New York 2010 : The Tinies Chapter Three “I hear the sound of mandolins”

As I’ve been writing all of these pieces I’ve mostly been avoiding going into much detail concerning sex and relationships. I want to be respectful of my partners, both past and present, and I want to avoid anything that could reduce the people I’ve loved to a catalogue of conquests. There’s honestly no way to tell this story without describing what was happening between me and Skadi though so I have to at least try.

If I didn’t think every experience had elements of the universal I wouldn’t be writing these pieces at all but this bit may well be particular to me. For every new partner sex has been a new language I’ve had to learn. Patterns persist but particulars change, stresses move between syllables, entire phonemes may be inexplicably absent. Sometimes it unfortunately works out that there is no shared language at all – the attraction and desire will be there but our bodies simply refuse to communicate.

I don’t think Skadi and me ever found a shared language but beneath that was a primal sense of urgency. I don’t know if it had something to do with pheromones but it felt like nature was demanding that we be coupled and joined. As if the innominate spirit of our species was determined to see our genes combined and pushing us toward this conclusion with all the force of instinct.

I couldn’t have imagined trying to fight it.

It wasn’t like this immediately but rather something we discovered with time the more we gave in to it. Like twisting a volume knob only to discover that it has no limit and as long as you continue to twist the sound becomes painfully louder. In the end we were never able to consummate – the buildup and pressure was too much.

I’m getting a bit ahead of the narrative. I flew out to New York near the end of December with my mother and older sister. After my father’s death my mother decided to go to see her own mother one last time before the progression of her multiple sclerosis might make it impossible and her mother’s dementia less rewarding. We came along to help and of course I had made plans to travel with Skadi and Etain and play a short Northeastern tour.

We met up at a big New Year’s Party in a pair of neighboring Brooklyn punk houses. Skadi and Etain had told me about how these two houses always went all out to decorate for complementary themes. This time around it was Heaven and Hell – severe lighting and construction paper flames in one house while the other was full of crosses and white balloons. I had brought along my sister who is not a natural at parties so most of my night was spent looking after her.

One or two days after the girls picked me up to drive to our first show in Baltimore. I always played at America in those days – a slowly growing West Baltimore warehouse run by a dude named Door. I didn’t include this detail in the Living Hell chapters but there’s an anecdote from that tour’s Baltimore show I’m really fond of. It would help if I explained that Door and I are both tall and were wearing lots of eye makeup circa 2007.

Anyway that night on the Living Hell tour we either didn’t play on the bus or split the show between the bus and a brick and mortar venue. Wherever it was you walked up some stairs to get to the show part and I was sitting at the bottom to collect some money for the tour. This girl came up to me:

I thought you were that guy Door!”

Without missing a beat I replied:

No, I’m the door guy.”

Hilarious, right?

Anyway Bleak End at Bernie’s was still a fairly new project but I had played at America once before when Rusty and Maggie Burke were doing a sibling noise project called Pandafax.

This time around the space had nearly doubled in size and we played in the newer half that was like a big loading bay. All three of us played our sets and it looks like Daren was in town to do Driphouse and Rusty had a thing called Heavy Necklace. I mostly remember hanging out after the music – the night was brutally cold and Door built a fire in the middle of the floor. He was still wearing a lot of makeup that year and either Etain or Skadi said something about me knowing “all the goths”.

He mentioned somewhere in the night that the sliding metal door behind us opened and we could even drive the car inside. Unfortunately none of us thought to take him up on it. We woke up at dawn to the distinctly personal sound of breaking glass. At the beginning of 2010 dedicated GPS units that looked like a tiny smart phone connected to the dashboard were still relatively common.

The one in Etain’s Jetta had been left so that it was visible through the window.

It was a perfectly horrible way to start the day. The window itself was probably worth more than the electronic device it had been broken to steal but most pressing was the fact that we would have to drive back to New York in below zero weather. I bought a roll of duct tape at a gas station and blocked off the window with a piece of cardboard so that the heater could warm up the inside of the car.

