#selling my Irving Park home
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chicagorealestate411 · 8 months ago
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Maximize Your Home Sale: Expert Pricing Strategies for Selling in Irving Park, Chicago
Are you ready to sell your Irving Park home in Chicago? Discover the key to a successful sale: expert pricing strategies. Learn why accurate pricing matters and how it can impact your home sale in Irving Park. The Power of Pricing Accuracy: Ensure your home stands out in Irving Park’s competitive market with precisely priced listings. Avoid the pitfalls of overpricing or underpricing, which can…
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girlsbtrs · 4 years ago
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How Being a Woman in Hardcore Helped Me Learn to Love Myself
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Written by Jen Moglia. Graphic by Laura Cross. 
Since this is my first piece written for Girls Behind the Rock Show, I figured that I should introduce myself; hi, my name is Jennifer, but most people call me Jen. I live on Long Island in New York, and my favorite things include my cats, the color pink, giving gifts to my Animal Crossing villagers, and watching sports. Above all else, however, I love music.
I frequently refer to music as the love of my life. It somehow plays a role in everything that I do. I got my first iPod when I was five years old, stacked with everything from Miranda Cosgrove and Avril Lavigne to Tool and Deftones. Some of my favorite memories growing up are sitting in my pink and purple bedroom singing and dancing along to Paramore’s crushcrushcrush and Fall Out Boy’s Thnks Fr Th Mmrs on the local alternative radio station. I danced for 12 years, played cello for seven, and am currently a wannabe ukulele rockstar after buying one on impulse and starting to teach myself how to play four years ago. Even on the simplest, barely noticeable levels, music has been everywhere in my life for as long as I can remember; even now, I can’t complete a basic task without a song playing in my headphones.
Music became an even bigger part of my life when I started attending live shows. I went to my first concerts at age 10, seeing my two favorite artists - Nickelodeon boy band Big Time Rush and classic progressive rock band Rush - within one month of each other. By the time I was 15, I had been to my fair share of arena/seated shows with one or both of my parents, from Fifth Harmony to Fitz and the Tantrums to Alice in Chains. My first general admission show was seeing the Foo Fighters at Citi Field with both my mom and dad when I was 12, but my first pop-punk general admission show (yes, they’re different) came a few years later. I had the typical list of favorite bands that you would expect from a young teenager getting into alternative music: Neck Deep, Knuckle Puck, Real Friends, and State Champs. 
In late 2018, I was able to see all four of these bands for the first time, and I am a firm believer that it changed the course of my life. I met, cried-during, and eventually got the setlist for Neck Deep at Stereo Garden on Long Island in September. I sang all of “Untitled” at the barricade for Knuckle Puck at SI Hall at the Fairgrounds in Syracuse in October. I had my first minor concussion scare (yay!) before Real Friends’ set at Irving Plaza in New York City in November. Finally, I crowd surfed for the first time during State Champs’ anniversary show for The Finer Things at House of Independents in Asbury Park in December. After just a few shows, I had fallen in love with this new brand of live music that I had just been introduced too. There was something so magical to me about skin covered in sweat and Sharpie marks, feet hurting from dancing in the pit all night, and meeting strangers on line outside the venue who would become your best friends and know your deepest secrets by the end of the night.
After making some friends at all of the pop-punk shows I was going to, they started to tell me that I should get into hardcore music. I was hesitant at first - the heaviest thing I had listened to at that point was nowhere near the snippets of hardcore that my friends had played for me - but, eventually, I decided to give it a chance. I was bored and home alone with nothing to do one night over the summer of 2019 when I listened to my first hardcore album, Laugh Tracks by Knocked Loose. Immediately, I got that gut feeling that you have when you know you’ve heard one of your favorite bands for the first time. I knew that this was something special that I was meant to find at this point in my life. For the rest of the summer, I worked my way through the rest of my friends’ hardcore and hardcore-adjacent recommendations, with Cost of Living by Incendiary, Stage Four by Touche Amore, You’re Not You Anymore by Counterparts, Time & Space by Turnstile, Springtime and Blind by Fiddlehead, Smile! Aren’t You Happy by Absence of Mine, Bad to my World by Backtrack, and Reality Approaches by Harms Way being some of my favorites. By the time the next school year started, I was hooked, and I already had tickets to my first few hardcore shows in the fall.
My first hardcore show was in November 2019, seeing Knocked Loose at Webster Hall in New York City - fitting, right? They were on tour supporting their new record A Different Shade of Blue, which I had become obsessed with the minute I heard it for the first time. Although I was ridiculously scared of getting stepped on and breaking all my bones (yes, that was an actual fear of mine), I had the time of my life at that show. There was something about this newer kind of live music that prompted a cathartic release, one that I hadn’t found anywhere else before. As soon as the show was over, I was counting the days until my next one.
My love for live hardcore music (and live music and hardcore music in general) has only grown since then, and that story sort of ends there. However, I want to go back to that first hardcore band that I listened to, Knocked Loose, and the album they put out that first summer that stole my heart. I was taken by storm as soon as the first notes of A Different Shade of Blue rang through my headphones, but something was different about the third track, A Serpent’s Touch, particularly the ending; I heard a voice that sounded a little bit more like my own.
This song features Emma Boster, who does vocals for one of my favorite hardcore bands right now, Dying Wish. When I heard A Serpent’s Touch for the first time, though, I had no idea who she was. I was used to the aggressive vocal delivery of frontmen in hardcore, particularly that of Knocked Loose’s Bryan Garris, but hearing it come from her changed my perspective on a lot of things. It’s not like the song was super angry and changed its tune to be lighter once the token girl came along; in her verse, Boster sings, “I watched the venom / Overcome your spirit / Jealousy holds you now / Distorting your appearance / Bleed out.” These were lyrics that held the same intensity that the lines screamed by the men held, and they sounded just as cool coming out of her mouth. As cheesy as it sounds, it had never even occurred to me that women had a place in this new world that I had discovered. The audiences in the live videos I watched (and eventually at the shows I attended) were made up of mostly men who looked bigger and older than me. When I did start going to shows, most of the non-man population consisted of my friends and I. Emma Boster, along with so many others, began to open my eyes to the fact that a place for people like me existed in this community. It didn’t matter that I had bright red hair or liked butterflies or wore pink - I was just as much a part of this magic as the men multiple feet taller than me with tattoo-covered arms, and I belonged there just as much as they did.
As time went on and I got more involved in the genre’s music and community, I discovered more bands with women in them, and it only fueled this fire of empowerment inside of me. When I felt insecure, I’d watch live sets from Krimewatch, a hardcore band from New York City, just half an hour away from my hometown. They have multiple women as members, including their energetic badass of a vocalist, Rhylli Ogiura. Year of the Knife became one of my all-time favorites, and their bassist Madison Watkins became a serious inspiration to me; the way that she can balance killing it on stage and running the cutest, most pink apparel brand I’ve ever seen (aptly titled Candy Corpse) amazes me. Even some of the bands I’ve found more recently have had an impact on me. I started listening to Initiate last year when their EP Lavender came out, and their beautifully colorful cover art caught my eye before I had heard any of their songs. Their vocalist, Crystal Pak, is also a woman, and she’s insanely talented. Discovering this kind of representation in this new universe that I had come to feel so at home in introduced me to a world of confidence and determination that I had never known before.
When people ask me why I love hardcore so much, I often give the easy answer; “the music sounds good.” If the person allows me to ramble on for a little longer, the answer becomes much more emotional and cheesy. Hardcore taught me that speaking up for what I believe in is important, and if there’s something I’m passionate about, it’s worth shouting about. I became familiar with this when listening to one of my favorite bands ever, Incendiary (the second hardcore band I ever checked out), before quickly realizing that politics are a pretty common topic within the genre - it’s what this music was practically built on. The first time I heard their vocalist Brendan Garrone singing about police brutality and injustice on songs like Force of Neglect and Sell Your Cause, I realized that there is so much more to music than just sounding good.
However, at its core, the thing I love so much about hardcore is what it taught me about being a woman. Growing up, I was the loud girl with the personality bigger than the room who always had something to say and had a never ending supply of excitement about just about everything. As I got older, I was taught that this was not okay. People didn’t like how enthusiastic I was about everything, or that I constantly had new ideas and new discoveries I wanted to talk about. As cliche as it sounds, I felt like everyone around me was trying to dull my sparkle, especially some of the men that I was encountering on a day-to-day basis. Even when I started to come to terms with my big and bright personality, in turn also coming to terms with my own femininity, I was told that this wasn’t how girls acted. I had to pick one - I could watch Disney princess movies and wear Hello Kitty hair clips, or I could be outspoken about my beliefs; but never both. The women that I mentioned earlier, along with so, so many more, helped me unlearn these toxic mindsets. Seeing someone like Emma Boster take the stage and scream ferociously for a full set helped me see that I could be a girl and still be a powerhouse. Following Madi Watkins around on social media showed me that I could love bands like Year of the Knife and also love heart-shaped purses and wear pink from head to toe. My aggression and passion didn’t make me any less of a woman, and my femininity didn’t make me any less of a force to be reckoned with. 
So, at the end of this love letter to hardcore and the women who run it, I say this; thank you for teaching me that I don’t have to shrink myself anymore. It has made a world of a difference.
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cvastals · 4 years ago
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look i kno i said i wasnt gna bring a 6th until i was caught up w replies bt i kno gunner well n therefore felt like he deserved his time to shine in the rp so i beg of u pls plot w him looks at u all like :B
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* axel auriant, cis man + he/him | you know gunner paxton, right? they’re twenty-two, and they’ve lived in irving for, like, four years? well, their spotify wrapped says they listened to bizarre love triangle by new order like, a million times this year, which makes sense ‘cause they’ve got that whole curling up for days in bed wearing a hello kitty comfort shirt, stuttering in the face of affection, and hand me downs two sizes too big thing going on. i just checked and their birthday is july 31st, so they’re a leo, which is unsurprising, all things considered. ( bri, 23, est, they/them )
background.
middle child of the paxton family, cliff being the eldest and wyatt being the youngest :D
they lived at the top of a hill in a trailer in a trailer park neighbourhood in laramie, wyoming so to say the least that fucking sucked for everyone involved
the trailer was so small that all 3 boys ended up sharing a room, gunner and wyatt sharing a bunk bed bc they cldnt fit 3 beds into one room it really was every childs nightmare bt they quickly grew used to it tbh
gunner was always more of an artsy child than invested in sports - though he does enjoy baseball and continued even to this day after their dad made him join SOMETHING in middle school - so he never rly earned their father’s respect, but he was always close with his mom since they had the same calm temperament
(depression/anxiety tw) he also gained a list of mental health issues that their mom had as well, including social anxiety and major depressive disorder
(violence/abuse tw) their father always encouraged pretty volatile behaviour and it caused a lot of physical fights and arguments between the brothers when their dad told them the best way to get over it was to start hurting until someone tapped out, it was just a chaotic and pretty abusive household but no one knew and their mom definitely wasn’t going to say anything about it to their dad
(missing child/kidnapping/anxiety/depression tw)  wyatt went missing on a weekend that their parents were gone because of a trip they won, and things just got worse from there, high school was really rough for gunner, his anxiety grew worse as time went on that no one found wyatt, their dad grew more hostile towards them, cliff left home in the middle of the night never to be seen again (merely leaving a note so that the family didn’t think they had a case of two kidnapped children), and their mom just grew sicker, it was rare that she would ever leave her room and if she did it was in fits of random energy where she would do something spontaneous and completely unnecessary to their house as a way of coping
the two years that gunner was at home after cliff left were pretty brutal and as soon as he could, he was fleeing wyoming and going to school in irving
(internalized homophobia tw)  things are far better now that he’s out of his home situation, but ofc he still has a few personal things he’s working thru; the paxton’s were raised in an incredibly religious household, and he’s got some classic Catholic Guilt going on upon realizing that he’s not jst attracted to women n he avoided talking abt it forever/stayed in the closet fr far too long bt he’s sort of come out now in his own way even tho he does still get a bit nervous talking abt it rly
he’s also ‘dealing’ rn (just pharmaceuticals) which is frankly funny to think abt bc this man is abt as threatening as a care bear bt money is tight all things considering and a librarian job doesn’t rly cover it, and with the amount of meds he’s on, plus incredibly frequent doctor’s visits, needing to pay for extra epi-pens, inhalers, etcs. bills add up so he’s cutting back his meds n selling wht he can spare which is . so unhealthy bt thts life in corporate america baybee!
details.
is literally allergic to everything. grass, cats, most fruits, milk, most nuts, bees, latex, probably more i cnt even keep up w them its pathetic
u can catch him strutting around town w his blinged out epipen holder (aka blinged out w pins of his fav horrors movies) LKSHDGKLHSKLDG
if things cldnt get worse he also has quite intense asthma so he carries an inhaler with him at all times
n to make matters even WORSE he frequently has dizzy spells n bad memory problems bc of all the concussions he’s suffered from (about 8-9 at this point) as well as consistent migraines that can b literally debilitating sometimes
awkward n jst a bit of a Weirdo to b frank like he barely knows how to converse with ppl
didnt have any friends in high school so took the time to teach himself rly weird things, knows a fuck ton of magic tricks, can yodel, juggle, solve a rubix cube with his eyes closed in under 30 seconds, just extremely weird and specific things
can honestly b a bit mean/barbaric to ppl he’s not close w/doesn’t kno - has told ppl to their face before he doesn’t enjoy talking to them bc he has no concept of social constructs/norms
loves 2 film random things at parties, makes him feel more comfortable at them n he makes short films of them all after
going off that fact he did a film internship in nyc during the summer and is trying to find a job in that field
doesn’t realize demisexuality is a thing so he’s never been that fond of sex but has this stigma in his mind that that makes him Broken so he still Tries n it jst doesnt go well tugs my shirt collar
connections.
ppl who r more into under the counter meds than Hard Drugs n buy off him?? probs wld have to kno him some way hes too scared to sell to Random randoms
ppl he went to school w? :D
some friends………. hes awkward bt he means well…………
ppl he has a crush on/unrequited crushes either way wtvr floats ur boat he crushes quite easily but never does anything abt it fr the most part
a mans he wld Risk It All fr (aka a guy tht he actually has a crush on n is Extra Awkward probs a lil mean to bc hes still New to That)
some enemies tbh, he has a temper n he tends to blow up rarely bt it happens n when it does it actually can b quite scary JKSHDGLHSDG
a muse….. mayhaps?? someone he always wants in his film projects
awkward past hook ups/one night stands where one of them cut ties off cuz every time they got together gunner acted like he was embalming a body for a funeral
current hook ups/fwb’s w ppl he’s actually close w/is comfortable w so its nowhere near as bad SDKHSLDGHKLSDGH
Anything u Desire
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thefakejeffreyazoff · 4 years ago
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‘He’s our Satan’: Mega music manager Irving Azoff, still feared, still fighting
(x)PEBBLE BEACH, Calif. —  
This is not Irving Azoff’s house. Irving and his wife Shelli own houses all over, from Beverly Hills to Cabo San Lucas, but right now in the last week of October it’s too cold at the ranch in Idaho and too hot at the spread in La Quinta, so he’s renting this place — a modest midcentury six-bedroom that sold for $5 million back in 2016.
From the front door you can see all the way out, to where Arrowhead Point juts like the tail of a comma into the calm afternoon waters of Carmel Bay. More importantly, the house is literally across the street from the Pebble Beach Golf Links, where Azoff likes to play with his college buddy John Baruck, who started out in the music business around the same time Azoff did, in the late ’60s, and just retired after managing Journey through 20 years and two or three lead singers, depending how you count.
(Via LA Times) 
Azoff is 72, and this weekend he’ll be inducted into the Rock and Roll Hall of Fame alongside Bruce Springsteen’s longtime manager Jon Landau. Beatles manager Brian Epstein and Rolling Stones manager Andrew Loog Oldham are already in, but Azoff and Landau are the first living managers thus honored. Azoff is not only alive — he’s still managing. As a partner in Full Stop Management — alongside Jeffrey Azoff, his oldest son and the third of his four children — he steers the careers of clients like the Eagles, Steely Dan, Bon Jovi and comedian Chelsea Handler, and consults when needed on the business of Harry Styles, Lizzo, John Mayer, Roddy Ricch, Anderson .Paak and Maroon 5. Azoff has Zoom calls at 7, 8 and 9 tomorrow morning, and only after that will he squeeze in a round.
The work never stops when you view the job the way Azoff does, as falling somewhere between consigliere and concierge. “My calls can be everything from ‘My knee buckled, I need a doctor’ to ‘My kid’s in jail,’” Azoff says. “I mean, you have no idea. The ‘My kid’s in jail’ one was a funny one, because the artist then said to me, ‘Y’know, I’ve thought about this. Maybe we should leave him there for a while.’”
Golf entered Azoff’s life the way a lot of things have — via the Eagles, whom Azoff has managed since the early ’70s. Specifically, Azoff took up golf in the company of the late Glenn Frey, the jockiest Eagle, the one the other Eagles used to call “Sportacus.” By the time the Eagles returned to the road in the ’90s they’d left their debauched ’70s lifestyles largely behind, but Azoff and Frey got hooked on the little white ball.
“Frey would insist on booking the tour around where he wanted to play golf,” Azoff says. “We made Henley crazy. Henley would call me in my room and he’d go, ‘Why the f— are we in a hotel in Hilton Head North Carolina and starting a tour in Charlotte? Is this a f— golf tour?’”
Trailed by Larry Solters, the Eagles’ preternaturally dour minister of information, Azoff makes his way down the hill from the house for dinner at the golf club’s restaurant. He’s only 5 feet, 3 inches, a diminutive Sydney Pollack in jeans and a zip-up sweater. In photos from the ’70s — when he was considerably less professorial in comportment, a hipster exec with a spring-loaded middle finger — he sports a beard and a helmet of curly hair and mischievous eyes behind his shades, and looks a little like a Muppet who might scream at Kermit over Dr. Teeth’s appearance fee.
His father was a pharmacist and his mother was a bookkeeper. He grew up in Danville, Ill., booked his first shows in high school to pay for college, dropped out of college to run a small Midwestern concert-booking empire and manage local acts such as folk singer Dan Fogelberg and heartland rock band REO Speedwagon. Los Angeles soon beckoned. He met the Eagles while working for David Geffen and Elliot Roberts’ management company and followed the band out the door when they left the Geffen fold; they became the cornerstone of his empire. “I got my swagger from Glenn Frey and Don Henley,” he says. “No doubt about it.”
Azoff never took to pot or coke. The Eagles lived life in the fast lane; he was the designated driver. “Artists,” he once observed, “like knowing the guy flying the plane is sober.” This didn’t stop him from trashing his share of hotel rooms, frequently with guitarist Joe Walsh — whose solo career Azoff shepherded before Walsh joined the Eagles, and who was very much not sober at this time — as an accomplice.
“This was a different age,” Walsh says of his time as the band’s premier lodging-deconstructionist. “We could do anything we wanted, so we did. And Irving’s role was to keep us out of prison, basically.” He recalls a pleasant evening in Chicago in the company of John Belushi and Dan Aykroyd, which culminated in Walsh laying waste to a suite at the Astor Towers hotel that turned out to be the owner’s private apartment. “We had to check out with a lawyer and a construction foreman,” Walsh remembers. “But Irving took care of it. Without Irving, I’d still be in Chicago.”
