Sunday, 31 December 2023

SAINTS PRESERVE US


Gimme Some Truth


How long does an era last? This post-Obama one seems like eons. Endless oxymoronic days crammed with “fake news” and “alternative facts.” Both terms can be true or false, bad or good, depending on your point of view. Hell, they can even be mixed and matched like ideological bakery doughnuts. Whatever suits. So, it’s little wonder then that Merriam-Webster’s word of the year for 2023 is “authentic.”


The dictionary publisher’s metric is based on online lookups (very different from online hookups) and prevalence of usage in contemporary culture, pop, corporate or otherwise. The primary definition of authentic in my Canadian Oxford is, “of undisputed origin: genuine; trustworthy, reliable.” Sort of a shame that people must remind themselves of the meaning of such a common and useful word, but, on the other hand, very encouraging too. Still…


As Keith Richards once said about cool (I’m paraphrasing): If you have to work at it, you’re not. Sort of like one of those third-rate countries with “Democratic” in its name: Voter beware! So, I bristle when an advertiser, politician or celebrity is compelled to tell me they’re authentic. I’m skeptical about restaurants who promise authentic cuisine because chances are I’ve never sampled the actual domestic cuisine in situ. Authentic shouldn’t be so fraught, but it’s so often misused and misapplied.


We need all the qualities the word embodies and all the synonyms it implies more than ever. Tomorrow is “Game on!” for the US presidential election cycle. But certified and genuine authenticity has already had a few mortifying weeks of late. I was amused to learn that the president of Harvard University was resubmitting her doctoral thesis with, erm, “clarifications.” Speaking of plagiarism, I’m interested in the outcome of the federal lawsuit The New York Times has filed against Microsoft and Open AI for stealing its copyrighted content only to regurgitate it incorrectly. Once venerable Sports Illustrated has copped to online copy generated by chatbots presented under fake bylines complete with thumbnail “correspondent” portraits.


A recent poll conducted on behalf of The Economist found that one in five Bowiesque Americans, young people aged 18-29, believe the Holocaust to be a myth. Now, human society is the healthiest and wealthiest its ever been. Ever. And we’re collectively smarter too. For instance, we figured out that the Periodic Table contains more than four elements. We know Earth is an orb, a ball, a globe if you will and not a flat disc (well, most of us). We know these simple facts to be true (most of us). And yet, the president of the University of Pennsylvania explained to a congressional hearing that the rampant antisemitism on her campus, including calls to finish the job Hitler started, was “context-dependent.” It all smells and sounds like authentic bullshit. And a big shout out to Himmler before the homecoming game!


Happy New Year. Christ. I’m predicting “dread” as Merriam-Webster’s word of the year for 2024. I’m not mistruthing here.              


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer. 

Monday, 25 December 2023

HUMAN WRECKAGE


Table Manners


Eden has been paved over and is populated by coyotes, some of whom bet on the Maple Leafs. Indeed, turn this crazy bird around by any and all means necessary. That’s meGeoff’s Joni Mitchell 101 course description, her oeuvre as a thumbnail clipping inside a nutshell.


A song of hers that I’ve come to admire and appreciate in recent years is “The River”, which has become something of a holiday season standard: It’s comin’ on Christmas and they’re cuttin’ down trees, puttin’ up reindeer….  I imagine the narrator comfortably ensconced in the California warmth of Laurel Canyon, glad times. Still, depressed as almost always, she longs for a frozen river to skate away on. The imagery is disparate and sadly beautiful.


I’m sitting in the dining room at the head of the table. The view through the picture window behind me, which I took in for a moment before I sat down, was peculiar for Christmas Eve day. The only white I saw was on the trunks of the two birch trees in the front yard. Deciduous and particular, they’re the last of their kind in the neighbourhood, maybe the city too. The grass was green. There was an extra rock in the garden, a still hare doing its best impression of a stray patch of snow.


I’m expanding the table, twisting a gerry-built crank, a ratchet welded to a steel rod which in turn is welded to another steel rod to form a T-shaped tool. Leftie loosey. The original crank has been lost since nobody can really remember when. Imagine a more elegant tool of the type that would goose the engine of a motorcar or a bi-plane, ergonomic and efficient. It’s tedious work. My view is the primary colours of the kitchen backsplash tiles, yellow, red and blue and shades of the latter two.


There are two leaves for the table, both warped. One is 14 inches wide, the other 15. They were originally labeled “left” and “right” which kind of makes sense for an oval although which side are you on and anyway, left and right is kind of a grey area for me - cursive writing excepted. I relabeled the leaves “kitchen” and “window” a few years ago: this one slots in here and that one goes there. Simple. But that was then, when I used to crank the table apart with my back to the kitchen while looking out the dining room window. Since then, the table has done a complete rotation. So now, the “kitchen” leaf goes toward the window and the “window” leaf goes toward the kitchen.


Sometimes, I believe I’d like to escape the needless complexity of this, the most commercial of seasons. My Christmases through the decades have run the gamut from low comedy to tragedy, lonely to chaotic and joyous, and more than one “Fuck me, I can’t believe that went well.” Just like yours. These days I tend to pre-worry about the dishes, the mess and the cleanup. I wish some of those crime scene biohazard restoration companies held Boxing Day sales.


Winter solstice has passed. The days are getting longer. In days like these, the times we live in, that’s sort of a mixed blessing. Christmas as a declaration of Christian faith is a one-sided deal, a bit like trying to redeem a lifetime warranty from a Sears or Eaton’s. Salvation as a corporate mission statement has proved false. No coincidence fervent believers are described as sheep. The terrible truth lies in advertising. Buy fulfilment in goods and services because Indulgences don't payoff like Trifectas. At least the Coca-Cola Santa said, “Enjoy!” Ice cold, of course.


I’ve always dwelled on that side of town, on the cynical side of the tracks. Christmas (and maybe Thanksgiving) is a big deal about the everyday. For the most part, all things considered, it’s pretty good to be alive most of the time. Some days I can’t believe my luck. And for the vast majority of us, circumstances can always be worse and I’m the type who figures it’s just a matter of time. I sweat the fates of others less fortunate than me and do the little I’m capable of for them as best I can. I’m not always kind to strangers, but I at least try to be polite. Maintaining and strengthening bonds with friends and relations sometimes takes a little work, some effort, although it’s never hard, backbreaking. I don’t need to be reminded of any of this one particular day in each passing year.


I suppose I resent Christmas a little bit. The annual hassle and expense of being reminded how to lead a daily life of modest decency. Still, I hope your day will be as merry as it can be. And I mean that.           


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer.

Tuesday, 12 December 2023

THE MUSTER POINT PROJECT


TMPP4XMAS


Vinyl! My collaboration with indie rock artist Kevin Franco aka The Muster Point Project just got all Olivia Newton-John - physical. Now you can listen to this modest body of work talk complete with ticks and pops. Good vibrations move air.


The music industry has always been subject to technological disruption. Sheet music publishers and instrument makers were not happy with the inventions of radio and the phonograph. Record companies were fine selling music fans new media so long as the formats remained exclusive. Home taping wasn’t killing the industry in the 80s so much as lousy albums, one hit and nine duds. Digitization and Napster were, however, real disasters, twinned at that, compressed MP3 files sounded terrible and nobody involved in the creation through to the distribution and sale of a song got paid. Only that venerated little tech prick Steve Jobs at Apple was able to monetize this disequilibrium. If malls, both downtown and suburban, and Amazon combined to kill “Main Street,” the iPod killed record pressing plants. The few that survive scrounge and scavenge replacement parts from the decrepit hulks or their sister factories. 


It's not easy for indie acts like TMPP to get vinyl to market in a timely manner. Get in line behind Taylor Swift and the Rolling Stones and don’t forget your cheque book. The production lag can be as long as a year. I submitted the lyrics for “I Got This” to Kevin last March. Shortly afterward we talked seriously about trying to write more songs together. Kevin said he envisioned an EP of maybe five cuts. Could I write ten more for him to sift through? I thought, “Oh. I can at least try.” He was obviously more confident than me because that’s when he would’ve had to book 5 KG’s pressing. He never said a word, never pressured me.


I don’t stream music. I suppose iPods have their places, summertime picnic table docks. I confine my time in the YouTube vortex to a couple of hours one night a week. The hook is the video, my musical heroes were young and good looking at one time. And sometimes YouTube is no different than leafing through my old address book – everybody’s dead. I told Kevin, you know, should anything come from our project, a CD would be nice. He said, “They’re not cool enough.” I turned to the Stones (as I tend to do) – no expectations. Oh well. A memento on a shelf would’ve been a bonus.