We rode back in awkward, defeated silence and somewhere along the way Etain told us she was done. The triangle had run it’s course – the feelings that brought her to tears in San Diego were continuing to amplify and the window was a literal breaking point. However the cross country drive without me had gone things were untenable for her now.

I had set up shows for us in Boston and Maine and Skadi still wanted to travel together and play them so she decided to drive just the two of us. It might seem like it would have made the most sense to plan out all the Northeastern dates as a couple to begin with but at the time we were all just swept up in it. It’s a testament to the power of whatever forces were pulling the three of us together that Etain was determined to see it through for as long as she was.

Things shifted when Skadi and I no longer had anyone to focus on but each other. On the road to or from Boston she took me to see the Nature Lab at RISD her alma mater. I wrote a piece about the circumstances surrounding a show I was supposed to play in Providence a week or so later called “show” cancelled.

Boston was more or less a pit stop to pick up Ryan Riehle on the way to Maine. We played in his basement and he built a fire in his backyard that we took turns riding over on the swing he had hanging from the tallest tree. Ryan was struggling with the ancient boiler at the heart of the Alston house and only a handful of people showed up.

The Maine show was at the Waterfall Arts Center in Belfast. I suddenly got a spark of recollection that I was with Skadi when I wanted to show her a video of Taboo on YouTube and the first one to come up happened to be them making fun of me for calling the police the last time I’d been in Belfast. I wish there was some way to find that video again but a lot of the uploads I loved to watch around 2010 seem to have disappeared.

It was a night of super groups. Chris and Bonnie had a project with James Lusardi and Grace called Evil Spirits. It was pure malevolent energy channeled through dual drum kits, most likely a guitar and bass and everybody on vocals. I used to piss off a marijuana grower I worked for by talking about the concept for a dark jam band called The Hateful Dead and Evil Spirits perfectly encapsulated the way I would imagine something like that sounding. I don’t know if anything ever got recorded with them.

Ancestral Diet was also playing. I could have sworn that this early incarnation included Dan Beckmann from Uke of Space but when I looked it up it said that the band was just Clay Camaro from Caethua and Andy Neubauer from Impractical Cockpit. I remember that Amy Moon was at this show and said that the way I screamed in my music reminded her of their infant son Olai. This was the last time I saw the Uke of Space and Taboo crews together before the lifestyle changes that accompany caring for a child caused them to grow apart.

Christopher Forgues was also in town and played the show as Kites. I think he was staying at RoHeGe while we went back to Chris and Bonney’s because I didn’t see anymore of him on this trip. It was the last time me and Skadi played a show together. She probably did her cover of the Swans ballad God Damn The Sun.

I wish it had gotten recorded somewhere.

I wrote a bit more about this visit in the recent piece on Taboo’s Wheel party. Chris shot some scenes for a most likely unfinished movie with me and Ryan and we helped him drag a piece of plywood across his yard for something. He fell to one knee while carrying it and we joked about how much it looked like the scene from Passion of the Christ when Christ collapses under the cross.

Me and Skadi never had a conversation about what we were but we did meet up for a day back in New York that both of us referred to as a “date”. I met her near Columbia University and we walked through the Freedom Tunnel until we found an exit near The Natural History Museum. This was the last day that everything felt bright – made of pure potential with no cause to worry about the future.

When I went to see her in Westchester County I knew that it was our last day. The magnetism between us had not begun to wane but she made a choice not to allow herself to be pulled because she knew I wouldn’t be good for her and there was a darkness and heaviness to everything between us. Maybe it’s not accurate to call it a choice – ultimately we all want what we want and act accordingly. We don’t get to decide what we want, we look inside of ourselves for answers that are already waiting.

Most likely it was as much of a natural reaction as the moment she suddenly slammed the door when we first set eyes on each other and I pointed a fake gun at her – just happening somewhat slower over a much longer period of time.

