re-wrote the final sections of the book so that Stem puts on a spacesuit and goes berserk, killing an innocent stranger with a large rock. The book was published as simply One Less Bastard. In the 25 years of their association Lint never forgave Rodence for the incident, and often alluded to it by repeated use of the word “bastard” when speaking to him. 

Around the time of his second published novel Cheerful When Blamed, Lint met his first wife Madeline, who was attracted to him by a knife scar which led from below his left eye to his mouth. This was in fact a sleep crease and Lint managed to maintain the mistake by napping through most of the marriage. But after five months a bout of insomnia put paid to the relationship and left Lint with nothing to occupy his time but his writing–luckily for the world of literature, as he produced some of his best work at this time, including Jelly Result, Nose Furnace, Slogan Love and I Eat Fog, all of which appeared on Rodence’s new Furtive Labors imprint. Turn Me Into a Parrot took issue with the fundamentalist notion that the world was only a few thousand years old and that dinosaur bones had been planted by god to test man¹s faith. Lint asserted that the world was only sixty years old and that the mischievous god had buried sewers, unexploded bombs and billions of people. In my own book Shamanspace I make it clear that humanity arrived eons ago but, like a man standing in front of an open fridge, has forgotten why. 

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A Listener’s Guide to Dolly Parton by Paige La Grone Babcock (Arthur, 2004)

A Listener’s Guide to Dolly Parton

by Paige La Grone Babcock

Originally published in Arthur No. 8 (January, 2004), accompanying Karin Bolender’s cover feature on Dollywood, “Silly Beasts in Sacred Places.”

Earlier this year, Dolly Parton released her 72nd album. Halos & Horns rounded off her trilogy of back-to-the-roots music with a bluegrass pastiche of story-songs, love-gone- wrong songs, and timely anthems exploring faith and spirit. Too, there are the much nattered about ‘grassed up covers of Bread’s “If,” and most notably, Zeppelin’s “Stairway to Heaven.” At her prime, the once and future queen of  country music, Parton has embarked on her first big tour in over a decade. 

A highly accomplished song-writer, singer, actress and performer, Parton has so embedded herself into the American psyche. And that is a very good thing—a veritable five-foot by buxom celebration of womankind, Parton predates (and easily dominates) Madonna in terms of reinvention . And long before the Dixie Chicks were a glimmer in anyone’s eye, Parton was glittering it all up with hicked-up subversive glamour of the blonde, paint-for-filth variety, and playing her own banjo, too. Her enduring legacy is her song-writing: “Jolene,” one of Parton’s earliest hits, has stood the test of time and worn incredibly well, most recently evidenced by hipster-destructo-blues band the White Stripes—their cover, a live-set staple (also available as a rarities track), with Jack White singing the song straight. Some kind of wonderful peculiar beauty, that.

Born in 1946, the 4th of 12 children to sharecropping parents, Dolly Rebecca Parton’s earliest years in the Smoky Mountain foothills of East Tennessee’s Sevier County were marked by extreme poverty, abiding faith (in both God & herself) and determination to make the most of her gifts. Parton’s uncle, Bill Owens, himself an aspiring country song-writer, was the girl’s first musical mentor. He taught her to play guitar and took her to the city of Knoxville to meet grocery store magnate and radio show sponsor Cas Walker. By the age of 10, Parton was singing on Walker’s radio show, and later, on his television show. 

Parton’s first recording session, with Louisiana’s Goldband Records, was arranged by Owens and resulted in the sweetly sing-song single “Puppy Love.” Owens’ persistence on his niece’s behalf was rewarded with Parton’s first appearance on the Grand Ole Opry and a 1962 single for Mercury, though the latter went nowhere and Mercury’s interest in the young talent waned. Determined as ever, Parton graduated high-school in 1964, announcing at the ceremony that she was “going to Nashville to become a star.” Parton’s words elicited laughter from the assembled graduates and their families. She left for Nashville the day following graduation. 