Teenagers sleep a lot, for uninterrupted hours impervious to their bladders. If I wasn’t sleeping (or coping with my bed spinning like a top), I was seated on it, listening to music, propped against the wall, my pillow vertical for padding, my knees drawn up, the record jacket and its inner sleeve in my hands. Printed lyrics were always a godsend, not just to follow along, but because sometimes elocution and enunciation aren’t terribly rock ‘n’ roll. Their inclusion didn’t guarantee anything though. To this day I can’t be certain if Mary’s dress (clingy, mid-thigh length in my imagination) swayed with the movement of her hips or waved something like Marilyn Monroe’s subway grate white one in the draft of the slammed screen door.


Once my first novel was off press (Murder Incorporated, 2003) a box of author’s copies was delivered to me, not at home, but to the ad agency where I worked. I was not an efficient employee that afternoon. My Calgary publisher had contracted Kevin’s ad agency to design the cover. He did that particular job himself. Here we are together again: 5 KG on vinyl. You see your first book for the first time or hear someone sing your words on the radio and, well, you’re in a parallel universe or dreaming in the darkness with a complacent, complicit, cooperative and uncomplaining bladder, because stuff like that can’t possibly happen in real life. It’s beyond surreal to put a record on the turntable and follow along to your own lyrics printed on the back of the sleeve – even if you already know all the words, what’s coming next.


If you don’t or can’t shop bricks and mortar in Edmonton or Calgary, you can still buy 5 KG on line. Go here right now. But wait! There’s more! Cleverly concealed within this post is a discount promotional code worth an astounding 25-percent off! For even bigger savings, bundle 5 KG with What’s the Point? - TMPP’s latest full-length CD! Oh by gosh, by jingle, hurry! Act now! Operators standing by.   


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer. 

Saturday, 25 November 2023

A LONG WAY FROM MANY PLACES


Stray Gators


JB has been a dear fiend of mine since we met in high school, 1974. I was one of his partners in crime and misdemeanors. We were guests at each other’s first weddings. His career in the hospitality industry has taken him halfway around the world and back the other way. JB is now the unappointed goodwill ambassador of New Orleans and possibly its unelected mayor. When I told JB Ann and I were contemplating a brief, self-indulgent holiday somewhere, one without obligations to anybody but ourselves, his off-season pitch rose to infomercial volume.


“You will shit your liver. Remember, you can bender twenty-four hours a day here.”


As tourists, Ann and I generally try to avoid touristy activities. We try to blend in. The exception to this rule is that when we travel in the States and we’re out and about wherever we are, I usually wear an unbleached cotton Royal Canadian Air Force ballcap – a gift from my big sister in honour of our dad, a veteran, who died on Remembrance Day in 2014. I’m fairly certain the red maple leaf inside the blue rondel is good mojo, ersatz Who or Mod pop art that screams “Don’t shoot! We’re Canadian!” Anyway, we generally dislike being herded around on other people’s schedules as we dislike other people in general. JB pre-arranged two excursions for Ann and me that, honestly, we wouldn’t have done otherwise, but we’re glad we did.


There’s no sharp edge to the continent in a Louisiana swamp. They are quagmires of tidewater from the Gulf of Mexico and Mississippi Delta river water. The waters mingle from different directions in sluggish channels called bayous. We skimmed over them in an airboat, a flat-bottomed craft with a giant, noisy fan at the stern that doesn’t invite one of Late Night’s “Stupid Human Tricks,” no stopping that gigantic machinery with your tongue. The area Ann and I toured was partially industrialized, dredging boats and barge piers. Once we veered off the main canal and were spirited away above the muck, the smell hit us: brackish water and rotting vegetation. The summertime smell, when the Spanish moss hangs from the cypress trees and the heat is on, must be awfully high. Blue herons and white egrets pranced atop the sopping marsh grasses and reeds. Alligators, perfectly camouflaged in this uniformly green environment, broke the waterline as subtly as a submarine periscope. If you’re like me, you like to stick your hand out of the window of a moving car to feel the air current or drape your arm over the gunwale of a rowboat, drag your fingers, make ripples. Very bad idea on a swamp tour. Jeepers, creepers, I’m aware I’m able to convey reaction and emotion with my baby blues. And I know I project that ability on other mammals, cuddly ones like seal pups and kittens. Anthropomorphism is a non-starter with cold-blooded reptiles. On the other hand (both safely on my lap inside the boat), I’ve worked with people who possess those dead, expressionless eyes and I recognize that blank, lethal look in the faces of too many figures who are in the public eye.


The drive to the swamp tour dock took about an hour. We crossed the Crescent City Bridge from downtown and got on the Westbank Expressway. I can’t tell you the compass coordinates, but we drove in the opposite direction from Lake Pontchartrain. The sightseeing was a succession of injury lawyer billboards: DON’T SETTLE! FIGHT BACK! MAKE THEM PAY! I noticed too that where there’s a Walgreens drugstore, there’s a rival CVS beside it or across road. Everywhere. Same on Canal Street too, across Bourbon from our hotel (Which reminds me, I must remind Mr Patel, our Edmonton pharmacist, to stock cigarettes and install a refrigerated “beer cave” in his shop). The next lengthy drive we took was also compliments of JB.


Those double-decker, open-top tour buses? Hop-on, hop-off! They’re always red wherever you go. Yeah, Ann and I cringe too. No point in advertising you’re a rube, a hayseed or otherwise unsophisticated type. A tourist. But a ninety-minute circuit provided us the lay of the below sea level land. We crossed the tram line routes and saw where they intersected. We got a sense of what we’d be interested in exploring and where it was. We were definitely in Fats Domino’s compact hometown, we could walk it, yes indeed.


The problem with our bus tour was the luck of the draw. Our amplified tour guide, not shy about the tip jar by the driver’s seat, was something of a genteel gentleman, all down home Southern smarm. Ann avoids blue language provided she’s not reading or watching the news of the day. Well, fuck me if she didn’t have a go while Billy recited his rote patter. “Gentleman, hide your wallets. This here’s the designer outlet mall on the Mississippi Riverwalk. Ladies, you know, if your man buys you a knock-off and saves a buck or two, nobody’s going to know the difference! Har-har.” “Now, if you look to your right through that brick archway, you can’t really see it, but that’s where Archie Manning’s restaurant is. Archie was one of the greatest Saints ever. You may’ve heard of his sons Peyton and Eli. There’s a third boy, he was a wide receiver in college, but he got injured, didn’t have a career. He’s a coach somewhere. If you go to Archie Manning’s, tell ‘em Billy sent ya and you’ll get looked after. Don’t forget to tip! Har-har.”


The cash I burned through in New Orleans all went to tips. I was happy to grease JB’s concierge, but people like Billy and the swamp tour guide expect one too. My worst experiences were in the music clubs. These days my beer of choice is Michelob Ultra, low-carb, low alcohol, as watery as you’d imagine. The steel bladder of my youth is more crumpled tinfoil now and so when I break the seal, it’s never one and done. The Bourbon and Frenchmen toilets are tiny, revoltingly utilitarian. There’s a trough, and a ritzier place might have walls, maybe even a door, surrounding the bowl. See the Canadian with the stage fright. And yet, somehow, there’s still room for an old guy on a tripod stool brandishing a squirt bottle of liquid soap, a clean, strong, thick and absorbent sheet of Bounty or Hefty and optional grimy spritzers of Old Spice and Calvin Klein perfume – I guess men use cologne – I’ve an Axe to grind with scent. A dollar per squirt of clear piss because the attendant isn’t looking at faces or doing much of anything except staring at his phone: “Hi, baby, how’s work going?”


Our scheduled Friday afternoon arrival was Air Canada on time, about three hours late. JB had been in our hotel room before we checked in. Abita, a local red lager was on hand, as was bottled water, fruit juice and because over the course of a week’s stay in New Orleans there was bound to be a Maureen McGovern, a Poseidon misadventure, a morning after, a few tins of Diet Pepsi. Ann and I freshened up and then rode the elevator down to meet JB on Canal Street. He was on the red paving stone sidewalk chatting with the doorman and the bell captain. It took me a minute or so to realize that by not setting foot inside the lobby or coming up to our room he was signaling the staff that the general manager was off the clock; nothing to inspect here.