Azoff became even more infamous for the pit bull brio he brought to business negotiations on behalf of the Eagles and others, including Stevie Nicks and Boz Scaggs. He didn’t seem to care if people liked him, and his artists loved him for that. Steely Dan co-founder Walter Becker said they’d hired Azoff because he “impressed us with his taste for the jugular … and his bizarre spirit.” Jimmy Buffett’s wife grabbed him outside a show at Madison Square Garden, pushed him into the back of a limo and said, You have to manage Jimmy, although Buffett already had a manager at the time.
His outsized reputation as an advocate not just willing but eager to scorch earth on behalf of his clients became an advertisement for his services, a phenomenon that continues to this day. In August 2018, Azoff’s then-client Travis Scott released “Astroworld,” which debuted at No. 1 on the Billboard 200 chart, and occupied that slot again the following week, causing Nicki Minaj’s album “Queen” to debut at No. 2. On her Beats One show “Queen Radio,” Minaj accused Scott of gaming Billboard’s chart methodology to keep her out of the top slot and singled his manager out by name: “C—sucker of the Day award,” she said, “goes to Irving Azoff.” Azoff says he reacted as only Azoff would: “I said, ‘I’m really unhappy about that. I want to be c—sucker of the year.’” In 2019, Minaj hired Azoff as her new manager.
Most of the best things anyone’s ever said about Azoff are statements a man of less-bizarre spirit would take as an insult. When the Rock and Roll Hall of Fame inducted the Eagles in 1998, Don Henley stood onstage and said of Azoff, “He may be Satan, but he’s our Satan.”
An N95-masked Azoff takes a seat on a patio with a view of hallowed ground — the first hole of the Pebble Beach course, a dogleg-right par 4 with a priceless view of the bay. He cheerfully admits that he and his partners at Full Stop are “obviously, as a management business, kind of losing our ass” this year due to COVID-19. In another reality, the Eagles would have played Wembley Stadium in August before heading off to Australia or the Far East. Styles would have just finished 34 dates in the U.S., Canada and Mexico. As it stands Azoff is hearing encouraging things about treatments and vaccines and new testing machines, and is reasonably confident that technology will soon make it possible for certified-COVID-free fans to again enjoy carefree evenings of live music together; he doesn’t expect much to happen in the meantime.
“What are you gonna do,” Azoff says, “take an act that used to sell 15,000 seats and tell them to play to 4,000 in the [same] arena? The vibe would be horrible, and production costs will stay the same.”
He knows of at least six companies trying to monetize new concert-esque experiences — pay-per-view shows from houses and soundstages, drive-in events and so on. But he’s not convinced anybody wants to sit in their parked car to watch a band play. More to the point, he’s not convinced it’s rock ’n’ roll.
“Fallon and Kimmel, all these virtual performances — people are sick of that,” he says. “Your production values from home aren’t that good. And they’re destroying the mystique. I mean, Justin Bieber jumping around on ‘Saturday Night Live’ the other night without a band, and then he had Chance the Rapper come out? It made him look to me, mortal. I didn’t feel any magic. So we’ve kinda been turning that stuff down to just wait it out.”
In the meantime, he says, Full Stop is picking up new clients during the pandemic. Artists with time on their hands, he believes, “have taken a hard look at their careers— so we’ve grown. No revenues,” he adds with a chuckle, “but people are saying, ‘We need you, we need to plan our lives.’”
“IN HIGH SCHOOL,” Jeffrey Azoff says, “I wanted to be a professional golfer, which has obviously eluded me.” He never expected to take up his father’s profession. “But my dad has always loved his job so much. There’s no way that doesn’t rub off on you.”
The younger Azoff got his first industry job at 21, as a “glorified intern” working for Maroon 5’s then-manager Jordan Feldstein. After a week of filing and fetching coffee, he called his father and complained that he was bored. According to Jeffrey, Irving responded, “Listen carefully, because I’m going to say this one time. You have a phone and you have my last name. If you can’t figure it out, you’re not my son.”
“Direct quote,” Jeffrey says. “It’s one of my favorite things he’s ever said to me. And it’s the spirit of the music business, by the way. There are no rules to this. Just figure it out.”
Over dinner I keep asking Irving how he got the temerity, as a kid barely out of college, to plunge into the shark-infested waters of the ‘70s record industry in Los Angeles. He just shrugs.
“I never felt the music business was that competitive,” he says. “It’s just not that f—ing hard. I don’t think there’s that many smart people in our business.”
It’s been written, I say, that once you landed in California and sized up the competition, you called John Baruck back in Illinois and said —
“We can take this town,” Azoff says, finishing the sentence. “Where’d you get that? John told that story to [Apple senior vice president] Eddy Cue on the golf course three days ago. It’s true. I called John up and said, ‘OK, get your ass out here. We can take this town.’”
In the ensuing years, Azoff has occupied nearly every high-level position the music industry has to offer, surfing waves of industry consolidation. He’s been the president of a major label, MCA; the CEO of Ticketmaster; and executive chairman of Live Nation Entertainment, the behemoth formed from Ticketmaster’s merger with Live Nation. In 2013 he and Cablevision Systems Corp. CEO and New York Knicks owner James Dolan formed a partnership, Azoff MSG Entertainment; Azoff ran the Forum in Inglewood for Dolan after MSG purchased it in 2012.
Earlier this year Dolan sold the Forum for $400 million to former Microsoft CEO and Clippers owner Steve Ballmer, who’s since announced plans to build a new stadium on a site just one mile away. Despite the apocalyptic parking scenario that looms for the area — two stadiums and a concert arena on a one-mile stretch of South Prairie Boulevard — Azoff is confident that the Forum will live on as a live-music venue. “People are going, ‘They’re going to tear it down’ — they’re not going to tear it down,” Azoff says. “It’s going to be in great hands. I have many of the artists we represent booked in the Forum, waiting for the restart based on COVID.”
The holdings of the Azoff Co. — formed when Dolan sold his interest in Azoff MSG back to Azoff two years ago — include Full Stop, the performance-rights organization Global Music Rights and the Oak View Group, which is developing arenas in Seattle and Belmont, N.Y., and a 15,000-seat venue on the University of Texas campus in Austin. Azoff describes himself as increasingly focused on “diversification, and building assets for the family that aren’t just dependent on commissions, shall we say.”
But as both a manager and a co-founder of a lobbying group, the Music Artists Coalition, he’s also devoting more time and energy to a broad range of artists’-rights issues, from health insurance to royalty rates to copyright reversion to this year’s Assembly Bill 5, which threatened musicians’ independent-contractor status until it was amended in September. (“That was us,” Azoff says, somewhat grandly. “I got to the governor, the governor signed it — Newsom was great on it.”) He describes his advocacy for artists — even those he doesn’t manage — as a “war on all fronts,” and estimates there are 21 major issues on which “we’ve sort of appointed ourselves as guardians.”
He does not continue to manage artists because he needs the money, he says. (As the singer-songwriter and Azoff client J.D. Souther famously put it, “Irving’s 15% of everybody turned out to be more than everyone’s 85% of themselves.”) Everything he’s doing now — building clout through the Azoff Co., even accepting the Hall of Fame honor — is ultimately about positioning himself to better fight these fights. “I’d rather work on [these things] than anything else,” he says. “But if I didn’t have the power base in the management business, I couldn’t be effective.”
The recorded music industry, having fully transitioned to a digital-first business, is once again making money hand over fist, he points out, but even less of that money is trickling down to artists. That imbalance long predates Big Tech’s involvement in the field, but the failure of music-driven tech companies to properly compensate musicians is clearly the largest burr under Azoff’s saddle.
“These people, when they start out — whether it’s Facebook, Snapchat, TikTok, whatever — they resist paying for music until you go beat the f— out of them. And then of course, none of them pay fair market value and they get away with it. Your company’s worth $30 billion and you can’t spend 20 grand for a song that becomes a phenomenon on your channel? Even when they pay, artists don’t get enough. Writers don’t get enough. Music, as a commodity, is more important than it’s ever been, and more unfairly monetized for the creators. And that’s what creates an opportunity for people like me.”
AZOFF’S FIRM NO longer handles Travis Scott, by the way. “Travis is unmanageable,” Azoff says, nonchalantly and without rancor. “We’re involved in his touring as an advisor to Live Nation, but he’s calling his own shots these days.”
I ask if, in the age of the viral hit and the bedroom producer, he finds himself running into more artists who assume they don’t need a manager. Ehh, Azoff says, like it’s always been that way. “There’s a lot of headstrong artists,” he says. “I haven’t seen one that’s better off without a manager than with,” he says, and laughs a little Dennis the Menace laugh.
We’re back at the house. Azoff takes a seat on the living-room couch; Larry Solters sits across from him, his back to the sea. Azoff recalls another big client. Declines to name him. Says he was never happy, even after Azoff and his people got him everything on his wish list. “He hit me with a couple bad emails. Just really disrespectful s—. I sent him an email back that said, ‘Lucky for me, you need me more than I need you. Goodbye.’”
He will confirm having resigned the accounts of noted divas Mariah Carey and Axl Rose. Reports that he once attempted to manage Kanye West have been greatly exaggerated, he says, although they’ve spoken about business. “Robert [Kardashian] was a good friend of mine. The kids all went to school together,” Azoff says. “What I always said to Kanye was, you’re unmanageable, but we can give you advice.
“A lot of people could have made a dynasty on the people we used to manage,” Azoff says, “let alone the ones we kept.”
But he still works with many artists who joined him in the ’70s — with Henley, with Steely Dan’s Donald Fagen and with Joe Walsh. Walsh has been sober for more than 25 years; it was Azoff, along with Henley and Frey, who talked him into rehab before the Eagles’ 1994 reunion tour. “Irving never passed judgment on me,” Walsh says. “And from that meeting on, he made sure I had what I needed to stay sober.” If he hadn’t, Walsh says, there’s no chance we’d be having this conversation. “All the guys I ran with are dead. Keith Moon’s dead. John Entwistle’s dead. Everybody’s dead, and I’m here. That’s profound to me.”
The first client Azoff lost was Minnie Riperton — in 1979, to breast cancer when she was only 31. Then Warren Zevon, to cancer, in 2003. Fogelberg, to cancer, four years later.
“And then Glenn,” says Azoff, referring to the Eagles co-founder who died in 2016. “I miss Glenn a lot. And now Eddie.”
Van Halen, that is. I ask Azoff if he can tell me a story that sums up what kind of guy Eddie Van Halen was; he tells me a beautiful one, then says he’d prefer not to see it in print. It makes perfect Azoffian sense — profane trash talk on the record, tenderness on background.
I ask if he’s been moved to contemplate his own mortality, as his boomer-aged clients approach an actuarial event horizon. Of course the answer turns out to involve keeping pace with an Eagle.
“Henley and I are having a race,” he says. “Neither one of us has given in. Neither one of us is going to retire.”
Henley was born in July 1947; Azoff came along that December. Does Don plan to keep going, I ask, until the wheels fall off?
“I don’t know,” Azoff says.
Do you ever talk about it?
“Yeah! He’ll call me up and he’ll go, ‘I really feel s— today.’ And I say, ‘Well, you should, Grandpa. You’re an old man. You ready to throw in the towel? Nope? OK.’”
Azoff says, “I contend that what keeps us all young is staying in the business. I’ve had more people tell me, ‘My father, he quit working, and then his health started failing,’ and all that. Every single — I mean, every single rock star I know is basically doing it to try and stay young. And I think it works. I really think it works.
“I have this friend,” Azoff says. “Calls me once a week, he’s sending me tapes, it’s his next big record. Paul Anka! He’s 80 years old. OK? And my other friend, Frankie Valli …”
“Do you know how old Frankie Valli is?” Solters says. “Eighty-six. And he still performs.”
“Not during COVID,” Azoff says. “I told the motherf—, ‘You’re not going out.’”
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harvest-honeymoon · 6 years ago
Text
Raining Pitchforks
So,,, this is that Court Verse intro I talked about in the twitter poll I linked earlier. This is a long fuckin’ boy but I had a lot of fun writing it, since I really enjoy these characters.
Just as a note, this fic contains swearing, mentions of the Devil and urban legends, and 2 instances of misgendering, as Orianna/Pirouletta is a transwoman still coming to terms with her identity and hasn’t disclosed it to Sixer/King Dice. I know that subject matter can be triggering for some folks, so I’m putting a warning and ‘#misgendering tw’ for blacklisting purposes.
“Son of a bitch, whose idea was this?”
The question posed was rhetorical and often reiterated. It made Irving smile faintly and shake his head, even as he felt rainwater patter against the inside. Thunder rolled in the background, making his cup-headed brother Rudyard flinch.
Although the two toons lingered under an outcropping of trees, the torrent the sky bore seemed unyielding. The branches that loomed above them did little to shield them from the weather, let alone the handmade box of moonshine that sat at their feet. The rocky outcroppings behind them were slick from the rain. Even the mountains seemed soaked.
“You were th’ one who wanted out th’ house,” Irving replied.
“Well, yeah,” Rudy answered. “I was goin’ stir crazy! I can’t jus’ sit an’ sleep all day.”
The red toon wrung out his shirt, frowning. The bent, striped straw in his head swooped along his rim as he looked down at himself.
Although Irving didn’t pace about or bubble over, he too frowned, brow furrowed. He leaned against the damp trunk of a tree, arms folded over his chest. One hand’s set of fingers drummed on his upper arm.
“Y’think we rushed him?” Irving asked. “Made him nervous?”
“There’s nervous, then there’s leavin’ us an’ our hooch in th’ pourin’ fuckin’ rain,” Rudy said.
“I doubt he was gonna buy any of Ma’s stuff, Irv, even with th’ discount.”
Irving sighed quietly, bowing his head. Rudy picked up the box.
“C’mon, let’s go. We’ll catch our death out here.”
“We’re still fifteen bucks short.”
Rudy had started to take a step out from under the canopy, only to pause. Irv didn’t move a muscle.
“Irv, things’re tough all over,” Rudyard replied after a moment.
“It won’t be th’ end of th’ world if we tell ‘em we need a couple days. Even then, we’ve lived without electricity b’fore.”
The cup toon took the step he’d been planning, then another, starting to walk away.
“We can make candles like we used t’ when we were sippy cups. Bathe in th’ river.”
Rudy flicked his straw, so it sat comfortably at the back of his head.
“Who needs gas power anyway?”
Thunder roared just above them, causing Rudy to jump again and stop in his tracks. Unmoving, Irving glanced to the box Rudy held, his eyes lingering on its smudging XXX label.
“We promised Ma.”
Rudy swallowed, then returned to the tree. The brothers turned to look out over a field of grass beside them, each in thought.
With the heavy clouds that clung to the sky, the night was darker than most. The distant lights of Nib City hardly penetrated the gloom, only catching a set of defunct railroad tracks cutting through the prairie grass. Urban legend told of a ghostly train that had taken residence in place of the old engine, after the railway company dissolved under mysterious circumstances decades back. Nights like this guaranteed its arrival and departure for the unlucky found alone and destitute, or so folks said.
While no train occupied this space, the mere idea made Irving apprehensive. The mug-headed toon pulled out a cracked pocket watch and wiped at the glass face, to give himself something else to look at. The time read 11:59 PM, then 12 AM only a few seconds later.
At the stroke of midnight, the field was bathed in a soft, orange glow. Rudy stared, then nudged Irv to get his attention. Both pairs of eyes followed the light, which seemed to dance across the grass and shadows, to its origin, a cave in the mountainside.
This cave had its own fair share of stories, around Inkwell Isle. Some had claimed it was a bottomless pit, from which none who fell could ever escape. Some had said it was some primordial womb, where all had been born and were to die, should they try to reenter the sacred space. The most commonly held belief, however, was that the cave housed unfettered evi, so vile and conniving, the locals had blocked the entrance with stones for generations. The Devil himself was said to dwell within the cave, and should he find some hapless soul within his domain, they were most certainly damned.
Due to these superstitions and its peculiar resemblance to a yawning mouth, the cave had been dubbed The Devil’s Maw. As times changed, beliefs shifted, and explorers ventured into its depths, the aforementioned stones were removed from its entrance, but hushed whispers still spoke ill of the place and the youth were discouraged from entering its bounds.
By day, it appeared a sleepy chasm, untouched by color or sunlight… But now, it spoke with a tongue of molten silver to the young men, beckoning them inwards.
“...you’re seein’ that, right?” Irving asked.
“Sure am,” Rudy replied, awed.
“...last one there’s chipped porcelain!”
The cup toon took off like a shot across the field. Irving stalled a moment then pursued, shouting his way.
“Rudyard, what the hell do you think you’re doing?!”
“What’s it look like?” Rudy called back. “I’m goin’ lookin’!”
“Like hell you are!”
Clutching the moonshine to his chest, Rudy’s head sloshed liquid onto his shoulders and the ground behind him, but that didn’t stop either of them any.
“We need to sell that booze!” Irving spat.
“We’ve got 4 hours at most before the best bars in Nib close!”
“I know!”
“So why are you runnin’ the complete opposite direction, jackass?!”
Rudy grinned, looking to his brother.
“First off, my head’s gonna roll off my shoulders, with all this rain in it! I need it out, an’ I bet you do too! Second off, I figure if there’s light, there’s somebody livin’ here! If there’s somebody livin’ here, then there’s somebody who can buy our shit!”
Lightning struck just behind the two brothers, causing them both to yelp in surprise. Rudy let out an adrenaline-fueled laugh.
“You can’t tell me you wanna walk home while it’s rainin’ pitchforks out here!”
With these words, the brothers entered the cave and slowed to a halt to clean themselves up.
“I don’t, y’got me there,” Irv admitted. “But I doubt there’s anyone worthwhile here. The only folks you’ll find is at best, squatters, or at worst, a cult.”
“Since when do squatters put up neon signs? ‘R cults, fer that matter?”
Irving stopped and stared, following Rudy’s hand as he pointed. A large grouping of stalactites ahead and above them was emblazoned with a quartet of neon playing cards, each with a unique suit.
“...can’t say for certain,” Irv replied, unperturbed. “But I wouldn’t discount the latter.”
Rudy’s expression flattened, his hands busy straightening his head. He then picked up his box and started walking into the depths of the cave, with Irving in tow. The air had a strong sweet-sour smell to it, but it didn’t take long for them to get used to it.
“Y’were supposed t’ let me be right about people livin’ here,” Rudy snarked.
“Y’know, fer more than half a second.”
“That was a lucky guess,” Irving observed dryly.
“A lucky guess that’ll keep us from, I dunno, gettin’ pneumonia.”
“We probably have double pneumonia already at this rate.”
Despite his annoyance, Rudy chuckled as they walked along. Double pneumonia was another staple of banter between them.
“Triple fuckin’ pneumonia with a side ‘f exposure. It was like Noah’s Ark out there.”
The brothers continued into the cave, looking about as more signs of civilization came their way. Neon arrows pointing deeper into the Maw decorated the walls, as did moving signs depicting showgirls, drinks, chess pieces, dice, and more card suits. 2 more signs reading ‘WELCOME’ and ‘CASINO ENTRANCE’ were embedded into the hanging rock of the ceiling, with a 12 ft gap between each. The air around them warmed, the further they went into the cave.
“You have got to be kidding me,” Irv deadpanned.
“No way,” Rudy beamed. “Noooo fuckin’ way--”
“Who on Earth builds a casino in a cave?”
“Someone who’s real hep an’ happenin’ I bet,” Rudy said excitedly.
“They must have some real big operation, t’ have t’ hide it in here.”
“All the more reason to head back out,” Irving snarked, eyeing the advertising.