Once in Nashville, Parton babysat to make ends meet. She appeared on the occasional radio show and wrote with fervor–at the date of this writing, Parton has published well over 3000 songs. During the early days  in Music City, Parton pitched songs in Nashville to no avail and sang on some demos. While Capitol passed on her, Monument— who’d broken Roy Orbison earlier in the decade, and gave a pre-Austinized Willie Nelson a shot— took Parton on. As Monument founder Fred Foster recounts in the liner notes to the double disc set, The Monument Story, he took a meeting with Parton on recommendation of Billy Graves, one of Capitol’s A&R men, himself a retired artist. Auditioning live with a handful of original numbers, Parton’s raw talent wooed and won Foster. 

The first Monument recordings were marketed to pop audiences, though a listen to this early material from sides and the recording Hello, I’m Dolly–later piece-meal chronicled on both the Monument Records Story and The World of Dolly Parton, Volumes 1 & 2–show the young Parton to be thoroughly adept at harder edged twang and tune. Two Monument singles, “Dumb Blonde” and “Something Fishy,” both penned by Parton, were hits. They show Parton as a young woman to be reckoned with: simple though strong melody, a thin mountain inflected soprano gracefully quivering and pure; ability to put across clever and thoughtful lyrics with emotion and a charismatic innocence underpinned with subversive strength and actualized sensuality–qualities which continue to ripen and mark the artist’s work throughout her decades-long career.  

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STEVE AYLETT on the whole Matrix bollocks (Arthur, 2004)

The Mattress Has You

Steve Aylett pulls you from the pod 

Originally published in Arthur No. 8 (May 2004)

Reviewed: The whole Matrix bollocks.

There was a time when bone-white-fellas-in-long-black-coats-and-shades like myself could enter a lobby without everyone screaming and hitting the deck. But then, over a decade after the heyday of cyberpunk, The Matrix launched the lite version.

By the time a subculture surfaces all clean in the mainstream it’s been simplified to a couple of notes–look at Goth in the timid world of Buffy–but by keeping it simple, the first Matrix also kept it precise and consistent (except for the tapped phone before the meeting at the bridge and all the battery nonsense). There was just enough story to stand up–newbies spoke of “wheels within wheels” but in truth it was only a two-wheeler, the simplest “reality inside a reality” plot. Compared to the works of Greg Egan, The Matrix was Where’s Spot? and left the cyberpunks in the audience waiting for a twist that never came. Harlan Ellison had no mouth and had to scream years before Neo.

Why did the first Matrix work, when the story was so old? Virtual reality is old hat–William Gibson moved on from it when the first Matrix was a mere gleam on the shiny vinyl arse of Carrie-Anne Moss. The Matrix marked the first time VR had been done well on screen–the technology had finally got to the point where real images and CGI were genuinely indistinguishable. Compare this to Wild fucking Palms. 

The Matrix’slook is a mix of Dark City, Hardboiled, Blade, Accion Mutante, Grant Morrison’s The Invisibles and my own “Beerlight” stuff, but it established a cool of its own, working from the theory that the more blank faces there are on the screen, the fewer there will be in the audience. An actress like Fairuza Balk, whose face can really move, would have upset the whole deal. The blankness worked great, though, for Agent Smith, who would be hilarious just reciting from the phone book. In keeping with the “more quantity, less quality” scheme of the sequels, Smith uncoupled himself from the Matrix in Reloaded and duplicated himself hundreds of times. His “now it’s personal” thing went too far–Hugo Weaving’s restraint was what made him funny, and many characters and concepts fall apart when uncoupled from the rules–when Pinhead became a free agent in the third Hellraiser movie, he was no longer Pinhead, just a declaratory tosser. (In fact, Hellraiser III: Declaratory Tosser was one of the titles mooted for that sequel.) In Matrix Reloaded the balanced repartee of Weaving was taken up more successfully by Lambert Wilson in the character of the Merovingian, for whose scenes I woke up briefly. Even his girlfriend (Monica Bellucci) was a nice departure, in that she appeared to weigh more than a kilo. Meanwhile the good guys, two-note characters in the first film, were reduced here to a single robotic note–to the extent that the blank Keanu and stonier-than-thou Fishburne were often replaced with CGI stunt borgs. 

