Me And My Muse: A Cry For Help (Hers, Not Mine)

Planet Earth contains over seven billion humans who are pushing hard to raise that number to eight billion. Of that multitude I’d estimate that 20 or 25 persons might recall my story from a few months ago about Erratica, one of the Greek goddesses and, more to the point, my wondrous muse (clicking here will make the tale appear). Clearly, my readership’s growth curve has almost limitless room to expand. That’s a positive, isn’t it? Go get ’em, cowboy! Yeah, you can do it!

Oh, Erratica, Erratica. She has helped me immeasurably since I took up blogging last year. Nearly every week she has materialized in my home to guide me, to prod me into getting my thoughts in order. Without her this blog would be nothing. Come to think of it, though, it’s kind of nothing anyway. Aww, shit.

Erratica
Erratica

Yes, like clockwork for the most part, Erratica has appeared on Thursdays. Except during my vacations, that is. She and I have an agreement that she won’t pop in on me when my wife Sandy and I are away, as we were for part of last month. But after we returned home, Erratica missed her next scheduled appointment. I didn’t give that much thought, figuring she had gotten my vacation dates wrong. But I began to worry the following Thursday when again she was a no-show. What was going on? Had Erratica abandoned me? If she had, I was staring the end of my blogging career in the face.

This past Thursday evening, as usual, I sat in my suburban Philadelphia home’s library. Decked out in hot pink cargo pants and my favorite bright blue t-shirt emblazoned with Wazzup, Dawgie? in neon green letters, I dazzled. Worn out from worrying about Erratica, sleep began to overtake me.

“Oh, Neil. I’m so glad to see you. I’ve missed you. It seems like weeks since last we met,” an unsteady voice said, quickly awakening me. Erratica was in the house.

“My goddess, where have you been? I’m overjoyed that you are here. The last two weeks without you turned me into a nervous wreck. Miraculously I was able to write articles, but it was a struggle.”

I stood up and looked Erratica in the eyes. Something was very wrong. A handful of tears slowly made their way down her cheeks. I had never seen her like this. She needed a seat. I brought a chair from the dining room and placed it next to mine. She took it and opened up her heart.

“Neil, I’m so lost. I don’t know what to do. You know my dad? Zeus?” she half-sobbed.

“Well, I’ve never had the pleasure. But I know of him,” I said. “Is he ill or something?”

Ill?” she cried. “He’s fitter than a fiddle, that old guy. He’s indestructible! But something has come between us. He can’t tolerate the way I’ve been performing my job . . . my bad attendance record, my lack of patience with my charges, the sarcastic barbs that I throw at them. Neil, I’m supposed to help unpolished writers like you, and for millennia that’s exactly what I did. But I’ve been failing them of late, including you. So, my dad has done the unthinkable . . . he has put me on probation. ‘Daughter, you better get it together fast, or you’re out!’ he said to me this morning. Neil, you are the first pseudo-scribe I’ve visited since he uttered those words. I need your help!”

It took me more than a few moments to process what I had heard. Then I took a deep breath, not knowing what words would tumble from my mouth.

“Erratica, somehow you have it all wrong. You have been a lifesaver to me these past many months. Sure, you can be crabby and mean, but so what? The bottom line is that your kicks to my ass have been productive. Because of you I’ve turned out a load of stories. Without you, I’d spend my writing sessions with fingers frozen to my computer’s keyboard.”

“But I need to become more reliable and customer-friendly, Neil, like I used to be. Somehow I got worn down by all the griping and whining that you and your amateur tribe are famous for.”

“Erratica,” I said, gently placing a hand on her left shoulder. “The world, on a human level, is a tough place, filled with negatives that make griping and whining seem like pablum. And I think that all of those real problems have gotten to you, even though you’re not human. If I tell you about a few good things that have been going on, might that help?”

“It might,” Erratica said quietly. “It might.”

“Okay,” I said. “Here goes. As you know, Sandy and I went to Paris and Amsterdam last month. We had a superb time. They are such great places. We did a lot and were with a couple of our friends for most of the trip. It was primo fun. For instance . . . ”

She cut me off. “I’m familiar with the details. Believe it or not, I read your stories about the vacation. I’m one of the few who did.”

“And you liked them?” I asked, wary of the forthcoming answer.

“Uh, they were okay. You’re not exactly Bill Bryson or Paul Theroux, though, are you?”

“Be nice, Erratica.” I said. “I’m your friend.”

“Forgive me, Neil. It won’t happen again,” she said. And for some reason I believed her.