The brothers then happened upon a series of tall, rounded steps, carpeted with lush, red cotton and accented with gold trim. Two rows of white topped stanchions marked a path with velvet rope. At their feet read the words ‘TRY★YOUR★LUCK’. Beyond these steps laid a ritzy casino built on the edge of a cliff, unlike anything either of them had ever seen. Volcanoes erupted below and beyond their line of sight, painting the domed walls and ceiling of the cavern with the orange light they’d seen outside.
Dancing on the edge of theme park and luxury hotel, buildings in the shape of archaic chess pieces surrounded the back end of the establishment, giving the resort an imposing silhouette against the newly understood berth of the cave. The main building itself was tall and sleek in design, as it was cream in color with plum windows all down its front. Topped with a reddish dome roof, past a fountain of lava circled by prancing demon statues, and betwixt a pair of oversized game dice, the hotel lacked lighted signage, save for some neon pink cursive above its red front doors.
“The Devil’s Casino?” Irving mumbled to himself.  “That’s awful kitschy,”
Irving stood, contemplating the architecture, while Rudy mounted the stairs, smiling wide.
“I was right! I was right, there’s people here, they’ve got money, I was right--”
In that moment, Rudy reached the top of the stairwell, only to bump into someone who towered over him. The cup toon took a step back and shook his head, only to realize what had just happened. The stranger seemed to have come out of nowhere.
“Aw hell, sorry about that! Didn’t see you there.”
“Y’needn’t worry, my good man.”
The toon Rudyard had bumped into had a game die for a head, a pencil-thin mustache, and a winning smile. Dressed to the nines in a cream zoot suit, shined and spatted shoes, and a pink bow tie, the stranger readjusted his suit jacket after the brush-by, but did so without making a fuss. His voice was sure to smooth over any remaining matters, as it was slick and low, but friendly.
“I was hopin’ I’d bump into you two. I heard y’halfway down th’ cavern.”
“Our apologies, sir,” Irving said, stepping forward. “The echo in here carried further than we thought.”
Rudy rolled his eyes and folded his arms. The die toon let out a short laugh.
“I didn’t say you were causin’ a racket,” the stranger replied. “There’s no need to apologize.”
“Are you here t’ play, gentlemen?”
“Yeah,” Rudy replied with confidence. “We’re here t’ pl--”
Irving put a hand over his brother’s mouth, causing Rudy to grit his teeth against his hand.
“Actually, we’re here on business.”
“That a fact now? Well, I s’ppose I should introduce myself then,” the suited toon replied.
He put forward a gloved hand for Irving to shake.
“Name’s Heath Cesarano. My friends call me Sixer, an’ I own Th’ Devil’s Casino.”
“Irving Biccheiri,” the blue toon introduced himself. “This is my brother, Rudyard. We run a bootlegging business out in the Scapes.”
Irving and Heath shook hands, freeing Rudy in the process. Although he seemed miffed by his brother’s invasion of personal space, the red toon shook Sixer’s hand as well, when it was offered to him. On mention of bootlegging, the die toon’s eyebrow quirked in interest.
“Is that what you’ve got in your hands there?” Heath asked, gesturing to the box in Rudy’s arms.
“Finest stuff on the east end of the Isle,” Rudy boasted.
“We’re looking to sell it,” Irving explained.
“I see,” Heath said, rubbing his chin in thought. “Do y’mind if I sample your wares?”
“Be our guest,” Rudy replied. Irving swallowed beside him.
On choosing a bottle, Sixer uncorked it and took a sip,  hen pulled it away from his mouth. He smacked his lips as he tasted the spirits, then smiled at the young men.
“Say, that’s not half bad,” he remarked. “You boys’ve got somethin’ in the making, definitely.”
“In the making?” Irving asked. “Or worth selling?”
“Hah, you’ve keen ears,” Heath observed. His tone shifted as he spoke, sounding authoritative.
“I’m afraid that while I like what you’ve got, I can’t sell it at my establishment, nor can I let you sell it too close by. Th’ folks in there are lookin’ for high-quality hooch from names they know an’ can trust.”
Irving’s expression saddened with these words. Rudy took note and moved in front of Irving, looking Heath dead in the eye.
“No offense, Mr. Cesarano,” Rudy said. “But we’ve been selling our stuff all up an’ down th’ Isle.”
“We’re in some of th’ bars you’ll find in Nib City, an’ real popular in th’ Scapes.”
“That might be so,” Sixer replied. “But I only just met you boys t’night.”
“I’ve got a certain standard to meet at th’ behest of my landlord. It’s nothin’ personal.”
Rudy looked ready to argue but held off. Irving didn’t speak further, though it was clear he was trying to put on a brave face.
“We appreciate yer business, regardless,” Rudy told their new acquaintance. “That’ll be $3.”
Sixer pulled out four dollar bills and handed them to Irving. Irving paused, looking over the money in his hands, then looked to Sixer questioningly. Sixer winked, then spoke up again.
“If it ain’t too much t’ ask… Why are you boys lookin’ to sell, anyhow?”
Irving’s hands curled, as he folded his arms over his chest again.
“Simple,” Rudy answered, mirroring his brother’s gesture.
“We got bills t’ pay an’ mouths t’ feed, same as anybody. Rent’s comin’ up t’morrow an’ we’re eleven bucks short.”
“Ah,” Sixer replied. “My apologies for proddin’.”
“It is what it is. No need to be sorry.”
“I’m guessin’ you can’t sell much back in th’ Scapes, then?” Sixer prodded. “With yer presence?”
“Well, not right now, yeah,” Rudy agreed.
“We were s’pposed t’ meet somebody from Nib City for a deal,” Irving added. “But he didn’t show.”
“The storm caught up with us not long after.”
Sixer’s expression softened a little as the boys explained their situation. After a moment of thought, this softness faded away, instead replaced with a wily glint to the older toon’s eye.
“That’s a real shame that fella skipped out on ya, but I don’t think you’re out of luck for th’ night.”
Rudy looked on with interest. He had a feeling he knew where Heath was going.
“You could always take a shot at the games here,” Sixer continued. “If nothin’ else, you could dry off an’ get somethin’ to tide yourselves over.”
“I hear that storm ain’t s’pposed to let up until noon t’morrow. You won’t wanna be crossin’ those tracks out front if you can help it.”
Rudy considered the die-head’s words. Irving exhaled breath through his nose.
“You boys ever gambled b’fore?”
“I might be half yer size but I ain't-a kid,” Rudy scoffed. “Course I have.”
“Rudy, we should get going,” Irving muttered. “We couldn’t make a sale an’ we’re dry enough.”
“We couldn’t make a sale, sure,” Rudy replied. “But I could make a wager.”
Irving glowered at the prospect. Rudy frowned in response.
“Irving, if I play here, I could win us the cash we need t’ pay off rent t’morrow! We don’t gotta trudge out there, we don’t gotta get stood up-- It’ll be a cinch!”
The mug-head still didn’t look convinced, so Rudy put both of his hands on his shoulders, turning him away from Sixer so their discussion could be more private.
“Irving… C’mon, Irv. You’ve been workin’ yerself to th’ bone all month.”
Irving’s gaze went half-lidded. In the firelight and neon, the bags under his eyes could easily be seen. All the while, Sixer watched the young men talk to each other, grinning to himself knowingly.
“Let me handle th’ moneymakin’, you take a load off, an’ we can wait this out t’gether. You don’t gotta lift a finger.”
After a moment of consideration, the blue toon sighed.
“...Alright. If you think you can.”
“I know I can,” Rudy beamed. “They don’t call me Big Red fer nothin’.”
Irving cringed, making Rudy snicker. Sixer took a step forward, smiling.
“With a nickname like that, I can’t help but ask; you a craps player, by chance?”
“S’my favorite way t’ gamble!” Rudy answered, slinging an arm over Irv’s shoulders. Irving’s eyes narrowed.
“In that case, you should head on in an’ take a left, then a right,” Sixer advised.
“You’ll find our craps tables real easy.”
Rudy clinked his head against his brother’s as a gesture of affection, then took off into the casino, still holding the box of moonshine. Irving chose not to match his pace this time, as fatigue was starting to weigh on him. Sixer noticed as he looked down at his other pint-sized patron.
“And you?” Sixer asked. “Any preference?”
“I’m a cards guy,” Irving admitted. “But I don’t gamble, let alone in a place plastered with devils.”
Sixer’s grin got tight around the edges as he moved to Irving’s side.
“Aw, wheat, you superstitious ‘r somethin’? Don’t get yer suspenders in a twist, it’s just a motif.”
As the two walked into the casino, the various eyes of the devils in the decorating watched Irving as he passed. Irving didn’t notice at that moment, though he did feel oddly watched.
“I was about to ask you the same thing,” Irving replied. “What with that train track comment.”
“Hah, I wouldn’t call myself superstitious,” Sixer started.
“More just… Aware. I’ve had my fair share of experiences that’ve made me privy to the goings on around these parts.”
“Uh huh,” Irving replied, a bit distracted.
It was hard to blame him, with the hullabaloo going on around them, but Sixer still had to resist the urge to give him a dirty look. A uniformed toon with a heart for a head moved up beside Sixer to whisper something to him, before departing from the conversation.
The die toon looked down at the mug toon again, giving him an apologetic smile.
“As much as I’d love to continue our talk, I’m afraid I’ve got business t’ attend to. You’ll find our bars well stocked and lounges abound. If y’need anything, keep your eyes out for folks dressed like her--”
The die-head gestured to the heart toon, as she weaved in and out of the crowd.
“Or come find me. Oh, an’ I want you to have this.”
Heath extended a business card between two fingers to Irving. The card was matte and emblazoned with a devil, a pair of purple pipped dice, and multiple red roses. It even had gold trim.
“Like I was sayin’ earlier, you boys’ve got good stuff. I might take you up on the offer we discussed, should you improve yer product.”
“Thank you, sir,” Irving replied without enthusiasm.
“Please, call me Sixer. And if we don’t meet again, Irving, I hope you have a good night.”
“Likewise.”
With that, Sixer blended into the crowd, leaving each cup brother to their own devices.
— — —
By the time Irving supposed he ought to find his brother, an hour had passed. How, he had little idea.
One moment, he was being served water by an orange cocktail toon in a blue dress; the next, swing music roared through the halls, signaling the start of some sort of nightly shindig. Checking his pocket watch, the blue toon got up with a start and nearly fell off his barstool, but managed to tip his bartender and head out of the lounge without further trouble.
The joint reeked of booze, cigar smoke, and metal, with a tinge of marijuana and sweat, no matter what room he walked through. Noise constantly rang in his ears, ranging from vapid conversations and bad pick up lines to the obnoxious rattling, slamming, and pinging of an arcade. Top it off with the crowds of people trying to shout over the noise, and subsequently, each other, and Irving swore his porcelain head was going to crack from the decibel count.
It didn’t help that the damned place was so dark. For whatever reason, the architect had opted for interiors that caught shadows like a hungry spider, coupled with luminaires akin to candlelight. This only made the sounds louder, the smells stronger, and Irving’s mood worsen.
The mug toon’s discontent was so clear, it made Rudy pause just before throwing down his dice in another round of craps.
“Where were you?”  Irving demanded.
“Busy,” Rudy said as he rolled. “What’s it look like?”
The dice hit the wall of the table, revealing a 12. Rudy winced.
The dealer came over and took half a stack of chips, handing them over to a skeleton in a bow tie and a bowler hat. The patron leered at him, making Rudy grouse and pull what little stacks he had close to him.
“I hit a good streak while you were takin’ a break, so I’m ridin’ it.”
”How good?” Irving prodded
“Those chips are worth $1,” Rudy said, pointing to his hoard and across the table.
“Those’re worth $5, an’ these are worth $10. I even managed to squeeze a 25 out of an Aussie on th’ far end.”
Irving glanced up, seeing a skeletal, bipedal horse where Rudy gestured. The equine toon looked mean, even for a dead man.
“This is more than enough, then,” Irving figured, averting his eyes to Rudyard’s chips.
“It was,” Rudy said. “Until you threw me off.”
He shot his brother a glare, as the crowd cheered for another patron.
“Now I gotta win it back.”
“Do you still have what we made outside?” Irving pressed.
“‘Course I do! I ain’t as dumb as I look,” Rudy exclaimed.
“Then... What are you gamblin’ with?”
Rudy rolled the dice again, earning himself a $5 chip.
“My soul. I cashed it out for $75 in chips.”
Irving stared at his brother in disbelief.
“What?” Rudy asked. “I didn’t wanna spend th’ money you got.”
“Rudy, we’re in a casino named after the Devil.”
“Yeah? And?”
“What do you think the cashier meant when they said you could bet your soul?”
“Th’ cashier didn’t tell me nothin’. Some dominohead he was talkin’ to told me it’s a secret transaction unique to this joint. Th’ guy looked like a high roller, so I gave it a try. I didn’t have to hand any money over or anythin’.”
“They just… Gave you the chips?”
“No, I had to sign somethin’ beforehand,” Rudy shrugged. “But that was about it.”
“Did you even read it?”
“I skimmed it,” Rudy admitted. “It was just some casino contract. No big deal.”
Irving looked like he was going to ascend, the longer Rudy went on. Before Irving could chew his brother out, both toons felt powerful hands on their outermost shoulders.
“Hi-de-ho, gentlemen,” Sixer greeted them. “How goes your game?”
“Oh, I’m the only one playin’,” Rudy explained. “But it’s been goin’ alright.”
“I took up that soul deal ‘f yours for these chips. We’ll be eatin’ like kings t’night!”
“Did you now? An’ how’d you find out ‘bout it?”
The look in Heath’s eyes was too pleased for Irving’s liking. The die-head, as if reading his thoughts, moved his hands off them and stood beside Rudy, as the two talked.
“I was talkin’ to some domino guy in a boater hat, at th’ cashier’s booth. He’s the one who clued me in.”
“That’d be my buddy Pippin,” Sixer remarked warmly. “He helps me run th’ joint.”
“Does your ‘buddy’ happen to swoop in on every country boy who walks through your door?”
Sixer was about to say something, only to pause with Irving’s comment.
“Awful convenient he was there to give Rudy the news. Especially since you were the only person we told about our situation.”
The suited toon chuckled lightly. Irving could feel the air chill.
“Pippin doesn’t swoop, Irving. He loves people as much as anybody.”
Rudy, half listening to their conversation, rolled another turn and scored an 11. The table roared in approval, the dealer slipping him a couple stacks for winning the bet. Ironically, the dealer had a head of stacked chips himself, his face lined with horizontal stripes of orange, blue, and indigo.
Irving immediately set to work counting the chips. Sixer eyed him with a sharpening gaze.
“So with that ‘soul swap’ you did and our remaining debt, you’d need... 86 bucks to break even.”
“How much more do I need?” Rudy glanced his brother’s way, catching his worn expression.
“10 bucks.”
“Fuckin’ hell,” Rudy swore. “This table’s been colder than a meat locker most of th’ night.”
“Why don’t we raise the stakes, then?”
Sixer said this while motioning to the dealer, shooting Rudy a playful smirk.
“Sharps, get me a stack of fives, wouldja? I’m bettin’ th’ pass line.”
Sharps did as he was told, passing Sixer 20 $5 chips in exchange for a crisp $100 bill. The rest of the table’s players backed away, including the horse toon. Despite the change in atmosphere, Rudy grinned right back, a fire in his eyes.
Irving folded his arms tightly as the two men started to compete, forcing himself to watch the table instead of risking catching Sixer’s eye. There was something about the die-head that bothered him more than most, but he couldn’t place why, and that fact put him on edge.
A litany of rounds passed, but Irving wouldn’t have been able to tell anyone all of what happened. Some rolls got yells in glee, others had people throwing their hats to the floor. Chips went all around the rim of the table every which way, at dizzying speed. People chattered ceaselessly. The room seemed filled with eyes, all boring down on him and his brother.
Eventually, Rudy called out through the clamor, hopping up on the edge of the craps table to stand above the crowd. He breathed hard, face aglow from the adrenaline of gambling.
“Alright, you lot! This’ll be my last play!!”
Irving started to sigh in relief, only for Sixer to speak up. The die toon’s tone dripped with confidence and charisma, as he loomed over the craps’ table.
“If that’s th’ case, then I wager my soul an’ Sharps’! Right here, right now!”
Sixer pushed forward his remaining chips, which totaled to $150. The crowd whooped and laughed, eating up Heath’s enthusiasm like it was an inside joke. Sharps smirked faintly, shaking his head.
“Come an’ get me, small fry!”
The cup toon’s eyes rolled in his porcelain head like slots, turning to a pair of dollar signs.
“You’re on, Cesarano!”
Irving held his breath and lifted his head from watching the table, only to stare at something beyond the mass of people around them.
Across the room, there stood a great tapestry of imps and hellish creatures, galavanting through what appeared to be a monochrome jungle. Stretching high above the heads of the patrons gathered around, Irving would’ve figured it some priceless artifact… If the eyes of its inhabitants didn’t roll as well and fix on him. A chill spread throughout the mug toon’s chest.
“Rudyard,” Irving tried to say. “Rudy, we shouldn’t be here--”
“Irv, step off, I’ve got this.”
“No, you don’t. We need to go, now.”
The people around Irving booed, causing a ripple throughout the rest of the crowd. Rudy grimaced and threw his fists to his sides, midway through blowing into his rolling hand for good luck. His eyes had returned to their normal pie cut irises.
“I mean it, Irv, I don’t need your shit right now,” Rudy said sharply. “Let me do my thing.”
“My shit?” Irving demanded. “My shit?!”
“I’ve been dealing with your shit ever since we got here, Rudyard, and I’ve had it! If I weren’t exhausted from doing all the damn work back home, I would’ve dragged you out of here by your handle!”
The mug toon took a step forward, getting up in his brother’s face and earning more protest from the crowd. Rudy’s expression got dark, the liquid in his head bubbling.
“Well, now whose fault is that?” Rudy seethed.
“You never let me do fuck anythin’! I’m trying to do you a goddamn favor, so if you could sit the hell back and pull yer straw out of yer ass, I’d appreciate it!”
“Gambling isn’t a favor!” Irving spat. “Gambling is you, slacking off, getting into trouble, giving Ma a fuckin’ heart attack--!”
“You leave her the fuck outta this—” Rudy threatened.
“Then fold the damn game!” Irving ordered.
The cup toon clenched his teeth and looked his brother square in the eye.
“Fuck. You.”
Rudy threw down the dice forcefully, making them bounce hard against the back wall. Irving grabbed his wrist hard enough to bruise, but the damage was already done.
Snake eyes.
The crowd let out a low moan of sympathy and dissipated behind them. Now Rudy felt the same cold as his brother, looking down at the craps table. Irving stared down as well, then threw the cup toon’s wrist away, storming through the crowd and towards a doorway leading out of the craps room.
The moment he got a foot through the door, the mug toon collided with something hard enough to make him stumble backward. Irving sat up to protest, only to stop. In the meanwhile, Sixer made his way over to Rudy, putting a hand on his shoulder again, but without the camaraderie of before.
“Well, ain’t that a shame?”
A black sigil blocked the doorway. Looking around the room, similar occult drawings blocked the other doors, effectively trapping them in the room. Irving’s head moved Sixer and Rudy’s direction, hearing the snap of Heath’s fingers. With this motion, the contract Rudy signed appeared in Heath’s hand, which he proceeded to unroll and read over.
“Mhhm. As I suspected. You, my friend, are in debt.”
“Y’don’t gotta rub it in,” Rudy said quietly.
“Oh, I ain’t rubbin’,” Heath hummed. “But I’m gonna need both of your souls, as per our agreement.”
“What?”
Irving got up and stumbled back their way. Rudy couldn’t look him in the eye.