JB escorted us through the madness of the mob on Bourbon Street before cutting a block over to Royal. I spotted a tiny little bar with French doors opened on to the sidewalk called Touché; the World Series was on, maybe game one. I needed a stool and a score. Touché became something of a base for Ann and me because there are more interesting places to hang around besides a hotel room. Liquor prices off Bourbon Street go down like a cold beer after proper exercise. Of course, everything’s served in plastic cups because the French Quarter street party genie is never going back in its bottle. There was a portrait of Donna the barmaid displayed atop a rack of upside-down, disused, decorative martini glasses. Beside it was one of those officious desk plaques which read: “Queen of Damn Near Everything.” She probably was and still might be. Donna called me “Baby.” Donna called Ann “Baby.” Donna calls everybody “Baby.”


Our first evening in New Orleans wrapped up back on Canal Street, about a block from our hotel. JB took us to a diner he favoured called Zesty Creole. It’s a deep, narrow space with a short bar running alone one side. He’s become friends with the family who owns it. “This is a great place for my guests and my guests are great for their business.” Ann and I were to return frequently. On our final visit I cheekily requested our usual booth.


The hook for me was the catfish po’boy. Two breaded, fried (but not greasy) fillets on a fresh baguette. The gumbo was delicious and I was relieved to learn that two restaurants I prefer in Edmonton just because of their gumbo actually do a pretty good job. I took a risk with Zesty Creole’s menu too one evening when I passed on a po’boy, reluctantly making a decision whose ramifications could entail betrayal of Shakespearian proportions. I ordered jambalaya. Ann makes the best jambalaya. I never order it when we go out because I know it’s better at home. Then again, when Ann and I go out to eat in Edmonton or anyplace else we may be, we’re not in New Orleans. I had to know. So, I cheated but I didn’t have to lie about it; we’re still fine.


The thing about winter in Edmonton is that it’s a dry cold. Har-har. The thing about alligator, according to our two professional guides, airboat swamp guy and red bus sleazeball, is that it tastes like chicken. Har-har. The only real alligator information we were able to glean is when it’s improperly prepared it’s as rubbery as sports bar calamari. I had gator in my gumbo just once (which reminds me, check out “Yella Alligator” by Eddie 9V). For all I know the pellets in my soup could’ve been tofu.


Ann and I ate that along with an expensive, albeit fine array of rich seafood appetizers one evening at Ralph Brennan’s Red Fish Grill which is across the street from, and not to be confused with, Dickie Brennan’s Bourbon House – you can guess the street. JB revealed that these two cousins are fierce competitors. There’s a rift in the Crescent City’s first family of food. There’s at least a third Brennan-branded establishment, simply called Brennan’s, operated by yet another member of the clan. Carla, JB’s efficient and gracious concierge, told us that making Brennan-related reservations is fraught as her guests always request one but really mean another.


I don’t eat a lot. I aim to approximate two squares a day. I don’t snack. I don’t have a sweet tooth. Ann is much more sensible about her diet, but then again, she’s much more sensible than me about most things. We’re not foodies. When it comes to “nice” restaurants, ones with tablecloths and everything, we generally encounter an inverse proportion: the more we pay, the less satisfying the meal. High prices set high expectations. The Palm Court Jazz Café proved our theorem. I was aware that she was picking at her food, some sort of Creole pasta dish. But I was picking at mine too. I ordered a crab cake, presented as an old baseball, perhaps a game-used one by the New Orleans Pelicans, a club formed in 1865, one year after the end of the Civil War. Unsurprisingly, every second forkful was full of shell fragments. A dessert of pecan pie saved Ann’s supper. I had another Abita. Actually, the band saved our supper. We were able to imagine a time ever so fleetingly when Louis Armstrong was new on the scene.


Do Cajuns tire of Cajun food? Sometimes you just want a hamburger. Alibi is a dive bar (proven by an award plaque from some obscure lad’s magazine) on Iberville, about a hundred steps off Bourbon – you don’t have to go far for prices to drop like endcap sign placards in a Walmart commercial. The toilet was revolting, fruit flies hovering over the trough. Dirty work for a would-be attendant. I said to Ann, “Hold it if you can, we’re not too far from the hotel. I wouldn’t even wash my hands in there.” The bartender was friendly enough, a Colorado transplant, one of those sloppy fat guys, hairy and poorly groomed. When he learned Ann and I were from Alberta, he was keen to talk hockey until the joint got busier. Our food was surprisingly good, although judging from the men’s room I could only imagine the state of the kitchen and the litany of health code violations. Paper plates, and plastic cups again.


When we were university age, I remember moving JB out of his apartment in Montreal’s West End by heaving many of his belongings over the railing of his second storey balcony. No one lost an eye trying to catch a ski pole, so, really, it was all fun. How could we have known I’d be visiting him in his digs in New Orleans’s Garden District? He’s well situated for work downtown, not walkable but should he choose not to drive there’s the St. Charles tram or the number 20 Magazine Street bus. Ann and I toured the area with JB and then returned a few days later to poke around ourselves.


The district is famous for its working gaslights which are always on. The architecture is a mix of French, Spanish and, I suppose, antebellum – Queen Anne tweaked for heat, humidity and soft ground. Shotgun homes are suicide feng shui, the front and back doors align. Every room in the house opens off the same side of the hallway. With both doors open, the slightest breeze, a draft, provides ventilation and cooling. Heat rises so ceilings are unnaturally high to give it some place to go, alleviation by elevation.


Ann and I cruised Magazine, a hip shopping strip reputedly favoured by locals, although the gift shops suggest a different story. Still, there were no ersatz voodoo stores which are rife in the French Quarter and there were no chain retailers like the ones populating the Riverwalk outlet mall by the convention centre where the paddle-wheelers dock. The most discombobulating and disturbing aspect of our entire stay in New Orleans was that whichever store Ann and I went in to at whatever time of day, Nickelback, the pride of Hanna, Alberta seemed to be playing over the audio system. I guess it’s now impossible to truly get away from it all.


Our respite from Magazine was a sports bar (Saints!) called Tracey’s. It’s a big space in a heritage building, treed with iron girders holding up an impossibly high tin ceiling. Food’s available in the back, served up from a canteen. The plastic cups of Michelob Ultra were almost free. A small moment of joy when I discovered the men’s toilet was as immaculate as the bartender was stoned. I said to Ann, “Best one yet. You may wish to avail yourself before we head back downtown.” She moseyed after she’d eaten her grilled cheese sandwich and fries. She was gone for quite a while. I ordered another Ultra, that took more time than it should’ve, competing as I was against an iPhone and Bob Marley. Then I began to worry. Ann is still the girl who habitually checked phone booths and Coke machines for stray dimes. While I idly contemplated the medical emergency phone number tucked away in my wallet, Ann was idly pressing random buttons on the vintage pinball machine outside the ladies’. I found her three free games in, her tilt-not-tilt misspent youth skills still sharp.


I will reluctantly join a line for a toilet because sometimes the prospect of relief outweighs the dreadful prospect of what those who used it before me have left behind. Life is nothing if not some evidence of legacy, some messy deposit of DNA. I suppose New Orleans food may be described as “in hot, out hot” (the shaker of Slap Ya Mama Cajun seasoning in my knapsack caused much consternation during our Louis Armstrong Airport security screening), the antidote must necessarily be sweet. Atop the pralines and pecan pie balances the beignet, a portion of fried dough dusted with icing sugar. They’re meant to be served warm and enjoyed immediately. The constant queue at Café du Monde by the Mississippi in the French Quarter suggests the culinary logistics border on the impossible. Anyway, appreciating rich food amid a congregation of downtrodden and homeless souls can be an awkward experience.


Ann enjoyed the knock-offs served up at Café Beignet at the corner of Royal and Canal by our hotel. Once I’d completed the Visa transaction – which I had authorized by using my left index finger as a stylus on an Etch-A-Sketch screen - for counter service, a takeout order, the cashier demanded a tip. I said, very politely, “Oh, for fuck’s sake.” I handed him a twenty-dollar bill because I wasn’t going primitive electronic again, no way. I said, “Break that for me, give me a ten, a five and singles.” He had to call the manager. Cash money. Math. Confusion.


An associate of JB’s set Ann and me straight. Café Beignet, she said, was just like the hotel, designed for visitors. Locals frequented French Truck next door. Prices were lower and line ups were infrequent. French Truck superseded Touché and Zesty Creole as our main go-to because the pod coffee maker in our room just wouldn’t do any morning at all. And God bless French Truck because by ordering “Just a Cup” from the menu I didn’t have to learn to speak “barista.” Ann thought each morning’s fresh pastries were adequate: “You can tell when it comes from a mix, you can taste the difference.” So, sort of handmade with operational efficiencies sifted in and fair enough, I mean, the guy across the street couldn’t count.