We wanted each other physically but the weight and expectation surrounding it were too much to contend with. When it came to the moment the parts in question simply refused to fit together. Relief came not from taking the physical to it’s logical conclusion but walking away from it – accepting that the reality could never live up to the pressure of anticipation and deciding not to do it at all.

We started to watch some videos on her computer instead. I put on David Bowie’s version of Wild is the Wind and Skadi couldn’t believe that the song actually says:

You touch me, I hear the sound of mandolins”

We started watching every possible recording – the original, Cat Power, Nina Simone – just to see how the different singers would contend with the unwieldy line. Every time the words were delivered Skadi would squirm in innocent delight:

You kiss me, with your kiss my life begins”

I never would have argued with Skadi about her decision not to pursue things further but I did not take it well. I think I resented the fact that she had the strength to resist it. It’s one thing when feelings are unrequited but it’s something else entirely when you know the other person is feeling the exact same thing and still decides against it.

It took me back to an experience in High School when I was still almost completely romantically naive. I’d been talking to a girl named Kendall. We briefly kissed in one of the Super 8 films I was making with my friend Tim. I felt something similar – a mysterious attraction that seemed bigger and more powerful than either one of us. She said she felt the same thing but still decided not to pursue it.

It seemed unfair.

The exact way it made me feel was betrayed.

Skadi and I continued to talk but not very frequently. When my travels brought me through the East Coast she’d come by my shows. In the Summer of 2010 we stood on a roof somewhere in Brooklyn and she told me the plot of the movie Avatar because she’d just seen it and I hadn’t watched it yet. I was wearing a long synthetic braid in my hair and she kept grabbing it to explain how the characters would communicate with the different dragon things they ride.

I just remember it because she seemed excited about the movie and I was still hopeless. The mysterious thing had not released it’s grip on me. I probably saw her some time in 2011 too but what I really remember is the Trapped in Reality tour in 2012. She came by the bar we were playing in Philadelphia and the moment I set eyes on her I knew I was finally free. It was humbling.

I would see Etain around the same time but separately. In the Summer of 2012 she was working in a boat motel somewhere in Far Rockaway. Our relationship began to take on the innocence and easiness that should have been there from the beginning. She says “I love you” when we talk now sometimes. It’s not always easy for me to say it back but of course I do.

I’m married now. Etain’s married. Skadi’s practically married though I doubt she’d call it that and I don’t really know enough to say. I thought that it was important for me to tell this story because it has characters in it that change but now that I’m telling it it’s more difficult than I thought it would be. There’s so much in it that I don’t understand – so many pieces that I simply don’t have.

I wrote a song about the whole experience with Lux while we were doing the band Voiheuristick Necromorph. I vaguely based it on the fairy tale of Snow White and Rose Red where I performed my part and Lux was supposed to be a fusion of Etain and Skadi:

I wish that I could somehow be, the beast you think I am

The dwarf is dead The Bear’s Skin’s gone, I’m just a fucking man!”

It was inaccurate enough in that nobody ever saw me as a monster but I think it was more inaccurate in continuing to view Skadi and Etain as a unit. They had been a unit and somewhere in the process of the three of us becoming a unit they stopped being a unit. Maybe there’s a metaphor somewhere in Chemistry – like an atom that binds with a molecule to cause it to separate back into individual atoms.

I don’t want to overstate my importance in this – Skadi and Etain would likely have been growing apart no matter what. I never saw both of them in the same place again after the moment Etain stopped traveling with us and I didn’t hear anything about them playing any more shows together. It was definitely a turning point and I was definitely a catalyst.

What I’m realizing now is not only do I not know either of them particularly well but maybe I never properly saw them at all. I never looked at Skadi and saw just Skadi. I never looked at Etain and saw only Etain. Whatever my relationship was to either of them at the same time I was pursuing a relationship with something that never existed at all: a chimera of two separate human women that would never set foot outside of my own personal mythology.