“I said,” Heath repeated. “As per our agreement, I’m gonna need both of yer souls, since that’s what I won in our wager.”
“Our souls?” Rudy asked. “As in… Immortal souls?”
“Mhhm,” Heath agreed. The die toon seemed detached, as if he’d gone through this spiel before.
“Why do you need his?” Rudy asked, pointing to Irving. “I’m th’ only one who signed.”
Heath smiled and shook his head, offering the contract for Rudy to read and reciting the terms off his head for Irving.
“Paragraph four, section one, addendum one. ‘Should the client be unable to pay a debt or a wager, due to a lack of necessary, spiritual capital, souls within the client’s company including, but not limited to, friends, family, pets, et cetera, shall be collected as seen fit, in order to ensure a fair transaction between the associated parties.’”
Rudy’s shoulders sank. Irving stepped forward to stand next to Rudy, though he kept distance between them. He stared hard at Sixer, trying to comprehend what had just happened.
“...so we’re damned, then,” the mug toon said eventually
“Essentially,” Sixer replied. “I wagered my soul an’ my dealer’s in th’ form of those chips. Ergo, two souls. Rudyard here only had th’ chips to cover one.”
“I didn’t think you could wager a soul,” Rudy said, with a little laugh.
“I-I thought it was a steal… I… I...”
“Aw, don’t beat yerself up, wheat,” Sixer said, waving his hand dismissively. “Hell ain’t so bad.”
“I visit from time t’ time. It’s a little on th’ warm side, as you could imagine, but it ain’t all fire an’ brimstone.”
“...may I see that?” Irving asked, gesturing to Heath’s hand.
“Sure thing, kid.”
Heath handed over the contract, which Irving proceeded to scour. Rudy looked to Sixer with wide, sad eyes, mouth faintly open as if he was trying to protest. Sixer averted his gaze from the cup toon, opting for Irving instead.
“Here.”
Irving pressed his finger next to another paragraph and turned the paper Sixer’s way, then back to himself, to read.
“...paragraph six, section six. ‘Should a client wish for the return of their immortal soul, they are allowed to perform a designated task for the interested party, according to said party’s jurisdiction. This can include the retrieval of items and other souls, the harm or killing of another person, with or without a body, assistance in correspondence between the party and others, et cetera. Should the task be agreed upon by both entities and completed by the client, the client’s soul, and any souls hitherto collected, shall be restored.’”
As Irving read, Heath’s eyebrows furrowed, then perked, as he thought on these words. He got a wicked smile, seeing Irving’s angle.
“So you wanna work for me to get ‘em back, huh?”
“Yes, sir,” Irving said, with a stony tone. The word ‘sir’ dripped venom.
“Well then you boys are lucky,” Heath remarked. “Cuz you ain’t the only ones who got rent t’ pay.”
The pair of siblings stared, apprehensive.
“I need souls like yours t’ keep the lights on here. My landlord ain’t interested in, ah, standard currency. There’s been a trend ‘round these parts of people comin’ to my place, sellin’ their souls to get chips… Then duckin’ out, whether they win or lose.”
Heath’s expression darkened. As he was 6’6”, he towered over the brothers, who each were around 4’0”, making him appear quite imposing.
“Now boys,” Heath went on. “Think of me what y’will, but I ain't-a cruel man.”
“I have it that my contract necessitates collection, but not immediately so. I let folks say their goodbyes, I let ‘em tie up loose ends… Hell, sometimes I let folks keep their souls ‘til their natural end if it strikes my fancy. I also know these folks are strugglin’, same as you. Everyone’s tryin’ t’ get by, however they can.”
Sixer paced around the cup toons as he spoke, fixing the rose in his lapel. He reminded Rudy of a jaguar, and Irving a cobra.
“But,” Heath concluded. “I believe that when terms like this are broken, they require punishment.”
“These folks agreed, like you, to hand over their souls and they know it. The lot of ‘em raided my casino a month ago an’ made off with their contracts, no doubt to try an’ forge up new terms, conditions, ‘r signatures. Those puppies are enchanted, so they can’t be altered by anybody but me, but I still need the physical copy I signed with my clients. They grant me proof of ownership.”
“So you want us t’ be yer repo men,” Rudy clarified. “Is what yer sayin’?”
“When it comes down t’ brass tacks, yes,” Heath agreed. “But you won’t be killin’ nobody unless you have to.”
“Those contracts have an agreed death date, as does yours. When I cash in, the clients will die as agreed, an’ their souls will be collected.”
“How efficient,” Irving said sarcastically. “How long do we have?”
“I’m sure you can guess,” Sixer hummed.
Irving screwed up his face, then let out a low, pained breath.
“Six days, six hours, and six minutes.”
Sixer smirked in surprise.
“I was right about you,” he said. “You really got a good head on those shoulders.”
“Sixer, all and no disrespect at once,” Irving deadpanned. “But I don’t give a shit.”
“You really should,” Heath purred in amusement. “It can get you places.”
Sixer slipped his hand into his pocket, then extended it to Rudy. Enclosed in his grip was $11.
“Consider this a deposit.”
Rudy took the money reluctantly, looking at Sixer with daggers. Sixer only smiled, like a cat who’d swallowed a canary. Once the money was exchanged, the sigils in the doorways disappeared.
Irving took initiative and walked out of the casino with long, punchy strides. Rudy followed not long after, leaving Sixer alone in the room. Once he was sure the brothers had gone, he called out to the rest of his patrons.
“Y’all can come out now, they’ve up and left!”
Like magic, the room was filled with people again, all getting up to raucous gambling and other forms of sinning. Sixer left the room with an accomplished laugh, dusting his gloved hands off each other. A moment later, he was seized by his bow tie and dragged down to someone else’s eye level.
“Where the hell have you been?!”
His captor was none other than his underboss Orianna ‘The Wheel’ Romano, a golden, geometric automaton in a dealer’s suit. Her nasally New Yorker accent bore into Sixer’s ears, but he didn’t mind at that moment.
“Giraudo, pal, you’re just the man I wanted to see!”
Sixer beamed on seeing her, but Orianna didn’t return the gesture. The name he called her made her uncomfortable, and while normally she could stomach its use, their current situation cut into her patience. She chose to press onwards in conversation and let go of him though, as she knew he meant no harm by it.
“You say dat every time I come sniffin’ you out, boss,” she huffed. “Now answer da question. I’ve been two steppin’ through dis helter skelter all night lookin’ for youse.”
“Sorry about that,” Sixer apologized. “I was outside earlier doin’ some carnival barkin’.”
“Carnival barkin’?” Orianna scoffed with a grin. “What year is it, 1925? Don’t we have people fer dat?”
“Sure, but I’m a professional.,” Sixer said with a sly wink. “Went t’ trade school and everything. I can’t let that degree get rusty.”
Orianna rolled her eyes and shook her head, smiling a little.
“Don’t suppose ya roped in somethin’ to fix us bein’ 19 souls short?”
“Actually,” Heath replied, smug. “The funniest thing jus’ happened.”
Orianna looked his way, tilting her tapered head like some great bird.
“I bagged two souls jus’ now. Pair of cup headed folks from th’ Scapes. One of ‘em signed a contract but got in two souls deep.”
“Oh, y’pulled the old ‘one two’ on ‘em?” the robot prodded, interested.
“Yeah,” Heath agreed. “The one who didn’t sign was onto me, but the other guy? Pff, it was like takin’ candy from a baby. No impulse control t’ speak of.”
“Gee, don’t dat sound like somebody I know,” Orianna snarked knowingly.
Now it was Heath’s turn to roll his eyes, but his smirk didn’t die away. He was used to this line of talk between them.
“So we’re only down 17 now?” Orianna clarified. “Dat’s good, but I don’t get how dat’s a rip-snorter.”
“A what now?” Heath asked with a little laugh.
“A rip-snorter,” she reiterated. “Y’know, somethin’ real good an’ goin’ our way?”
“You sure Kahl didn’t fit ya with a faulty lexicon there, Romano?” Heath prodded playfully.
“It’s a real fuckin’ word, y’goon,” she insisted, gesturing with her thumb over her shoulder. “Ask around town.”
“Alright, fine, later,” Heath conceded. “Still, though, that one who didn’t sign asked t’ see the contract.”
“No shit. An’ den what?”
“He volunteered the two of em t’ get back our receipts,” Heath explained. “Under paragraph 6.”
A beat passed. Orianna’s eyebrows rose and settled, intrigued.
“An’... How old are dese guys ‘xactly?” she asked.
“21 ‘r so,” Heath said.
“Twenty one—“ Orianna rested her forehead in her hand.
“Please tell me dey got magic.”
“...I… Didn’t see,” Heath admitted, rubbing the back of his neck.
“...we’re outsourcin’ collect fer our boondogglin’ t’ a couple twenty somethin’s,” Orianna summarized flatly. “An’ you didn’t even check if dey got magic?”
“It’s not every day y’get free labor,” Sixer tried to reason with a shy shrug.
Orianna closed her eyes tightly.
“...Heath,” she said. “Why da hell didja agree t’ dat?”
Heath started to speak, only for his underboss to interrupt him.
“We got people fer dat, y’know. Lotsa people, actually, who’d be willin’ to chase down dose contracts for ya at da drop of a hat. Why on Earth didja cut a deal like dat wid a couple a bumpkins too far from home?”
“I know we got people,” Heath said. “But those folks who ran off with our shit don’t fuck around. I don’t want t’ lose anybody unnecessarily.”
“Unneces— Caesar, dis ain’t da minor leagues any more!” Orianna barked.
She grabbed his bow tie again, so that they wouldn’t be so easily heard. Her voice was a sharp whisper.
“Who gives a shit if a coupla card heads die chasin’ down Cagney Carnation or whoever da fuck? We got people all over da place who’d kill t’ be runnin’ wid us!”
“I got that,” Cesarano growled. “But we gotta play this smart, Gira. That last raid got our boys Chimes an’ Pocus killed, on top of a stack of card heads. We don’t know if those debtors are tag teamin’ still or flyin’ solo.”
“Don’t talk t’ me about playin’ shit smart,” Orianna seethed. “It’s my job t’ play shit smart. Or didja forget that while you were tryin’ to be 25 all over again?”
Heath pulled himself from Orianna’s grip, baring his teeth. Orianna gave him a hard stare.
“You watch your tongue,” Heath warned.
“An’ you keep dat bleedin’ heart ‘f yers on a damn leash,” Orianna said frankly.
“Just what the hell is that supposed t’ mean?”
“It means yer not thinkin’ straight.”
Orianna rested her arms on her hips, gesticulating in fluid, mechanical motions.
“It’s a shame we lost Chimes an’ Pocus but dat’s how it is sometimes, Heath. You of all people should know. An’ cuttin’ a deal wit’ dose kids? Dey’re adults, even if dey’re dumber dan a sack a bricks. Dey came here of deir own free will, an’ dey lost da draw. Why negotiate?”
Heath’s expression dipped, as Orianna continued.
“You dink dey can do all dat in six days? Or did one of ‘em give you puppy eyes ‘til ya bent fer ‘em?”
“I think they can,” Heath replied sharply.
“On what merit?”
“...they just…” Heath started. “I felt it, in ‘em. They had strong spirits, I guess. Reminded me of myself, back in those days.”
“If some scrappy kid from th’ Bleed could rise up, why couldn’t they?”
“Cuz—“ Orianna started, but caught herself. She hated being the bad cop in these kind of situations, so she exhaled some steam from her back vents, mirroring a sigh.
“...you really dink these kids got dis in da bag?” Orianna tried again.
“They might need a little help,” Heath admitted. “But I have… 80% confidence they got this.”
Orianna raised an eyebrow. Heath faltered.
“...ok, make that more of a 65%.”
“Dat’s what I figured,” the automaton remarked dryly.
“How do you think we should do this, then?” he asked.
“If I were you,” she said. “I would’ve sent a buncha card guys out dree weeks ago an’ kept ‘em pumpin’ ‘til we got dose contracts. If we needed reinforcements, I’d send dat lughead Iggy, August, ‘r Sharps out t’ finish da job. If we didn’t get any dice by dat point, den I woulda sent da kids as da clean up crew.”
Heath winced. Orianna noticed.
“Ah, sorry, analytic brain got goin’ dere,” she said with a modest expression.
“It’s alright,” Sixer said. “What should we do now?”
“If I were you, Mr. Sentimental,” she restarted. “Den I’d keep an eye on dose kids, either drough other people or checkin’ on deir progress myself, cuz I just can’t stand sittin’ behind a desk all day, drownin’ in paperwoik, an’ hearin’ my underboss tear me a new asshole wid ‘er brass teeth.
Heath let out a laugh, making Orianna smile.
“I’d use dose dorky die houses I got back in 1919 as a temporary base ‘f operations,” Orianna continued, still digging into her boss. “I’d hire somebody t’ trail those cup toons, an’ I’d default control of da casino to Pip.”
“To Pip?” Heath said between snickers.
“Yeah, cuz I’m comin’ with you, jackass!” Orianna said, earning another laugh from him. “Dis is a batshit crazy scheme you’ve cooked up an’ it’s my job t’ see it drough!”
“Alright, alright,” Heath giggled. “If that’s th’ case, you tell Pip he’s head honcho, I’ll handle the dick.”
“‘Course you will,” Orianna muttered playfully.
“What was that?”
“What? I can’t hear you over da sound of all these assholes partyin’! I’ll catch ya later, boss!”
Both of them laughed as they parted ways, with Orianna heading back the way she came and Heath to his office.
Once inside and away from the bustle of the game rooms, Heath sank into a purple leather chair and pulled out an address book. He thumbed through a couple pages, then let out an ‘ah-hah’ when he found the name he was looking for.
He picked up a white rotary phone and dialed the number under the name, the fingers of one hand tangling in the cord connecting the receiver and base. The dial up tone ceased after a couple moments.
“Hello hello! This is Alice, your operator. How may I help you?”
“Alice, doll, it’s great t’ hear from ya,” Sixer said warmly. “I hope you lot are enjoyin’ yer new gear down at th’ station.”
“We’ve never had smoother calls, sir,” Alice cooed. “Thank you. Is there something I could help you with?”
“Yeah, could you be a dear an’ get me Mike Phone?” he requested. “He runs that detective agency by th’ Bleed?”
“Of course, sir. Have a good night.”
“Likewise, sweetheart,” Heath purred. “Don’t stay up too late now.”
The call then transferred over a couple moments later. A masculine voice with a built in crackle spoke up.
“You’ve reached Transducer Detective Agency, Michael R. Phone speaking.”
“Hi-de-ho, Mike,” Heath greeted him through the phone, grinning wide.
“I’ve got a job for ya.”
41 notes · View notes
chiseler · 6 years ago
Text
THE GREATEST FILM COMPOSER NO ONE’S EVER HEARD OF
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Over the course of roughly two decades, from the early Fifties to the late Sixties, Herman Stein composed the music for nearly two hundred films and television shows. If you’re of a certain mindset, he wrote some of the most memorable music for some of the greatest films ever made, including Creature from the Black Lagoon and The Incredible Shrinking Man. You’d never know it, though, as he only received credit on about half a dozen of the pictures he worked on. Trying to find a complete filmography can be a daunting task. Even his IMDb page is sorely incomplete and rife with inaccuracies. 
In the mid-Nineties, while planning to launch a small record label devoted to releasing soundtracks from forgotten sci-fi and horror films from the Forties and Fifties, David Schecter set himself the task of tracking down some of the composers who’d worked on those pictures. Fully understanding most of these composers would have been in their eighties or nineties, at the very least he would contact their families or estates in hopes of gaining access to their written scores. One of the first he tried to find was Herman Stein.
“I don’t remember where I found the information,” Schecter recalls. “But Herman Stein had apparently died in 1984. His obituary was in Variety. So I began placing calls around town to every Stein I could find. Given there are a lot of Jewish people in Hollywood, I think this took up about a month of my life. I left messages all over town saying, ‘If you are a child of Herman Stein, please call me back. I’m trying to find out where his archives are.’ Then I moved on to other composers. One day the phone rang and my wife Katy came up to me and her face was white, and she said ‘That dead guy is on the phone.’ And I said, ‘Which dead guy?’ And she said ‘Herman Stein.’” 
When Schecter picked up the phone, Stein, who had a reputation for being a bit cantankerous, demanded to know why Schecter was trying to get in touch with him.
“I said, ‘You’re THE Herman Stein?’ And he said, ‘Yeah, but how could you have heard of me? No one’s heard of me.’ I explained that he had four cuts on that Dick Jacobs record, Themes from Horror Movies, from 1959, and I’d always loved his music. He seemed really suspicious and curmudgeonly. I explained we were thinking of starting a label and wanted to record some of his film music. He wanted to know what titles, and I told him his science fiction stuff—It Came from Outer Space, This Island Earth, Tarantula and on and on. And he said, ‘Why would you want to do that crap? Do my Westerns.’ And I said, ’Nobody cares about your Westerns.’ I mean, he scored dozens of these Audie Murphy Westerns, Rock Hudson Westerns, and you have to remember those were the prestige pictures back then. Those were the ones the composers were proud of. The science fiction stuff was just disposable. So I tried to convince him people still knew who the Creature from the Black Lagoon was, and he didn’t believe me.”
Upon leaving the movie business two decades earlier, Stein and his wife Anita retreated to their home in the Hollywood Hills. He didn’t go to the movies, he didn’t read about movies, and if one came on the television he’d snap it off. That was all part of his past life, and it didn’t interest him anymore. In fact, Schecter says, he was happy to hear about that Variety obituary, as it meant he had an excuse for not dealing with people anymore.
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“I remember one thing that was really interesting to me and kind of put things in perspective,” says Schecter. “I told him I wanted to record some of the music from The Mole People, and he said, ’Did I do that picture?’ Even though every time that movie came on when I was growing up, whether it was five in the afternoon or four-thirty in the morning, I’d be up watching it. For Herman, it was a job he worked on for three ore four days in between a Ma and Pa Kettle movie and a swashbuckler, and that was it. And he probably only saw the part of the movie he scored—the opening scene. It would be like me asking you, ‘What did you do on July 17th, 1984?’ Chances are you have no idea, and Herman didn’t remember it at all. It made me realize I was coming from a very different perspective than the people who actually wrote that stuff. For them it was just product they were cranking out. It doesn’t mean they weren’t doing brilliant work, just that they didn’t obsess about this stuff.”
At the time Schecter contacted him, the only bits of Stein’s music to be recorded and released on an album appeared on that legendary 1959 Dick Jacobs record. Truth Be Told, it was a pretty shabby recording, performed by what was probably a seventeen-piece ensemble which, lacking a harp, substituted an organ instead. Schecter wanted to record his music properly and faithfully. As gruff as he was, it seems Stein still had some interest in the proposition.
“So he said he wanted to give me a test. I asked him what sort of test, and he said basically ‘to see if I can trust you with my music.’ I thought, oh boy, I’ve chosen the wrong composer. Bernard Herrmann had a reputation for being difficult, and Herman Stein was difficult in his own way. Anyway, he sent me a cassette with three pieces of music on it. The instructions were to listen to it, then call him up and talk to him about it. I had no idea what I was supposed to talk to him about, but I listened to it, then called him up and just gave him my two cents worth. Apparently, and I still don’t know to this day why, I passed the test with flying colors, and he said ‘Okay, tell me what you want and I’ll get it.’”
Stein began coming over to Schecter’s home with music, Schecter began releasing Stein’s scores on his Monstrous Movie Music label, and the two remained friends for the next dozen years, until Stein’s death at age 93.