We’d take our yellow cups onto Canal Street and smoke cigarettes (Marlboro Lights once our Canadian ones went up in smoke) by a litter bin, always careful to avoid the CVS CCTV and trigger its NO LOITERING admonishment. We watched the green and red tram cars come and go. We surveyed the damage and debris from the night before even as we watched a new day unfold as we planned our own.


“Are we supposed to meet JB tonight?”


“No, I think he’s going to the Pelicans game.”


“Is that football?”


“No, basketball. Another cig before we clean up and go out and about? I’m in no hurry.”


“Sure. Me neither.”


“I like this coffee.”


“It’s not bad, pretty good. I really like this city.”


“Me too. Where do you want to go today?”

                   

Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer.

Monday, 13 November 2023

A LONG WAY FROM MANY PLACES


Another Helping of Moody Food


Ann’s and my week in New Orleans, LA didn’t quite shake down as I’d hoped. The same thing happened in 2012 in Lethbridge, AB. We drove south that August to see His Bobness in a small capacity minor league hockey rink. My plan back then was to bump into him after his concert in the bar of the Ramada Inn where we were staying. Where he had to be staying provided the bastard just didn’t get back on his tour bus and beeline for the next night’s show in Creston, BC. My plan was to talk baseball with Dylan. I’d done my homework, boned up on the Minnesota Twins; poor bullpen and lack of timely hitting. Lots of runners left on base.


My quarry last week was Aaron Neville. My intention was to thank him for “Struttin’ on Sunday,” a song that twice prevented my suicidal arithmetic of garage joist, orange electrical cord and flimsy Hunter green plastic patio chair. I was going to tell him how his covers of “Everybody Plays the Fool” and “Louisiana, 1927” transcended the originals, and Mr Neville, sir, what could I possibly say about your band of brothers? You guys blew my mind when I saw you in Calgary. Missed you by a delayed flight day at Montreal’s International Jazz Festival. He’d be a hard man to miss approaching Ann and me on the sidewalk, a tattooed giant, easy to spot in an urban population of less than 350,000 souls. The trouble with sidewalks in a sinking city is that they heave and the great ancient roots of magnolia and oak trees only exacerbate matters. For all of our walking, I mostly kept my head down, watching my feet and Ann’s. Treacherous going, missing paving stones, missing utility access lids. Our excursions were much like encountering Royal Jenny, an attractive and scantily clad blonde dominatrix, in our hotel’s elevator, look down, don’t look anywhere else and anyway, I’ve already had my balls busted – my doctor says my prostate doesn’t feel quite right. How would I know? I want to believe Ann and I saw the cuffs of Aaron Neville’s pants and shoes somewhere, maybe in Treme (the final ‘e’ should have an accent grave but I don’t know how to add one if Word doesn’t do it for me) or the Garden District. Could’ve happened.


Bourbon Street’s overture begins in the late afternoon. Incessant drumming, kids and tweens banging upturned five-gallon plastic job site pails. More beats arrive by bicycle, mobile deejays hauling Radio Flyer wagons of computer equipment. If you must butcher a gorgeous song like “Just My Imagination” do it like the Rolling Stones because, you know, the Funk Brothers nailed the low end the first time. Musicians set up on the narrow beds of pickup trucks; Ann and I never, ever, imagined we’d hear George Jones songs laid down by a guy with dreadlocks. The motorized music brigade roars up after dark. You can hear this subculture coming, ripping down Canal Street. Garish, low-slung three-wheeled Batmobiles blasting hip-hop to synchronized LED lights, bow-legging Harleys almost as big, competing with sound systems better than the stereo we have at home. Good God, y’all, the joyous noise is a ceaseless, a relentless full frontal lobe assault. It’s all life affirming: remember, some of that static you pick up twiddling between AM stations is the fading echo of the Big Bang, the universal one note.


Ann and I locked in on the Soundstage, a club on Bourbon Street. We returned a few times to catch sets by Willie Lockett and The Blues Krewe (it pains me to type that particular proper noun). He’s a big man, as big as Howlin’ Wolf maybe and he’s got that growl. He performs seated, he needs a clawed cane to get around between sets. He’s missing a few front bottom teeth. Maybe he’s a local hero, we don’t know but he’s clearly paid his dues and his bona fides include his stint with Gatemouth Brown last century. When he called for requests from the stage, I froze. I should’ve yelled “Dust My Broom” (Elmore James) because Willie’s guitarist was a hot player, slick but all business, no paddlewheel showboating. When Willie was sitting alone at the bar, I was too shy to approach him. What do you say that’s not a cliché when you don’t know what to say? "Hello, Mouth, this is Foot." Maybe it would be like meeting Aaron Neville or Dylan and babbling off script, as squirmingly uncomfortable as a prostate exam conducted with a stiletto heel. Ann and I did our duty with dead presidents and the tip bucket.


Storyville is a fable. Those few Basin Street blocks of barrooms and bordellos are now the stuff of myth, legend. And I have to smile at what’s been lost because when I was a kid if Mom wasn’t crooning “Blue Moon” in the kitchen, she was belting out “Barrelhouse Bessie of Basin Street.” The neighbours used to knock on the common wall. Family lore has it that Mom’s brassy and frightfully bold embrace of the risqué led to her suspension from convent school. My taste runs more toward the “Basin Street Blues.” Frenchmen Street, a little hipper and a little less touristy than Bourbon Street, is in the vicinity, in that nether zone between the French Quarter and Treme. Neither Ann nor I can tell you that music is any more authentic, it’s just different performances of Dixieland, blues, funk and Billboard chart covers. Sounds like every musician trapped between the Mississippi River, Lake Pontchartrain and the Gulf of Mexico has chops. And doesn’t all that competition payout double at the window for listeners.


I saw Wolfman Washington back in the 80s. A free Montreal International Jazz Festival concert staged on rue Ste-Catherine by Place des Arts. I recall a very tall man whose stage costume was as red hot and flashy as his guitar technique. I never did learn much more about him in those days before Google and my music press habit rarely included Downbeat and so I was delighted to see that costume or something damn similar on display at the New Orleans Jazz Museum. I’d no idea he was a Crescent City product. Wolfman’s red patent leather loafers were big, scuba flippers on my feet. Fats Domino had big feet too, we saw a pair of his shoes, white bucks. And his sartorial flair, including a yacht captain’s cap purchased from Meyer the Hatter on St. Charles Avenue (Fats and me, man, we shop at the same store) and gaudy pastel floral sports coat buttoned up on one lucky mannikin, probably influenced Wolfman. You’ve got to look the part you play, just ask Royal Jenny.


The jazz museum which includes recording and performance space is housed in a lovely red brick building, solid and imposing, a decommissioned United States Mint dating from 1838. It’s serendipitously situated on Esplanade Avenue near the intersection of North Rampart Street, proximate to Louis Armstrong Park, again straddling Treme and the French Quarter, that magical area, a pleasant stroll from our hotel, yes, indeed. Drumsville: The Evolution of the New Orleans Beat is a history of percussion. There are washboards with bells and thimbles, branded metal buckets which once contained lard or oil. What staggers me is an innovation so fundamentally obvious it required a Eureka! moment, the bass drum foot pedal. Its introduction is responsible for the drum kit we all picture when we imagine our favourite bands, one musician but many skins to brush or bash. Hanging unobtrusively in the corner of one of the rooms is a frozen Aww... moment, an enlarged photograph of Charlie Watts, a three-quarter profile candid shot snapped in 2005 of Charlie on his beat quietly examining the relics of his trade.


Ann spent 24 hours in New Orleans 25 or 30 years ago. There’s a souvenir magnet on the microwave shelf in the kitchen, its paper graphic of Bourbon Street jazzmen peeling at the edges (God help me, I bought a spooky black rubber update, voodoo Dixieland horn playing skeletons). Our trip was post-pandemic self-indulgence, a temperate place before winter blows in from not too far north, no commitments to be met once the jet wheels bounced on the Louis Armstrong International Airport tarmac. Our holiday together was squeezed however by local commitments and schedules. Ann is the first violinist and concert master of her orchestra. I too am a concert master, having insisted we buy tickets for the Doobie Brothers performance here in Edmonton in late October and ice it with the E Street Band in early November (since postponed to same Boss Time in 2024). Once we’d decided upon New Orleans as our getaway destination, I investigated berths or roomettes on The City of New Orleans, departing from Chicago, before it struck me that rubbernecking from a night train was as absurd as raking leaves on a blustery day. Anyway, Edmonton is a long way from many places and there are few direct flights to anywhere else and we didn’t have time for a 48-hour travel day.