That leaves me. I promised at the outset of this story that it would result in its characters being permanently changed but besides the small details I’ve already mentioned the only character I’m truly qualified to comment on being changed from this experience is myself. When I first met Skadi and Etain big changes were already happening in my life – most importantly my father had just passed away.

I’ve written in other pieces about my brief and careless career with magic, usually dark, and the different ways the consequences of my hubris brought that to an end. I’ve written about losing my hat – it sounds mind numbingly trivial when I write it down but it was a clear signal from the universe that I was not immune from consequences. That I was vulnerable.

This entire experience was a far more visceral reminder of that vulnerability. When I first laid eyes on Skadi and Etain and they first laid eyes on me I was dressed as a ridiculous and decadent witch. To Aminah, the friend they were staying with, it felt like I had put them under the power of some kind of spell. The reality was that all three of us had been bewitched and my hand was not the one on the wand but I enjoyed the fiction and leaned into it as much as possible.

There was only one way that things could have reasonably gone. Skadi was a Peter Pan and I was a melodramatic foppish Captain Hook – of course I was destined to lose. What I wasn’t prepared for was the length of time that the enchantment would require before finally releasing me from its grasp. I spent two lonely years effectively on my knees and while I didn’t give up magic entirely I certainly gave up the carefree and chaotic manner I had first pursued it with.

2012 was a big year for changes. A long count Baktun of the Mayan Calendar rolled to its conclusion – marking the death of the fourth sun and the birth of our current sun: the fifth. The first man made robotic rover, the Curiosity, landed on the surface of Mars and began sending live video feeds of its explorations back to Earth. The discovery of an elementary particle called the Higgs boson revolutionized the fields of Particle and Quantum Physics.

I ended my life as a bachelor and began my new life as a married man.

Me and LaPorsha have been married nearly ten years on paper and are coming up on the eleven year anniversary of when we first considered ourselves effectively bound. This period of time has not been without strife and chaos, there was homelessness and the loss of every single object either of us had accumulated in our lives, but beneath that is a stability unlike anything I’d previously encountered.

From my current vantage point I can look back at previous periods of my life: my behavior, my creativity, my endless travels and recognize how much of it was the manifestation of my biological drive for partnership. That isn’t to say I’m not creative now, you are reading a portion of the largest artistic endeavor of my life, but rather that it has lost a sense of urgency that once was there.

It used to be nearly impossible for me to create anything: zines, music, colorful construction paper collages, unless I was on the road and traveling. Now it is nearly impossible for me to create unless I am in my house.

The force that I described experiencing three times way back at the beginning of the first chapter – I haven’t experienced it again and it seems unlikely that I ever will. There is something that feels final and satisfying about the number three, it seems to belong to youth and if it is the work of a singular entity there are other people and other lives for this entity to disrupt and change instead of those of the other people in these stories and myself.

That feeling like we were about to shake up and redirect each other’s lives the moment we laid eyes on one another? I didn’t feel that the first time I met my wife and the connection was not immediate – it took time and the intervention of outside agents. Once it did happen it felt like something I hadn’t experienced in the same way ever before.

It felt like home.

Providence 2010 : “show” cancelled

I haven’t played a huge amount of shows but I’ve played enough of them. I did two complete U.S. Tours, a few regional mini-tours and lived in towns where I played and set up shows a lot – I know that for somebody like a member of longest-running-rock-band Golden Earring that would just be a drop in the proverbial bucket but what I’m trying to say is I’m not exactly green.

Playing shows in DIY spaces is like any other thing that involves repetition and variation in that a lot of it has a sameness but the more a particular experience sticks out the more you’ll remember. You remember the really good shows, you remember the dismally awful shows, you may or may not remember a first or last show.

You remember the shows that didn’t end up happening at all.

