Monday, March 30, 2009

Jellwagger - Episode 14: Jellwagger, Full of Grace

Now look at our man here. He was standing on the sidewalk around the corner from Taix, his eyes going over the words “DIE FAG!” etched in butter across the windshield of Zach’s SUV. You can’t exactly blame our Jellwagger for being stunned. He’d never had gay friends before. It just wasn’t the same back in Jersey. In L.A. people lived their lifestyles much more in the open, and to hell with you if you had a problem with it. Only problem was, once in a while you’d meet someone who did have a problem with it. I mean a real problem, to the point that they had no qualms about threatening your life.

This Jellwagger here? He’d never had anyone do that to him. Call it luck combined with the fact that, like many other writers and data entry clerks, it was his nature to stay the hell out of your way. Now here he was having just had dinner with his gay coworker and his companion, two guys who’d exited the closet decades ago. Was this stick of butter their first brush with a death threat? Jellwagger was guessing no, judging by how Zach didn’t miss a beat in retrieving a half-drunk bottle of water and old Sunset Junction T-shirt from the back of the SUV. He wet the shirt and wiped off the words pretty easily. Grant, meanwhile, apparently still high from the good food and drink and rollicking concert, picked up the impaled butter and smiled at it.

“Wow.” Despite his smile, his voice was at its most deadpan. “Hey babe, I think this is Land O’ Lakes.” Grant sniffed it. Then he smeared a bit on his index and licked it. “Yeah.” He caged his teeth and gave the butter his best deadpan stare. “Yeah. Land O’ Lakes.” He looked at Jellwagger and shook the butter at him, the knife still in it. “If someone threatens you with butter, pray they use quality butter. You a butter man, Jellwagger?”

Jellwagger stared at him and couldn’t help his mouth falling open.

Zach gave the windshield another scrubbing before tossing the bottle and shirt back in while Grant carefully extracted the knife and studied it. “Wow.” He slid the same index along the edge. “Wow. Just that little bit of contact peeled skin.”

“Ready, amigos?” Zach was standing next to the driver’s door. “Sweetie, are you going to keep that?”

“Oh I’m definitely keeping the knife,” Grant said. “This might be the sharpest knife I’ve ever seen. Seriously. You want a feel?”

“Jellwagger, you up for some art?”

“Oh yeah,” Grant said. “Sculpture. Gimme the post-post-modernist sculpture any night of the week.”

“Jellwagger?” Zach said.

It was only then that Jellwagger realized he was still staring at the windshield. He turned to Zach with a start.

“You okay, my friend?” He smiled and sucked. “Grant and I were thinking of going to an art exhibit.”

“Mind you, we’re using the word exhibit kind of loosely. It’s the garage of this guy’s house in Silverlake.”

“He’s a sculptor like my sweetie here. Only not as good, obviously.” His sucking was extra loud.

“Oh Sky’s great,” Grant said. “He’s like this little knife here. At first you underestimate him because he’s, well, let’s just say…”

“He’s flaming,” Zach said.

“Very effeminate. He comes off like a bubble head, but don’t let that fool you. He’s smart as a whip, that guy.”

“And he likes to make sculptures out of old computers,” Zach said.

“It’s so fucked up,” Grant said. “The guy buys a computer a year, sometimes two. Then he’ll use them for a few months the way they’re meant to be used. I’m not sure what the fuck he does on them…” Grant smirked before laughing himself red. “I think he just uses them to e-mail.”

“He was keeping a journal on one of them,” Zach said. “He’s the only person I know who’s ever used Windows Notepad.”

Grant laughed his ass off and had to hold onto the hood for support while Zach smiled and sucked several times.

“So you up for it, amigo? A little bit of computer sculpture to cap off the day?”

Jellwagger shrugged. “Whatever, man. You know? What the fuck? I’m sort of freaked the fuck out right now, but if you want to go to some fucker’s garage to look at old computers? Cool, man. Let’s go. This day couldn’t possibly get more fucked up.” Without waiting for a response, Jellwagger marched to the rear passenger door, pushed the T-shirt and water bottle over, got in, and slammed the door.

That little outburst pretty much shut everyone up for a good five minutes or so. It was a quick drive to Silverlake. As with Taix, they had to park a good block or two away. While driving by what was obviously Sky’s house judging from the crowd, Jellwagger caught a glimpse of who he guessed was Sky himself. He looked about the same age as Grant and Zach, only with a full black beard. Was he wearing a robe? Jellwagger didn’t have enough time to see, plus he was sort of distracted by the fact that Sky was waving his arms in a sort of slow dance while the crowd laughed and clapped. Jellwagger couldn’t see the sculptures but did get a glimpse of the bare bulb hanging from the garage ceiling at the end of an orange extension cord.

“So amigo,” Zach said, smiling and sucking.

Jellwagger turned to him with a start. Zach was looking at him through the rearview mirror.

“You okay?”

“Earth to Jellwagger, this is Houston,” Grant said.

Their nonchalance was pissing him off. How could they make jokes?

Grant turned around to look at him. For an instant his deadpan look betrayed a hint of concern. He turned back around. “I think our young amigo is in a right state,” he said.

Zach turned a corner and parked along the curb. “Listen, Jellwagger. Stuff like that happens, okay?” He put the SUV in park, turned off the engine, and turned to face Jellwagger. “You are blessed enough to live in a world where heterosexuals are considered normal. Unfortunately, that comes at a huge cost to the gay community. They won’t even let us get married for Christ’s sake.”

“I voted No on Prop 8,” Jellwagger said.

“Of course you did,” Zach said. “I can tell you’re a decent guy. A bit fragile maybe. A delicate flower perhaps. But you’re a swell kid.”

“And you obviously don’t get out much at all, Jellwagger,” Grant said. He reached over and rubbed the top of Zach’s hand. “I don’t know if I told you, sweetie, but our Jellwagger here is a budding screenwriter.”

“Oh so you’re a writer,” Zach said. “Grant and I have a bunch of writer friends. I admire the dedication it requires, but it comes at a cost, does it not? It’s a very solitary occupation.”

“What my better half is trying to tell you, Jellwagger, is that if you got out more, you’d see in no time flat that things like the butter on the windshield happen to people like us. All. The fucking. Time. That’s why we take it in stride. It’s just some fucking asshole who hates his life.” He shook Zach’s hand. “Come on, babe, let’s go. The Sky will fall if we don’t get there soon.”

The street they’d parked on formed a fairly steep incline. At least it seemed steep to Jellwagger. He’d been living in the Valley for years, and that place was flat as a board. From here the views of downtown were spectacular, but he wondered if it was worth it. To live here meant spending a healthy chunk of change for one of these dinky little houses that barely had a crack of space between them. How could anyone stage an art show here without alienating the entire neighborhood?

Jellwagger got the answer soon enough. Apparently many of the thirty or so attendees were also neighbors. While the driveway and sidewalk saw a decent crowd, many others watched from the front steps of the surrounding houses. Sky was still in the midst of doing whatever he’d been doing when they drove by.

“Oh wow,” Grant said with his deadpan look. “Wow.”

Jellwagger could barely see Sky through all the people. Dude was basically taking these wide steps from side to side in front of the crowd, many of whom were in outfits Jellwagger couldn’t begin to understand. Was that one guy wearing a shower curtain? Another one had a Lone Ranger mask, no shirt, cut-off jean shorts, pin-striped stockings, and Converse sneakers, a sort of porn version of the Hamburgler. A few others were dressed the way Jellwagger did at the firm, complete with shirt, tie, and slacks. And then some others simply wore jeans and T-shirts with random shapes or funny little one-liners. Perhaps his favorite was a particularly well-endowed young woman in a red shirt with the word “Rental” along the front. Many of them half-watched Sky’s shtick while they swigged beers or sipped wine or martinis and chatted. Every little bit Sky would swing his arms in circles over his head like a human windmill on crack.

“Wow,” Grant said again.

Jellwagger frowned to and from Grant and Sky. “’The fuck’s he doing, Grant?”

“Let’s give Sky a few minutes,” Zach said. “I think he’s at the part where he’s trying to demonstrate the theme of this particular exhibition.” He smiled and sucked at Jellwagger’s bafflement. “You have so much to learn, amigo.”

“Oh my heavens, is that my favorite fag couple this side of East L.A.?” Sky pranced through the crowd and emerged in front of Jellwagger in all his bearded and robed glory.

“Jesus fucking Christ,” Jellwagger couldn’t help saying as he took in Sky. What was that robe made of? Silk? The fuchsia did have a sort of sheen to it courtesy of the amber street lights, but it shone better in certain parts than others. And that fucking beard. It was so long that dude used fuchsia ribbons to make pony tails. All told, Sky looked like what would happen if Little Edie from Grey Gardens had a kid with Paul Bunyan.

“Everyone, look who’s here,” Sky said with a flourish of his hands.

Zach laughed and sucked several times as he took in Sky and held his arms out. “How’s it going, Sky?” They hugged.

Sky stood back. “Looking virile as ever, Zachary. The Wolf Man has nothing on you.”

“You’re not exactly wanting for healthy follicles yourself,” Grant said.

“I have to make up for being bald down there.”

“No fucking way!” Jellwagger said.

Sky put his hands on his hips and batted his eyes at Jellwagger. “I’m sorry, good lookin’, but I will do anything to please my man. And after he got a couple pubes in his mouth during a certain job, I decided to do him a favor. I do let the lawn grow a little, okay? It’s not Don Rickles or anything.”

“More like Richard Dreyfuss,” Grant said.

“Who?” Sky said.

“Oh come on,” Jellwagger said. “Jaws?”

What about Bob?” Zach said.

“Don’t I get a hug?” Grant said.

“Not if you don’t introduce me to your barely legal friend.”

“Sky, this is Jellwagger,” Zach said.

“No it isn’t,” Sky said. He giggled so hard that his beard tails swung back and forth. “Jell Whacker?”

Jellwagger looked at Zach and Grant. “I’m too fucking tired for this shit.”

Sky stepped up to him with a smile and rubbed his arm. “Baby, I’m just playing. Don’t be that way.”

“Fuck me,” Jellwagger said and shook his head.

“Well you don’t waste a minute, do you?” Sky said.

“His name’s Michael,” Zach said. “His last name is Jellwag. And for reasons too complicated to get into, everyone calls him Jellwagger.”

“You know what, honey?” Sky said. “That means you must have a fabulous sense of humor if you can live your life with that name. And anyone with a sturdy sense of humor is okay by me.”

“So what’s tonight’s show about, Sky?” Zach.

“Computers of the beach,” Sky said, spreading his arms with flourish. His sleeves slid up a little to reveal a clinking array of metal bracelets, no two the same color.

“Oh that’s fabulous,” Grant said.

“Animals?” Zach said.

“Beach creatures,” Sky said. “I tried to think about the kinds of creatures that come out to play on the beach when no one’s around.”

“Like night creatures?”

“Or winter creatures. When the beach is empty, what’s there?”

“Gee, let’s think about that,” Jellwagger said. “Nothing, maybe?”

“Or something, my smartass jelly whacker.”

“And if these creatures were made of hard drives and memory and what have you…” Grant said.

Sky gestured to his garage with more flourish. “You would have tonight’s exhibition, Mr. Prossich, that’s correct.”

“Don’t forget about my creature,” said an Asian woman who emerged from the crowd next to Sky carrying two beers.

“What the fuck?” Jellwagger said.

If Sky was a marvel of repurposed ribbons and shiny things, this twentysomething girl rewrote the book on cluster-fucking the stereotypes for hair-dos and wardrobe. This was the first Asian Jellwagger had ever seen with cornrows, let alone blonde cornrows. And the wardrobe? From the cornrows, Jellwagger’s eyes dropped straight down to those brown cowgirl boots, complete with rusty metal spurs. The pants were of a dark blue and white camouflage that reminded Jellwagger of what those snow troopers wore in a video game he used to play all the time. The shirt was a blue sleeveless affair with the words “Save Ferris” across her perky little tits. Speaking of that, she did have a pretty hot little body. He couldn’t see her ass right now, but Jellwagger could tell it was tight enough to palm with one hand. Jellwagger couldn’t help getting the feeling, though, that with the blonde cornrows and Goodwill outfit and the three rings in her left nostril and all those little rings in her ears…

“Who’s the Greg Brady over here?” she said to Sky while keeping her eyes on Jellwagger.