It's not easy to walk abreast in the narrow eighteenth and nineteenth century confines of the French Quarter whilst holding hands. I always had the sense that we were at the apex of a deep Montreal metro station escalator: stand to the right, but keep moving and watch your footing. “A Doobies album,” I said to Ann. Now what was I going on about? I pointed at the crooked sidewalk beneath our feet, the disturbed corner curb embedded with off-kilter white tiles imprinted with blue type: Toulouse Street. We were awake and alive in a pilgrim’s kind of place. I don’t know what part of Louisiana Johnny B. Goode left to get his kicks and see his name in lights, but I’m convinced he caught a train north from Union Passenger Terminal on Loyola Avenue to Chicago.


It was coming on Christmas on Canal Street when Ann and I flipped our mindsets, suddenly sorry to have to leave but also anxious to get home. Green nylon pine needle garlands snaked around the ghost story lampposts, vampire blood red-ribboned wreaths higher up, just beneath the electric gaslights. We’d walked for miles and our feet were hurting, but we sure weren’t suffering a terminal case of the “Canal Street Blues.” We’d tripped through New Orleans with Dr John, the Meters and the Nevilles. I realized we’d done it all before, starting a long time ago from a long way away, in concert in different provinces in a different country no less: brass bands, Satchmo and “Jambalaya” on our parents’ hi-fi systems; a Mardi Gras parade of strutting Cajun and Mississippi queens and riverboat gamblers on our older siblings’ transistor radios or tinny suitcase bedroom stereos. And music from our own collections had taken us to New Orleans long before we got there.  Déjà voodoo all over again.      


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer.

Monday, 6 November 2023

A LONG WAY FROM MANY PLACES


A Week of Halloween on Bourbon Street


Friday night, the last weekend of October. When our taxi from Louis Armstrong International Airport dropped Ann and me off in front of our hotel at the corner of Canal and Bourbon Streets, we both had the sense that our lives, for the next week at least, were about to get weird. We’d touched down in the middle of a sybaritic bacchanal with costumes and everything.


The Astor Crowne Plaza was hosting DomCon, a convention of dominatrixes and their camp followers. Mary Reilly, Mary Reilly, I am my people-watching mother’s second son. I bear a strong resemblance to my father, but I got the rubber version of his visage, not the poker one. And it’s a constant, conscious effort to keep my unfiltered observations (Not judgments!) to Ann somewhere below Spinal Tap volume. Within the confines of an elevator, I figured the safest course of action was studying the tips of my blue Clarks shoes. But once our fellow guests leave the hotel and turn the corner onto Bourbon, they blend in with the crowd, and the crowd feels the pull of Larry Flynt’s sex shop and two Hustler-branded peeler palaces, one of which subtly differentiates itself from the other by guaranteeing BARELY LEGAL in red neon. You are free to be yourself in New Orleans. All it takes is what you’ve already got inside you, a little pride and a little self-esteem. Courage isn’t a required requisite here and shame need not apply because The Big Easy is that type of place.


New Orleans isn’t floating exactly, but it’s best not to dig too deeply. The city’s dead are interred above ground in mossy mausoleums: miniature cities populated with the dearly departed proximate to their lost brethren, the living desperate, wasting away in tents under the elevated cement channels of the Portchartrain Expressway and the I-10. Halloween summons the skeletons. My informal black t-shirt survey suggests the psychobilly Misfits are the biggest band in the world, their skull logo travels well. There’s voodoo Baron Samedi with his top hat from Meyer the Hatter on St. Charles (just off Canal and very close to our hotel) and his walking stick, grinning like a Misfits fan who’s never actually heard them. Thanks to novelist Anne Rice (Let's chat, Lestat!) all the vampires are Hollywood hunky or Vogue pale junkie elegant-no Nosferatu rat creatures in this port city except for the crazy ones who couldn’t be scrubbed clean with a firehose. The costumes that confused Ann and me were the referee zebra stripes worn by packs of frat boys. There’s some post-baby boomer generational joke with a mysterious setup and obscure punchline that we don’t get.


Halloween has transfigured in to something resembling a Boxing Day sale in Canada in that it lasts a week. This commercial, consumer pop culture shallowness is apparent on Bourbon Street, there are too many Darth Vaders on too many nights. The time of the season dictates there can be no Star Wars good guys though Jesus is all right. He manifests as His idealized Catholic version in this carnival of chaos, white and well groomed, possibly some beard oil. But the Son of God has always hung around the French Quarter, a Vatican spectre of European colonialism: “Touchdown Jesus,” His trick of light silhouette cast on the white board rear of St. Louis Cathedral towers benevolently, referee arms raised in supplication, over Bourbon Street sinners and the city’s football Saints. We also encountered a bald man wearing white Nikes under an ankle-length saffron robe. Great costume. Turns out he was a genuine Hari Krishna or some kind of inscrutably Zen monk. No bracelet beads, thanks.


Ann and I spent maybe a little too much time loitering in front of our hotel, doubling down on our nicotine intake. We’re not anthropologists but we understand the importance of empirical field work. While we discarded our butts in a solar activated trash bin, Ann and I were uncomfortably aware at times that the downtown streetsweepers in their tennis ball green uniform tops really, really earn their salaries. Like Bourbon Street, the red paving stone sidewalk in front of our hotel is power washed every morning because life’s rich pageant in New Orleans never ceases. Masquerades make messes: Mary Reilly, Mary Reilly, the human detritus. Tourists here have the world at their feet, dropped, tossed, previously digested or not so gently worn. My musical head mashes up Lou Reed’s “Halloween Parade” and “All Day and All of the Night” by the Kinks.


To reenter our hotel after dark (and the night’s last cigarette) Ann or I flash one of our room key cards to the armed sheriff. She seems a bit bulky, almost unfit for her job until we realize she’s wearing a bulletproof vest under her uniform jacket which is the same olive drab as the St. Charles tram car. After Halloween, once the DomCon participants have tied up their loose ends, the costume party reel keeps rolling beside the Mississippi as busloads of orange and navy festooned Chicago Bears fans blitz the Crowne Plaza for another weekend. I have never before seen a woman in elegantly cut couture patterned with a football team’s primary and secondary logos.


The first Saturday of November, departure day doesn’t have time to dawn. The alarm on Ann’s iPhone is synched with the relentless thrum from Bourbon Street. Rhythm. The white and gold, almost gaudy, Crowne Plaza lobby gleams pristinely at five a.m., mercifully empty and silent. There’s no sheriff, no bell captain. The two night clerks behind the front desk and their computer screens are chipper and cheery, efficient. The four of us are up and at it before the city’s sanitation department. The recessed main entry of the hotel is something of a swamp. Ann and I guess vomit and blood although it could maybe be takeout Mexican food- definitely not fried chicken. We gingerly tiptoe around the muck, careful to lift our carry-on suitcases. Wheels up!              


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer. 

Thursday, 26 October 2023

A FAN’S NOTES


A New Stones Album


Sometimes, you know, I must remind myself to remember Gordon Lightfoot’s admonishment to a lover as advice for me: “Baby, step back.”


I was gearing up to write a SAINTS PRESERVE US post eviscerating Monique LaGrange, another in a long line of Albertan hot messes, a Catholic School Board trustee in the central city of Red Deer. She, overcome by a visit from the Holy Spirit who told her to “Go for it!” posted an internet meme (because internet memes pass as intellectual discourse) equating LGBTQ clubs in schools to the Hitler Youth. Bit of a reach. My scalpel was sharp, but I wasn’t sure where to make the first of a thousand cuts.


And so, I turned to Alberta Premier Danielle Smith, the Banshee of Invermectin, whose government is now actively pursuing withdrawing Alberta from the national Canada Pension Plan, key webbing in a liberal democracy’s social safety net. This “Pay less! Get more!” scheme was not even a plank in her platform when the provincial election was held just five months ago. This calculated deceit, possibly a ploy to keep her party’s lunatic fringe in line (see above), suggests the absolute apex of cynical governance: It is in her party’s best interests to create new issues rather than solving existing ones. I have the unsettling hunch that this folly will snowball in to an avalanche. There’s no stopping the momentum of bad policy, admitting a mistake doesn’t poll well.


Beyond the myopia of my provincialism is the morass of national and foreign affairs, and the quagmire of international events. I was at the liquor store the other day, needing a box of beer. En route to the walk-in cooler in the back I paused before the shelves of Irish whisky. The bottle of Writer’s Tears I bought in 2020 is down to its last few fingers. These times we live in insist I stock up. Why can’t everybody just shut up, calm down and fuck off? Please and thank you. A dram of escape to remain mindful of Lightfoot “Baby, step back” and to apply the philosophy of Tim Curry: “Ideology is too much responsibility for me/I do the ‘Rock’ myself, when I can get it!”