In the very beginning of 2010 it was still winter and I was playing a few Bleak End shows around the North Eastern United States. It hadn’t been planned out like an actual tour tour although I would be doing one of those a few months later in the Summer of that same year. I think that I was on that side of the country for family stuff – my father had just died and my mother had decided that it would be a good idea to go see her mother one last time before her mother died or her multiple sclerosis worsened to the point that she couldn’t travel or she died herself.

I was out there helping with that and probably would have played at least a couple shows two birds with one stone style but something had just happened on the West Coast that led to me deciding to play a whole lot of them. If you haven’t read the two 9/11 chapters this is a head’s up that a more detailed explanation of the phenomenon I’m about to describe can be found there. At certain points in my life I’ve met people and immediately experienced a powerful sense of mutual gravity.

You could call it attraction but only with the caveat that the word is being used in it’s most fundamental and elementary sense: a force that brings things together. This time around it happened with not one person but with a pair of very small women who were both acoustic guitar centered singer songwriters. We had first crossed paths in Oakland, in the 2009 chapter An Intimate Haunting, but it wasn’t until we reconnected in Portland that the hands of fate chose to roughly and irresistibly combine us.

They had been moving through the world as a unit for some time and now a new object took form with me on one side of it and them on the other. All of that is a very big story that I will be addressing in much more detail in other chapters but here is what happened: we lived together, we travelled together and because we all played music when we travelled we played music together. We did this on the West Coast and now that we were all on the East Coast we were doing it on the East Coast.

So many things were strange: they sang quiet pretty music and I screamed over a drum machine. They were two different people and I was a single person. The Universe had manifested itself into an unambiguous voice to explain certain rules to me and I proceeded to break those rules. It was all going to play out like a fairy tale and none of it was going to work but for this chapter it is all mostly background information. It was the reason that I found myself on a longer mini-tour playing more shows around the North Eastern United States.

They weren’t with me for this particular show. I was just reminded that the three of us had played with Driphouse in Baltimore on January 2nd but for reasons that will become apparent I know that this Providence show was significantly later in the trip. It may well have been the last scheduled show of the trip before I would return to the West Coast.

I had never actually gotten to see Raccoo-oo-oon while they were still a band but I ended up with some of their releases by being really into the Not Not Fun label. I believe I have seen and even played with all the former members since the band dissolved though. In 2010 Daren Ho had a couple distinctive features he has most likely dispensed with: he only wore the color white, his front teeth were still messed up and he had the really drastic Velvet Underground type bangs. We hadn’t planned this show together but because we were both in New York we decided to take a Chinatown Bus to Providence together.

I’ve thought a bit about the similarities of this night’s walk over Federal Hill and the one I had made to Fort Thunder ten years earlier. In 2000 I was alone but dragging a heavy suitcase with a blanket over my shoulders. In 2010 I was with Daren: I was dragging a rolling suitcase and he had an unwieldy keyboard under his arm. In both situations it started to rain ever so lightly the moment I stepped off the bus and into Providence, Rhode Island.

In 2000 I was returning to Fort Thunder after showing up in the middle of the night whacked out on drugs and waking everybody up by loudly washing the dishes. I was walking there to find out if I would be permitted to stay for the next few weeks. Surprisingly enough the answer was yes. In 2010 Daren and I were walking to a show that we had every reason to believe had been booked for us at a warehouse called Mars Gas Chamber.

We were also in for a surprise.

I don’t have any memory of actually going to the door of the building or talking to a person named Weird Mike and I think I’ve figured out the reason why. The other two artists who’d been scheduled to perform, Isa Christ and Kyle Clyde, were waiting nervously in their van on the corner and stopped me and Daren before we even got to the door. Apparently when they had arrived a little earlier the aforementioned Weird Mike had acted extremely cagey upon learning that they were there to play a show and denied that shows of any kind happened anywhere in the vicinity ever.