IMG_0793 (2)“And very recently we went to the movies to see Hunt For The Wilderpeople. It’s delightful. Taika Waititi, who I never heard of before, wrote and directed it. The flick takes place in New Zealand. It’s about a 13 year old who has spent his whole life in the child welfare system being passed around from one foster care family to another. At the start of the movie he looks and acts like a sullen bag of trouble. Doesn’t talk to people, dresses like a gangsta-in-training, which he fancies himself to be. Then he gets placed with a back-to-nature couple living in bush country, and his world changes. His sweetness and innocence begin to emerge, don’t ask me why considering everything he’s been through. Probably he barely knew himself that they were there. It’s a wonderful thing to watch the transformation. And he’s not the only person who changes for the better. I don’t want to spoil the movie for you, so I’m not going to tell you anything else. Erratica, do yourself a favor and buy a ticket to see Hunt For The Wilderpeople. We all need a healthy dose of healthy emotions these days, and this movie will give that to you.”

The sofa that Erratica eyed.
The sofa that Erratica eyed.

Erratica’s face brightened. She looked at me and smiled. “Thanks for the boost,” she said. “Sounds like a good movie. And sounds like you’ll be banging out a story about it for your blog.” She paused for a second. “Neil, I’ve been in a bad way for a long time now. But I’m going to try hard to get back on track. My father’s a no-nonsense sort and means what he says. If he kicks me off of Mount Helicon I’ll have nowhere to go.” She walked into my living room to take a peek. I followed her there. “Could I crash on this sofa if it comes to that?” she asked. “It looks comfy. Oh my, how the time flies. There’s a nitwit in Vermont who I have to visit now. For kicks he gets a colonoscopy every week and writes narratives about them for his blog. The blog’s called Checking Up On My Innards. And it’s actually pretty interesting, a lot better than you’d expect. Somehow he doesn’t run out of things to say. Neil, I’ll see you in a week.”

And in a poof she was gone.

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My Amazing Interview With Julia Roberts And George Clooney (Money Monster Is Their Latest Movie)

Charlie Rose, you’ve got company. You’re not the only one who can get big name celebs to sit around a table and gab. You’re not the only one who hopes to ask probing questions. For sure, I’m not even remotely in your league. Still, last week there I sat at my dining room table. And sitting across from me were none other than the mega-stars of a cracker jack new movie, Money Monster. That’s right, Julia Roberts and George Clooney were in my house.

money monster IMG_0338
An hour before they arrived I took a look at my notes about Money Monster. My wife Sandy and I had seen the flick a couple of weeks before, and it needed to be fresh in my mind. Wow, it’s a good one, a tight thriller. Jodie Foster directed. Clooney plays Lee Gates, the star of a full-throttle television show about finances called Money Monster. Gates’ show is a glitzy production, with bells and whistles and bright lights up the wazoo, dancing girls, and sometimes-party-hatted Gates making stock picks and handing out financial advice as he prances around the stage.

Doing her best to orchestrate the semi-madness is the show’s director, Patty Fenn (Julia Roberts). Good thing that someone with steel nerves and observant eyes is behind the scene, because one day a young, armed guy named Kyle Budwell (Jack O’Connell), who lost all of his money on a Gates stock tip that went bad, finds his way onto the studio set while the show is in progress and takes Gates hostage. The cameras remain on. The whole world is watching.

clooney IMG_0342
“George,” I said out loud, rehearsing a question I planned to ask. “Money Monster takes a hard look at corporate greed and dishonesty and how hard it is for the little guy to stay afloat. Did you agree to do the movie because of empathy you have for the average Jill and Joe?” I knew that he’d like that query.

“Julia,” I then said to the air. “The hostage situation in Money Monster forces some of its characters to drop their facades and take deeper looks at themselves than they have in ages. Have there been circumstances in your personal life that caused you to do the same?” I imagined Julia thinking deeply before giving me an eye-opening response.

I was ready.

The doorbell rang at 1:00 PM. George Clooney and Julia Roberts smiled at me from my doorstep. Their limo, with its driver, was parked in my driveway. Who’d ever have thunk that a day like this might arrive? Here’s how it happened:

Not long after seeing Money Monster I’d read that Clooney would be in Philadelphia the following week to promote MM on a few of the city’s television and radio shows. A lightbulb went off in my head. I did some Googling and uncovered the phone number of George’s manager, Doris Do-right. I called her and, to my astonishment, she picked up. “Doris, my name is Neil. Rhymes with schlemiel, which is kind of what I am. I’m getting deep into my retirement years. Spend half my life intertwining my fingers in interesting patterns and binge-watching old episodes of Wheel Of Fortune and The Match Game on Netflix. And when I’m not doing that I bang away on a computer keyboard, writing articles for my blog. Anyway, one of the things I write about is movies. I loved Money Monster. Is there any chance that George Clooney would want to step outside the normal public relations box while he’s in Philadelphia and do an interview with an online publication — mine — whose readership is so low it’s pathetic?”