Well, I did just that last Friday when Hackney Diamonds hit the record shops. Saturday and Sunday too. And I did it again on Monday and Tuesday and Wednesday. I’m a keen student! The new Stones album is shockingly good. My expectations were less than zero. No surprise really. Crossfire Hurricane is a fine authorized documentary of the band, released sometime between its fiftieth and sixtieth anniversaries. Tellingly, it wraps with the conclusion of the 1982 European tour. Thoroughly researched or scholarly histories of the Stones, no matter how well written, tend to revert to bullet point prose following the release of Tattoo You in 1981. The message is clear: nineteen or twenty years in they were spent as a cultural force. Fashionably irrelevant. Fair enough.


The novel on my night table is The Last Chairlift, John Irving’s latest. It’s a hefty hardcover, something of a strain on my arthritic wrists. It’s a work in the tradition of Dickens, a writer Irving greatly admires, filled with social commentary. The story ticks every box of the Irving oeuvre. Every device, trick, theme or trope Irving has employed since Setting Free the Bears was published in 1968 appears in this novel which can make paragraphs of it read like excerpts from an anthology of his selected writings. But it’s all new material and very good at that, and in the blink of my bedside lamp, I find myself some four hundred pages in. Hooked.


Should K-Tel have been the record label issuing Hackney Diamonds, it would’ve been called The Sounds of the 70s. You can picture the type font. I’m hearing fragments from Sticky Fingers to Some Girls and everything in between. I swear I’ve even picked up on the boogie-woogie piano riff of “Short and Curlies” somewhere within its grooves. But it’s all new Stones and very Stonesy at that. A shard of the glinting attraction of Hackney Diamonds is its traditional vinyl length, about twenty minutes of music per side. This was how things used to be done when song sequencing mattered. When this old band decides play to its strengths in whatever configuration, a fan realizes Mick and Keith et al are pretty good at what they do.


When the Stones were inducted in to the Rock and Roll Hall of Fame, Jagger quoted French artiste Jean Cocteau from the podium: “First you shock them and then they put you in a museum.” That venerable, institutional slide commenced in 1983 with Undercover. I will always argue the merit of that album, underrated, overlooked and left to languish without a supporting tour. Writing as a hopelessly corrupted lapsed Catholic, I can tell you I’ve learned more about the nature of faith as a completist, sad sack Stones fan than I ever did reading Soren Kierkegaard. I always took the leap with their subsequent sporadic, scattershot releases. Even during the worst of times there were always a few gems on a Stones album, they just took a little more time to dig. The semi-comic nadir reached its acme with the release of Honk in 2019. This particular compilation included “hits” previously available only on two previous hit compilations, Forty Licks and Grrr. In my defense, the Honk bonus disc featured a random assortment of live tracks. And further, just for the record, I don’t consider myself one of those unhealthily obsessed and creepy Stones fans; I can talk about other things.


Hackney Diamonds fades away with divine inspiration. The sparse acoustic cover of the Muddy Waters classic “Rolling Stone Blues” (sleeve spelling, too many other variants to list) is at once celebratory and elegiac. Back in 2016 I assumed Blue and Lonesome was goodbye. A fine album of covers made by two old mates who’d grown up together in a suburb of London seemed to close the circle. It could’ve been waxed and released in 1963 when Jagger-Richards was still an aspirational songwriting credit. The well had run dry and there was nothing left to say; I almost heard them sigh. Blue and Lonesome wasn’t exactly a sweeping exit but it sure sounded like a fine denouement. I was wrong.


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer. 

Thursday, 19 October 2023

HUMAN WRECKAGE


Ew! Ick! THAT Smell


Olfactory time travel. I know I can never fast-forward just as surely as I can never know what will take me back.


There was a time in Canada’s major cities when “downtown” really was as magical as Petula Clark’s song. Perhaps only because I was just a boy back then. Neon signs, cinemas, nightclubs, musical traffic and swanky department stores - Eaton’s was one of the latter in Montreal. My first properly documented paying job, requiring a social insurance number and everything, was toiling in the kitchen of Eaton’s Tea Room, a gorgeous and narrow art deco space beneath a soaring curved ceiling up on the ninth floor of the downtown flagship store. (The only comparable room I’ve ever seen since is the bar of the Oxford Hotel in Denver, CO.) It was Montreal’s Olympic summer, 1976. I was 16; I was paid $3.55 an hour, significant cents above minimum wage.


Your grandmother enjoyed high tea there twice a month with the members of her bridge club. Your mother took your sister there on a special occasion for a special treat. The waiters and busboys wore black pants, white shirts, red vests, black bowties and white boater hats with red and white striped bands. I wore a khaki uniform and a disposable white paper hat. I stacked dishes, wheeling steel carts of searingly hot clean crockery into the main kitchen where the chefs worked plating meals. I sorted dirty dishes and cutlery into trays to be run through the dishwasher. I scrubbed French onion soup bowls clean by hand. Mostly I busied myself decrypting Mick Jagger’s enunciation: Was it “Marching, charging feet, boy” or “Marching, charging people (pee-pull)?” “Tumbling Dice” became something of a passion project. The ladies I worked beside on the line, as attractively adorned as I was but with hairnets, fetching Eaton’s couture, yelled at me in machine gun joual for working too fast. A non-union shop with union sentiments, prolong drudgery, stretch it out.


What looks large from a distance…In my memory the dishwasher was a massive silver dynamo, ten yards long. Compared to the relatively new Bosch in the kitchen of the Crooked 9, I’m talking IBM mainframe to an Apple iPad. Walter was one of its two operators. He seemed ancient to me and his first and only language might have been Polish. The other guy was Danny, a big guy, a couple of years older than me from a less affluent and much tougher neighbourhood than the one I’d grown up in. He was perfectly bilingual and so I’ve no idea what language he spoke at home. One of the waiters, a thin grey man, skin and hair, displayed an unnatural interest in my bare flesh. He liked watching me change into my uniform. He was overly curious about the growth pattern of my pubic hair. Danny had a quiet chat with him at high volume. (Should I ever experience the misfortune of being sentenced to hard time, I shall require an advocate and bodyguard like Danny. I hope life shook down favourably for him.) Neither Walter nor Danny worked Saturdays and so that’s when I got to run the great machine. It was a prime gig, almost fun, no sorting or stacking dishes, no scrubbing pots. The drawback was closing time for the Tea Room and the store, I had to clean the goddamn thing.


The kitchen in your home must be configured like Ann’s and mine. There are two main work areas. There’s the stovetop and the oven, and probably a smaller microwave-convection unit. Then there’s my turf, the sink with the dishwasher hard by, and the bins in the cupboard under the sink, garbage and compost. All very ergonomic. Ann and I usually host family dinners Sunday evenings, three generations around the table. You can eat off the floor here Monday mornings but not in a good way. A few weeks ago, we served a larger than usual crew, visiting relatives, invited friends. Chicken and salads and a delightful feta cheese and spinach dish – more brownie cake than spanakopita – and I can’t remember what else. The menu took a lot of planning and work. And clean up. Our party days are over, adults dislike staying up too late on a school night and, anyway, the toddlers must be put to bed. Guests began to drift away around the time when I start thinking about maybe eating my own supper. There’s a Crooked 9 family compact: Ann cooks and I clean.


“I got this.”


The kitchen garbage bin was stuffed with juicy chicken unrecyclable Stryofoam trays. I scraped the dirty plates into the green food scraps bin. I rinsed the dishes and loaded the dishwasher. I filled it, so I ran it. I washed the indelicate IKEA wine glasses by hand. I work to rule and so I took a collective bargaining agreed break on the front porch with a cigarette and a beer before shaking out the dining room table’s cloth and power washing the highchair and carrying both down to the basement.


By this time our dishwasher, a miraculous pandemic purchase because it was not only on sale but in stock, had just completed its cycle. It’s an incredibly efficient machine. Works fast at a high temperature. When I opened the cupboard beneath the kitchen sink, the smell of overheated, almost steamed, garbage and food scraps overwhelmed. That awful smell, not like somebody else’s vomit or shit, or rotten potatoes, but near enough, tripped my gag reflex down memory lane. Rancid organic waste.


Eaton’s industrial dishwasher incorporated a system of traps to catch debris as the water drained. They were steel baskets that could’ve done double duty in a deep fryer. Maybe they did. They were almost but not quite too hot to handle; my hands had toughened up over the course of the summer. What plopped out of them was revolting, the entire Tea Room menu compacted into perfectly formed ziggurats. These stinking, steaming clumps were generally a tinned pea or seasick green. They went straight into the garbage bins which already stank.