The Matrix movies have opened up “meaning-spotting” to the casual viewer, with a few very deliberate meanings and the most impressively inadvertent ones since Willem Dafoe’s 9/11 prophecy in Faraway, So Close and the characters Mac and Windows in Carpenter’s The Thing (which one contains the nasty bug? which one will last longest and operate most creatively?). The “there is no spoon” notion of changing the Matrix by thinking differently about it is meant to push the Buddhist/postmodern folly that believing something makes it so, thus removing the expectation of having to physically do anything about it. “There is no fact” is beloved of government because it helps people to accept anything that’s done to them. And it’s more glamorous to talk about evil machines (or aliens, demons, vampires, Satan …) than it is to deal straight with the utterly bland human bastards who actually fuck us over. Real evil is too crass and low-res to work as an industry pitch. This is the problem with science fiction–the more compelling the world created on screen, the less likely that anyone will translate it back into an active meaning in the real world. So this remains a story about energy-battery humans plugged into VR, and not about the constant re-examination of thought premises leading to practical action.

I liked the first Matrix okay but I wish it was braver and more specific. The IRS is mentioned in passing but not the PNAC–such surgical opportunities are regularly missed. Fans look for rabbit references–Night of the Lupus is on TV in the Oracle’s apartment–it’s a safe little parlor game. Maybe the Matrix trilogy will make mental activity glamorous by making it synonymous with kicking the hell out of people, but in doing so it may remove people’s understanding of how and when to physically do so.

I briefly hoped that Revolutions might throw some folds into the cyberpunk lite routine, with Smith ending up as a deadpan stand-up comic in the style of Richard Belzer. The “humans and machines should work together” bit–obvious enough to be unavoidable even for the arch-evaders directing this mess–could in fact have been dodged at the last minute in favor of a splodgy, wading pie fight like something out of The Great Race. Get in there, Monica! But no–the requisite lusty enthusiasm and flushed, giggly humanness would have been a universe out of place. 

I was hoping that at the very least the wasteland and Zion could turn out to be another digital reality inside another inside another etc all set up for the amusement of the cat which Neo saw twice in the first film–the cat is called Ramone and is having the time of his life. “And that’s what I did for the weekend,” the sock-puppet cat says in the final frames of Revolutions, and smiles open-mouthed like Kermit the Frog. Fade to black. Instead we have Smith the Terrorist, designated villain, ultimate cop-out distraction from the real manipulators. 

Like Nebuchadnezzar, the namesake of Morpheus’s hoversub, viewers will always evade what the dream really means, for fear of having to actually do something about it. Don’t really get out from under, just pretend you’re Neo and that you could any time you wanted. It’s a portable adventure you can carry anywhere and superimpose over any situation as a prophylactic against real action. There will be no Revolution. You’re still asleep, smartass. The mattress has you.

Steve Aylett is the author of Slaughtermatic, Atom and Shamanspace. 

Visit http://www.steveaylett.com

JUNE CARTER CASH, 1929-2003

June Carter Cash, 1929-2003

by Paige La Grone Babcock

Originally published in Arthur No. 5 (July 2003)

She died on Thursday May 15. Complications from heart valve replacement  surgery were the cause; that, and being without oxygen too long, whereby her loved ones were forced to take her off life support. My adopted hometown went into deep mourning. The following Sunday, I sat beside my new husband on our beat-up sofa in Nashville, watching Channel 5 broadcast the funeral of June Carter Cash from the First Baptist Church in Hendersonville, just up Gallatin Road and through two townships from where we sat holding hands at home. 

The place was packed with fans, friends and the famous–from Sheryl Crow to Jane Seymour to Larry Gatlin, all of whom spoke or performed during the sometimes moving, sometimes bizarre open mic portions of the service. A mad crush of flowers dressed the altars, the backdrop to the speaker’s podium, and flanked the blue coffin wherein lay the 73-year-old body of June Carter Cash. After the funeral, I read that her children asked that flowers be sent in lieu of donations, for their mother had loved them so. I wondered if the coffin color was what the family knew as “June-blue,” self named for her favorite shade. 