…oh, and that barbell in her tongue, that she was making a concerted effort not to be appealing to anyone. But hadn’t Zach just said Jellwagger had a lot to learn? Jellwagger was already curious about this woman’s story. He looked her over again. Seriously, what was her deal?

“You’re new here,” she said with a knowing smile.

“I’m guessing where you come from, everyone looks like you,” Jellwagger said.

“What’s that supposed to mean?”

“You’re a fucking pincushion on legs, darling,” Jellwagger said. “I mean seriously, guys. Look at the two of you. If you fucked each other, you’d give birth to a whole fucking circus.”

“This kid’s adorable,” Sky said. “Do you all remember Grace?”

“I think I met you two,” she said.

Grant’s caged teeth parted as if he were about to speak. He hesitated, teeth suspended. “Oh wait!” he said.

“We’ve met her, right?” Zach said.

“Wait, wait, wait!” Grant jumped up and down. “I do remember you. You’re the one who got kicked out of the Saddle Ranch for breaking the mechanical bull.”

“That was the bull’s fault,” Grace said before taking a swig from one of the beers. “Cheap piece of shit.”

“Speaking of bull and shit, Grace has completed a sculpture that I’ve let her put on display here,” Sky said.

“Don’t ask me what it is,” she said. “I haven’t a fucking clue. Painting’s my thing.”

“And pottery,” Sky said. “You’ve made some wonderful vases for my foyer and bathroom.”

“But I figured fuck it,” she said. “I couldn’t live this fucked up life without trying my hand at sculpture at least once. So I closed my eyes and made whatever came to me.”

“Oh so your eyes were closed?” Sky said. “That explains it.”

“Fuck you, faggot.”

“Come on, Sky,” Zach said. “Show us your computer beach zoo.” Sky got between Zach and Grant and put his arms around them while leading them up the driveway.

Grace took a swig from the other bottle and squinted at Jellwagger.

“Do I give a shit if you trust me or like me or approve of me?” Jellwagger said. “Hell to the fuck no.”

“Wait a second, that’s my line, bitch.”

“And I already know a woman who calls me bitch. Knock it the fuck off. Call me Jellwagger or choke on that God damned barbell.”

“Damn, woman.”

“It’s Jellwagger!”

“Here! Quick!” She thrust one of the beers at him so abruptly that some of it sloshed out.

“Oh what the fuck.” He grabbed it and took a pull. “I’ve already had more tonight than I usually do in a week, but I think I’ve earned it.” He took another pull and frowned at the bottle. “Fuckin’ A, this isn’t half bad.”

“Asahi.”

“I have to admit I’ve never been a fan of the Chinese stuff, but this might just convert me.”

“It’s Japanese.”

“Your ancestral homeland?”

“That would be the Philippines.”

“Hold on a God damned second. Weren’t the Japanese, like, really mean to you people at some point? Like, say, World War II?”

“Dude, I’m from L.A. All right? I’m just a poor girl from Northridge who wants to paint for a living but probably never will which means I’m consigned to retail hell while I try to find my own time to do it.”

“Northridge, eh? I’m in Van Nuys myself.”

“And now I feel fucking sorry for you. I don’t live in the Valley anymore. I only go once in a blue moon to visit my folks. They don’t say it, but I think I freak them out.”

“Gosh, I wonder why?”

“I live in Los Feliz now.”

“Is that what makes you cool or is it the blonde corn rows?”

She leaned away from him and batted her eyelashes. “Damn, bitch. Someone’s been bitten by the ‘tude bug.”

“’The fuck’s that?”

“Come on, let me show you my piece.”

She held out her hand, which Jellwagger took only because he was too God damned tired to protest.

Just then a huge black pickup truck turned the corner a block away and roared down the street toward the house. It screeched to a stop in front of Sky’s place with three guys in the back who looked about Grant’s age. They took one look at Jellwagger and Grace and busted out laughing. The driver lowered the tinted window and stuck out his gray-bearded face. “Eat shit and die, fags!”

“You’re all a bunch of freaks!” one of the guys in the back said. “Get out of the neighborhood!”

Sky didn’t miss a beat, nor did he miss a chance to exaggerate a prance down the driveway. “This is Los Feliz, boys. We’re not the only fags in the neighborhood.”

“Hey how about we burn your fucking house down, you shit packer?”

“You’re going to have to burn a lot of houses down before you put up the gay-free sign,” Sky said. He made eyes at the driver. “Hey cowboy, speaking of packing shit, I’m feeling kind of tight. Want to loosen me up?”

“Fuck you!” the driver said. He spat on the street.

“Oh yeah,” Sky said. “Now you’re talking.”

“I will get out of this truck and beat the living shit out of you.”

“Don’t you people have anything better to do?” Grace said.

The guys in the back laughed again. “What are you, freak?”

“Does this answer your question?” She flashed them her tits.

“Mosquito bites don’t scare me, sweetheart.” He looked at Jellwagger. “Hey man, since there’s nothing to suck up there, do you make up for it down there?”

Jellwagger pulled his hand from Grace’s without thinking, which only provided these assholes with more ammo. His face flushed while Grace glared at him.

The guys in the back wanted to say something but couldn’t for their uncontrollable laughter.

“Okay, boys,” Sky said. “The show’s over. Either you can enjoy my show or stop polluting the air with your beer-scented bigotry.”

If he’d been sober, Jellwagger wouldn’t’ve dreamed of saying anything to these guys. If anything he’d’ve thought hard about how to make himself invisible. Jellwagger had no problem admitting he was non-confrontational to a fault. You might call that cowardice, but no. As we’ve seen in past episodes, dude did have a pair twixt those legs that provided courage when desperation reached an all-time high. Drunk bigots didn’t merit desperation, not unless they started threatening physical harm or something. These guys were just being assholes, and Jellwagger normally wouldn’t have the inclination to spend any energy dealing with them. But again, that was sober Jellwagger. Right now he was drunk off his ass, plus a comet of guilt was blazing a trail through his gut from pulling his hand out of Grace’s. “Hey shit stains,” he said. Between slurring and not speaking as loudly as he wanted, the bigots didn’t hear him. The driver was tossing smartass remarks back to his buddies at Sky’s expense. “Shit stains!” Jellwagger yelled. He was still slurring, but at least he got their attention. Their laughter tapered off. “You see this chick? This is one of the hottest chicks you’ll ever see and not be able to touch. Look at this.” He tried to turn her around, but Grace wouldn’t budge.

“What are you doing?” she whispered through clenched teeth.

Jellwagger used both hands to force Grace to turn her back on the guys. He took a swig of the Asahi while moaning in pleasure. “You see that ass?” he said, poking one of her cheeks. “I defy you to find another ass this hot.” He spun her back around and planted a sloppy Asahi-dripping kiss on her mouth. At first it felt like kissing a dead fish, but at the very end he could’ve sworn through his drunken haze that her mouth had responded. Jellwagger turned back to the truck and took a couple steps toward them with his free hand around Grace’s shoulder. He took another pull of Asahi. “You are looking at a man who’s scoring the hottest Filipina tail this side of Manila. What are you guys doing? You’re drinking beer. Well, that’s cool. That’s a plus. At least you guys have something going for you. You obviously like the ice-cold sudsy stuff. But your coolness is canceled out because you’re being five-alarm douche bags to people who’ve never done anything to you. What have they done, eh? And if you say that it’s simply ‘cause they exist, I’ll ram this Japanese beer bottle down your shit-eating throat.”

They just stared at him. The driver was clearly pissed off but was too thrown for a loop to know what to say.

“Now get the fuck out of here, Four Stooges,” Jellwagger said. He expected them to hop out of the truck and make him part of the sidewalk. Since the damage was done and he was doomed, why not just keep going? “And if you come back, it won’t be Sky’s house that catches fire. It’ll be your fucking loud-ass truck, that monument to guys who are insecure about their cock size.”

The three guys in the back mumbled to each other and laughed.

“What was that, Moe?” Jellwagger said. “I didn’t catch that.”

The driver took a long pull from his Pabst Blue Ribbon and then jabbed an index at Jellwagger with the beer-holding hand. “You’re dead, dude,” he said. “You see this? This is you.” He smashed the bottle on the street.

When the truck peeled off with a screech, the guys in the back dropped their jeans and mooned the crowd. “Wish you could have this?” one of them said before the truck rounded the corner and roared away.

Jellwagger stood there trying to process everything that just happened. Had he really said all those things? How was it he was still alive?

Sky, meanwhile, wasn’t fazed. As with Grant and Zach and the butter, he didn’t miss a beat in resuming his merry ways. He offered to get more drinks for people. Zach asked him if he’d seen those guys before. “I don’t know, sweetie. I tend not to remember bigots.” Someone in the crowd said they recognized the truck.

“You’ve got a pair on you, Jellwagger,” Grace said. “I’ll give you that. Let’s go.” She took his hand, apparently having forgiven him for yanking it out of hers, and led him around the crowd to the garage.

“What’s the ‘tude bug?” he asked.

“Attitude. It’s what I say whenever someone gives me shit.”

“It was the booze talking.” They walked into the garage, but Jellwagger was far too sloshed to make even a byte of sense out of all these weird-ass shapes made out of computer parts. Grace didn’t even bother showing him any of those. And besides, it wouldn’t have been possible to get a good look, not with Sky half-dancing, half-walking around the center of the garage.

Instead, Grace led him to a niche in the clutter on the side that was home to some tall skinny thing with something soft and white all over it in a chaotic pattern. “Not something,” Grace said. “Things. They’re feathers. What I did, right? I wanted to make love out of clay.”

“Huh?”

“Love. When you think of love, what do you think of?”

“Oh I see.” Jellwagger closed his eyes and smiled. If Grace hadn’t been holding his hand, he would’ve fallen over for sure.

“You see? What do you see, man? Jellwagger!” She snapped her fingers to make him open his eyes. “Okay, I’ll explain it to you. I know it’s hard to discern its shape because of all the feathers. It’s basically a phallus.”

“A palace, huh?”

“Phallus, you lush. A cock.”

“I am not a cock. I may have one, madam, but that doesn’t give you the right to call me that.”

She let go of him and patted his chest with both hands. God damn, did she look serious or what? Had Jellwagger been more coherent, he would’ve no doubt felt those eyes cut right through him like a broken beer bottle. Maybe it was because of her frown, or maybe it was the naked bulb, but Jellwagger only now just realized how cute she was. He hadn’t been joking when he showed her ass off to the bigots. Call him old fashioned, but if she just let her hair revert to its natural black and then let it grow (he was a sucker for flowing manes), she’d be downright tough to resist.

“I made a giant cock out of clay,” she said. “I didn’t want to be crude, man, but you’re not giving me much choice. And then I cut open a pillow and took out all the feathers and sprinkled them on the phallus while it was still wet. It’s a sort of glue concoction I put together. Like cement glue, but not as thick. It was pretty runny actually.”

“And that glue naturally represented lubrication.”

“Come again?”

“Ha! Nice pun, Grace. Come again. No, seriously, it’s that pre-cum that guys get when they’re all hot and bothered. Women get wet, right? Well, so do guys. It’s that clear stuff that comes out before any cum, before anything happens.”

Grace opened her mouth but stopped herself. Her eyes roamed around while she made sense of what our suddenly-articulate Jellwagger just said. He figured she’d plead with him to make sense, but instead her eyes came back to him attached to a smile. “That’s pretty good, Jellwagger. I said God damn, I hadn’t thought of that.”