Herman Stein, born in Philadelphia in 1915, had been an astounding child prodigy. He began playing piano at age two, and first performed with an orchestra at age six. In his teens he was selling compositions to jazz ensembles, orchestrating for the likes of Count Basie, and through his twenties was composing and arranging music for the radio.
“How he learned music was, he went to the library, and he’d look at the classical scores there. Just study them,” Schecter says. “He was entirely self-taught until he came to Hollywood, and he was already in his mid-thirties by then.”
After scoring an industrial film called Career for Two, Stein took a job with Universal’s music department in 1951. His first assignment involved arranging some classical pieces for the Boris Karloff picture The Strange Door. The first things he actually scored himself were a few musical cues for a 1952 Ozzie and Harriet vehicle, Here Come the Nelsons.
“Thing about Herman, he was…different,” Schecter admits. “He had a brilliant, brilliant mind. People talk about perfect pitch, but he said perfect pitch isn’t important. If you’re a composer what’s important is having relative pitch. He would hear everything orchestrally in his head before he wrote it. Most of the great composers couldn’t do that. They would sit at the piano, hit a note, write the note down, hit another note, and so on. Herman would just sit out in his car in the parking lot at Universal and write the scores out.{Fellow Universal film composer} Irving Gertz said he and Henry Mancini would walk by, and they could see Herman in the car transcribing the music he heard in his mind. They would just shake their heads. He was taught by Mario Castelnuovo-Tedesco, who taught everyone in Hollywood how to score films—Jerry Goldsmith, John Williams, so many others. Castelnuovo-Tedesco taught Herman to think everything out before he wrote it, and to write his scores in ink. You see sketches written by other composers and they’re in pencil and there are a million cross-outs and erasures, and that was just normal. It’s like being a writer like you and I are, you need to edit things. Herman wrote things out in ink, and apparently did not need to change them.”
The other thing about Herman, Schecter says, was that he was, even into his eighties, something akin to a human computer.
“I remember one day when I was doing some research on something. Herman had all his cue sheets and musical manuscripts in a closet at his home in Hollywood. I called him up one night and asked him about a piece of music he’d written for a Western in 1954. And I said, ‘It’s a piece called ‘On to Socorro’ or something like that. I told him I was wondering about why he did something the way he did there. And he said ‘Hmm, let me think about that for a second.’ He went over to the piano, and all of a sudden I heard this full orchestral version coming out of the piano. He’s not just hitting the notes with one finger, he was playing with flourishes and everything. You could hear the brass the way he was playing. It was about a two minute piece, and he’d played it perfectly, so far as I could tell because I’d been watching the film version. He got done with it, and I asked how he’d found the music so quickly. He said ‘Didn’t—I did it from memory.’ I asked him when he’d last heard the music, and he said ‘Only at the recording session.’ He’d written literally thousands of pieces of music, he’d written this one back in 1954. It was performed once, put away in his closet, and that was it. But he could play every single nuance of it fifty years later. He could do that with anything he’d written.”
In the early Fifties, Joe Gershenson  was the head of Universal’s music department, and his second in command was composer Milt Rosen. Stein, Irving Gertz, Henry Mancini and others were mere contract composers. When a new picture was finished, it was determined how much time was left before the scheduled release, and how much money was left in the budget for music. Then Rosen, a couple of the composers, and the music editor would get together for a screening.
“They would decide which parts needed music and which didn’t,” Schecter explained. “They’d be doing that with the music editor, who’d be writing all these things down. Then depending on how much time they had and what the budget was. They would decide which parts needed new music, because that would take more time given the composer would have to write it, as they’d have to derive parts for the orchestra to play. All that versus how much older music they could use, maybe re-writing it slightly, or just re-using it as is. I’m not talking about using original recordings. But the written music. They already had the scores and the parts there, and wouldn’t have to spend the money on the copyist, and they wouldn’t have to spend the time. Some films would be completely scored, others would be a mix of new and old music, some would have nothing but older music. Then one or more of the composers would rearrange that older music to make it fit with the new music.
“Let’s say a few composers—Mancini, Gertz and Stein—were working together on a picture like The Monolith Monsters. For some reason, Irving Gertz scored most of The Monolith Monsters. Eighty percent of it. Some of the music came from earlier pictures, but the majority of it was written for that picture. And The Deadly Mantis, too—they were both the same score, so to speak, written at the same time. But then there were a few pieces Mancini wrote. Maybe Irving was running out of time, or maybe he had to work on something else. I have no idea. But someone told Mancini ‘Here are your three pieces,’ and they’d give Herman his three pieces. Sometimes the composers would talk to each other, sometimes they would play each other the themes they were using, so they’d have some kind of continuity. Sometimes the scenes a certain composer would be writing were so discreet from what the other composers were doing—maybe they just had to do with a certain subplot—so they could score their own things and it wouldn’t conflict with the rest of the picture. That’s one of the appeals of the Universal scores from the Forties and Fifties—there’s so much musical material in them. It wasn’t just one composer writing a couple themes and then doing endless variations on them. You listen to Creature from the Black Lagoon, even though the Creature theme is in there, Hans Salter’s music sounds like Hans Salter, Herman Stein’s music sounds like Herman Stein. Henry Mancini’s music sounds like Henry Mancini. Then there’s some older music by Milt Rosen that sounds completely different because it came from other pictures. There’s also a cue by Robert Emmett Dolan from Mr. Peabody and the Mermaid, which had nothing to do with any of the other pictures that provided music. You end up with an incredible wealth of musical material from these grade-B horror films.”
In the end, however, particularly if there were multiple composers involved in scoring a picture, as music director it was Joe Gershenson  who got the sole screen credit. This explains why Stein’s contributions went uncredited for roughly ninety-five percent of the films he worked on. So maybe it’s easy to comprehend why Stein would be a bit cantankerous.
“Herman was really something,” Schecter says. “Unfortunately he was his own worst enemy. He was a curmudgeon, and he had reason to be. Some really terrible things happened to him over his life that probably would have destroyed many a weaker man. So Herman could be bitter at times, and I understood that. But he was also very funny and incredibly smart. He should have done so much better in terms of his career, but again he was his own worst enemy. He was very opinionated, and very ethical. In Hollywood, there are not a lot of people with ethics, and Herman would call you on it. That’s why we got along so great, because I’m honest all the time, and Herman knew he could trust me. But he burned a lot of bridges, unfortunately. After the music department was taken down in 1958, Joe Gershenson wanted him to score John Huston’s Freud. I won’t tell you what Herman said, but it was very insulting to Gershenson . It was also very true, but he shouldn’t have said it. Gershenson told him, ‘you’re never gonna work on another film again,’ and Herman didn’t, except for {Roger Corman’s 1962 feature} The Intruder. Maybe that’s one of the reasons he liked The Intruder so much. 
When the music department was dissolved, Stein, Irving Gertz, Hans Salter, Mancini and the others suddenly found themselves out of work. Gertz moved over to 20th Century Fox, and managed to bring a few others with him, including Stein. For the next decade, Stein would compose the music for TV shows like Lost in Space and Voyage to the Bottom of the Sea. A young Jerry Goldsmith, meanwhile, snagged his first high-profile job by scoring Freud back at Universal.
“Mancini was and unbelievably talented composer,” Schecter says. “Herman was also unbelievably talented. I think Herman could have had a much better career than he did. Mancini early on had the reputation for being the tunesmith. Whenever there was a song, they would ask Henry to write it, or they’d bring in one of their staff songwriters, or they would go to a freelance person. But Herman could write some really, really, beautiful melodies  that he had hoped would be turned into a record so he could have a hit. But Universal didn’t allow him to do that. He got kinda bitter over that, and I can understand why, because I’ve heard some of his tunes. Just listen to ‘Sand Rock,’ the cue that opens It Came From Outer Space right after the main titles. Just absolutely gorgeous music, and you could have easily thrown lyrics on that and had a hit song, but they weren’t going to do that for Herman.”
Stein and his wife lived quietly for two decades, Herman focused on his commodities investments, until Schecter lured him back out into the world by calling attention to his music.
“It was both good and bad,” he says. “He always let you know how much you were putting him out, but you could tell how much he liked it beneath the rough exterior. When someone would call him up from a TV or radio show, he’d just light up. He felt he’d been forgotten, as a lot of these composers did. It was kind of difficult at the beginning. And I think there was a little resentment there—‘Oh NOW they’re discovering me, now that I’m too old to get jobs out of it.’ You can understand that, you don’t want to be recognized when you’re on your death bed, you want to be recognized when you can still produce.  Herman was well aware of the career he could have had. I’m glad he lived long enough that I could show him books that make reference to him and his music.
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“He still did amazing things,” Schecter went on. “To my mind he was the sound of 1950s science fiction. As wonderful as the other  composers were. Herman was involved with a lot of the bigger, more important films. The scenes that he scored and the way he scored them, that’s what you think of when you think of the science fiction films of that era. One thing about Herman’s style that set it apart from the others, he could use dissonance to his advantage. He didn’t write atonal things like Alex North, where sometimes you don’t want to listen to them because they’re so harsh. But he could push the envelope, especially with the brass, to where it bordered on being dissonant, but it wasn’t. So he could create these sounds that sounded like horror and monsters, but were also fun to listen to. They didn’t repel you, they didn’t hurt your ear drums. I think that was his strength. You listen to the cue ‘Visitors from Space’ from It Came From Outer Space, and you can hear him pushing it so close to where it’s gonna hurt, but in the end it’s beautiful. You could probably slow dance to that piece, but it’s definitely strident. When you listen to all his music from all those movies, you say, ‘Yup, that’s 1950s horror.’”
by Jim Knipfel
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lascolinaspropertyforsale · 3 years ago
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Las Colinas Golf
Las Colinas Golf Cities
A combination of beautifully designed villas and apartments in a gated community and plots that overlook orange and lemon trees and pine forests with stunning views to the Mediterranean Sea give owners a life beyond comparison. By following a strict environmental protection plan, Las Colinas Golf & Country Club is preserving the natural surroundings of the entire community. Las Colinas, a suburb in Irving Texas. In the past, this area was called El Ranchito de Las Colinas which means the little ranch in the hills. The 1980's saw a significant transformation of the region, which attracted a lot of relocating businesses and branches of major corporations. Las Colinas Golf is home to the famous Mustangs at Las Colinas sculpture which is located in Williams Square. Believed to be one of the largest of its kind, this sculpture portrays a heard of wild mustangs running through a shallow stream of water and was completed by Robert Glen.
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You might be skeptical and wonder if my home is good enough to sell. The answer is that it all depends on what you ask for and in what condition. You will find a variety of high-quality hotels, shops and restaurants in this area. It is home to the Las Colinas Golf, a golf club that has been voted one of the most liveable places in the country. This popular golfing venue features a dynamic landscape which was designed by Mike Asmund and is a great golf course for both rookie and seasoned golfers. There are realtors who are choosy about the Dallas homes they buy but there are also some who will buy Dallas houses that are in any state or condition (meaning, even the most dilapidated ones can be sold nowadays.) But be reasonable - you cannot expect a dilapidated and ugly home to command the same market price as a well-kept and beautifully-designed home. This would be similar to saying that a rundown and ugly car can be sold for the same price as a newer, more advanced car model. This is just not possible.
How clean is your home? And the follow-up question to that is: how neglected has it been? If your home is a well-loved piece of property that you constantly attend to (fixing a door hinge on one weekend, painting the walls of a room the next weekend), then the odds are great that you can get a very good price for your home when you sell it. If however your home has peeling paint on its external and internal walls, door hinges have come loose so that the doors are askew, and the wood is warped on certain floors and walls, then the odds of getting a great price go down considerably naturally. This can be a great tool to find out more about the real estate agent and their qualifications. According to the survey, agents with thick skin who are open to meeting their clients at their most vulnerable and most emotional times are more likely to accept the challenge. Similarly in North Dallas, which has a strong economy and infrastructure facilities for the residents in the neighborhoods of Park Cities; Las Colinas Golf; Colleyville; and Northwood Hills, considered great real estate sites by home buyers and investors, the influx is more.
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wineanddinosaur · 4 years ago
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How NYC Bartenders Are Building Pandemic-Proof Businesses
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The days of sidling up to a bar in New York may feel like distant memories. But bartenders and business owners are fighting to bring them back by building imaginative solutions for the beverages, and the hospitality, that have been in such deficit over the past 11 months.
Some of these intrepid ideas involve new ventures and virtual bar experiences, while others pivot from traditional bar service entirely. One upstart is resurrecting an ancient technique to sell shelf-stable libations to-go. Another sees safety — in the form of rapid tests for Covid-19 at the venue entrance — as the new luxury.
In every story told here, there is resilience and a reimagined future. Here’s how a handful of NYC’s bar owners, workers, and newly minted entrepreneurs are attempting to survive and succeed in this pandemic.
Speakeasies Out on the Street
When Raines Law Room opened in Manhattan’s Chelsea neighborhood, it was the perfect example of the speakeasy style that many cocktail bars were emulating in 2009 — unmarked, hard-to-find door, tin ceiling, the works. With no standing room allowed, it was not easy to get in, which was the icing on the exclusive, hidden bar cake. These are not the sorts of places that thrive with indoor seating restrictions.
“Something that’s unique to all these frontline industries — and I hate to put us in the same category as health care, but we’re also some of the most affected — it’s like, ‘Come up with genius ideas while you’re kind of broke and uninsured!’” Meaghan Dorman, bar director of both Raines Law Room and Dear Irving, says. But bar people are immensely resilient, so Dorman opened up the bar’s intimate backyard and worked to obtain a bike lane permit in order to seat even more guests out front, in plain sight.
Though Dorman never thought she’d see a concept like Raines Law Room with a patio, it’s an increasingly common phenomenon in the streets of NYC. Even Attaboy, another infamous and elusive bar of New York, is now serving cocktails right out in the open on Eldridge Street.
“We’ve just really had to rethink how we can translate our philosophy into the only business we’re allowed to do right now,” Dorman says. For all of her bars, this entails not only in-person service, but a focus on to-go cocktails and virtual class offerings as well.
Paying for Safety is the New Luxury
In order to enter City Winery’s flagship location at Pier 57 in Hudson River Park on the West Side of Manhattan, both guests and employees alike are required to take a rapid Covid-19 test.* On Tuesdays and Wednesdays, patrons are responsible for the cost of a $50 test — a fee whose full amount goes directly to the testing company — and can spend their 15-minute wait for the results sipping on complimentary bubbles. Those who test positive for Covid-19 are sent home after being offered a follow-up PCR test with 24-hour turnaround, but they are not permitted inside. A negative result is rewarded with entrance to the restaurant, where all other safety protocols, such as social distancing and mask-wearing, are still enforced.
Michael Dorf, founder and CEO of City Winery, believes that offering tests at the door is “not just a scientific and social responsibility to keep people safe,” but an example of an expanding definition of hospitality. By ensuring that everybody inside what he refers to as “the bubble” has acquired a negative test result, City Winery is able to add another layer of comfort to the hospitality his restaurant venue provides. “And at some point in the not-too-distant future, we’re going to start to see [the need] to check people’s certificate of vaccination,” he says imaginatively.
Dorf believes there are “a lot of psychological considerations” to take into account to make guests feel as safe as possible, “and that’s our job,” he says. “Just like providing good bathrooms, we need to provide a good, comfortable situation for consumption. If people don’t feel safe, then they’re not going to come.”
Since City Winery is usually also a live-music venue, Dorf foresees thorough safety measures carried over for concerts when gathering restrictions are lessened. Until City Winery can host shows with an all-inclusive, test-and-ticket price for revelers, it is offering virtual concerts through its CWTV exclusive streaming series. Dorf says he is open to using it as an incremental offering for audiences who are unable to attend live because of logistics, “but we don’t see that at all in any way as a substitute.” As with its virtual wine tastings, he sees this more as a temporary bridge to connect people in a very solitary time, but also feels pushback on virtual gathering “because there’s so much of it,” he says. “And what we do really well, which doesn’t work in a Covid world … is bring people together.”
The Rise of the Salon
“My apartment, a brownstone with a large parlor, fireplace, and view of the Chrysler Building was my metropolitan dream. I was gutted at the thought of having to leave it,” recalls Georgette Moger-Petraske, a freelance food and drinks travel writer who lost her work last March. When her roommate moved out around the same time, keeping the apartment didn’t seem likely. Then she stumbled upon an 1860s perfume counter from Louisiana in an antique store during a day trip upstate. “I fell hard at first sight,” Moger-Petraske says of the beautiful bar-like structure. “Taking into consideration how much everyone was really missing bars and restaurants and attempting being home bartenders, I hatched a plan.”
The plan was to teach the fundamentals of classic cocktails like the simple yet elegant ones served at the storied speakeasy Milk & Honey, which was arguably the first of its kind in New York City to gain rabid popularity in the early aughts. Late owner Sasha Petraske and Moger-Petraske’s book, “Regarding Cocktails,” is filled with recipes for the at-home bartender and a fitting touchstone for any class. And so, with a little help from a PPP loan and a friend on the North Fork of Long Island with the Yennecott oyster farm, “Regarding Oysters” was born.
Moger-Petraske’s unique salon brings small groups into a Covid-safe learning space. During a two-hour session, guests are welcomed into her Murray Hill apartment with hand sanitizer and temperature checks before being treated to a class in cocktail-making and oyster-shucking at the little antique bar that had caught her eye so many months ago. “The salons are very intimate and there’s always a celebratory feeling in the air,” Moger-Petraske says of her small, reservations-only classes that will gather in honor of birthdays, engagements, and date nights.
Between the roaring fire, crystal clear Hundredweight ice cubes, and vintage barware that she has collected over the years, Moger-Petraske is able to present the feel of a curated bar to her students. The essence of hospitality is palpable. “Our favorite NYC dining rooms and bars put just as much consideration and passion into their establishments,” she says. “From the fold of a napkin to the charm of a miniature salt boat, the clarity of the cube chilling your Penicillin, to the delicate Depression-era coupe your Water Lily is served in. It’s my hope that in the absence of our beloved bars that my guests feel inspired to create some of this magic in their own homes.”
Your Friendly Neighborhood Grocer
St. John Frizell, owner of Fort Defiance in Red Hook, Brooklyn, tried to make his restaurant function as a delivery and takeout business for a short while back when nobody knew how long the shutdowns would last. Since sending out quality meals in to-go boxes is no simple feat and can require menu changes and more, “it was a question of how much investment,” says Frizell.
“Is this the best way to invest the money that I have left? And I decided it was not, so we closed the restaurant in late March,” Frizell explains. Not long after, he reached out to family-owned organic farm co-op Lancaster Farm Fresh to see about obtaining some of its CSA boxes. He found that enough people in town were interested in claiming one of their own to set up an online store on Fort Defiance’s website. Getting a box of beautiful vegetables through contactless pickup outside the closed restaurant was a popular notion in a time when nobody knew how Covid was transmitted and the supermarket was to be avoided. Business grew and soon people began asking for other items. “And I wanted other things too, like, cheese and milk, and eggs, and bread, and just started to build from there,” Frizell says.
It was decided then that the change for Fort Defiance was going to have to be permanent, not just a temporary closure until things got back to normal for restaurants. “That was an important decision because you can’t really ride two horses at the same time,” says Frizell. “You have to make a decision and just go for it with your whole heart.” The new iteration of Fort Defiance as a general store has since gotten into the mail-order and holiday catering business as he and his steadfast team roll with the punches of what their neighbors in Red Hook might need.