The only waste separation I ever saw in the kitchen of Eaton’s Tea Room had to do with untouched bread rolls. If the busboys weren’t “in the juice” they’d take a couple of extra moments to compete, lobbing elegant arcs of white or whole wheat in to the garbage from five, ten feet away, underhand and overhand. Swish! One less task for me. Laughter and banter. Well, didn’t the manager walk in on one game, an impromptu inspection. Maybe her blue hair was curled, waved and sprayed a little too tightly that day. She lost that prim, formal composure that was supposed to be maintained and constrained by her cream hued dress decorated with a brooch, a flower or an insect, pinned above one spinster breast. I didn’t know where to look while she screamed at the busboys to fish the perfectly good buns from the bins for replating. She was a close friend of my aunt’s, a fellow Anglican church lady, glasses of Heinz tomato juice and a ring of Jell-O shrimp salad for a family dinner, praise Saint Peter for Miracle Whip and Velveeta, which was how I got the job. I really didn’t know where to look, up, down, left, right, behind? To this day, I will not eat complimentary rolls in a restaurant, but I will puncture their crusts with my thumb.                             


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer. 

Monday, 16 October 2023

THE MUSTER POINT PROJECT


Take a Load Off Kevin


The Muster Point Project is the musical alter ego of my friend Kevin Franco. The multi-instrumentalist writes songs and sings them. His latest release, now available for purchase in its entirety from Apple (not that Corps), is an EP called 5 KG: five new songs with a creative twist, lyrics written by me. 5 KG: Kevin, Geoff – get it? And you should get it.


Together through “I Got This,” “Grub Street,” “I Love that Song,” “I Did What I Did” and “The Little Things” we tell stories. Online music press (is there any other kind anymore?) notices from sites around the globe have been positive, almost enthusiastic. It’s gratifying to be described as an “acclaimed” novelist. Please. I’m also Kevin’s front man according to some, his lead singer. Apparently, I’m still supple enough to perform all the bathroom mirror Jagger moves I perfected in high school. Now that is gratification.


I’ve been working on the first draft of a sequel to my novella Of Course You Did for these past 17 months. I took a welcome six weeks off from my manuscript last spring (I was stuck and contemplating setting it aside) to write a dozen pages of lyrics for Kevin; all on spec following a casual electronic conversation: some were dreadful, some didn’t suit him, some obviously inspired him. My work on 5 KG was a distraction for me and its potential cost to Kevin was modest, a percentage of our publishing agreement.


I’m one of those left-handed scribblers who drags his hand over the medium point ink. Most lefties avoid that by using an awkward, palsied technique, curling their wrists over the last line, trying to keep ahead of their smeary selves. Once I’d finished my job for Kevin, I just washed my hands – the Governor of Judea would’ve loved the pandemic. Over the course of the summer, I began to appreciate the scope of this particular Muster Point Project. Kevin is something of a force and so the velocity didn’t surprise me, but there were so many elements flying around at once it was a perfect ponder why they didn’t collide.


The opportunity cost of creativity is time spent on more practical endeavours or elegantly wasted. The digital revolution has reduced expenses for independent artists, but still. Kevin needed time to compose music and lay down demos. Kevin needed to hire a studio, a producer and guest musicians. While he conceives and directs TMPP videos, there are post-production costs. Marketing and promotion take time and money. Minor concerns are constant, such as ensuring his band’s thumbnail streaming identity, its visual consistency, across multiple platforms and past TMPP releases.


Kevin’s music lends itself to more ears than my prose does to eyes. He sends me spreadsheets from time to time, screen captures. His audience numbers, modest in a disrupted industry, are of a quantity I’m too much a of a realist to even fantasize about for my own stuff. But all those streams, those penny fractions don’t add up to much more than one red cent. Indie artists, those not groomed as cash cows by Svengalis or corporations, stake their claims in culture knowing the odds are against them, the game is fixed. Kevin doesn’t make music for money. Kevin makes music because he must. The key to TMPP sound is that it’s true to its creator, it’s not on trend, it’s not piggybacking on hashtags, it’s real. His only calculating is composition. If you’ve added a few of his songs to your playlists or watched the TMPP YouTube videos a couple of times – “Grub Street” set to Depression-era, colourized footage of My Man Godfrey is genius – you may wish to buy the 5 KG EP complete as an iTunes download. Consider that. Kevin’s just looking to break even so he can afford to make more music. There’s a link to purchase at my other site and all that pertinent information is immediately, directly below this sentence.                                 


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to some of the songs I co-wrote with The Muster Point Project or buy 5 KG, the complete EP. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer. 

Monday, 9 October 2023

EAT ME


The Commodore Café


The Commodore Café has existed as a family-run business on Jasper Avenue since 1942. It’s beside Audreys Books and near the old CKUA studios. It’s something of an institution by virtue of its age. And it’s become something of a hipster destination too, perhaps because it’s evocative of a different era, a time when every main street in every prairie town featured a working man’s café specializing in CHINESE and WESTERN FOOD: fried egg sandwiches or chicken fried rice and egg rolls.


The Commodore is one of those places Ann and I have been meaning to get to. It’s closed on Mondays and otherwise shut after the lunch trade has dwindled. Its hours rarely coincide with our visits to Audreys. We finally got to the Commodore last Thursday with half an hour to spare. It occupies a narrow space, one surprisingly as long as my memory.


We selected a table near the entrance, against the wall with a view of the lunch counter and the working space behind it. Gum, breath mints and antacid pills were displayed on glass shelves in an enclosed case supporting the cash register. The wall opposite us green, olive drab. There were two empty wall-mounted display refrigerators, a line of Campbell’s soup tins atop one of them, and between them an erasable board with the day’s specials. The waitress had immediate access to a four-slice toaster, a milkshake mixer, a Bunn coffee machine and cans of chilled soft drinks. The lunch counter was split in two, a through passage to the tables. The top was brown Formica (possibly Arborite, a competing Canadian layered, laminated and wipeable product) with a darker wood grain pattern. The shiny silver stools were affixed to the floor. The colour of the seat coverings was designer plastic Band-Aid. Perhaps they exuded a rosier hue in a different age; I couldn’t remember.


I said to Ann, “I’ve been here before.”


“Really? When?”


When I moved to Edmonton in 1990, I found an apartment on 113 Street, steps, or the length of one strip mall and its parking lot, away from Jasper. I lived across the street from the Moto-rant, fine dining, and the Gas Pump, fine drinking. Still, I got around a little bit, I would’ve blown past the Commodore hundreds of times because dingy and sketchy didn’t constitute curb appeal.


“Nineteen seventy-five,” I said.


Or maybe 1974. Those were the summers when my divorced parents flew me west from Montreal at my big brother’s behest. Bob was nine years’ my senior. I know now that his intent was to provide me the sort of parental guidance my father, now living in Ottawa, could not; no one ever asked me if I’d prefer to live with my father or my mother. I landed my first real summer job in Montreal in 1976. After that my trips to Edmonton became shorter and less frequent (this pattern repeated itself with Ottawa weekend bus rides to visit my father). Bob died in 2012. It still hurts my heart knowing I’m now older than Bob ever was; we had a friendship like no other I’ve ever known, combustible, comedic and true. Blood, and mine without cancer markers. Christ.


Those first couple of summers Bob lived in a high-rise situated about halfway between the North Saskatchewan River flats and downtown up on the ridge. He went to work every day but tried to ensure I wasn’t entirely an instrument of the Devil. I attended a baseball camp at the creaky wooden ballpark (the current retro brick field on the same site wasn’t even a dream yet) beside the Rossdale Power Station down by the river. The camp was run by a couple of Edmonton Tigers, Class D players whose names I still can recall (they never made the Show) - American boys who roomed across the street from Bob’s one-bedroom where I bunked in the living room and who seemed much older and more worldly than me although, in retrospect, our age gap was less than the one separating me from my brother. Sometimes I’d see the Tigers instructors lounging in the sun outside their less palatial digs sipping A&W soda from orange and brown quart cartons. Even though they’d been teaching me fundamentals that morning, base running, cutoff throws, I never worked up the nerve to cross the street and say hello. And I often rode shotgun in a delivery truck driven by a teammate of Bob’s (hockey or softball, possibly flag football), delivering wholesale fruits and vegetables to places like the Commodore Café. Of course, I was frequently left to my own devices.