“And the hood on top of your phallus here?” Jellwagger nodded at the fabric draped over the top. “That’s the pillowcase, right? You did a good job with the feathers, by the way.”

“Thanks, man. It wasn’t easy.”

“So the pillowcase. I mean yeah, ostensibly it’s a condom. But you said this is supposed to represent love.”

“It is love.”

“So that can’t be a raincoat. ‘Cause if two people loved each other… Like, if you and I loved each other—I mean really, really loved each other with fireworks in our head, the whole deal—then shit, why would I need protection? Am I right?”

She smiled with affirming eyes.

“But you know people are going to misunderstand this.”

She shrugged and maintained her smile.

“So to you, what does that pillowcase represent, young Grace?”

Before she could answer, some of the people who’d been watching Sky came over and asked Grace about her piece.

While she was going through the whole spiel again, Jellwagger headed over to Sky. He still didn’t want to deal with his metallic beasties, but he was feeling so good from engaging Grace in a dialogue, he didn’t feel like stopping now. “Hey Sky, what’s cookin’?”

An arm draped itself around Jellwagger’s shoulder and led him out of the garage and over to the narrow patch of grass between Sky’s house and the one next door. Jellwagger thought it was the bigots come to turn him into pulp, but nah, it turned out to be the one and only person in the world who was so without tact and subtlety that he’d grab Jellwagger and pull him away while our man was trying to make friends: Good ol’ Grant.

“Yeah,” Grant said with the monotone and caged teeth. “Yeah. Yeah.”

“Jesus Christ Almighty,” Jellwagger said. “How drunk are you, man?”

“Actually I’m feeling pretty good, you know? So good. Oh so good.” He made a whacky pose no doubt inspired by Sky’s performance. Then he straightened up and reverted to his deadpan look. “Seriously. I feel fucking great.”

“No shit, Shaft.”

“Listen. Um…” He crossed his arms, cleared his throat, and studied the grass. “I’ve been meaning to ask you all night. I thought about asking you in the bathroom back at the house. But you were in the shower and still in shock about your lady friend. And then I thought about asking you in the bathroom at Taix. But then I thought you might get the wrong idea, me being a gay man, and it being a bathroom. I worried about what you might think.”

“Thank Christ for that.”

“So I guess I wanted to ask you about…” He said something after that which Jellwagger didn’t understand. Jellwagger waited for more, but Grant just cleared his throat and frowned at the grass.

“Hello?”

“Yeah?” Grant didn’t look up.

“I don’t know what you’re saying.”

He cleared his throat again. “I figured this was a bad idea. We don’t have to talk about it.”

“About what?”

“That.”

“I didn’t get what you said.”

“I just wanted to ask you about…” This time he paused.

“What? Grant, come on. I’m too drunk for this.”

“What happened.” He kicked the grass. “The other night.”

Jellwagger was about to tell the goofball to be clearer when it hit him. Dude was asking him about when Jellwagger walked in on him and Stu in the throes of passion. “Oh,” was all he could think of saying. After a few interminable seconds, he said, “Okay. The other night. Yeah, I guess we can put that behind us, right?”

“Can we?”

Jellwagger sighed. “Look at me, man.”

Grant lifted his head just enough for his eyes to meet Jellwagger’s.

“Don’t sweat it. I’ve moved on, now you should do the same. I won’t tell Betsy. I won’t tell Zach. For the record, though, Grant, don’t do that shit again. Zach’s an awesome guy. He doesn’t deserve having someone cheating around on him.”

“Understood.”

“Seriously, man. If you’re going to leave him, leave him. Don’t wait for him to find out and then go through all that drama.”

Grant was looking down again. “It was a temporary lapse of judgment on my part, and it won’t happen again. You’re a human being and adult male. I’m certain you’ve had lapses of judgment from time to time.”

“Time to time? Kiddo, how about all the time? That’s kind of why you don’t have to worry about me sweating your shit. Grant, I’ve got all kinds of fucked up shit of my own going on right now. A lot of it’s a result of my being a complete fucking moron. Even if watching you and Stu fuck each other did get to me, I wouldn’t have the time to worry about it because of my own royally fucked up life.”

Grant looked up at him and crossed his arms. “I’m terribly sorry to hear that, Jellwagger. Would you like to tell me about it?”

“Hell to the no. It’s my personal shit. Let me deal with it, cool?”

Grant looked back down again and toed the grass.

“Seriously, Grant, I don’t want to bug you with it.”

He nodded. “Very good, sir. Well. I’m happy to see you and I can still work together in a professional capacity and that my lapse in judgment hasn’t cost us a relationship that I feel has been very beneficial to Powell and Powler’s marketing department.”

“Sure thing. Now seeing as how I’ve had a fucked up week and am now drunk off my ass, I should probably head home. My car’s at Zach’s place. You guys planning on calling it a night soon?”

“That’s a fine idea, sir. Let me go talk to him.”

They walked back around to the driveway. “This is an awesome fucking garage, by the way,” Grant said. He stopped and looked at the doorframe. “Don’t you think, Jellwagger?”

“Hey, there’s Zach!” Jellwagger said, pointing at him chatting with a handful of others by the flower bed. “You think you might go talk to him about going home and stuff?” He could barely finish the question before Grant spotted some folks inside the garage.

“Motherfuckers!” he said, raising his arms and swiveling his hips as he danced his way toward them. “I didn’t see you motherfuckers here earlier, did I? I did? When?”

“Enjoying yourself, Jellwagger?” Sky said as he appeared out of nowhere. He lowered his voice. It sounded deeper, much less effeminate, as he nodded at the group talking with Zach. “See that guy? Bleached blond hair? His name’s John. Longtime friend of Zach and Grant’s. Sort of a friend of mine, but I don’t see him enough to call him a true friend. Anyway, I just got finished hearing him talk about how the security guard at his job mistook him for a bum the other day. Look at him, Jellwagger. Is it any wonder why?”

Jellwagger took the blond guy in, with his army green jacket, black sweatpants, and bright green flip-flops. “I have to admit that being a monument to the Salvation Army isn’t going to win you any prizes for Best Ensemble.”

“It might actually,” Sky said. “But yes, sweetie, I know what you mean. That’s my point. I’m all for expressing yourself and dressing how you want. At least I expect and accept that people might have a hard time with what I wear. I’m not naïve. John gets paid good money as a Web developer and could afford a classier wardrobe if he wanted. Wearing Goodwill’s inventory is a very conscious decision on his part. But he can’t make that decision and then be surprised if it doesn’t go over well.” Sky sighed and rubbed his forehead. “Sometimes this whole thing exhausts me. You know?”

“No, I don’t know.”

“I put on a sculpture show a few years back. Not even a show. Very small. It was just two or three pieces and a few friends. I expected nothing. The plan was to have them make fun of my work, to not get it, have a few drinks, chat, whatever, and that would be it. But unbeknownst to me, some of them told other people, coworkers and the like, and it turns into this big to-do. I went back to do more work, made more pieces than the first time, and put on another show. Another huge success. The sucky thing about all that is it raises people’s expectations. It gets harder and harder to shoot par with the fairway getting longer and twistier, as my golf-loving grandpa used to say.”

“Fuck ‘em,” Jellwagger said. “Just don’t do it anymore. Sculpt for yourself. Or shit, can’t you sell the fucking things? Have them exhibited in a real museum? No offense to your garage, by the way.”

Sky shrugged and looked at the people perusing his works. “I need a martini so badly right now, I can fucking taste it.” He looked down at his garb and smirked. “I’m not nearly drunk enough to wear this. I’ll be back. You want a martini?”

“Asahi.”

“Coming up.”

At this point the crowd had thinned out a bit. Most of the people in ties and slacks had gone home. Those who were left were either in the garage or talking with Zach. Jellwagger ambled down the driveway to get some alone time. He hadn’t had a moment alone in hours. What the hell was he going to do about Kit? What could he do? She left her cell behind, so calling her wasn’t an option. God damn her for leading him on like that. She was the first true Bruce Willis fan he’d met since moving out here. He really thought they had something. Sure, she was hot, but Jellwagger never kidded himself about a romance. He had deluded himself, apparently, about friendship. She’d led him on, they established a great rapport, even if she did show up at his place unannounced. Now that he thought about it, her doing that should’ve been a red flag. It was a red flag, but soon enough they were kicking back with the microwave ‘corn and worshipping Bruce and, well, Jellwagger didn’t worry about it.

“What the fuck, Kit?” he whispered. “What the fuck did you do?” He sighed. “This is so fucked up. It can’t get more fucked up.”

Actually, it could. And it was about to right now.

Squealing around the corner was that same infernal black truck with the tinted windows and the three assholes in the back. It roared up to the house and screeched to a stop in front of the driveway. The three guys hopped off. The driver jumped out and slammed the door. The four fuckers marched up to Jellwagger with laughter and even more swagger.

“You have got. To be. Fucking. Kidding me.”

“’Fraid not, faggot,” one of them said before they set to Jellwagger with a lot of fists, followed by a lot of kicks once Jellwagger was sprawled on the pavement.

“What the fuck!” Jellwagger barely managed to say while the boots bashed his ribs. “Fuck me! I’m not gay, man! I’m not gay!”

Just then he heard a thud and what sounded like bits of glass raining down around him. He opened his eyes and saw that Zach had just whacked one of them over the head with an Asahi bottle that was still full. The poor bastard on the receiving end of that blow collapsed next to Jellwagger while Zach started throwing his giant Chewbacca fists into another one, turning his face into a bloody pulp before one of the other Stooges went for Zach.

God damn, look at Zach. Dude was on a rampage. Jellwagger still had two going to town on him, and apparently no one else at the art show felt up to Zach’s heroics. The last thought in Jellwagger’s mind before he blacked out was that defending himself by saying he wasn’t gay had been a petty asshole thing to do.

When he woke up, however many eons later it was, that thought was still burning up his brain, and it only exacerbated the pounding in his head and the nausea in his gut. Before he opened his eyes, he could tell he was in a car. But it wasn’t moving. Outside the window he could hear other idling engines. He opened his eyes only to stab his headache all the more with the sea of red taillights stretching ahead into infinity.

“Rise and shine, dude,” said the vaguely familiar voice from the driver’s seat.

Jellwagger’s head felt like a cinderblock as he turned to see Grace sitting there, tapping her foot as if in time to a song. That’s when Jellwagger heard the sound of rock music just below the sounds of the cars outside Grace’s open window. She smiled at him and rubbed his arm.

“You okay? You alive?”

Jellwagger tried to speak but could only rasp. Jesus, was his throat dry or what? What’s more, his mouth had that horrible aftertaste you get if you drink too much and conk out before brushing your teeth. Grace took the unopened bottle of water that had been in his beverage holder and gave it to him. Jellwagger downed the whole thing in a single pull. “That was awesome, thanks.” And he meant it. His nausea was already ebbing a bit, although the splitting headache wasn’t about to die that easily.

Grace could only lift her foot off the brake a few seconds at a time before traffic stopped again. Jellwagger wiped his eyes with his knuckles, adjusted his glasses, and looked around. They were on the northbound 405, coming up to the Getty Center exit. While this side choked on gridlock, the southbound side was the exact opposite. Cars were zooming out of the Valley and over the Hill. “What’s the deal?” he asked.

“No fucking clue,” Grace said. “The traffic report didn’t mention anything of course. They’re great at covering the O.C., though.”

“Shit!” He felt his pockets. Wallet? Check. “Fuck!” The small movement he made to check his pockets inflamed his mid section.

“Try not to make any sudden movements, dude. Those guys, like, kicked the shit out of you before Zach and Grant took care of them.”

“Grant too? Is he okay?”

“Dude, it’s those rednecks who got messed up. One of them was bleeding from the head, the one Zach got with the beer.” She laughed and slapped the steering wheel. “That was so awesome.”

“Not if he died, it wasn’t.”