Live music in unlicensed spaces in Providence, Rhode Island had been in a kind of “don’t ask don’t tell” place since the Great White fire of 2003. A lot of cities were having issues with Vice busts, there’s a San Diego story up here called “Think of it as One of the Rivers” on the topic, but this city in particular brought the ethos of “ask a punk” to another level. Normally this wouldn’t have been a problem because we were punks, and punks who had been booked to play a show at that, if not for one glaring error.

Our good friend Alley of SHV had decided to leave town without telling anybody that there was supposed to be a show for us. 2010 was very different from 2000 in that everybody had a cell phone and everything more or less happened through internet messages often on social media platforms but none of us were managing to get ahold of Alley. Of course none of us were 100% sure of the statement in the first sentence of this paragraph either.

As far as the traditional “five stages of grief” goes all of us were still on the very first step: denial. We told ourselves that we had simply committed a faux pas that every one of us frets about almost every time we go out – arriving too early. We told ourselves that if we simply went and killed time somewhere we would return to a show where all misunderstandings had been ironed out and perform for a particularly receptive and appreciative crowd – it was the least the Universe could do for us after the uncertainty and anxiety we’d been made to suffer.

We went to a nearby record store called Armageddon Shop just up the hill on Broadway. Dylan from Isa Christ was scanning over the flyers for upcoming shows when he suddenly became animated with renewed hope:

Wait! There’s a flyer here for our show! It has to be happening!”

I mentioned earlier that certain details would indicate that this event happened near the end of my East Coast trip. The reason that I know that is this: I had already passed through Providence to visit the RISD Nature Lab and view the collection of small animals and animal remains with one of the aforementioned acoustic guitar girls who happened to be a RISD alumnus. While in town I had quickly printed up flyers for this future show using an image from the Takarazuka Review – a famous Japanese Theater where all the male roles are performed by women.

I had learned about the Review while spending time researching the obscure and outmoded theatrical genre known as Masque several weeks earlier at New York’s Kennedy Center Performing Arts Library. These details are irrelevant to the larger story but I’ve included them to remind myself of how different my life used to be. I used to constantly travel, spend time researching the performing arts and constantly produce flyers for my own performances and the ones I’d set up for other people.

The picture I’ve included here is not the one from the actual flyer. I’ve lost that image – if any of my readers might be in possession of the flyer from this 2010 Providence show that never actually happened then by all means please send it along. This might be the least reasonable of the various image and document requests I’ve put out there but I did make ten to twenty of the things and left them in a major record store hub of a regional music scene.

I explained all of the above details concerning the provenance of the flyer to my would-be show mates and the group’s morale sunk perceptibly. Still there was a possibility that we might return to the Mars Gas Chamber to find Alley, a show, laughs and apologies. We had to at least check. I can’t remember if I walked to the door to read the small notice in person but I remember exactly what it said:

“show” cancelled

That innocuous pair of quotation marks was the final insult to injury. As performing artists we must constantly reconcile the artistic ideals with which we dream up our onstage actions and the cold reality we then read upon the faces and actions of our spectators. It’s always better in your head – we remember the highs but live with the lows every time the thing we imagined as grandiose is proven merely mundane and even forgettable by our ever fickle audience.

What I’m trying to say is that that little pair of quotation marks was the cruelest cut of all. I’ve been to SXSW where unless you are cresting a powerful wave of hype the act of wanting to play live music for an audience is one step below begging for change on the street but still I remember those quotation marks and they haunt me. In a strange coincidence my wife has played a show inside of Mars Gas Chamber but I never actually did. Alley promised she’d make it up to me the next time around and she did: on the Summer Tour with Generation I played a memorable basement show with a surprisingly great band from New Hampshire called Brown Drown.

But all of that was in the future. In the early Winter of 2010 me, Daren, Dylan and Kyle had no recourse but to go to Whole Foods and after buying the comforting but overpriced hot foods of our individual choosing continue onto the Expressway and back to New York.

In total and utter defeat…

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