“I don’t want this to come off as corny, but [what] we went through, you have to ask, ‘How can I help?’ Like, ‘How can I be of service here?’” Much like when Hurricane Sandy flooded Fort Defiance and most of the neighborhood in 2012, “we were all kind of in the same boat as we are now. We all had problems, but we were all very ready to help each other at the same time,” Frizell recalls of his community.
As another way to reach out, he started a newsletter called The Fort Defiance Gazette with announcements of new items in the store, promotions, and more. “It’s also filled with the same kind of bullshit I would talk to people about across the bar. They’re still getting the content from me, whether they like it or not,” Frizell laughs. “But it’s another way to connect, and then people email me back all the time. So there’s this dialogue happening, it’s just happening in a different space.”
Room-Temp and Ready To-Go
“Our business really came about as we were watching our industry fall apart around us and feeling really sad and helpless about that,” says Blake Walker, co-founder of drinks delivery service Day and Night Cocktails. He and fellow Amor y Amargo alum Sean Johnson mitigated grief with conversations about possibilities for projects, contemplating styles of cocktail to best suit a pandemic hellscape. They settled on the “Scaffa” — a room-temperature and undiluted mixture of spirits found in Jerry Thomas’s 1860s “The Bartender’s Guide.” Recently appearing on menus at bars like Amor y Amargo and the late Pegu Club, the Scaffa also boasts the at-home allure of being shelf-stable, so it won’t take up space in the refrigerator.
Unlike many to-go models that can arrive alongside complicated instructions, Day and Night’s drinks are poured from their bottles without fuss. “What you get is exactly the way we would serve it to you if you were sitting across the bar from us,” Walker explains. Each menu features a fresh, bright “Day” cocktail alongside a deeper, richer “Night” mixture. For those not sold on the warm drink concept, think of cold as a flavor inhibitor and know that the professionals have layered some very indulgent ones in there.
Refreshingly, Day and Night isn’t only about the drinks — like bartending, it’s about taking care of people. “We decided right off the bat that we’d do a donation for each sale to an organization called Bushwick Ayuda Mutua, which is a mutual aid organization in Bushwick that I was volunteering for,” says Walker. After the murder of George Floyd, all profits for the month of June went to the Movement for Black Lives. Because of the smaller scale of the venture, Walker is also able to have an encounter with every customer. “I don’t take that for granted at all,” he says. “Having that personal interaction [is] the closest that I can get to the across-the-bar experience that I’ve missed so much about my job as it was a year ago.”
By the time Walker and Johnson’s workplace reopened to tackle outdoor dining, they already had their own regulars at what was becoming more than just a side hustle. “It made us turn towards Day and Night as a potential alternative because, at least for us, the experience of going back to work was not pleasant.” Less money for more effort with the added bonus risk of catching a deadly virus is a hard sell.
Instead, Walker started working full time on Day and Night Cocktails in December, quickly finding a way to make it a fully legal enterprise. He can now pursue an LLC and, with that, the potential of permanence. “We also are open to the possibility that this is meant to be a to-go concept,” Walker says. “It’s impossible to know exactly what drinking culture is going to look like on the other end of this, and I think that there may be some kind of a liminal time where both the to-go and physical bar spaces coexist.”
The Future
Are all of these innovations and modifications to the classic bar experience worth it if they don’t somehow improve the way hospitality workers are treated or protected?
For Day and Night Cocktails, the commitment to supporting good causes extends to its own hurting community. “Something that remains incredibly important to us is that whatever our participation is with this industry, on the other side of Covid, we just want to make sure that we’re working towards an industry that takes care of its own better,” Walker says. “We want to be a part of that rebuilding process.”
The real pain of newly vacant real estate where beloved bars once were is hard to ignore and important to acknowledge. There will be more empty storefronts as time trundles on, with plenty of talent waiting in the wings to fill them with new concepts. “It’s going to be a really opportunistic time,” Walker observes. Hopefully, the entrepreneurs jumping at these opportunities will have more than just profit in mind.
“Our guests need to understand that we’re not expendable and disposable, and our government needs to know that, too,” says Walker. “We need to remind each other all the time that our work is important and valuable and we shouldn’t be [a] disposable commodity that’s part of this gajillion-dollar industry. We have to do a little bit better [of a] job taking care of each other.”
As creative as bartenders are getting with side gigs and business-wide pivots, many want to get back to the bar as much as patrons do. “It’s all just so antithetical to what we love to do that I just can’t wait to serve someone at the bar again,” Dorman says longingly.
Despite everything, I do detect enthusiasm when speaking with these hospitality professionals about what the future holds for bars. I want to believe that fantastic transformations lie ahead, because perhaps it’s not a return to “normal” that we should crave, but a hope for an evolution. Dorman gets it right when she says, “It feels like the music has definitely changed at our party or something.” Here’s hoping for a better playlist on the horizon.
*At the time of publishing, City Winery is temporarily closed.
The article How NYC Bartenders Are Building Pandemic-Proof Businesses appeared first on VinePair.
source https://vinepair.com/articles/post-covid-bars-nyc/
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johnboothus · 4 years ago
Text
How NYC Bartenders Are Building Pandemic-Proof Businesses
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The days of sidling up to a bar in New York may feel like distant memories. But bartenders and business owners are fighting to bring them back by building imaginative solutions for the beverages, and the hospitality, that have been in such deficit over the past 11 months.
Some of these intrepid ideas involve new ventures and virtual bar experiences, while others pivot from traditional bar service entirely. One upstart is resurrecting an ancient technique to sell shelf-stable libations to-go. Another sees safety — in the form of rapid tests for Covid-19 at the venue entrance — as the new luxury.
In every story told here, there is resilience and a reimagined future. Here’s how a handful of NYC’s bar owners, workers, and newly minted entrepreneurs are attempting to survive and succeed in this pandemic.
Speakeasies Out on the Street
When Raines Law Room opened in Manhattan’s Chelsea neighborhood, it was the perfect example of the speakeasy style that many cocktail bars were emulating in 2009 — unmarked, hard-to-find door, tin ceiling, the works. With no standing room allowed, it was not easy to get in, which was the icing on the exclusive, hidden bar cake. These are not the sorts of places that thrive with indoor seating restrictions.
“Something that’s unique to all these frontline industries — and I hate to put us in the same category as health care, but we’re also some of the most affected — it’s like, ‘Come up with genius ideas while you’re kind of broke and uninsured!’” Meaghan Dorman, bar director of both Raines Law Room and Dear Irving, says. But bar people are immensely resilient, so Dorman opened up the bar’s intimate backyard and worked to obtain a bike lane permit in order to seat even more guests out front, in plain sight.
Though Dorman never thought she’d see a concept like Raines Law Room with a patio, it’s an increasingly common phenomenon in the streets of NYC. Even Attaboy, another infamous and elusive bar of New York, is now serving cocktails right out in the open on Eldridge Street.
“We’ve just really had to rethink how we can translate our philosophy into the only business we’re allowed to do right now,” Dorman says. For all of her bars, this entails not only in-person service, but a focus on to-go cocktails and virtual class offerings as well.
Paying for Safety is the New Luxury
In order to enter City Winery’s flagship location at Pier 57 in Hudson River Park on the West Side of Manhattan, both guests and employees alike are required to take a rapid Covid-19 test.* On Tuesdays and Wednesdays, patrons are responsible for the cost of a $50 test — a fee whose full amount goes directly to the testing company — and can spend their 15-minute wait for the results sipping on complimentary bubbles. Those who test positive for Covid-19 are sent home after being offered a follow-up PCR test with 24-hour turnaround, but they are not permitted inside. A negative result is rewarded with entrance to the restaurant, where all other safety protocols, such as social distancing and mask-wearing, are still enforced.
Michael Dorf, founder and CEO of City Winery, believes that offering tests at the door is “not just a scientific and social responsibility to keep people safe,” but an example of an expanding definition of hospitality. By ensuring that everybody inside what he refers to as “the bubble” has acquired a negative test result, City Winery is able to add another layer of comfort to the hospitality his restaurant venue provides. “And at some point in the not-too-distant future, we’re going to start to see [the need] to check people’s certificate of vaccination,” he says imaginatively.
Dorf believes there are “a lot of psychological considerations” to take into account to make guests feel as safe as possible, “and that’s our job,” he says. “Just like providing good bathrooms, we need to provide a good, comfortable situation for consumption. If people don’t feel safe, then they’re not going to come.”
Since City Winery is usually also a live-music venue, Dorf foresees thorough safety measures carried over for concerts when gathering restrictions are lessened. Until City Winery can host shows with an all-inclusive, test-and-ticket price for revelers, it is offering virtual concerts through its CWTV exclusive streaming series. Dorf says he is open to using it as an incremental offering for audiences who are unable to attend live because of logistics, “but we don’t see that at all in any way as a substitute.” As with its virtual wine tastings, he sees this more as a temporary bridge to connect people in a very solitary time, but also feels pushback on virtual gathering “because there’s so much of it,” he says. “And what we do really well, which doesn’t work in a Covid world … is bring people together.”
The Rise of the Salon
“My apartment, a brownstone with a large parlor, fireplace, and view of the Chrysler Building was my metropolitan dream. I was gutted at the thought of having to leave it,” recalls Georgette Moger-Petraske, a freelance food and drinks travel writer who lost her work last March. When her roommate moved out around the same time, keeping the apartment didn’t seem likely. Then she stumbled upon an 1860s perfume counter from Louisiana in an antique store during a day trip upstate. “I fell hard at first sight,” Moger-Petraske says of the beautiful bar-like structure. “Taking into consideration how much everyone was really missing bars and restaurants and attempting being home bartenders, I hatched a plan.”
The plan was to teach the fundamentals of classic cocktails like the simple yet elegant ones served at the storied speakeasy Milk & Honey, which was arguably the first of its kind in New York City to gain rabid popularity in the early aughts. Late owner Sasha Petraske and Moger-Petraske’s book, “Regarding Cocktails,” is filled with recipes for the at-home bartender and a fitting touchstone for any class. And so, with a little help from a PPP loan and a friend on the North Fork of Long Island with the Yennecott oyster farm, “Regarding Oysters” was born.
Moger-Petraske’s unique salon brings small groups into a Covid-safe learning space. During a two-hour session, guests are welcomed into her Murray Hill apartment with hand sanitizer and temperature checks before being treated to a class in cocktail-making and oyster-shucking at the little antique bar that had caught her eye so many months ago. “The salons are very intimate and there’s always a celebratory feeling in the air,” Moger-Petraske says of her small, reservations-only classes that will gather in honor of birthdays, engagements, and date nights.
Between the roaring fire, crystal clear Hundredweight ice cubes, and vintage barware that she has collected over the years, Moger-Petraske is able to present the feel of a curated bar to her students. The essence of hospitality is palpable. “Our favorite NYC dining rooms and bars put just as much consideration and passion into their establishments,” she says. “From the fold of a napkin to the charm of a miniature salt boat, the clarity of the cube chilling your Penicillin, to the delicate Depression-era coupe your Water Lily is served in. It’s my hope that in the absence of our beloved bars that my guests feel inspired to create some of this magic in their own homes.”
Your Friendly Neighborhood Grocer
St. John Frizell, owner of Fort Defiance in Red Hook, Brooklyn, tried to make his restaurant function as a delivery and takeout business for a short while back when nobody knew how long the shutdowns would last. Since sending out quality meals in to-go boxes is no simple feat and can require menu changes and more, “it was a question of how much investment,” says Frizell.
“Is this the best way to invest the money that I have left? And I decided it was not, so we closed the restaurant in late March,” Frizell explains. Not long after, he reached out to family-owned organic farm co-op Lancaster Farm Fresh to see about obtaining some of its CSA boxes. He found that enough people in town were interested in claiming one of their own to set up an online store on Fort Defiance’s website. Getting a box of beautiful vegetables through contactless pickup outside the closed restaurant was a popular notion in a time when nobody knew how Covid was transmitted and the supermarket was to be avoided. Business grew and soon people began asking for other items. “And I wanted other things too, like, cheese and milk, and eggs, and bread, and just started to build from there,” Frizell says.
It was decided then that the change for Fort Defiance was going to have to be permanent, not just a temporary closure until things got back to normal for restaurants. “That was an important decision because you can’t really ride two horses at the same time,” says Frizell. “You have to make a decision and just go for it with your whole heart.” The new iteration of Fort Defiance as a general store has since gotten into the mail-order and holiday catering business as he and his steadfast team roll with the punches of what their neighbors in Red Hook might need.
“I don’t want this to come off as corny, but [what] we went through, you have to ask, ‘How can I help?’ Like, ‘How can I be of service here?’” Much like when Hurricane Sandy flooded Fort Defiance and most of the neighborhood in 2012, “we were all kind of in the same boat as we are now. We all had problems, but we were all very ready to help each other at the same time,” Frizell recalls of his community.
As another way to reach out, he started a newsletter called The Fort Defiance Gazette with announcements of new items in the store, promotions, and more. “It’s also filled with the same kind of bullshit I would talk to people about across the bar. They’re still getting the content from me, whether they like it or not,” Frizell laughs. “But it’s another way to connect, and then people email me back all the time. So there’s this dialogue happening, it’s just happening in a different space.”
Room-Temp and Ready To-Go
“Our business really came about as we were watching our industry fall apart around us and feeling really sad and helpless about that,” says Blake Walker, co-founder of drinks delivery service Day and Night Cocktails. He and fellow Amor y Amargo alum Sean Johnson mitigated grief with conversations about possibilities for projects, contemplating styles of cocktail to best suit a pandemic hellscape. They settled on the “Scaffa” — a room-temperature and undiluted mixture of spirits found in Jerry Thomas’s 1860s “The Bartender’s Guide.” Recently appearing on menus at bars like Amor y Amargo and the late Pegu Club, the Scaffa also boasts the at-home allure of being shelf-stable, so it won’t take up space in the refrigerator.
Unlike many to-go models that can arrive alongside complicated instructions, Day and Night’s drinks are poured from their bottles without fuss. “What you get is exactly the way we would serve it to you if you were sitting across the bar from us,” Walker explains. Each menu features a fresh, bright “Day” cocktail alongside a deeper, richer “Night” mixture. For those not sold on the warm drink concept, think of cold as a flavor inhibitor and know that the professionals have layered some very indulgent ones in there.
Refreshingly, Day and Night isn’t only about the drinks — like bartending, it’s about taking care of people. “We decided right off the bat that we’d do a donation for each sale to an organization called Bushwick Ayuda Mutua, which is a mutual aid organization in Bushwick that I was volunteering for,” says Walker. After the murder of George Floyd, all profits for the month of June went to the Movement for Black Lives. Because of the smaller scale of the venture, Walker is also able to have an encounter with every customer. “I don’t take that for granted at all,” he says. “Having that personal interaction [is] the closest that I can get to the across-the-bar experience that I’ve missed so much about my job as it was a year ago.”
By the time Walker and Johnson’s workplace reopened to tackle outdoor dining, they already had their own regulars at what was becoming more than just a side hustle. “It made us turn towards Day and Night as a potential alternative because, at least for us, the experience of going back to work was not pleasant.” Less money for more effort with the added bonus risk of catching a deadly virus is a hard sell.
Instead, Walker started working full time on Day and Night Cocktails in December, quickly finding a way to make it a fully legal enterprise. He can now pursue an LLC and, with that, the potential of permanence. “We also are open to the possibility that this is meant to be a to-go concept,” Walker says. “It’s impossible to know exactly what drinking culture is going to look like on the other end of this, and I think that there may be some kind of a liminal time where both the to-go and physical bar spaces coexist.”
The Future
Are all of these innovations and modifications to the classic bar experience worth it if they don’t somehow improve the way hospitality workers are treated or protected?
For Day and Night Cocktails, the commitment to supporting good causes extends to its own hurting community. “Something that remains incredibly important to us is that whatever our participation is with this industry, on the other side of Covid, we just want to make sure that we’re working towards an industry that takes care of its own better,” Walker says. “We want to be a part of that rebuilding process.”
The real pain of newly vacant real estate where beloved bars once were is hard to ignore and important to acknowledge. There will be more empty storefronts as time trundles on, with plenty of talent waiting in the wings to fill them with new concepts. “It’s going to be a really opportunistic time,” Walker observes. Hopefully, the entrepreneurs jumping at these opportunities will have more than just profit in mind.
“Our guests need to understand that we’re not expendable and disposable, and our government needs to know that, too,” says Walker. “We need to remind each other all the time that our work is important and valuable and we shouldn’t be [a] disposable commodity that’s part of this gajillion-dollar industry. We have to do a little bit better [of a] job taking care of each other.”
As creative as bartenders are getting with side gigs and business-wide pivots, many want to get back to the bar as much as patrons do. “It’s all just so antithetical to what we love to do that I just can’t wait to serve someone at the bar again,” Dorman says longingly.
Despite everything, I do detect enthusiasm when speaking with these hospitality professionals about what the future holds for bars. I want to believe that fantastic transformations lie ahead, because perhaps it’s not a return to “normal” that we should crave, but a hope for an evolution. Dorman gets it right when she says, “It feels like the music has definitely changed at our party or something.” Here’s hoping for a better playlist on the horizon.
*At the time of publishing, City Winery is temporarily closed.
The article How NYC Bartenders Are Building Pandemic-Proof Businesses appeared first on VinePair.
Via https://vinepair.com/articles/post-covid-bars-nyc/
source https://vinology1.weebly.com/blog/how-nyc-bartenders-are-building-pandemic-proof-businesses
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uterusclub · 5 years ago
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Hot, Chicago summers are generally, not very fun but somehow, we manage. This past month was nothing short of spectacular – even despite the sweltering, blistering, hell heat. We kicked the month off with a visit to the very critically acclaimed Par-King miniature golf course out in Lincolnshire. Solely based off of the reviews on this place, expectations were HIGH. To ensue extra, satisfaction, I purchased a Groupon for an Indian Restaurant by the name of Marigold Maison through whom we purchased some bag-insulated yummers for dinner. I’ll save you the suspense and tell you the food was not good. Although I’m fairly certain we’ve become tikka masala snobs at this point. Service was super awkward as well as the restaurant has a grocery attached to it with shelved goods that look as though they’d been there for god knows how long. In any case, I wouldn’t venture there ever again. But back to the golfing. We arrived mid-day on a Wednesday in hopes of beating any summer-time crowds. And much to our delight, the place was not busy at all. I will say we were gravely disappointed in the different themed courses that felt very lacking – especially after reading of the reputation of this joint. The literal best thing about the entire course was the ‘roller coaster’ hole which well, Sharon grabbed some awesome video of so be sure to check that out in the montage (shameless plug). I would consider trying it again – maybe with the other course since the ‘cooler’ holes were all on the other game option. Let’s also take into account that Sharon was dealing with some mental and emotional bullshit right before we started playing so she wasn’t exactly in the right mind-set to even attempt enjoying the golf of minisculeness.
And then there was the Fourth of July. Which well, we usually don’t do much for – simply based on the elements of too many people being out and about in the world doing dumb and annoying things. But for some reason or rather, the lure of a Paranormal Circus presenting itself to us, did we become much bolder this year. But I’m getting ahead of myself. The day started off with a bit of work-from-home since I’m commission-based and don’t get PAID on days off. Following that, I believe the boozing commenced which involved a lovely rendition of Berry Vodka reminiscent of snow cone syrup. Following that, we baked some pre-bought chips and ate some previously purchased pasta and potato salads while we vegged on the couch to enjoy the down time.