“What about you, bitch? Your memory must’ve suffered damage. They. Would’ve. Killed you if Zach and Grant hadn’t stepped in. Jellwagger, I’m serious. You’re lucky all you have are some bruised ribs and a bumped head. Whatever. The four dicks drove off, and we went back to Zach’s place. I volunteered to take you home.”

“I’m sorry.”

“It’s not a big deal.”

“And for having to drive Shitty Shitty Bang Bang.”

“You name your car?”

“Only ‘cause it’s a piece of shit.”

“So get a new one.”

“Oh, I dunno. There is this thing called money that gets in the way. Not sure if you’re aware, but law firm data entry clerks don’t exactly pull it in.”

“You’re preaching to the choir.”

“Where do you work?”

“Amoeba. It’s one of the few places where my so-called skill set overlaps with my fashion sense. They don’t give a shit how you look. I used to work at Restoration Hardware on the Promenade.”

Jellwagger laughed his ass off, which only killed his side.

“Fuck you, dude.” But she laughed too.

They didn’t say much after that. The culprit for the gridlock turned out to be a beat-up little car very similar to Shitty Shitty Bang Bang that had stalled in one of the middle lanes on the other side of the Hill. At least this gave Jellwagger time to take in the nighttime view of the Valley. He was reminded of when Grant told him about a friend of his who made experimental films. One of them took place on a spaceship. Since the guy didn’t have any money, the question was how to do the establishing shot of the ship in space. Solution? Find someplace high up overlooking the Valley and turn the camera upside down. At night that blanket of amber lights would then be on the top of the screen and, with the right kind of rumbling sound effects, you might think it was the underbelly of a massive ship.

Thinking about Grant led Jellwagger to what he’d said to the bigots as they were beating the shit out of him. Had anyone heard him? Jellwagger was sure he’d yelled it. Of course, he could just ask Grace right now.

After they finally got past the stalled car and started zooming down the Hill, Jellwagger promised himself he’d ask once they got off the freeway. He told Grace to take the Sherman Way East exit. But when they were on Sherman Way, Jellwagger still couldn’t bring himself to do it. Wouldn’t Grace have brought it up if she had heard him?

Jellwagger navigated her back to his dingbat and swore to himself that he wouldn’t let her out of the car until he cleared it up. But again, no dice. They went into his apartment, Grace got on her knees and played with Chump E. Chips, and Jellwagger stood there like an idiot.

“Got anything fruity?” she asked while rubbing a very grateful Chump’s head.

“Just beer.”

“You should take a shower. I’ll stay out here with your adorable little poochie.”

He fetched her a Spaten before disappearing into his bedroom with a tall cup of water, which he used to down three aspirin. Jellwagger polished off the cup in a single gulp. God damn, the cold water felt so pure and cleansing on his tongue.

The alarm clock next to his bed said it was one o’clock in the morning. This would be his second shower in the past six hours or so, yet the instant he stepped under the scalding hot water, he knew Grace’s suggestion was right on. For five minutes our man just stood there basking in the soul-cleansing spray.

He was reaching for the washcloth when Grace, carrying her half-drunk Spaten and wearing her birthday suit and a smug smile, slid open the stall door and got in.

“Oh my God, I’m sorry,” was all Jellwagger could think of saying while Junior stirred awake and pointed his German helmet at Grace’s barbell navel ring.

Grace put the Spaten next to the shampoo and wrapped her arms around him.

He jerked with a start at her cold hands. “I said I’m sorry.”

“What are you saying, dude?”

“I didn’t mean to say it. I…” Christ, this wasn’t happening at all the way he had visualized it. He opened his mouth to give it another go, but Grace used that as an opportunity to kiss him. Damn, could that Filipina kiss. It was slow and wet, and the way she parted lips at the end ignited an agony in his chest. “I said I wasn’t gay,” he said with trembling breath.

“I know you’re not gay.” She giggled. “I wouldn’t be here right now if you were.”

“When they came back, I said I wasn’t gay so they wouldn’t beat the fuck out of me. It was not my finest hour, Grace, okay? Fuck, now I have to see Grant on Monday and try to explain it.”

“Explain? Dude, the way you defended me was adorable. You just came up to me and took control of the situation. Your balls are bigger than you give yourself credit for, Jellwagger. That took balls, what you did. It required a healthy pair. I was like, ‘I’m going to get him. Those balls will be mine before the night’s over.’ And here we are!” She moved her arms up around his neck and planted her mouth on his with another slow, wet one.

Jellwagger took a swig of the Spaten and passed it to her. Grace followed suit before putting it back on the shelf. “Damn, dude, that’s some good shit.”

“Besides being one of the greatest beers of all time, Spaten isn’t much.”

“By the way, I hope you weren’t just fucking around when you said all that stuff about my ass. Because I’m offering it to you for the night. And I don’t just offer it to anyone. I do shitloads of yoga to maintain what you see back there.”

Before Jellwagger could answer, Grace kissed him again and this time sustained it much longer while sliding one of her hands to the back of his head and pressing his face into hers.

Grace was true to her word. She let Jellwagger have her ass and just about every other inch of her. By three in the morning they were lying in bed with Jellwagger on his back and Grace resting her cute little blonde cornrows on his chest. He massaged his fingertips along the cornrows and couldn’t help laughing at their fuzzy feel. Grace moaned. “I’ll stop,” he said.

“Dude.” She slapped his arm. “That feels good.”

Jellwagger had just resumed the cornrow rubbing when he heard the unmistakable sound of someone knocking on his sliding glass door out by the kitchen. Grace lifted her head, her eyes wide open. The knocking came again.

“Dude?” she said.

Jellwagger sighed and scooted out of bed. “I’ll be right back.”

“What the fuck?”

He pulled on his boxer briefs. “Don’t go anywhere.”

As he approached the sliding door, he could see the slim and high-heeled silhouette of Stefania. She’d given up on the knocking and was doing something with her hands. He could hear a light tapping noise. Jellwagger tip-toed the last few feet, paused, and swung the curtain aside. Stefania jumped with a start and held a hand to her heart. She then used that same hand to slap the glass. “You bastard! Open up!”

Jellwagger couldn’t help laughing as he undid the latch and slid the door open.

Instead of the bikini she wore when she barged in on him and Kit, Stefania had on the most normal garb he’d seen her wear yet: Just a simple cream blouse and jeans. And spiky heels, of course. “I was going to text you,” she said.

“Who knows when I would’ve gotten that? I’m not even sure where my cell is.”

“All I want is a place to sleep.”

“’The fuck for? Your mansion being renovated?”

“I had a falling out with Carla. I’m not sure I’m ever going back. And since I was living on Just Because’s payroll…”

“You’re not going back to the nunnery, are you?”

“Hell no.”

“Thank God.”

“But I still need a place to stay.”

“What about Neckman? I thought you and he sort of had something.”

“Please. Neckman’s like a dog with Carla. Loyal to a fault. He won’t risk that. Come on, Jellwagger. Just one night.”

“Say yes,” Grace said as she walked up and stood beside Jellwagger. The nut hadn’t even bothered to put on panties.

Stefania crossed her arms. “I say, Jellwagger. Did Azure pay off or what? We’ve unleashed a monster.”

“Dude.” Grace slapped his arm. “Introduce us.”

“Grace, I’d like you to meet Stefania. She’s a…person. That I know. And Stefania?”

“I’m Grace.” She stepped forward to shake hands.

“Fantastic cornrows,” Stefania said as she lightly pressed them with her palms.

“Thanks!”

“I don’t even want to know how long these took to make.”

“Which is why I’m not getting rid of them anytime soon no matter what people say.”

“Well look.” Stefania crossed her arms again. “I’m very sorry about this.”

“No need to explain, dude,” Grace said. “By the way, that is a hot watch!” She took Stefania’s wrist and lifted it closer to her face to get a good look at the spaghetti-thin gold watch. She held it there a good while. “So hot.” She let it go and smiled at Stefania. “Seriously, dude, I heard everything. Jellwagger, tell the woman she can stay. And she can sleep in your bed.”

“Golly shucks, Grace, and where will we sleep?”

“Your bed.”

“Come again?” he said.

Grace turned to him with that same smile she’d been wearing when she stepped into the shower. “Exactly.” She turned back to Stefania and took the same wrist. “Follow me, my dear.” She led her back to the bedroom.

Jellwagger stayed out by the sliding door for a minute or so.

“Oh Jellwagger,” Grace called. “It doesn’t seem like you’re coming.”

“In either sense of the word,” Stefania added.

Jellwagger looked at Chump E. Chips in the recliner. The Snoopy wannabe was out for the count on his back with the occasional paw twitch. “You know, Chump? There was a time when I was convinced situations like this could only happen in cheap porn with terrible audio.” Our man, perhaps the luckiest man in the world right now, hurried back to his bedroom and the two hot women already making out between the sheets.

To be continued...

Friday, March 27, 2009

At the Movies with Governor Tom: The Last Starfighter

Tonight the Aero hosted a 25th anniversary screening of one of the films that pretty much shaped my childhood: The Last Starfighter. Seriously, I can't tell you how many times I saw this back in the eighties. I saw it once or twice in the theater with Mom....and then one or two billion times on HBO. Indeed, there was a time when I could've recited the script by memory. Backward. In my sleep. In Ancient Greek. Mom, meanwhile, put up with it 'cause it has Robert Preston as Centauri. At the time it came out, of course, I didn't have a clue who Robert Preston was. What do you expect? I was eight. But I loved his character. And since then I've seen him in older stuff (e.g. How the West Was Won) and appreciate his talent much more.

Before tonight, I hadn't seen this pup since the late eighties I'm sure, so it was like rediscovering the magic all over again. And talk about gravy, they had seven--count 'em, seven!--guests from the movie partake in a Q&A afterward. Only one person from the cast made it, that gal who played Maggie, Catherine Mary Stewart. She turns fifty next month and looks--what's the best word?--hot! The other six were behind-the-scenes folks: Director Nick Castle, producer Gary Adelson, composer Craig Safan, special effects supervisor Kevin Pike, visual effects coordinator Jeffrey Okun and, most distinguished of all, Gary Demos. The movie credits list him as simply "technical executive from Digital Productions," but that doesn't do justice at all to the impact this guy had, on both The Last Starfighter and, by extension, motion picture photography using computer-generated images.

Indeed, like Robert Preston, the way they made this movie is another thing I didn't appreciate when I was a youngster. Even more than Tron, The Last Starfighter was a watershed in how special effects were done. This film helped usher in the era of creating entire worlds on computer, something we take for granted today, right? So in case you're wondering why three of the seven guests tonight included effects geeks, that's why. To have Gary Demos in person was an especially huge deal. It'd be like having Thomas Edison in person for a Q&A about the light bulb or something. Gary didn't go it alone, though. His partner in crime at Digital Productions was this guy named John Whitney Jr. He was in the audience tonight. Gary and John, by the way, were also the brains behind Tron, as well as Looker the year before that, and Futureworld back in '76. So it's thanks to them, more than anyone else, that CGI exists at all. And while they'd used it a bit before, The Last Starfighter is where they finally honed it down, although it still wasn't easy, as I'll get to below.

Speaking of the audience, John Whitney wasn't the only one from the film who showed up just to watch. At one point the moderator asked anyone in the audience who was involved in Starfighter's special effects to raise their hand. I kid you not, I'd say a good two dozen or so peeps raised their hands. And when I looked around at them, I couldn't help but notice that a lot of them didn't seem that old. Forties maybe? Early fifties? They must've been right out of college at the time.

In case you're wondering why Lance Guest (Alex Rogan) wasn't there, Catherine Mary Stewart explained to us during the Q&A that he's in the middle of a play in Chicago that he is not only starring in but also wrote. Getting out of it even for one night just wasn't possible. Catherine and Lance have remained pals over the years. She couldn't say enough about how bummed out Lance was that he couldn't make it tonight. That made two of us. The one cool thing, though, was that his wife and baby boy were in the audience tonight.

So what's The Last Starfighter about? Although I'm not sure how it's possible, I know there are some of you out there who've managed to avoid it all this time. I won't give the whole story away, but here's the setup.