Johnny sat in the front row, in a wheelchair, not walking the line, but kinda broke-down, untethered; an American icon wholly human before us. Seeing him so made me squeeze my own husband’s hand harder. June and Johnny, married to one another for 35 years, found each in the other a soul mate in mid-life. Theirs is neither fable nor fiction, but fated love story for the ages. And that love first fettered then unfurled, became June’s greatest art, midwifing her most enduring and exponentially regenerative acts of faith; faith in God, faith in man, faith in big beautiful bittersweet Life, and in the salvation that comes from belonging. 

Well practiced in the womanly art of community building,  June Carter Cash was one of the faces of radical feminism in my book. Not unlike choices made by women the world over–from my mother to my best girlfriend, to Patti Smith post-Mapelthorpe and prior to her husband’s untimely departure from this world– June mindfully feathered her nest, made welcome what came, and enlarged the circle by choosing home and family, (both blood and chosen) as the focus for her spotlight. Not the choice for all, but a valid and deeply beautiful choice for her, June Carter Cash lived in a way that inspires women to follow their hearts, making choices that suit them and their get, rather than buying into received opinion of shoulds and should nots. June had the strength and the intelligence, the warmth and the gumption to go on ahead and embrace her greatest gift–that of being the glue, that of being the magic. 

She was a female familial icon of continually shifting status: born into the First Family of Country Music as daughter of Maybelle, sister of Anita and Helen; married into Legend as wife of Johnny and mother to seven children, a family of both fame and of infamy. (That next generation is smattering of yours, mine and ours, including musicians Carlene Carter, John Carter Cash and Rosanne Cash, the latter of whom told all in her elegantly gracious eulogy for June, that while the elder Cash–who refused to preface daughter with “step”–hadn’t given her physical birth, she’d nonetheless helped to birth her future). None of these is the lead role; all are defined by their interrelationships. In this web of interdependence that revolved and spun near and around her, June played an integral supporting role. The sum of the parts she played are enough to populate that proverbial village we hear so much about–the one it takes to raise a child, or a rock star (same difference…), or anchor a Family Fold.  She played each role with gusto, with grace, with joy.

None of which is to deny her individuality; it is in fact to her credit that she found her own voice and self at all–surrounded as she was, June could easily have gotten by standing on the shoulders of giants. She was always a unique figure, an attention-getter. If one Carter Sister had the looks and one had the voice, June had the personality. She was the fun one. She threw off enough sparks to catch the attention of Elvis–never at a loss for female attentions–in their tent-show days. She was a good actress, a protege of Elia Kazan; her talent flowed from her strong sense of self, her confidence. Latter day appearances in fare like Robert Duvall’s The Apostle more than testify to this. Her comic timing was flawless— from her first bit as a kid walking on stage with a plank (looking for her room; she had her board) to her send up of “Baby It’s Cold Outside” with Homer and Jethro, to her deliciously kooky warble and pointed delivery of “Tiffany Anastasia Lowe” on the Grammy-winning solo album Press On. 

A critical success in 1999, Press On is the musical autobiography of a remarkable woman spanning a remarkable set of circumstances for the better part of the last century, a remarkable time in and of itself. Reissued only last month by Dualtone, setting the stage for a September follow-up, Press On bookends itself with Carter tunes and carries within its grooves June’s take on her very own “Ring Of Fire.” One of the most enduring and affecting country songs ever (even if it was most likely the afterthought conqueso horns that boosted it up the charts for the Man In Black), “Ring of Fire” is a nugget of gut-wrenching poetry on the allure of dangerous love. The fact that Johnny was its inspiration, and that the songwriter not only married him but saved him from himself in the process, is a twist of sweet justice.

As June always told it, and was oft recorded saying, for her there were only two kinds of people in the world: the ones she knew and loved, and the ones she didn’t know. And loved.