Once it became a decent hour to leave, we headed out to the Paranormal Cirque located out in Orland Park. I had read that there was a pre-show to the event so of course, we arrived hella early (pun intended). Gates weren’t even open as we reached the mall parking lot where dark tents had been resurrected. Twas quite a strange sight, really. But we enjoyed taking pictures and videos of the tented darkness awaiting us. Once we were finally allowed in, we entered the main tent area where a table was set up selling masks. There was also a face painter in the corner adjacent which I considered partaking in but the artist was taking far way too long for my liking. As we stood around in the main area awaiting this ‘pre-show,’ we noticed a Mad-Max, steam-punk looking little person riding around on an electric wheelchair. She’d speed up close to unsuspecting victims, point her gun and scare creepily at them before slowly backing away. It was cool for the first couple minutes but eventually, we came to the conclusion that there really WAS no pre-show.
After we were finally allowed into the show arena, we met several, random performers who were entertaining, yes, but nothing extravagant. Once seated in our front-row elitist-ship, we watched a little person clown walk around and harass random people. He quite enjoyed throwing popcorn at me. As the time dwindled on, we become more and more annoyed with the fact that yet again, another show was NOT going to start on time. Sadly, the venue wasn’t very packed either. Once the show resumed, we were mildly entertained. The man ‘comedic’ character was hilarious but the crassness of the show was a bit too much for our liking. As such, we darted out at intermission to enjoy a colorful, sky extravaganza on our way home.
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Next on the party-bus roster for July was Garden a Go Go – a burlesque show that sounded most intriguing. Situated in a warehouse-looking building in Humboldt Park (a clear indication nothing good could possibly come of us), we again, arrived very early in anticipation of much awesomeness. Unfortunately, our $20 donation didn’t seem worthwhile for the non-air-conditioned frenzy of annoyance we were met with. Granted, there was a very awesome hoop aerialist doing some ‘pre-show’ performance while we yet again, waited the untimely nature of the production. We sat and sweated and listened to DJ-ed music accompanied very ineloquently by a saxophone player. Not even the sax could save our spirits. Let me also point out that drink tickets were mandatory and that no bottled water was available. After staying to watch the show until, literally, we finished watching the Abraham Lincoln performance, we left immediately and pondered actually picking up and dropping off a case of water for the poor souls continuing to suffer without quench.
As remedy to our disappointment for the Garden a No No, I suggested we stop off at my most beloved Sidekicks for a drink and song. Sharon was most agreeable and we headed over. This night was COMPLETELY turned around by this decision. Not only did we become cool with the karaoke guru, Joe, but we made friends with my waitress’s friends, Bart and Maria who were the coolest people ever. Bart was literally creating self-echoes over the mic and ended up buying us buttery-nipple shots at one point. I even discovered one of my dance student’s moms also waitresses there! Talk about your small world! Had a blast. We would end up at Sidekicks two more times that month. The second was just as fun. The last was well, not as anticipated but all in all, it’s a great default place to scout out any time. Ah concerts. How I do loathe thee – unless you are outdoors and I have plenty of personal space which is precisely what we achieved this month! We grabbed some super cheap tickets for Hollywood Casino Amphitheater in Tinley Park for 311 even though we were actually going for the opening bands. After having our sunscreen and bug spray discarded my security (doh) and having to walk the perimeter of the joint to get the correct ‘will call’ window, I paid way too much for plastic mason jars of vodka. Lawn seat were spectacular and we came prepared with Skip-Bo which, due to wind complication, involved putting every item we owned on every card pile to prevent throw-aways. The opening bands were good up until the last one before 311 at which point, we could not muster the will for it was quite horrendous. It was strange to pack up before the main band but quite satisfactory.
Ravinia. Can’t go wrong. Every year I try to make it a point to find SOMEONE to see here. Again, lawn seats are the absolute best for comfort. We again arrived with Skip-BO after venturing to Viaggio in Highland Park for some take-away dinner goods. The place was PACKED for arriving at 5 o’clock on a Sunday! I’d never seen it so full so early on in the day. But we valiantly made our way around the venue until we found a sufficient spot to lay our wares. The music performance was The Music of Queen with a vocalist named Brody Dolyniuk who, was an awesome singer but horrendous speaker. Guy sounded like an infomercial. Several songs into the performance and after battling a swat of flies whom invaded one suspicious corner of our blanket, we headed out.
I never claim to be of Irish descent, although, my brother allegedly found out our family is a small percentage Irish, but that has never been necessary for partaking in the Irish Fest held every year at The Irish Heritage Center. We grabbed some food at a local spot conveniently across the street from Sidekicks, Old Irving Brewing Co. before making our way to the Irish Fest. After arriving we observed the place to be very much dead – which is always in our favor. We immediately grabbed drinks and headed to the outdoor tent area to take a gander at the vendors and musical performances. Sharon entered us in a Trip to Ireland drawing which we clearly didn’t win. We popped upstairs to take a look at the indoor exhibits and watched some Irish dancing for a hot second before heading out an inevitably ending up at Sidekicks (which we’ve previously discussed).
What better way to spend a Tuesday evening than drinking and BINGO’ing? It’s not often I have Tuesday evenings available due to dance scheduling so we took advantage of an opportunity to visit Eris Brewery and Cider House for their special BINGO event. We’d previously been here for their cider and were a bit underwhelmed. The same was true this most recent go. But I will say, their sweet potato waffle fries with bacon and a bunch of other awesome stuff were off the CHAIN! SO good! BINGO involved maybe three tables including ours, there were about 11 of us total? And it STILL took several people leaving before Sharon’s ‘luck’ kicked in during the last three games. Brian, a brewer, was the caller who was most entertaining. His gibberish between games was hilarious – until he went on tangents about making cider at which point, I was buzz, tired, and pissed I hadn’t won and therefore, was no longer amused. Sharon came away with a t-shirt and a bunch of other, random, useless items. I came away with much embitterment, per usual.
If you’re ever looking for a delish, Philly’s cheesesteak, look no further than Monti’s near Albany Park. I loved this place since the first time I tried it. It’s cute, carefree and I’ve never experienced bad service. After parking a bit away and trekking endlessly in the blistering sun, we arrived, grab some $5 martinis and consumed some delicious goods! Martinis take #2 underwent and buzzed, we headed off to the second event for the night: K. Karaoke and Paint. Because what could POSSIBLY be better than drinking, painting AND singing? Oh yeah, yes, it’s also BYOB so we grabbed our insulated Moscow mule cans from the car and walked a short way to the storefront. Once inside, we grabbed our seats, iced some cups and awaited the rest of the attendees. Eventually, we began our painting project of a sunflower in between which, I sang a song or two. The more we boozed, the more ‘creative’ our paintings became. At one point, Sharon was beckoned to the make-shift dance-floor at which time, everyone forgot what they were doing. At the very end of the event, you guessed it, we headed to Sidekicks (again, already covered this) and ultimately, took our paintings back home where I drunkenly decided to leave our art work outside the doorstep of our old-lady neighbor, as a gift. The following morning I barely remember this act of generosity and to this day wonder just what she was thinking when she noticed them.
We were very much looking forward to attending the Bristol Renaissance Faire this month, however, due to the heat severity, we determined it would not be the greatest idea to do so in July. As a replacement, however, we decided to get some tattoos. Sharon acquired a bridge and I, a sheep. Not a bad time for a lazy, hot Saturday.
The month of July was wrapped up with a few cat themes. Poor monkey-bear was taken to the vet due to violent, butt-licking tendencies which resulted in some prescribed laxative and pain medication. He’s doing much better now. I believe the demons haunting his butthole have vacated. Aside from that, we took in a performance of Cats downtown at the Nederlander Theatre. So here’s the thing on that. I don’t get it. I’ve never gotten it. Every time I try to understand that show, it fails. I couldn’t understand a damn thing the actors were sing/saying other than ‘Jellicle Cats’ which til this day, I still don’t know what the hell they are! Does anyone? Someone respond to this blog with an explanation please. Again, we left at intermission, very glad to have at LEAST experienced ‘Memories’ which is always a good, inner cry.
All in all, not a bad month – despite my obvious, aforementioned bitching. Complications and let-downs aside, nothing was going to stop these queens from enjoying this sexy, hot summer.
First-Act Queens Hot, Chicago summers are generally, not very fun but somehow, we manage. This past month was nothing short of spectacular – even despite the sweltering, blistering, hell heat.
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packernet · 5 years ago
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New Post has been published on https://www.packernet.com/blog/2019/06/23/a-chicagoan-describes-to-packers-nation-what-the-rivalry-means-to-chicago/
A Chicagoan Describes to Packers Nation What the Rivalry Means to Chicago
(from a friend of Packernet)
Occasionally, when I’m playing at my favorite online casino, Grande Vegas online casino, I wish that someone would create a game that fully described the long-standing rivalry between my hometown Chicago Bears and the Green Bay Packers.  I am not like many Bears fans who hate the Packers.  I just want the Bears to win every game against them and to always be much better than the Packers.
Two Shining Moments
Since the 1963 season where the Bears finished first in the Western Conference, thanks in large part to the suspension of the Golden Boy, Paul Hornung, for gambling, the Bears have had far more hard times than good times.
The Bears won the Super Bowl in the famed 1985 season with what may have been the best single season defense in NFL history.  The Bears next made it to the Super Bowl in 2006 behind their first true gunslinger quarterback, Rex Grossman, who proved to be far less successful as a gunslinger than the Packers’ own “mad Bomber”, Brett Favre.
Between 1963 and 1985 there was nothing but heartbreak and misery.  From 1985, there has also been little to brag about.  Then last year, Aaron Rodgers lead a furious second half rally to steal game one of the season and every Bears fan said “here we go again”. 
However, 2018 ended on a far happier note despite the double doink field goal miss that cost the Bears the wild card game.
Green Bay Packers kicker Chester Marcol runs after picking up a blocked field goal against the Chicago Bears in 1980.
The Nature of the Rivalry
From the standpoint of Bears fans, the rivalry with the Packers is something unique in Chicago sports.  Chicago has five pro sports teams, the Cubs and White Sox in baseball, the Bulls in basketball, the Blackhawks in hockey and the Bears. 
The Cubs
Cubs fans are used to the team losing in lovable fashion.  The Cubs play in the most beautiful baseball stadium in the world and fans still love going to Wrigley Field just to hang out, soak in some sun, and maybe watch the game a bit.  This is a bit harder to do in the era of high-prices and night games but here is a story of what the Cubs really mean to Chicago.
In the mid-1970’s, on the second day of the season, the weather was an amazingly balmy 70°.  At game time, there were a few thousand people in attendance but within one half hour the entire park filled up with men and women in suits.  The weather was great for April, the game beckoned, so thousands of Chicagoans decided to chuck the afternoon in the office and came to the game!
The Cubs are like a family picnic!
The White Sox
The team that brings out the overwhelming hatred of Sox fans is the Yankees.  If the Sox aren’t good, which is most of the time, at least the Yankees should be bad too and if the Yankees are good, Sox fans can easily ignore baseball because it’s summer and there are many other things to do.
Bulls and Blackhawks
It’s nice when they win and it’s okay if they lose.
Bears
Before we describe the deep importance of the Bears to Chicago, here are two great Bears-Packers stories.
Irv Kupcinet was a long-term gossip columnist and television talk show host in Chicago.  Before he became a newspaperman and a tv “star” he played on the offensive line for the Bears in the 1930’s.  His career ended quickly and he became an NFL referee.  One Sunday, when Kupcinek was working the game as a ref, the Packers were in Chicago to face the Bears and had a fourth down and inches.  They went for it and failed to pick up the first down.
Losing himself, Kupcinet jumped up and down yelling, “It’s our ball.  It’s our ball.”
Frank Cornish
This young man was a promising defensive tackle in the late 1960’s but came to camp way overweight in 1969.  That year, the Bears went 1-13.  The most memorable event of the year was when, on a rainy Sunday at home, Frank Cornish was spun around at the line of scrimmage and fell splat face first in the mud.
A highlight of the season and a symbol of the Bears over the years.
The Bears and Chicago
So, if any of the other professional teams aren’t good Chicago fans can shrug it off.  When the Bears aren’t good, it feels like the entire city is going 1-13 and falling splat face first in the mud.
Bears and Packers
No other city has the history with the Bears that the Packers have.  The rivalry is one of wanting to at least be better than the Pack even if the Bears can’t be better than anyone else.
Bears Fight Song
In that same 1-13 season, on the last ignominious day of the season, with the temperature a warm 10° and falling three forlorn vendors sat shivering waiting for the fans to come so they could start selling their food items.
They wrote a parody to the legendary Bears fight song that still rings true even though Bears fans have high hopes for the upcoming season.
The actual fight song goes like this:
Bear down, Chicago Bears,
Make every play clear the way to victory.
Bear down, Chicago Bears,
Put up a fight with a might so fearlessly,
We’ll never forget the way you thrilled the nation,
With your t-formation
Bear down, Chicago Bears
And let them know why you’re wearing the crown.
You’re the pride and joy of Illinois,
Chicago Bears, bear down!
The Revised Version
Here is the remake those woe begotten vendors came up with in the cold and howling wind one December day in 1969.
Give up, Chicago Bears,
It’s always best to face reality,
Give up, Chicago Bears,
Make every play lead the way to as safety,
We’ll never forget the way you fooled the nation,
With your team imitation,
Give up, Chicago Bears,
You’re number one in being bums,
You’re the pride and joy of the Halas boys
Chicago Bears, give up!
The Future
This year Bears Nation has its hopes high but its expectations low as usual.  The Bears’ schedule is hard.  The division is improved all around.  And the Packers still have the proven Aaron Rodgers while the Bears have the unproven Mitch Trubisky.
At least the Bears quarterback has a Chicago-sounding name!
The greatest rivalry in professional sports will kick off in only three months.  Rev your engines, ready, set, go, the heart and soul of one of America’s most dynamic cities ride on beating the Packers!
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bbggoodd · 8 years ago
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I’m really sad right now. 
I’m thinking of all the times I went to see the jonas brothers or fall out boy or all time low or taylor swift or ed sheeran. I’m thinking about how you have to walk a mile to your car at PNC and it’s usually when you’re so tired of dancing and jumping and your throat is fucked and you’re too excited and there are guys trying to sell knock off shirts and you see guys helping their girlfriends up the hill and you see girls chatting excitingly about the hot guy or the amazing song or the best moment of the concert. I’m thinking about how in MSG you try to leave just as the last song is ending so you can go quickly onto njtransit and get home and how you have to go down either a million escalators or none at all depending on your seats and how the train station is under the stadium and it’s penn fucking station so you have to be careful because you’re in new york and anything can happen but still, you’re fucking excited because omg they played your favorite song or there was a special guest and you are struggling to breathe because you’re so happy and tired. I’m thinking about how at Starland, they don’t really check bags too well and it’s pretty easy to sneak in anything and how parking is so fucking crazy because it’s just a field and it’s hundreds of people trying to get home. I’m thinking about how phones would have been close to dead, after two hours of filming songs and trying to take incredible pictures and how you always promise to yourself that you’ll stop messing with it at 15 percent and yet somehow, you’re always at 1 percent on the way home. 
I’m thinking how I’ve been to sold out concerts that have held 45k people and I’ve been to concerts that held 700 at Irving Plaza. I’m thinking how fucking sad this whole situation is - how sick people can take away comfort and happiness in seconds. 
I’m thinking about kids and teenagers and parents. I’m thinking of my mom who I forced to too many concerts and my friends who now go with me. I’m thinking about walking back to cars with a sea of young girls and boys and the endless hysterical chatter that follows as we walk up the hill, as we take the train home, as we try to get to our cars. 
My thoughts are with the victims and their families. How fucking tragic and devastating. 
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ljbarks · 7 years ago
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Julien Baker, My Father, Two Decades of Noise, and the Quiet
Soda guns make a funny noise. Like a dozen dentists doing work all at once, some suction and a strange gurgle.
Usually, it’s also a noise that happens nonchalantly, especially in a place like this, the gurgle drowned out by the din and dissonance of the band and the crowd and the night.
Right now though, a couple songs into Julien Baker’s set at White Eagle Hall, the soda gun — and the cracking of a fresh beer, the opening and closing of the standard-issue industrial doors at the back of the room, everything — have become some kind of strange and unwelcome accompaniment, dropping in at all the wrong moments, a laugh-track mistakenly placed over A Very Special Episode.
This, of course, is partially my fault. I’m perpetually late and the kind of short where I’ve had to turn my annoyance at the dozens of phones shooting video that’s never gonna be revisited into an argument for how useful all those glowing screens are as periscopes. Too anxious to push my way to the front under some false “I’m looking for my friends” pretense, because I know my friends are not up there because they’re all at home because it’s Tuesday and we’re in our mid-thirties. And then what happens when I get to up there? Then I’m awkwardly planted next to a person who’s not my friends, inserting myself into this stranger’s night like I just hatched from my pod and am enjoying my first moments in this human body, cumbersome and lumbering, exploring the thing the earthlings call music.
Instead, I don’t move from the spot on the floor that I’ve acquired simply by ordering a beer at the bar and then turning and taking only the amount of steps required to get out of the way of the next person. But the hypothetical awkwardness stays, permeating the room in some other way. As I, from my tippy-toes, and the other 799 people packed into White Eagle watch Baker take the stage, it’s to a strange kind of silence.
The first live music I ever saw that wasn’t my father playing the organ in our house — like the first thing that involved a band and instruments, and an in-hindsight surprising lack of any kind of adult supervision — was a punk show at the Rockaway American Legion.
It was 1997.
I was the kid who wore Nirvana shirts to school every single day. A girl in my first period biology class was passing out flyers.
“I think you like music, I don’t know.”
She tossed the thing on my desk. I was never cool to begin with, but in this moment she was infinitely cooler than me.
I convinced my best friend to come, and my father happily volunteered to drive us, depositing two fifteen year-olds in some random parking lot with only a vague idea about when to return to collect us.
This, that he was so willing to do this, volunteered to do it, was a confusing thing about my father. He was angry and strict, though only about the small and specific things. I never had a curfew, but food falling off your fork at dinner as you awkwardly tried to get this adult-sized utensil into your child-sized mouth would launch some kind of international incident. It always ended with slamming doors and crying and him storming out and me climbing up into the treehouse to write some other life in my head.
The flyer, because it was 1997, had a phone number to call “for directions or sex advice.” I blacked out that second part before I showed it to my parents, marching into our kitchen with this photocopied paper adorned with a giant hand-drawn, bug-eyed and bemowhawked creature with a safety pin through its tongue, the names of a bunch of bands they wouldn’t have known even if their entire record collection wasn’t The Kingston Trio, the soundtrack to The Big Chill and Donald Fagen.
I didn’t know the bands, either, really, but I knew I needed to go to this thing and see it. And so I also armed myself with an argument for why I should be allowed to go. Instead, I just got a “yes.” Simple. Too easy. My father, for all the other stuff, became his opposite self when it came to matters of music.
That November night in the American Legion, I found the thing I didn’t know I’d been looking for for all of the 15 years and four months of my life before it. My home, my people, my thing. My father came to pick us up at the end, and I surely got back in the car, tired and happy and smelling of cigarettes, but really, I never left.
Twenty-one years later that flyer hangs on the wall of my apartment.
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Through the rest of my high school life, I’d check out the arts listings in the paper, picking out concerts and pulling out the phonebook so my parents could call Ticketmaster, using the money I’d made from working at the family business and then my job at the mall to finance these miniature adventures. And every time, my father would volunteer his services as driver, dutifully dropping us off somewhere in the middle of Manhattan so that we could enjoy a night with The Offspring.