Lance Guest, right? He plays this college-aged kid named Alex Rogan. He lives with his mom and kid brother Lewis in this California trailer park called Star Lite, Star Brite. He's of college age, but he's not in college, and therein lies the root of his frustration. Mom's the landlady of this park, and Alex is sort of her do-it-all handyman. Not only has this prevented him from getting an education, it keeps him from hanging out at Silverlake with his buddies and his love interest, Maggie (Catherine Mary Stewart, looking adorable in that eighties 'do).

Whenever Alex finds a free moment, he goes up to the diner at the park entrance to play this arcade game called Starfighter. This game is pretty much his only hobby. Soon into the film, Maggie gets home late after hangin' out at Silverlake just in time to watch Alex beat the record score. Pretty much all the tenants in the trailer park gather around to see Alex defeat the evil Xur and the Kodan armada.

His high doesn't last long, though. As soon as he gets back home, he finds his mom holding a rejection letter from a bank, refusing to lend Alex the money for college. It's when he runs back outside to ball up the letter and hurl it away in frustration that he meets the inimitable Robert Preston.

He shows up in this awesome little car (I think it was a Dilorean) and introduces himself as an alien named Centauri. He's the one who invented the Starfighter game. He made a bunch of them and distributed them all over the place to see who was best at it. Whoever actually beat it would be offered the chance to go back to Centauri's home planet, Rylos, to be a starfighter for real and fight against the real Xur and the real Kodan armada. Did I mention the Dilorean can fly through space at warp speed? Oh yeah.

I won't go into too much detail from there except to say the only way Alex has a fighting chance of taking on the armada by himself is thanks to this alien navigator named Grig. Besides Centauri, Grig is my other favorite character from the film. He cracked me up as a kid, and he cracked me up tonight. The guy who played Grig, by the way, is the late great Dan O'Herlihy. Like Robert Preston, he was in his sixties when he did this, but because he's covered in makeup, it's hard to tell. Indeed, I was shocked when I saw how old he was when he appeared sans makeup in Robocop. He played the head of OCP, the corporation that owned the cops. The credits list his character simply as....the Old Man.

Okay now to the Q&A. With so many guests, where the heck do I start? How about with Catherine Mary Stewart? She wasn't a complete novice at the time. In her mid twenties, she'd already scored a smattering of supporting roles in Canadian movies (she's from Edmonton) as well as American TV, such as Knight Rider (all right!) and Days of Our Lives. She doesn't remember the first round of Starfighter auditions because so many people were there and she was a big ball of nerves. She definitely remembers the callbacks, though, 'cause that's when she got to meet Lance. Those who made it to the callbacks were paired with a member of the opposite sex, and Catherine was assigned to Lance just by sheer happenstance. He was the same age with a modest resume of his own, including a small role in Halloween II. I'll explain why that's significant in a sec. They hit it off right away. With Lance she felt immediately and completely at ease, she said. Which obviously worked to her advantage considering they made the final cut. She said she still gets people today who recognize her from the film and thank her for playing a strong woman at a time when that was relatively uncommon.

The reason I say Lance's gig in Halloween II was significant is because it may very well have helped him land The Last Starfighter. In the end he had to audition like everyone else, but he may have been referred to the audition. The original Halloween was the brainchild of the great John Carpenter. While he wrote and directed the first one, his only involvement with part deux was co-writing the script. But guess who played the killer, Michael Myers, in the first one? Some dude named Nick Castle, a friend of John Carpenter's who was doing him a favor by walking around with that albino William Shatner mask (yes, the mask was really modeled after William Shatner's face) and the large knife. Does the name Nick Castle ring a bell? I mentioned him up top. He's the dude who directed...The Last Starfighter! Isn't it funny how things are all tied together?

Speaking of Nick Castle, he almost didn't do Starfighter. When the moderator asked him how he landed the gig, he said his agent was approached by producer Gary Adelson, who was sitting right next to Nick tonight. The last thing Nick ever thought he'd direct was a sci-fi film. His instinct was to say no. At the time, he'd directed all of one film, this action pic from two years earlier called Tag: The Assassination Game. And he'd written or co-written some features too, like Skatetown, USA, as well as the awesome Escape from New York. He'd also done theater, but only musical theater. Escape is kind of sci-fi-ish, but still, with a resume like his, Nick wasn't the obvious choice for a picture like The Last Starfighter. When he finally caved in to his agent's pleading, he said they'd have to let him revise the script. It was an original screenplay by this guy named Jonathan Betuel. Nick said the script was very broad and needed a lot of work. It originally took place in some generic suburbia a la E.T. The main idea behind the revisions, Nick said, was "not to run into Lucas and Spielberg on every page." Speaking of page, he said the revision was literally a page by page rewrite, and he was thrilled Gary Adelson was so accommodating. Nick concedes the final draft still wasn't optimal and some of the acting suffered for it. Still, with the resources they had, I think they did just fine. Look Nick up on IMDb when you get a chance. Dude's directed all kinds of stuff: This, Tap, Major Payne. Between that, the John Carpenter connection, the musical theater... He's not the most prolific director, but you can still say he's done it all.

As for Jonathan, this was his first writing credit. It doesn't seem there were any hard feelings about the rewrites. In fact, Nick said they kept Jonathan very involved, even during production, which is a rare treat for a screenwriter. Usually once the script has been sold, the writer is shut out of the process. But no, however the screenplay was rewritten, it wasn't Nick who did the rewriting, it was Jonathan, using Nick's notes. Jonathan retained sole writing credit, which is awesome.

It was Jonathan's idea to get Robert Preston for Centauri. That's who he wrote the role for. Jonathan pitched it as Obi-Wan Kenobi meets The Music Man. They never in a million years thought he'd say yes, but you never know if you don't try, right? If you know anything about Robert Preston's oeuvre, it is kind of amazing that he signed up for Starfighter. Like Lance, Jonathan was also supposed to be at the Q&A, but he's in New York for his mom's eightieth birthday. Oh all right, I reckon that's more important.

Producer Gary Adelson, as buff and bald as Nick Castle is gray and hairy, said that he didn't know Jonathan Betuel or anything. This script was one of a ton that landed on his slush pile. He picked it up, read it, and fell in love with it. As someone who's currently toughing out the slush pile phase with my own writing, I can't tell you how inspiring that is. But again, like Nick, he said it needed a lot of work. As for why he wanted Nick to direct, he said they figured they could get him on the cheap precisely because his sci-fi experience was minimal. Gary said the budget for Starfighter was about twelve mil, which even back then was below average, so they had to pinch pennies. They didn't pinch enough, though, going over by a good mil.

As a side note about Gary, he's the son of a certain producer named Merv Adelson. In the sixties Merv was one of three producers who founded a production company called Lorimar. Look them up on Wikipedia. By the time they went belly up in the nineties, they'd done a ton of TV shows and films you'll recognize. One of those films, of course, was Starfighter.

When the moderator asked F/X coordinator Jeffrey Okun about his memories, he said he didn't come in until the movie was halfway finished. Gary told him what they wanted to accomplish, and Jeff told him they'd never be able to do it. Since Gary had Gary Demos and John Whitney from Digital Productions at his disposal, he figured he'd go for it anyway. Plus, Jeff admitted he was practically a kid back then, as were a lot of the other F/X folks. He didn't know anything, like how you're not supposed to go into the producer's office and tell them they can't do it. Gary said remembered Jeff as being very quiet, and that he was doing more talking tonight than during the production.

F/X supervisor Kevin Pike talked about how he sort of fell into this film. At the time, he was an out-of-work architect. It was thanks to the recession of '83 that he and a lot his fellow unemployed architect friends were available to work on Starfighter. Kevin talked a little about how painstaking the computer modeling was. For the vertices, the right cursor was x and y, the left, z. The poor souls had to plot each and every one. Kevin said it was a healthy combo of tedium and Zen. He was especially proud of the logo on Alex and Grig's gunship, which he said was constructed with several layers.

Gary Demos said they had two processors sharing sixteen megs of RAM. In '83 that was unheard of, and I can testify to that personally. I remember when I got a PC in '93 with all of four megs of RAM, and that was a big deal. Seriously, I remember being ecstatic about that. And they had quadruple that a decade earlier. Awesome. Demos also talked about their 10MB hard drive, this huge unwieldy box that cost upwards of ten grand. You believe that shit? But again, as with the RAM, I remember my PC with a 4MB hard drive back in the late eighties. And yes, it was this big ugly box taking up too much space on my desk.

Demos also mentioned that John Whitney, who never said a thing tonight from his seat in the audience, used to talk about how, by the mid nineties, we wouldn't need actors anymore. Even they could be computer generated. Demos said John started talking about that around 1980. But even Demos, not to speak of the other guests, admitted that it's hard to imagine not having flesh-and-blood talent. That's when everyone started clapping, egged on to do so by Catherine.

One thing all the F/X guys agreed on was that production designer Ron Cobb is the Man. He wasn't here tonight, but obviously he should've been. They called him the unsung hero of Starfighter. The film couldn't have been done without all of his conceptual designs, those painstaking sketches and so forth. He's got quite the resume as a production designer or conceptual artist: The Abyss, Leviathan, Raiders of the Lost Ark, Alien, Aliens, Total Recall. Originally from L.A., Ron's now in his seventies and semi-retired in Australia. He still dabbles now and again, having worked on the criminally short-lived Firefly and, most recently, Southland Tales, Richard Kelly's follow-up to Donnie Darko.

Craig Safan's main challenge in composing the score for Starfighter was that he had to do it without seeing the film, not even a rough cut. All he had to go on were animated pencil lines that represented the spaceships. Weird, huh? And dude had a hundred-plus-piece orchestra to manage. In order to give them anything to play, he had to go on faith that the eventual images would jive with the grand orchestrations he wanted to come up with. His strategy was to compose four main orchestrations. Craig labeled them the big theme song, the heart song, the Centauri song, and one more I can't remember. Maybe the action song, but I'm not sure. And then he'd play it on the piano for Gary Adelson to get his feedback. He's amazed he was able to pull it off, what with how it's done today, all on computer and with each major character having their own theme song. Craig also reminisced about his college days in the sixties when he first got into electronic music.

Craig, along with Nick and Gary Adelson, talked about the fifteenth anniversary DVD party they had for Starfighter back in the spring of '99. The party was at Nick's house. Craig apparently brought the house down when he belted out the film's score on Nick's piano.

Not as many soundtracks these days are done with full orchestras, and Craig sort of lamented that, as you'd expect him to. He said something's missing when a feature film's soundtrack is composed entirely on a laptop. Of course he's right, but it's tough to beat the cost-effectiveness of that. Someone in the audience told Craig that the Starfighter soundtrack was the only soundtrack he could listen to from start to finish.

Okay. Now. The sequel. According to IMDb, next year will see the release of a film called Starfighter, with Nick Castle directing, Jonathan Betuel writing, with a story set twenty-five years after The Last Starfighter. Sure enough, Nick wouldn't give up too much about it other than to say that Jonathan has finished the final draft. He wouldn't even tell Catherine if her character's going to be in it, which is kind of weird if the script is done. She clearly wants to be in it, judging by how eager she looked when Nick chose to be demure.

One of the last audience questions was from this guy complaining about the quality of tonight's film print as well as the DVD's picture quality. I thought tonight's print was fine, but that's just me. This guy wondered if there'd be a restoration. Nick had never thought about a restoration before, but now that this guy mentioned it, it was starting to bother him. "It's now in the front of my mind," he said.

Saturday, March 21, 2009

At the Getty Center: Illuminating German Art and Opera


The Getty Center really outdid itself today. I've been a regular there for years now, and today's event was easily one the most special they've ever put on. Illuminating German Art and Opera was a daylong affair of lectures, gallery tours, and singing that tied together LA Opera's current production of Wagner's Ring Cycle with a Getty exhibition called German and Central European Manuscript Illumination. I knew this exhibition was there and had been planning to see it, as I spent years studying German language and culture and have visited that country a couple times. I'm glad I waited. Who said procrastination doesn't pay off?