When at the funeral, Rosanne stood to read her beautiful words, she spoke what everyone had on their minds— that her father, Johnny Cash, had lost his anchor, his dearest companion. To my mind, had we never known June’s radio shows, films, records or books, we’d have known of the love she’d shared with this man, and that in and of itself would have been more than enough. It’d been salvation, in some small way, to all who witnessed it. What greater gift, than to be the glue, to be the magic?

Thank you, Valerie June Carter Cash. Thank you for giving us artful aspiration of kith and kin. We should all be so blessed,  to be somebody’s glue, somebody’s magic. 

You will be remembered fondly and often, as we all press on. 

Paige La Grone Babcock lives in Nashville, Tennessee with her husband Eric.

THE REDS & THE WHITES & THE BLUES by Michael Moorcock (Arthur, 2003)

THE REDS & THE  WHITES & THE BLUES

Waving the flags of empire in the 21st century

by Michael Moorcock

Originally published in Arthur No. 5 (July 2003)

“It’s not easy to get everyone against you.”

                           Imran Khan, Pakistani cricketer, April 2002

“What God hates most is arrogance. And what I see in the United States is sheer arrogance.”

                          Mullah Anar M. Anif, Peshawar, Pakistan, April 2002

“Chap in a dishdash coming through.”

                          British officer in Iraq, March 2003

BLOOD RUNS DOWN  the camera lens. The American plane has shot up a column of Kurds, US Special Forces and a BBC TV crew. “A scene from hell,” says journalist John Simpson, whose interpreter has just been killed. Some of the footage, sans the blood, is shown on American network TV for a few seconds. Most of these scenes from hell, of course, are not filmed. They are happening to people who don’t own video cameras. 

Sitting here in Texas watching BBC TV on my computer reminds me that there is no film from Amritsar except the fictional reconstruction offered in Richard Attenborough’s Gandhi. That hypocritical piece of imperial self-serving posed as an authentic account. The massacre was portrayed as an aberration rather than the norm. I also start thinking of Lawrence of Arabia, David Lean’s powerful piece of romanticized imperial history. I recall how disgusted I was by Attenborough’s other essay into whitewashing middle-class liberal sensibilities, Cry, Freedom, about the murder of Steve Bitko in South Africa. The British are good at this kind of misleading sentimentality. They’re subtler than Americans who crudely rewrite history to show themselves or versions of themselves as simple heroes, whether it’s Errol Flynn single-handedly ‘liberating’ Burma in WW2, Mel Gibson defeating the British in The Patriot, Mel Gibson pretending to be a Norman baron gone native in Braveheart, the falsifications of Blackhawk Down, or Americans (rather than British) discovering how to beat the Germans with the Enigma machine. The British are ultimately more persuasive, I suspect. They’ve had more practice at this kind of patriotic propaganda than the Americans, by and large. Everyone’s learned from Goebbels, whether they know it or not, of course.

“Chap in a dishdash…”

Dishdash?

Those of us still alert to the language of Empire remember the teenage soldiers coming home to Britain to tell stories of the tricks they played on brown civilians across the globe in the 1940s and 50s as the British slowly gave ground to angry freedom fighters in, for instance, Burma, Malaya, Kenya, Palestine and Cyprus.

Dishdash.

I’d forgotten about dishdash, which in the language of British imperialism is used as a generic for almost any Middle Eastern garment, though I hadn’t forgotten about ‘imshi’, for instance. I’ve written a bit about British colonial occupations in, my book Breakfast in the Ruins (available free on the net at RevolutionSF off the SF Site, if you’re interested). My book A Nomad of the Time Streams also dealt with the idealism of Empire and how it gets decent people to do its dirty work (that isn’t free, but it’s pretty cheap, second hand). All my writing life, in fact, I’ve been addressing the matter of Empire and I’d rather hoped I was seeing the end of that particular aggressive folly…

Continue reading →

T-Model Knows Better: an advice column by life coach/musician T-Model Ford (Arthur, November 2003)