I walked uphill to downtown, passing the Ambassador Inn on my way to the main drag, Jasper Avenue. I generally turned right at the corner, following the descending street numbers. I had a route (this pattern repeated itself with Montreal’s downtown record stores). My first stop was Mike’s News to browse or buy music or sports magazines. The porn section was certainly eye opening. And I’d never seen so many newspapers from so many other places all in one place before. Beyond Mike’s was a bookshop whose name escapes me. I remember buying a novel there called Cross of Iron by Willi Heinrich. The film by Sam Peckinpah starring James Coburn and Maximilian Schell would make its cinematic debut in 1977. Heinrich’s prose would eventually direct me to H.H. Hirst, author of the Gunner Asch stories and Night of the Generals. There was a restaurant called the Carousel where I enjoyed the hamburgers. Its red and yellow sign suggested a graphic carnival ride. One of its neighbours was The Silk Hat whose name indicated every item on its menu was sure to be fifty cents too rich for my budget. Classy joint, ritzy. My U-turn point was Edmonton Centre, a newish downtown mall two blocks off Jasper, anchored by a Woodward’s, a now defunct department store chain from British Columbia that never expanded eastward beyond Alberta. Very exotic. Like all department stores in those days Woodward’s had a record department and that’s where I bought my first “current” Bob Dylan album, the Before the Flood double live set featuring The Band, his lone Asylum Records release.


I infrequently turned left on Jasper after leaving Bob’s apartment. That direction on the strip struck me as much less interesting to explore. Part of the reason for that impression was the railway bridge traversing the avenue’s dip at 109 Street. The elevated black steel band (not too long gone, by the way) barred the way, visually and psychologically. An A&W Drive-in (not a drive-thru) was just on the other side. I knew that’s where the ballplayers went, but it seemed a block too far – I love this, bear with me: Around the time of my Jasper wanderings to the left, Ann’s big brother Jim, closer to Bob’s age than mine, used to hang out at that A&W weekend nights, not for the burgers and root beer so much as skidding out of its pea gravel parking lot. Whoo!


There was never much to eat in Bob’s apartment. I don’t remember ever going grocery shopping although we must’ve visited Woodward’s Food Floor on occasion. One day, after having turned left on Jasper and being hungry I stopped in a café that promised CHINESE and WESTERN FOOD. I took a silver seat, maybe its covering was red, a stool away from the gap in the brown lunch counter marbled with fake wood grain. I was facing a dull green wall. I ordered a hot dog. Five minutes later I was presented with a perfectly grilled wiener quartered on a toasted hamburger bun. No ketchup, thank God, the lone condiment was sweet relish. I was too taken aback and too young to complain about the utter wrongness of my hot dog, the likes of which I’d never seen anywhere, not back home in Montreal the day before Mom’s shopping day, not even at Bob’s where we’d recently spooned egg salad out of a cereal bowl because there was no bread. I ate it. Tasted fine.


Ann ordered the traditional special, chicken fried rice, sweet and sour chicken balls and, a modern twist, spring rolls. Her meal came with tomato rice soup as a starter and butterscotch pudding for dessert. I contemplated the hot dog, but finally opted for a Denver on toasted rye with a side of house-made potato salad. It was good, all of it. And we ate the old-fashioned way in the Commodore Café, without pretence.                               


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to the songs I co-wrote with The Muster Point Project. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer

Saturday, 30 September 2023

SAINTS PRESERVE US


Oh


The House of Commons has 338 seats up for grabs each federal election. You hope that the winners chosen by their fellow Canadians to serve their fellow Canadians view their roles as something of a calling rather than a well-paying job with great perks and benefits. You hope that your member of parliament will think a little beyond their pet projects and pet peeves, be up on current affairs even if they’re beyond their caucus remit. And you hope your MP might read a little history because that subject has a marked propensity to influence or even become a current affair. History can be a tricky subject because it will be reinterpreted, misinterpreted or just plain spun.


Consider this recent and very simple example. The Rolling Stones and Major League Baseball (MLB) together announced this week that Hackney Diamonds, the band’s new album, will be released in 30 different special editions featuring stitched togues in the primary colours of your favourite team and “baseball” white vinyl. I’d probably buy one if the Montreal Expos still existed because the Stones played the Stade Olympique two nights in 1989. MLB and the Stones go way back. This tenuous link is spin, absurd cross-marketing.


Ukrainian President Volodymyr Zelensky last week delivered a joint address to Parliament. His country, the non-aggressor, is at war with Russia. His counterpart, a former KGB operative who can’t decide if he’s Peter the Great or Josef Stalin, will sustain the folly which has turned into a protracted grind. Winter is coming to the region. Zelensky sought moral support but mostly money and materiel while in Canada. This country which hosts a significant Ukrainian diaspora is a laggard in its North American and NATO defense commitments, but it’s doing what it can to reluctantly fight the good fight.


So. The Speaker of the House of Commons (since resigned) Anthony Rota had to grandstand for Zelensky, trot out a mascot, a Ukrainian Second World War veteran who fought against the Russians in those years, now a frail ghost in the public gallery, as a symbol of contemporary Canadian solidarity. A bit of a stretch, but hey, simple, inaccurate and feel-good PR that’ll play well on video. Trouble is, Ukraine, one of the world’s great breadbaskets, whether as a region of an occupying power or an independent country, has, like most of Eastern Europe, an awfully complicated history.


A few years ago, when the vandalization of public statues and monuments was all the inarticulate rage, Rota, like most Canadians, would’ve been surprised to learn that Ukrainian social societies in Edmonton, Alberta and Oakville, Ontario had erected stone tributes to the Waffen-SS Galicia division. Now, Rota may not be a history buff, but these SS monuments were a hot topic in current affairs. An engaged MP might want to do some digging. Or have an aide do it for them. Why do they exist?


The majority of Canadians have been relatively lucky. We may share a bed with the elephant south of 49 but we’ve never lived between a rock and a hard place. The Holodomor was Stalin’s systematic attempt to starve the people of Ukraine, the very people who grew grain for the Soviet Union. The western portion of the region, known as Galicia and where Rota’s token patriot (my freedom fighter is your terrorist) was from, was Polish turf. Stalin signed a non-aggression pact with German Chancellor Adolf Hitler. After Germany invaded Poland in 1939, Stalin invaded from the other side intent on securing Galicia. When Germany launched Operation Barbarossa, its invasion of Russia, Stalin switched sides, joined the Allies. Hitler’s National Socialist Party created ideologically driven services which unfortunately thrived alongside those of the German state. The Party oversaw its own military, police and foreign intelligence services, among others. The SS was formed originally as Hitler’s bodyguard – and bastards like him need one.


“The enemy of my enemy is my friend.” We all know that one. And we all know those temporary hook-ups of convenience tend not to end well – the Taliban was a great group of guys when Russia invaded Afghanistan. Rota’s war hero was a boy in a wasteland pitted with the open graves of atrocities. This boy made a decision to bear arms for an undefined political or racial homeland amid an international shitshow. Who hasn’t taken advantage of a situation? Tried to leverage it. This boy was motivated to volunteer for the Waffen-SS (the organization’s military arm) rather than the ragtag Ukrainian Insurgent Army (UIA) which was too choosey about whom it would ally itself with, or fighting as a partisan.


Rota’s old man was not ready for his close up, but maybe in his mind he was. Anyway, all of this could have been easily avoided if somebody had just been paying attention. Did a little research. A stray lyric from 1994 “I was a pitcher down in a slump” certainly, at least to me, verifies the Stones’ long and loving relationship with professional baseball (I didn’t have to look the line up, I know my stuff). And that connection rings about as true as Putin’s limited de-Nazification military operation in Ukraine. Rota’s gaffe was a gift to Russian propagandists; I can hear the sustained standing ovation he's receiving in the Kremlin all the way from Edmonton.


The Stones grandstanding with MLB is like a Nancy Sinatra song, kinda stupid, kinda fun. Surface stuff, entertainment acts. But I don’t appreciate that lack of depth, that vacuous shallowness, those hollow talking points, those staged Instagram moments coming down from Parliament Hill in regard to national and foreign affairs, mainly because there’s a big library there and MPs, people like the former Speaker of the House of Commons, should utilize all of its resources. Books, periodicals and records can provide context and nuance, background. Genuine information. Perhaps Rota would’ve paused in the stacks to reconsider an ill-considered, gushing upstaging of Zelensky. 


Dispatches from the Crooked 9 is celebrating ten years as your most unreliable, unbalanced and inaccurate alternative source of everything. My companion site www.megeoff.com has been refreshed, revamped, revitalized and otherwise reinvigorated. Watch and listen to songs I co-wrote with The Muster Point Project. Of course, you can still purchase my latest book Of Course You Did in your preferred format from your preferred e-retailer.