So the way today worked was, we had three lectures in the morning going from around ten o'clock to twelve-thirty. Then we broke for lunch. They provided us with these huge boxed lunches that came as part of our registration fee, which was awesome. And then in the afternoon we toured not only the manuscript exhibition, but a couple of their permanent installations as well. And finally we were shepherded back to the lecture hall to cap off the afternoon with these two opera singers, one a tenor, the other a soprano, taking turns performing excerpts from various operas and religious pieces. Pretty cool, huh?

Around nine-thirty they opened up the lobby outside the lecture hall, on the Getty's ground floor, where we had to register and get the little Getty sticker for our shirt. They had vats of free coffee, which was a godsend. And then around ten we headed in. Clare Kunny, the Getty's Manager of Public Education and Teaching, came up for a few minutes just to give us a spiel about what the day would be about as well as to plug some of the Getty's upcoming events. And then she introduced the first speaker.


History and Myth: Richard Wagner and the German Middle Ages - 10:15-10:45

A German woman in her late twenties or so named Henrike Manuwald delivered this lecture. Here's a little something about Henrike from the program. She recently got her doctorate in art history and German literature from Cologne University and is a violin fellow at Trinity College, London. Right now she's interning in the Getty Center's Department of Manuscripts. When that's done, she'll move back to Germany for an assistant professorship at Freiburg University's Medieval German literature department. That's pretty cool 'cause Freiburg's one of those cities literally smack in the middle of Germany's (in)famous Black Forest. You've heard of Black Forest cake, right? There you go. It's this ginormous hunk of woods in southwestern Germany. It's where a lot of those Brothers Grimm fairy tales take place. Awesome. One of my travel dreams is to get there someday. You can set up home base in Freiburg and do your exploring from there. Okay I'm digressing. Anyway, that's Frau Doctor Manuwald.

Now for her lecture. The first thing she did was put into context composer Richard Wagner's interest in the Middle Ages. That is to say, a lot of people in Wagner's time (mid nineteenth century) were interested in Medieval history. To them it was like the good old days, emphasis on good, because in Wagner's time the days were anything but. A bloody revolution was going on.

One thing I didn't know until this lecture was that Wagner was a Communist. Karl Marx, also German, had recently written his Manifesto, and to disgruntled Germans, intellectuals and factor workers alike, it was just the thing. Times were tough. Morale was in the shitter. Wagner and others turned to the Middle Ages for escape. They liked reading about it because it seemed back then the German-speaking peoples had a more solid sense of identity. Of course it's ironic as hell that Wagner, or anyone else, would think the Germans had a good sense of identity back then. I mean maybe they did relative to Wagner's time, but at least Wagner lived long enough to see the Germans united into one single nation of Germany, for the first time ever, in 1871. During the Middle Ages the Germans were split up into many different independent principalities, duchies, and so forth. And don't even get me started on the Thirty Years War (1618-1648), which fractured Central Europe into no less than three hundred fifty independent states. Can you imagine? On a chunk of land the size of Montana.

Well anyway, whatever the reality of Medieval Germany was, to Wagner and his mates it seemed like those were better days. The revolution of the late 1840s and early 1850s was downright awful. Many people fled for good, lots of them heading to the States. This happened simultaneous with the Irish exodus during that little island's potato famine. Only the Germans matched the Irish in terms of mass numbers of people flooding Yankee shores.

This German flight was a body blow to their sense of identity. Another hit to their identity was the fact that, at this time, everything was about France. French was the official language of court. Paris was THE place to be. And while Napoleon was long gone, the memories of his ripping shit up in Central Europe was still fresh on everyone's mind. He'd humiliated them.

Henrike didn't talk too much about the Ring Cycle per se. Her main thing was about the manuscript exhibition and how what the illuminations depicted sort of reflected what was on Wagner's mind when he began working on the Ring Cycle in 1848 at the age of thirty-five. Some of the manuscripts are religious in nature. Henrike emphasized that Wagner wasn't Christian by any means of the stretch, but he did hark back to the time those illuminations were made because of his romantic associations of the Middle Ages and, again, his sense that Germans had a stronger identity back then. This may explain why his Ring operas are so Romantic and emotional and expressive and dramatic the same way the manuscript illuminations are. Of course, operas in general should be all of those things, but Wagner excelled at them. And his Ring Cycle is all about German identity. They're four of the most German operas you'll ever see.

Originally the hero of the Ring Cycle was supposed to be Friedrich I (Barbarossa), the Holy Roman Emperor from the twelfth century. But the trouble there is, well, Barbarossa was a real person, and that could limit your story. Wagner had already decided he'd use German and Old Norse mythologies, especially the Nibelungenlied, as fodder for his libretti. That could've made having a real-life historical figure as the protagonist kind of tricky. Ultimately he decided his hero, like the rest of the Cycle, should be fiction. Thus was born that krazy kat Siegfried.

Using a slide show depicting some of the manuscripts from the exhibition, Henrike went into the backstory of the whole illumination deal. The exhibition covers a good seven hundred years or so, from circa 800 to 1500. Most of the Middle Ages, in other words. And she made sure we understood that, in this instance, illumination is sort of synonymous with illustration. But these aren't illustrations we would think of today, like in comic books and what have you. These manuscripts were done up much fancier than that, and maybe that's why we use the word illumination instead of illustration. Seriously, take a look at some of the photos in this post.

So how did the illumination trend get started? Apparently it was our boy Charlemagne, the man who put Europe on the map. You don't understand, Europe was nothing before this guy came around. I'm sure you've heard of Charlemagne before. Dude's name is practically synonymous with great Medieval rulers. But do you know how much the guy did? He pretty much united all of Western and Central Europe together. And then he brought over the arts and culture from Rome. Charlemagne helped set up what came to be known as the Holy Roman Empire, which lasted about a thousand years, all the way until that little squirt Napoleon showed up and brought it down.

Charlemagne was crowned in 768, when he was in his mid twenties. By 800, when he was made emperor, he'd done all of his unifying and so on. His realm was vast and cultured. He declared Northern Europe to be the new Rome, as Henrike put it. The year 800 is also when he brought manuscript illumination to his part of the world. Yes, illumination was expensive, but who cared if you were Charlemagne?

Illumination quickly became all the rage. Henrike talked about how sometimes they'd drape veils over the illuminations for dramatic effect. While we might not consider them too dramatic today, Henrike couldn't stress enough about how, at the time, illuminations were seen to be bursting with drama, both in what they depicted and how they were revered.

The way Henrike explained it, Charlemagne started this trend with the monks. Weren't they the ones who also shepherded beer to the mainstream? Gotta love the monks. Anyway, Henrike explained that the monks in Charlemagne's realm, mainly present-day France and Germany, would sit huddled in their monasteries toiling away on these things. The oldest illuminated manuscripts we know of were thanks to them. They'd produce them for those who could afford the stiff price tag, mainly the ruling classes and high-ranking ecclesiastics. And they'd make some for themselves too. Why not? They excelled at it. These early manuscripts are mostly liturgical books. They're so beautiful you don't know if you should read them or just stare slack-jawed at them.

For a while monks were pretty much the only kats who did this stuff. By around 1300 or so, though, the practice had been taken up by secular artists and artisans who earned good money doing it. It's no coincidence that it was around this same time that the Holy Roman Empire started having a social stratum we would call the middle class. Before this, society basically had two strata, and the gulf between them was quite wide, if you know what I mean. Folks in this new middle class could also afford commissioning illuminations.

The Getty exhibition featured twenty-four pieces, most of them illuminated manuscripts, but also some paintings and an illuminated printed book. Henrike talked about these works in terms of being Carolingian or Ottonian. Carolingian meant it was made during Charlemagne's time. Ottonian refers to King Otto, who was basically the first official Holy Roman Emperor. He came around a good century after Charlemagne kicked off. And while Otto lived for most of the tenth century, he only ruled for about the last ten years of his life, his fifties and early sixties. Still, like Charlemagne, Otto was big enough on arts and culture that ten years was enough to foster his own little mini-Renaissance.

Ottonian doesn't just refer to Otto himself. When Henrike talked about Ottonian rulers, she basically meant the whole succession of rulers who took over the realm after Charlemagne's clan died out. Charlemagne himself had done a lot of work for the Ottonian emperors. You see, in kickstarting the illuminated manuscript trend, Charlemagne gave himself an excuse to build tons of book-making centers. I suppose in modern-day parlance these would be publishing houses. Sure, the monks would do the work, but then their galley prints, if you will, would have to be bound and made presentable and all that stuff. So by the time King Otto I and his successors came along, these book centers were practically dotting the realm.

One type of book Henrike talked about, which turned out to be a good medium for illuminations, was the missal. Know what a missal is? If you're not Catholic, you probably wouldn't. A missal's basically a little book for worshippers to use at Mass. In a nutshell. They came about circa 1100 or thereabouts. One of the illuminations in this exhibition, which Henrike showed us in her slideshow, was from the Stammheim Missal. It's considered a masterpiece of German Romanesque art (Romanesque means it's based on art from ancient Roman times, are you keeping up?). The Stammheim was created by monks of the Benedictine monastery of Saint Michael of Hildesheim. And that's Mike right there, patron saint of the monastery where this was made. He's apparently battling evil in the form of a dragon and a few demons or so. Cool, huh?

In the thirteenth century or so, the Romanesque style gave way to good ol' Gothic, which was concerned less with geometric shapes like the Roman one and more with the human form and human movement. I guess Gothic just meant more realistic.

And then in the fifteenth century lots of stuff happened. Johann Gutenberg invented the printing press. Books became cheap. The kinds of books being illuminated spanned a broader range commensurate with the growing demand for books written in the vernacular instead of just Latin, the official language of the church. You had books still being made with gold and precious materials on parchment, as well as less expensive books written on paper and illuminated with a handful of inexpensive colors without any gold or silver. Another slide Henrike showed us from the exhibition showed a hand-written Bible that they think was made by a cleric at Corpus Christi, an Augustinian monastery. And apparently the cleric was doing it for the Cologne Cathedral. It's the kind of Bible we take for granted today, with two columns of text per page, but that was a big deal back then. Herr Gutenberg didn't invent the two-column style, but he was the first to design and print books with movable type. And then other innovative souls took it from there.

Also in the fifteenth century we start seeing another thing we take for granted today: The big city as a hub of art and culture. In Medieval Europe we're talking about cities like Cologne, as well as Prague and Vienna, which at the time were considered more like towns. Isn't that funny? But it's partly because of their becoming artistic hotbeds that they grew into large urban centers. That and the fact that they became centers of power. Prague was where the rulers of Bohemia held court, for instance.

And so the fifteenth century saw a perfect storm of events that brought an end to manuscript illumination: The emergence of cities that doubled as artistic centers, cheaper ways to make books, a huge increase in secular text production (still in Latin, just not about anything Biblical), and a growing demand from the masses for books, religious and secular, written in languages other than Latin. So by 1500 or so, not much illumination was being done. I mean it was still being done, but it was such a painstaking process that it couldn't keep up with the huge demand for books. So most books, if they were illustrated at all, were done so with pen and ink and some paint.

Okay, well, that about does it for Henrike's bit. Are you drowning in academia yet? You have to admit it's pretty fascinating stuff. Anyway, time for the next lecture...


Politics, Religion, and Identity in The Ring - 10:45-11:30

The big, bearded, bespectacled guy who gave this lecture, Mitchell Morris, frequently gives talks at Opera League seminars. He's a professor at UCLA's Musicology Department. According to this program, he's written and spoken on a "plethora of topics," including nineteenth- and twentieth-century opera, gender and sexuality in music, American popular song, problems of musical ethics, and the songs of humpback whales. Ah yes, humpback whales. I remember him talking about that briefly at this one Opera League seminar last November. Actually he didn't talk about it at all. He gave a lecture on The Magic Flute. Damn, you know? I hope one of these times he can actually dive in just a little bit about what it means to study whale singing.