Originally published in Arthur No. 7 (Nov. 2003)

T-Model Ford says a lot. He says he’s 79 years old. He says he’s “the Boss of the Blues! The Taildragger! From Greenvillllllllle….Mississippi!“ He says he doesn’t need his cane anymore. And he says he can help us. So, every two months, an Arthur staffer calls T-Model and asks him about certain topics of the day. T-Model gives his answers over the phone, then we transcribe the conversation, with some help from Bruce Watson at Fat Possum, the Oxford, Mississippi record label that releases T-Model’s amazing albums. If you have any non-math questions for T-Model, and we suspect that you do, email them to editorial@arthurmag.com

Public school or private school? What about home schooling? Are the schools good enough for the kids these days?

Well, regular schools is good enough for ‘em. I wouldn’t put ’em in no private school. Nuh unh. It cause a whole lot of problems. But just regular school, that’d be the best, cuz it give ‘em a whole chance to meet one another and get trained with one another, get used to one another. You put ‘em in a private school, then when they get up a little higher, they don’t wanna act right. 

You take me, I never been to school a day in my life. I ain’t never been to school. I had a mean daddy, he didn’t let me go to school. He started me to plowin’ a mule when I got to six years old. And I worked all of my life since then up until say somewhere about 10 years ago. I fell and hurt myself, knocked my hip out of place on a job I was workin’ for Greenville Head & Block… I didn’t tell nobody and I just kept on workin’. Finally though it overtook me. 

You wanted to go to school?

He wouldn’t let me go to school. I had to do what he said to do or else get a beating. After he was so tough and mean to me, I just forgot about going to school. I didn’t think I’d ever learn anything, not in school. But he did learn me how to work and provide for myself. He learnt me that! But as far as readin’ and writin’, I can’t do it. 

You’ve done pretty good for someone who didn’t go to school, don’t you think?

I don’t know. I can’t tell that cuz I never had a chance to read or be in nothin’ in the schools, or be around children going to school, so… I don’t know what I lost. But I lost something. So far, as far as I done, as old as I done got, I know a heap but I just can’t read and write. 

Why wouldn’t you put a child in a private school?

Well when you get where you wouldn’t be around to carry them to private school, or for them to be in school…? I just think, really, the public school—he can go with anybody. He can visit anybody. With that private school, he can’t be with everybody cuz he don’t know if his parents are gonna have a ride for him to go, or if he’ll be where he can catch the bus to go. And he gon’ miss some. And he ain’t gonna get all what he needs to get. 

What about these people who want to teach reading and writing themselves? Teach their kids at home?

Welllllll… I was at home but I didn’t have anybody teach me nothin’! So, it’s pretty hard for me to say about that, cuz’n I don’t know.

Okay. Here’s the other question. A lot of our readers are pretty unhappy with living in the United States. They don’t like the politics. The economy is bad. It’s hard to find a job. Some of them are thinking about leaving. Where should they go? If you had to live somewhere besides the United States, where would you live?

Well, I would like Switzerland. And I would like France. Over there it look like the people are more friendly to one another than they do here. They’re not friendly [here]. It’s done got really rough. Peoples live here, they’re not friendly with one another. I don’t know what’s the causin’ of it, but they really ain’t friendly. All they know is go to somebody’s house and talk about somebody, low-rate somebody, mis-use people’s who try to help you. You don’t want that! They wanna do’s it… You helping them, they wanna be against you, do you wrong and all like that. You’ve got to have a heart to stand up to all to that kind of mess. Now I’ve got a heart to stand up and…. They do me like they wanna! And I still try to help ‘em. I’m in a situation right now, I help the woman I’ve been with six years, and it’s the other way now. They’s stealing from one another… It’s rough. 

But it seems different in Switzerland and France, they treat each other different?

There, everybody’s happy. As far as I can see, they friendly, they stick together. But here they don’t. Yeah, if I was gonna go somewhere to stay as long as I live, I’d go to either one of them places…or I would go to Sweden.