Once I could drive, we’d spend weekends traversing the state following handwritten directions scribbled on a pick from the stack of flyers we’d been handed at the previous show. Living in all the wonder that comes with the kind of places willing to host an afternoon of complicated-looking kids too into something that was mostly dissonance and sometimes childhood music lessons repurposed into bad Bosstones knockoffs. Elks lodges, VFW halls, American Legions, firehouses, basements, the storefront of a diet food restaurant, high school gyms and random rooms in churches.
Then we’d take the train into the city and see the bigger touring bands that came through. Take a quarter for the payphone to call my mom from Penn and let her know the train didn’t derail on the way. Take the Midtown Direct from Dover for Pennywise, All and Strung Out in the city on Friday, drive to Asbury Park for Blink 182, Silverchair and Fenix TX on Sunday, go to school on Monday. Lars Frederiksen stealing my friend’s lighter outside a Dropkick Murphys show at the Wetlands. Smoking in the downstairs of Roseland as we browsed the tables of patches and buttons that lined the room. Summers with multiple Warped Tour dates, a car accident on the way to Asbury leaving the front passenger side door of my ’95 Golf in a permanent state of not closing right, our nostrils still filled with dust from Randall’s Island the day before.
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Then, college, a degree I'd never get and mostly shitty jam bands in a small market city not on the way to anywhere. The other nights, more special. When Rainer Maria came to Higher Ground or AFI played at 242. River City Rebels with Catch 22 at a barn in rural Vermont or Bane in the middle of winter in some school gym. Kill Your Idols and Sworn Enemy and Agnostic Front and My Revenge and the show stopping to throw out some boneheads after they tried to rip a SHARP patch off a kid’s jacket. That night Death Cab played at UVM and someone from the band chased a kid who threw a disc golf disc onto the stage through the halls of whatever building that was. That same place where I saw Q and Not U and I think the only two times I was ever in that building. Our little NJ Scene expat crew, four people strong, watching some punk show on the second floor of the extra-strength hippie dorm.
Post-weird four year exile in Vermont, our little Jersey scene had shifted and died and grown up too much, but the city was still there. I’d learned by then never to take New York for granted. I went to shows.
So many.
Our Wilco/Ryan Adams cousins crew getting too drunk in Brooklyn bars and me as the only one over 21 buying bodega tallboys for everyone to drink from brown paper bags in Greeley Square. Getting lost in Macy’s and losing the car in midtown and getting actually lost on the way back from Camden. Perfect nights walking around Williamsburg and sunny Saturdays in Greenpoint and spending the night on Saint Marks after the War on Drugs got rained out. Happy hours at Matchless and tacos at that spot in Port Chester. The conversation before the Ty Segall show that started with me being excited for my friend and ended up with me on Uncle Einar’s first tour two months later. Too hyped after Run the Jewels and dropping my car key in a rest stop toilet because I hadn’t slept and went to see Rancid and Dropkick anyway. Too much whiskey and the side-effects of a tetanus shot and 13 staples in my leg and a Titus Andronicus show at Maxwell’s that I don’t remember. Getting a contact lens straight kicked out of my eye at that Vandals show at Irving Plaza. The lost weekend that was Punk Rock Bowling.
Plenty of solo trips, too, not wanting to miss what could be — because you never know — some band’s last time, and I’m not even going to bother trying to sell it to my friends. Sleater-Kinney five times in a week, the Piebald reunion, the sweatiest night ever when the AC broke at Webster Hall during the Bouncing Souls, and a fear of frostbite at Sonic Youth after putting a Chuck Taylor-clad foot into the depths of one of those curbside lakes the New York winter creates.
A thousand more that escape me now, but show me the ticket stub and I'll tell you the story.
The one constant is noise. There is always noise. The expected kind, of the band and the crowd cheering and singing along. And the annoying kind, of the full-on conversations everyone’s having as the band plays ten rows up, like the Bowery Ballroom is just an extension of their living room.
There is nothing better than a full-crowd singalong.
There is nothing worse than the people behind me at Sleater-Kinney’s first NYC show in nearly a decade having a full-on conversation — as the band was ripping through ‘Start Together’ or whatever — about an article one of them read about a Maraschino cherry factory that was illegally dumping whatever the byproducts of Maraschino cherry-making are into some Brooklyn waterway. It is a bonkers story that also involves a secret basement pot growing operation, but also, in the words of the great Sue Simmons, “the fuck are you doing?”
But both of those parts are also what make up the show. We’re in a room, simultaneously strangers and best friends. Together, doing a thing. That the gaps between songs are filled by this low mumble, that the band sometimes gets treated like nothing more than a backing track to an evening, because this is New York and we’re still too busy to even take this part out of our day to make it an actual part of our day.
There is some strange comfort in that noise, all of it, together.
This night, back at White Eagle, is different. It is silent. Starkly so. In an hour, I will be — we all will be — spit back out into New Jersey’s endless winter, down the steps and onto Newark Avenue, having learned no more about Maraschino cherries than we knew before we entered. I will hear nothing about who’s lunch Susan stole from the fridge at work today, or just how fucked up it was to get to Jersey from Ridgewood on a Tuesday night.
The only conversations I will hear are ones of faintly whispered commentary about how good this is. About “thank you for bringing me.” About “this is amazing.” And at first, it’s weird and jarring and uncomfortable, and every time another beer gets cracked at the bar the people all around me let out some barely audible groan, because for the first time at any show I’ve ever been to, we’re all sitting in that silence, and none of us know how to behave.
The show opens with ‘Over’ and ‘Appointments’ and no one even knows what to do when that’s over. Like, none of us know if we should even clap. Forever and ever, before and after this, the answer is obvious, but here, we’re all in some kind of silent agreement that there’s at least a question as to whether anything should pierce the quiet. Like we’d be as annoying as another person’s vodka soda order being fulfilled if we did.
Slowly, somewhere around the end of ‘Turn Out the Lights,’ we all agree to figure out if clapping is okay. Then light cheering. Eventually we’ve navigated it, all settled into a balance between the silence and the act of being at a show. Some of the people around me even risk a low singalong during parts of ‘Rejoice’ and that one part of ‘Everybody Does’, though the intermittent activity at the bar is still at least as loud.
And maybe, beyond the lack of talking, that’s why I’m so shaken and uncomfortable with this silence. Life is about noise, even in the background. A podcast, music, the TV I’m not watching. The fan that runs at night just so I can sleep. The silence outside my parents’ house makes me uneasy. I am home with sirens piercing the pre-dawn air. Stop the noise and the quiet can make things deafening in your head.
Shows are ringing ears and not knowing if you’re shouting at each other when you talk about how good it was on the way home. Why in some other social setting you’ll find me nodding in agreement even though I didn’t really hear what you just said. It is inherently about noise and sound taking over a room and taking everyone in that room with it.
Here, we’re trying to navigate that same journey with the quiet. Like turning up the volume on the car radio as you try to find your turn.      
The thing I know about Julien Baker, because maybe I read The New Yorker while I’m brushing my teeth, is that she came up in some kind of punk scene that I imagine was similar to, though at least a decade and many states removed, from the one I did. Sonically, her music, just a guitar and some loops and piano and the occasional string accompaniment, is miles away from the basements and VFW halls and Elks lodges where I spent my teenage years. But it’s familiar somehow, too.
Maybe it’s because she’s here, on Tuesday night that’s too cold for April, mostly alone on stage, with just her songs and a couple guitars, a pedal board, a piano, and someone sometimes popping up to play violin, and she’s gotten this entire crowd to stop, to be quiet and sit in this silence and in these songs and find solace or something like it, in it, in them, in this. And that? That’s about as loud, and as punk rock, a thing as you can do.
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markgottliebliteraryagent · 5 years ago
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Journalist, Editor & Author of Historical Fiction James Wade
James Wade is a seasoned journalist, editor and the author of the novel All Things Left Wild. Set during the turn of the 20th century, when a botched robbery leaves a young boy dead and sets two men on conflicting journeys across untamed landscape—All Things Left Wide is a coming of age for one, a mid-life odyssey for the other, and an illustration of the violence and corruption prevalent in our fast-expanding country. All Things Left Wild is forthcoming from Blackstone Publishing.
Your novel, All Things Left Wild, is set during the turn of the 20th century in the American southwest. What is it about that particular time period and place that fascinates you?
Folks tend to consider America as settled and civilized by that time, but much of the Southwest was still divided into territories rather than states, and the lack of transportation infrastructure coupled with the rugged landscape served to essentially cut these people off from the rest of the country. Small-time criminals found it easier to thrive, while many a shady “businessman” found fortune in these areas by simply bullying their competition into submission. 
The country was only one generation removed from the Civil War, and yet it was also at the beginning of what would be the most remarkable century of progress in human history. We were essentially trying to find our footing as a nation, while also seeing the world around us modernize at an unprecedented pace. That’s something we’ve dealt with ever since, and are still dealing with today.
I’m also drawn to the Southwest, no matter the time period, because of its remarkably diverse landscape and population. The blending of cultures has created such unique traditions, food, music, and literature. 
Do you feel that the type of violence and corruption that was prevalent in our fast-expanding country of that day and age is somewhat present today but in other forms?
Absolutely. Any time there is expansion, something growing more quickly than the regulations surrounding it, then it becomes an attractive breeding ground for greed and corruption. Any new industry gaining momentum, or disruptive technology we see come to market, creates uncertainty. The corrupt thrive on that uncertainty, using it to their advantage however they can. In 1910 it was swindling settlers out of land rights or mineral claims. Today it’s fraudulent investing or predatory lending or even the spread of misinformation on social media. There’s always someone willing to excuse morals in favor of money or power.
Also, the disconnect between rich and poor was growing rapidly during this time, much like it has in recent years. From the post-Civil War 1870s through the Great Depression, the country saw a massive income inequality, and you began to have similar economic anxieties to what we’re seeing now. 
“...at some point you just have to pull yourself back from that fascination or you risk losing the pace of the story.”
What is the research process like for you when constructing the backdrop for a historical novel? Did you uncover any hidden gems along the way?
The fun part is getting to read about history, watch Ken Burns documentaries, and travel to these awe-inspiring landscapes, all while calling it "work." My wife and spent more than a year traveling the country in a small trailer, and it was seeing these places in person that really helped me understand the history.
The process could also be frustrating, primarily because you uncover so many hidden gems and you want to work them all into the novel, which is usually impossible. For example, there’s a small town called Mesilla near Las Cruces, New Mexico. It’s only a few blocks, mainly geared toward tourists, but it’s so rich in history. In the early 1900s it was the hub for stagecoaches, travelers, vendors, merchants, parties, you name it. It played such a central role in shaping that part of the world. After we visited the area, I knew I needed to include this town in the novel; but the more I read about it, and talked to the locals who’d been there for generations, the more space I wanted to give to Mesilla. But that wasn’t really conducive to the narrative, so at some point you just have to pull yourself back from that fascination or you risk losing the pace of the story.
“In drawing that human connection to the past, it brings historical events to life.”
Does writing historical fiction present its own set of challenges and limitations, or do you find writing historical fiction to be liberating?
There are certainly challenges, like wanting to do justice to the people and places of the time. But even though All Things Left Wild has historical elements, it’s a work of fiction first and foremost. I wouldn’t want anyone reading this as a history lesson, so I tried not to put any limitations on where the story might go. There are real names and events which are mentioned, but all of the characters and situations are entirely created. 
There is a certain liberation in writing a character who is from our past, yet has the same motivations, same internal struggles, etc. as we deal with today. In the novel, we see characters who are conflicted about their family, their faith, their own measure of “goodness.” Those are things a lot of us have questioned in our own lives. In drawing that human connection to the past, you can help bring it to life. 
Are there any authors or books that were of influence to your writing, or those you might enjoy reading for pleasure? For instance, Cormac McCarthy seems to come to mind...
Yes, I am a Cormac McCarthy fanatic. I consider his Border Trilogy the finest collection of prose I’ve ever read. I would hope just by having read books that well-written I could somehow draw inspiration. McCarthy was a close study of Faulkner and I think it shows immensely in his writing.
Yes, certainly McCarthy is a huge influence. In my humble opinion he is the best living writer in the world, and his prose is both inspiring and motivating. 
Flannery O’Connor is another author who I continually turn to for motivation, along with John Irving. I find O’Connor is best for voice, Irving for pacing. I also can’t stop re-reading Larry McMurtry’s Horseman, Pass By. It’s his debut novel (I believe he was 25 when he wrote it), and it’s far too good for anyone’s first try. 
I read a lot of non-fiction, be it history or philosophy or outdoor guidebooks. I read political biographies, sports writing, and anything my wife tells me is good (most recently it was Dispatches from Pluto by Richard Grant). I just finished The Liberal Redneck Manifesto, a political comedy book by Trae Crowder, Drew Morgan, and Corey Ryan Forrester. It was a wonderfully honest take on Southern politics and culture. 
For fiction I tend to read mostly older novels, only because there are so many I haven’t read yet. But there are supremely talented writers who are in their prime right now, and I try to support them as much as I can. Sometimes I’ll buy a book by an author I like, knowing I won’t be able to read it for another several months. Authors who have impressed me in the past few years include: Sarah Bird, Colson Whitehead, May Cobb, Owen Egerton, David Joy, Joe Lansdale, Ta-Nahisi Coates, and Benjamin Saenz, just to name a few. I may be biased, but I truly believe we are coming into a special era of American literature, with so many talented writers young and old. 
How did you find your literary agent and go on to get published? What was that moment like when you heard that your major debut novel would be published?
I first heard you (the incomparable Mark Gottlieb) speak on a panel in 2016 at the Writers’ League of Texas Agents & Editors Conference just down the street from my home in Austin, Texas. I was struck by your professionalism, and your sincerity when speaking about your clients. You were the first person I queried when I finished the manuscript. So, naturally, when you approached me to talk about representation I was completely on-board. I remember being camped in the Black Hills in South Dakota and not having enough cell signal to call you, so I hiked up to the top of a ridgeline holding my phone up like one of those cell service commercials. 
The pedigree spoke for itself, but it was your passion for the work that stuck out to me. You were able to have an in-depth conversation about the manuscript just a few days after I sent it to you. I always try to find the smartest person in the room and learn from them, and you fit that bill perfectly. You made the “finding an agent” part so seamless and stress-free, I assumed finding a publisher would be when the real panic set in. But I think within eight days of agreeing to work together, you sent me our first offer. 
“Trident Media Group is essentially the movie-version of what an author dreams their literary agency will look like.”
What was it like coming to New York City to see the Trident Media Group offices in-person...did things start to feel more real then?
Let’s state the obvious, first: New York is the publishing kingdom and the Trident Media Group has as impressive a castle as you’ll find. The location across from Madison Square Park, the towering building, the immaculate views—Trident Media Group is essentially the movie-version of what an author dreams their literary agency will look like. Then, you see the actual books from Trident Media Group clients: best-selling fiction, award-winning non-fiction, critically acclaimed authors, celebrity biographies. For a new writer, it was overwhelming in the best way.
For myself, as well as other authors I’ve spoken with, things may never feel entirely "real." There’s a certain imposter syndrome that permeates the creative community. It reminds you that no matter how many short stories you publish, you’ve never written a novel. Or no matter how many novels you publish, you haven’t sold X number, or appeared on X list. I asked Owen Egerton, who won the 2018 PEN Southwest Award, if he felt that recognition made him a "real" writer. His answer? “I just started thinking, well, it’s not a Pulitzer.”
I think that sort of doubt is actually great for writers. It pushes us to keep improving our craft. All that being said, did touring the best literary agency in the world cause me to feel somewhat legitimized as an author? Hell yes, it did.
Does the prospect of working with Blackstone Publishing excite you? They are very nimble and are also a leading publisher of audiobooks. I'm betting the audio version of All Things Left Wild will have amazing production value.
I think it’s always exciting to work with someone who wants to work with you. It’s also humbling, to have such a well-respected publisher be willing to make you an offer. Not to mention, the trust Blackstone has shown in me as a debut author. 
I love the idea that Blackstone is a well-entrenched publisher of audiobooks, while also being a relatively new print publisher. It provides the stability of experience, but also gives us a chance to grow together. And make no mistake, Blackstone is growing like crazy. 
Under the leadership of Josh Stanton, Rick Bleiweiss, and the entire team in both New York and Oregon, Blackstone is emerging as a powerhouse in the publishing world. They’re signing big name authors from other major houses, while still focusing on the promotion of new writers and new ideas. 
Not to mention, the folks who make up the Blackstone Publishing family are as good a group as I could have hoped to work with. Jeff Yamaguchi, Megan Wahrenbrock, Greg Boguslawski, and Mandy Earles have really nailed the independent bookstore market, which I believe is the lifeblood of the modern publishing industry. Lauren Maturo was just named a Publishers Weekly Star Watch Honoree for her exceptional publicity work at Blackstone. And I can’t imagine anyone in the business has someone as sharp as Blackstone’s Josie Woodbridge captaining the day-to-day. 
As for the audio version of the novel, I mean, what better position could we be in? Blackstone created an audiobook empire known for its professionalism and production value. I can’t imagine how cool it will be to have them putting together All Things Left Wild.
“Literary agents...are not out to get you. They want to help. In reality, they don’t get paid until you do, so they have a vested interest in your career.”
Any advice for struggling writers desperate to become published authors?
Oh, man, I don’t know. Just write. Write every damn day. Write when you don’t feel like it. Especially when you don’t feel like it. There will be inspired times, no doubt. But the difference between a writer and "someone who writes" is forcing yourself to sit down and face the story even when you’d rather do almost anything else.
Read everything, and read it often.
Learn to write a decent query letter. Make sure you put your best foot forward when seeking literary agents. And once you find an agent, listen to him/her. Literary agents, for the most part, are not out to get you. They want to help. In reality, they don’t get paid until you do, so they have a vested interest in your career.
Also, don’t get discouraged. I know it’s easy to do. I let my shoulders slump a good deal more than I’d care to admit. For me, it takes hiking, or a cold beer(s), or a pep-talk from my brilliant wife, before I can get back in the saddle. You have to find what works for you. 
Most importantly, cut yourself some slack. Do you know how hard writing is? It’s hard, folks. You’re writing something, creating something from scratch that belongs solely to you, and you’re doing it while knowing it will be rejected. Whether it’s by a magazine, an agent, a publisher, a critic, a one-star review on Amazon or Goodreads, etc., your work is going to be rejected at some point by someone. And yet, you have to be excited enough and motivated enough to continue on despite that fact. 
What can we expect next from the writings of James Wade?
I’m excited and anxious about All Things Left Wild making its debut. It will be my first time going through the process of releasing a novel, so there are a lot of unknowns there. But continuing to write has kept me grounded. While the first novel was in post-production, I was able to write a second manuscript, which was also accepted by Blackstone. That novel, River, Sing Out, is set in modern day East Texas, and deals with the vicious cycle of poverty and drug abuse in rural areas. 
I’m currently working on a third manuscript which flips back to Southwest Texas and follows the son of a ranchhand during World War II. I don’t know how any of this will turn out, but I do know I’ll keep writing. And at the end of the day, that’s all that matters. If you enjoy the process, everything else is just a bonus. 
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dailrpwmf-blog · 5 years ago
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Car insurance - how short a time can you buy insurance for?
Car insurance - how short a time can you buy insurance for?
i want to get a new car but the insurance is more expensive than my current quote. my no claims bonus kicks in in a couple of months but until then my quote is quite expensive. i want to know whether i cn buyinsurance for this short time, and then get a new quote once my no claims is awarded, as otherwise im signing myself up for 12 months on an expensive quote
BEST ANSWER: Try this site where you can compare free quotes :INSURANCECOMPAREQUOTES.US
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