He kicked off the lecture with the whole identity thing. For a long time in Europe, your identity was synonymous with your religion. Mitchell cited four main religions here: Protestant, Catholic, Jewish, and one more I can't think of. I think Hasidic. As Henrike said, though, over time and as books became more popular, people became more interested in reading stuff written in their own language, not Latin. People's identities became less about how they worshipped and more about the language they spoke. This became all the more important for the German-speaking peoples. As I said above, there was no Germany til 1871. And when the Thirty Years War ended in 1648, the Germans were split up into over three hundred different realms. The only thing they had in common was that they spoke German.

By the time Wagner started doing his thing, he was hardly unique in trumping up nationalism in the way he drew upon the German language and Germanic myths which, by the way, weren't all that familiar to Westerners due to the emphasis on Greek and Roman classics. Pretty much all European countries were establishing and trumpeting their identity through their languages and their stories and their myths and fairy tales. Italy and Russia are two good examples. Mitchell talked about how in St. Petersburg, the people got fed up with Italian opera and wanted to see more home-grown stuff.

Speaking of languages, he reiterated what Henrike said in her lecture: French was in. Mitchell referred to Paris as Hollywood, New York, and Chicago all rolled up into one. That's where Wagner went when he was first starting out. He relocated to Paris and tried to make it as a composer. You think it worked? Uh, no. If you need further proof that even geniuses fail, here you go. Wagner's attempt to make the big time in the City of Lights was a categorical failure. Although to be fair, dude didn't really try that hard. He went there when he was twenty-seven or so, and went back to Germany the following year. The only bright spot in this disappointment came during the ride back in the horse buggy. At one point they passed the ruins of this castle. When Wagner saw it, he felt the first seeds of inspiration for the opera Tannhäuser, which he finished about five years later.

Soon after that he started working on the Ring Cycle. Little did Wagner know, of course, that it would take him close to forever. It didn't take him all that long to wrap up all four libretti. He polished those off by 1852 or so, just before he turned forty. He started work on the scores and made it to the end of act two of the third one, Siegfried, when he decided it was all shit and none of it would work.

And so Wagner quit the Ring. Obviously he came back to it. It just took him a dozen years to do so. In the meantime, his life was action packed. His Communist beliefs got him in trouble with the government. Financially he was a deadbeat. Check this out. He was literally exiled from his homeland. He didn't miss a beat, though. He settled in Switzerland and churned out other stuff.

Finally King Ludwig II of Bavaria saved the day. Today Bavaria is one of the sixteen states that make up Germany. It's the southern-most one. Back then it was its own independent kingdom, and at the time of Wagner's exile, Ludwig II was in charge. Ludwig II is the guy who had the famous awesome castle that was the inspiration for Disney's Sleeping Beauty. He summoned Wagner to Bavaria, paid off all his debts, and generally made sure Wagner didn't have any extracurricular drama getting in the way of his compositions. Eventually Wagner resumed work on the Ring.

Mitchell explained that the Ring wasn't based on any one source, but was sort of a hybrid adaptation of a few sources. One, of course, was Nordic mythology. You've heard of Thor, right? God of thunder and all that? He was part of this, as were Wotan (god of gods) and Wotan's wife Freia (goddess of joy), from which we get the word Friday. Thor gives us Thursday, by the way. As mentioned in Henrike's lecture, he also used the Nibelungenlied (The Song of the Nibelungs). This is kind of like Germany's answer to Beowulf. It's an epic poem written a very long time ago by an unknown author or authors. Scholars guesstimate it was written circa 1200 or so. The poem, in turn, draws upon various sources, among them ancient Germanic myths. We're talking pre-Christian. And apparently some of it's based on actual events and people from the fifth and sixth centuries. Obviously the dragon can't be among that. Indeed, the gist of the poem's plot is about this guy Siegfried who's famous for having killed dragons. He serves the court of Burgundy (part of present-day France). After he's murdered, his wife Kriemhild swears revenge. Something like that.

Another source was the Völsunga saga from Iceland. It's not a poem, but a big book of prose. You can't call it a novel. It was written during the 1200s, long before novels came about. It's a doorstopper of epic prose storytelling. The plot revolves around the decline and fall of the great Volsung family. This is where we have characters named Sigurd and Brynhild, clear inspirations for the Ring characters Sigmund and Brünnhilde. The Völsunga also chronicles the downfall of those same Burgundians who killed Siegfried in the Nibelungenlied. Indeed, the Nibelungenlied was partly based on this, only it condensed and streamlined it into a poem set mostly in court.

Confused yet? There's more! Perhaps the most obvious inspiration for the Ring was none other than the Bible. The Ring Cycle doesn't exactly shout out Jesus, but Wagner clearly does draw on certain amounts of Christian myth. Mitchell explained that it would make sense if you think about how Christianity is all about equality. As a Communist, Wagner would be attracted to that idea: No rich or poor, we're all the same.

Mitchell played some excerpts from a couple Wagner operas: Die Meistersinger von Nürnberg and Die Walküre (part two of the Ring Cycle). The song he played from the latter was from a scene early on where Siegmund (Siegfried's father) wonders where he came from and who his father was. Oh yeah, I forgot to mention one more Ring source: Wagner's own life. He didn't know much about his father either.

To conclude the lecture, Mitchell showed us a couple photographs of the interior of Ludwig II's awesome Disney-inspiring castle. One was the huge master bedroom and, even more awesome, the throne room! Damn, I wish I knew where he got those so I could include them in this post. Words don't do them justice so I won't even try to describe them.

Okay. After this we took a ten-minute breather before the last morning lecture.


A Conversation with James Conlon - 11:40-12:25

No fancy title for this lecture. It was LA Opera Music Director James Conlon taking the podium and chatting about Wagner and the Ring. Maestro Conlon only just took the helm at LA Opera three years ago, starting with the 2006-07 season, and already he's had quite the impact. For a start, he's got that Recovered Voices project, whereby he picks an opera by a composer who was censured, suppressed, or murdered by the Nazis during WWII, and has it performed in the spring, toward the end of the season. This project is the result of a long-time passion of his. Among the many accolades he's racked up in his thirty-year career is the Crystal Globe Award from the Anti-Defamation League for championing the works of composers silenced by the Nazis.

Another big accomplishment is the fact that he's gotten LA Opera to tackle the entire Ring Cycle, something this company's never done before. Maestro's a huge Wagner fan. I remember him saying at the Ring Cycle preview a couple months ago that one of his requirements for taking the LA Opera job was that Placido Domingo, LA Opera's top dawg, let him do the Ring in its entirety.

The first thing he talked about was Wagner the person. For starters, he was absolutely impossible to be around. His ego was the size of Walhalla. He had mistresses galore. As Mitchell pointed out earlier, he never paid his bills. And speaking of paying, he was always whining that more patrons didn't pay him for his musical talents. Wagner was also a bold-faced anti-Semite. "There's no way to get around that," Maestro said.

But here's the rub: Wagner's talent was immense. Sure, he was an egotistical bastard, but the musical world, then and now, has never suffered a dearth of such folks. What made Wagner stand out was that he actually had the talent to back it up. Maestro couldn't emphasize enough the impact Wagner had on both the musical and dramatic arts. As with his anti-Semitism, there's no way to get around that. Even his enemies and critics at the time couldn't deny the impact he had. When Los Angeles puts on the city-wide Ring Festival in the summer of 2010, pretty much the whole city's going to grind to a halt because so many companies are participating. Maestro said that Wagner would not only not be fazed by such an honor, he'd probably wonder what took L.A. so long to get around to it.

The theory underlying Wagner's approach to music is what the Germans call Gesamtkunstwerk. This means literally "complete artwork." Wagner wanted to take all of the arts--music, drama, poetry, lyricism, you name it--and combine them all into a single form. The Ancient Greeks did this all the time before these art forms split up and went their separate aesthetic ways, at Rome and beyond. Indeed, the arts as we know them today can probably be traced back to Rome. "Everything was invented in Italy," Maestro said, only semi-jokingly. So Wagner was a classical purist in a certain sense. Very retro. Do you know Bayreuth? It's a town in Bavaria where Wagner established his annual Ring Cycle festival, which continues to this day. See, the way Wagner saw it, the Ring Cycle was a Gesamtkunstwerk, and there did not exist a theater on Earth suitable enough to accommodate it. The Ancient Greeks did their thing in temples. So what Wagner built in Bayreuth was his own personal Greek temple. Did I mention his ego? Oh yeah, well, here you have perhaps the most potent manifestation of it I can think of. Wagner's creating a festival in Bayreuth was likewise based on the Ancient Greek model. Every year in Athens they'd have a theatrical festival at the temple where everyone would get together and participate as a community. In so doing they'd be acknowledging and celebrating their belief system while watching it dramatized by actors and singers.

Wagner was an anti-Semite, but he wasn't a Nazi. Maestro felt obligated to point this out because many people assume he was based on Hitler's being a huge Wagner fan. Problem with that accusation is, when Hitler was born in 1889, Wagner had already been dead six years. Also, as I've mentioned several times in this post, Wagner was an unabashed Communist. You can't be a Commie and a National Socialist at the same time. The two are diametrically opposed on the political spectrum.

Not all of the Nazis were Wagner fans either. Maestro talked about how Hitler first discovered Wagner at a performance of Tristan und Isolde in Vienna. Hitler fell in love with it, and from there discovered the Ring Cycle. He'd bring his top cronies with him to Bayreuth to try to stir up their interest. But get this: They'd always fall asleep! Hitler would of course get furious and scream and shout his little comb-over blue, but no dice. It's funny how Hitler saw the Ring Cycle as being all about German dominance and glory. For starters, as Mitchell pointed out, the Germanic stuff was in turn adapted from Icelandic stuff. Further, while Wagner did want to write a very German piece at a time when Germans lacked a solid sense of identity, the primary theme of the Ring Cycle is, in fact, love. This is where we see shades of the Bible. Specifically, it's about the redemptive power of love. We get this hammered home in the first fifteen minutes of the first Ring opera, Das Rheingold, and the rest of the Cycle dramatizes the playing out of this theme.

That explains the twins in the second Ring opera, Die Walküre. You know about that? Well, the first part of the opera is how this man and woman fall in love with each other. And then bam! Just like Luke and Leia in Star Wars, they find out that they're twins. Only, whereas that nipped Luke and Leia's fling in the bud, it doesn't with these two. Siegmund and Sieglinde have sex and give birth to the Ring's tragic hero, and the third Ring opera's title character, Siegfried. Gross, huh? Amazingly, Siegfried isn't born with an extra limb or a tail or anything. So how can the audience get past the twins-having-sex issue? We can't judge the twins, Maestro said. Again, Wagner's whole thing was about the power of love, and that when love takes its purist form, you just go with it. And speaking of Christian themes, humping twins also ties in with this idea of the forbidden apple. We all want to have something that we can't, whether it be for legal or moral reasons. The twins were Wagner's way of tapping into that.

Maestro reiterated what Mitchell was saying about Wagner inserting elements of his own life into his work. The whole thing about Siegfried not knowing the identity of his father is but one example. You've also got the fact that Wotan, the god of gods, sleeps around a lot. Well, Wagner slept around a lot too. How fitting that he'd cast himself, so to speak, as the god of gods. Wagner's views toward women also made it into his work. Even without the anti-Semitism, he would still be politically incorrect today because of his misogyny. He always felt the woman should live in service to her man, that she should sacrifice herself for him if necessary. And so we have no shortage of female characters in Wagnerian operas who don't fare so well. You've got Elisabeth in Tannhäuser. Then there's Senta from Der fliegende Holländer, who literally chucks herself into the sea at the end. She tells the Dutchman that she'll love him until she dies, and then she kills herself, which makes her his salvation or something. Convenient, huh? And let us not forget good ol' Brünnhilde. Poor thing.


Guided Gallery Tours - 1:15-2:15

Okay that does it for the morning lectures. Whew! Lots of stuff, I know. The luncheon hour couldn't have arrived sooner. What better way to digest all this knowledge than by digesting some free grub? It was an overcast day today (damn you, marine layer!), but that's all right. I grabbed my boxed lunch and went up to the main concourse amidst all the exhibition halls and found a table by the fountains.

After lunch, at 1:15, it was time for the trio of guided gallery tours. They had three different tours set up for us: The Illuminated Manuscript one as well as two others focusing on works in the permanent collection. To that end, we were split into three color-coded groups. I was in the peach group (don't ask), meaning I had to get one of these headsets with peach tape on it so I could hear the tour guides no matter how far away they were. I have to admit those headsets were neat. I'd never taken a gallery tour this way, but even subdivided, these groups were big. If you were stuck in the back, it'd be tough to hear what the guide was saying without the headset.

The first tour guide for the peach group was this cute Russian gal named Zhenya Gershman. Zhenya's an artist herself. She scored an MFA from the Art Center College of Design in Pasadena back in '01 and has been doing lots of her own work since, getting it exhibited, winning some awards and so on. She's got a site (zhenyagershman.com). According to it, she's been moonlighting at the Getty since '06.

Zhenya took us to the North Pavilion, where the Getty houses its Medieval and Renaissance art. She led us upstairs to a room showcasing work from 1300 to 1400. This room contains the single oldest painting in the Getty's entire collection: "Madonna and Child" by Master of St. Cecilia. The artist who painted it remains unknown. Master of St. Cecilia is the agreed-upon moniker in the meantime. The painting is dated to 1290-1295. Apparently the fact that the Virgin is holding baby Christ's hand was a big deal at the time. While Mary does look kind of stoic, her holding the kid's hand and cradling him to her breast is supposed to show how intimate and loving and emotional she was. This kind of very human depiction was new at the time, Zhenya said, but it eventually caught on, of course. As for the whole stoic thing, that was normal. Zhenya said it was a trend in the so-called icon tradition of the Byzantine Empire. Whatever that means.

The other painting she talked about was from 1330: "Madonna, Saint Thomas Aquinas, and Saint Paul" by Bernardo Daddi. This is a three-panel painting, what they call a triptych. The whole idea behind this painting, Zhenya said, was drama. If you close the triptych (no, the Getty doesn't allow that, or any touching for that matter), you supposedly get a boring sort of brown color. And then when you open it, you get these three holy figures on a resplendent golden backdrop. Yes, Signore Daddi did that on purpose for dramatic effect, Zhenya said. And how about the book the Virgin is holding? Zhenya pointed out that a bunch of paintings in this room show people holding books. But wait, these paintings are from the fourteenth century, a time when most people couldn't read. What gives? Well, according to Zhenya, books at the time represented truth, something to aspire to. Higher knowledge, if you will.

One interesting piece of backstory she shared had to do with the Christ baby. Apparently, long after Daddi finished this, someone went in and painted a little Christ baby near the bottom, under Mary's outstretched hand. No, you don't see it here because the Getty removed it. And apparently it was a piece of cake to do. Zhenya said they basically took a wet Q-tip and dabbed Christ with it. He came right off "like a sticker," she said.

Zhenya passed us off to Henrike, the German gal who gave this morning's first lecture. She took us through the Illuminated Manuscript exhibition downstairs. The problem here was that the manuscripts were in this tiny dark room. The dark part I understand because too much light will damage the paper over time. And I suppose the tiny part would normally be fine if I were seeing this by myself. As a huge group, though, it was slow going. When you walk in, you turn left and work your way around clockwise. The pieces were arranged chronologically.

I felt bad for Henrike. She'd given her huge lecture, she'd already had one group, and by the time we showed up, we were running behind schedule. So the poor frau really had to rush through it. She tried to do it chronologically, but the fact is that I didn't get to see every single piece.

I do remember her pointing out that the pages of these books were made out of parchment, which comes from sheep's skin. Not until the fifteenth century did paper come into play, along with moveable type. Henrike also pointed out how a lot of these books used gold in their illuminations. Unlike the gold ring from the Ring Cycle, which represents corruption, the gold here represents purity. Not surprising when you consider that a lot of this stuff was made in a religious context.

Speaking of gold, Henrike gave a spiel for the last piece in the exhibition, a gold-background painting from the 1500s. "The Crucifixion" was painted by a chap called Altdorfer, Albrecht Altdorfer, circa 1520. Henrike explained that Herr Altdorfer was one of the leading painters of his day in Bavaria, in a region called the Danube River Valley. Albrecht didn't do illuminations, but he did work a lot on parchment, and his style was reminiscent of illuminations. The gold background is sort of a dual nod both to Medieval painting traditions as well as to illumination. The gold here looks like it's a pair of scrolled pages. As best we could considering the crowd, we followed Henrike's suggestion to view "The Crucifixion" from different angles to experience the panel as pages of an open book.

Okay that does it for the manuscript illumination exhibition. A bit anti-climactic, but I got the gist of it. Really, some of these books, like the missals, are tiny, so it's just as well I didn't get to stare at them too long lest I strain my eyes.

The third and final gallery tour was back upstairs in this one room dealing with Northern European art during the Middle Ages. Our guide here was this gal named Keri Jhaveri. I recognized her from last June when she took me and a few others on a guided gallery tour of the August Sander photography exhibition. You can read about that in this very blog. Just check out the posts from June 2008.

Keri's got a unique style as a guide. What she does is, she'll lead us to a particular painting, she'll stare at it for a long moment as the rest of us do (maybe because she knows that's the first thing we're going to do), then she'll turn to us, point out one or two things, then go back to staring at it some more before asking us for our impressions. It's a more organic way of learning, I suppose. I like how she allows for silence so we can observe and think about the art for ourselves.

The first painting she talked about was a 1526 piece called "A Faun and His Family with a Slain Lion" by Lucas Cranach the Elder. This one was a real doosie, perfect fodder for a guide like Keri who wants her pupils to ponder what they look at, for this one offered a lot. First, what's with the lion? Lucas Cranach was a German, and the backdrop here is of a particular place in Germany. Problem is, Germany doesn't have any lions. Europe doesn't have lions for that matter. So where'd Mr. Faun get the lion from? Could the lion, king of the jungle, represent royalty? Well, that would be kind of risky, showing royalty being slain by a wild animal. Lucas was court painter of Frederick the Wise of Saxony in Wittenberg. At the same time, though, and as the Getty site points out, Lucas was a good pal of Martin Luther's. And Martin Luther, of course, was the queen mother trouble maker of his day. Look at all the stuff Lucas did for him. From the Getty site: Lucas "supervised the printing of Luther's propaganda pamphlets; designed woodcuts for Luther's translation of the New Testament; painted altarpieces for Lutheran churches; and painted, engraved, and made woodcut portraits of Protestant Reformers and princes." Keri said it's almost like looking at two paintings. You've got two perspectives here. One is the wild side of man while simultaneously showing man as civilized and trying to tame the wilds of nature. Maybe. Doesn't it suck that we can't just go back and ask Lucas what he was thinking?

The other painting Keri showed was "An Allegory of Passion" by Hans Holbein the Younger, 1536. I'd actually heard of Hans 'cause I watch that Showtime show The Tudors, about Henry VIII. A German artist originally from Augsburg and trained in Basel, Switzerland, Hans settled in London in his thirties where he scored the plummest gig ever as the--not one of the, THE--court painter for Henry VIII. And he was also the official fashion designer. One of the many things he had to do was go around Europe and paint marriage candidates for Henry. He got to meet a lot of hot royal chicks and have them sit for him. Cool, huh? He had this gig until he died in his mid forties.

As for "An Allegory of Passion," Keri stated flat out that it's a mystery to her. For starters, the frame is shaped like a diamond. This wasn't a trend at all at any time during Hans's day, and no one since has been able to figure out his reasoning behind that stylistic choice. Was it meant as a box cover or portrait cover? If so, it'd be one of the most unique covers ever. There was no convention for this type of painting. As with a lot of Hans's work, this was most likely a commission, suggested by the very specific countenance of the rider. But who commissioned it? Who is that rider, in other words? Again, no one knows. Along the bottom is an Italian phrase that translates to "And so desire carries me along." It's a quote from Petrarch's Canzoniere. One of my fellow attendees said this painting would make a great beer logo. I agree.


Religion and Mythology in Music - 2:15-3:30

Okay! And finally, for the last bit of culture, we all headed back to the lecture hall to take in some great tunes. The woman in charge of this bit was a pianist named Catherine Miller. A native Californian, Cath works as pianist and prompter for LA Opera and serves as artistic consultant for the Pasadena Opera Guild. She works gigs as an operatic vocal coach, piano teacher, and organist. Besides graduating from both USC and Julliard, the showoff also scored a Fulbright to the Franz Liszt Academy of Music in Budapest.

Cath was the accompanist for the two singers performing today. First you had tenor Robert MacNeil, big bald guy in his forties or so, decked out in a crisp suit for the occasion. Robert is a regular on the LA Opera stage, most recently starring in their productions of Tannhäuser, Der Rosenkavalier, Il Trovatore, Fidelio, La Boheme, as well as last September's production of Il Trittico, which I took my mom to. It was the opening night of the 2008-09 season. Quite a night. I saw Don Johnson and Martin Short, although not together.

The other singer was a soprano named Kathleen Roland. The program says she's an active soloist in both opera and orchestral music and has sung at a ton of festivals, among them the Santa Fe Chamber Music Festival, the Britten-Pears Institute in England, and the Tanglewood Music Festival. She's also done stuff with the Pacific Serenades, the Southwest Chamber Music Society, the L.A. Jewish Symphony, the San Francisco Contemporary Music Players and, last but never ever least, the LA Phil. Not to be outdone in academia, either, Kathleen holds a Doctor of Musical Arts degree in vocal performance. Like Cath, she went to SC and scored a Fulbright. Her day job is teaching at Scripps College in Claremont. That's cool, I work with a few Scripps alums.

Here's the list of songs they performed. Cath explained that they cover four major musical eras: Baroque, Romantic, Classical, and Contemporary. At the same time, though, they all have religious connotations. There was a time when music and religion were bound so closely together it was hard to have one without the other. One prime example she cited was Bach. Dude had nineteen kids and was only able to support them through his organ gig at the local church.

Okay without further ado...

"Waft her angles through the skies"
From Jeptha by George Handel (1685-1759)
Sung by Robert

"Farewell, Ye Limpid Springs"
Also from Jeptha
Sung by Kathleen

"Then, then shall the righteous shine forth"
From Elijah by Felix Mendelssohn (1809-47)
Sung by Robert
In introducing it, Cath pointed out that 2009 is Felix Mendelsson's bicentennial. I'm glad she did 'cause I had no idea, the program notwithstanding.

"The Crucifixion" and "St. Ita's Vision"
From The Hermit Songs by Samuel Barber (1910-81)
Sung by Kathleen
These are the only songs from today's selection that represent Contemporary.

"Auf ein altes Bild" by Hugo Wolf (1860-1903)
Sung by Kathleen

"Nun bin ich dein" and "Nun wandre Maria" by Hugo Wolf
Sung by Robert

"Dich, teure Halle"
From Tannhäuser by Wagner (1813-83)
Sung by Kathleen

"Winterstürme wichen dem Wonnemond" and "Du Bist der Lenz"
From Die Walküre by Wagner
Both are duets for tenor and soprano.

These beautiful songs were a great way to end a very culturally fulfilling day. And those two duets were a great teaser for LA Opera's production of Die Walküre coming next month. There's a form in my program that lets me order tickets for 20% off. Considering I always get orchestra ring seats, normally a hundred bucks or so, I'll definitely be taking advantage.

That about does it for Illuminating German Art and Opera. Interesting way to spend a Saturday, huh?