Amazingly, Doris didn’t hang up. I gave her the name of my blog. She said she’d get back to me. And she did, only 40 minutes later. “Schlemiel, I mean Neil, George is a go. He loves the idea. You live just outside Philadelphia, right? And is it okay if he brings Julia Roberts along? The girl doesn’t get out enough. George thinks that a visit to the Philly suburbs might be just the ticket for her. How about next Tuesday at 1:00 PM?”

As I mentioned, the doorbell rang. “Hello, Schlemiel, I mean Neil,” George Clooney said, extending his right hand to shake mine. Starstruck, I barely could raise my hand to meet his. He stepped in, and Julia Roberts did likewise. She gave me a peck on the cheek. “Humma . . . humma . . . humma,” I elegantly stammered. Luckily, Sandy was there to save the day. She greeted our guests perfectly, made small talk with them and then led them to the dining room table where a spread of cheeses, breads, olives, beer and wine awaited. We all sat down, began to nibble and sip, and then I flipped the switch to record the conversation.

My composure more or less had returned. “Guys,” I said. “Your new movie is terrific, and it’s an honor having you here. You’re doing me a big favor. My blog needs a shot in the arm. I’d be correct in saying that readership is down, except for the fact that it never was up in the first place. But a meaty interview with George Clooney and Julia Roberts no doubt will turn the tide! George, I’ll start with you.” I gazed into his luminous brown eyes and said: “Money Monster takes a hard look at corporate — ”

“Hold it, Schlemiel, I mean Neil,” George exclaimed, his eyes twinkling as he gave Sandy a sly wink. “We’ll get to the movie in a few minutes, but there’s something important I want to say. When Doris Do-right told me about the conversation she had with you last week, I got the feeling that I might be able to help you out a whole, whole lot. And I don’t mean in terms of your blog. I mean you.”

He reached into the left pocket of his sport jacket and pulled out a bottle filled with a truly dark liquid. “Neil, if you’re tired of  being a schlemiel, the contents of this bottle are all you need.” He turned its label to face me. It read I Don’t Wanna Be A Doofus No More.

IMG_0349
“I started taking this wonderful stuff, one teaspoon each morning, about 30 years ago. It’s a life saver. You think that I was always a dapper, sharp guy? Uh uh, pal. I was a stumblebum. Just like you’ve been all these years. Girls couldn’t have cared less about me. My career was in Nowhereville. Forget it man, I was lost. Then I saw an ad for I Don’t Wanna Be A Doofus No More in the back of Cool Dude Magazine, and I ordered a bottle. It’s expensive, but it works. The company gets the ingredients from Amazonian jungles. They boil rare orchid petals in river water to extract their essence and add dried dung from giant bats and pulverized teeth particles from crazed boars. I turned Pitt, Damon and Affleck onto I Don’t Wanna in their struggling days. If I hadn’t, they’d be flipping burgers at Mickey D’s right now. Those guys used to be useless.”

My jaw had dropped so low I had to push it back into place. I started to speak, but Julia cut me off.

“What he says is true, Neil. He forgot to take his morning dose one day when we were filming Money Monster, and nobody could believe the change in him. George was shy, listless. The makeup and hair styling girls on the set were worried. They came to me and told me he’d had almost nothing to say to them, wouldn’t make eye contact. And when filming began later that day he couldn’t remember half of his lines. George and I are old friends, and he had told me about I Don’t Wanna a long time ago. So, finally I figured out what the problem was. Back to his dressing room we headed, and down the hatch a teaspoon of the magic potion slid. Minutes later, all was well.”

“Holy crap,” I said. “It’s a miracle that the two of you are here with me.” My eyes were misting. I stood up and walked to the opposite side of the table and embraced these people who had gone out of their way to do a good deed.

George and Julia were choked up, too. “I’m sorry Neil, but we gotta go,” George said, reluctantly, a few moments later. “I’m taping an interview at 3:30 at one of Philadelphia’s TV stations. And Julia needs to get back to her home in Manhattan. Schlemiel, I mean Neil, it really has been a pleasure.” He gave me a knowing tap on the shoulder, planted a big kiss on Sandy’s forehead, and left the bottle of I Don’t Wanna Be A Doofus No More on the dining room table. Julia, after hugging me and Sandy, led the way out the door.

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Me And My Muse

My muse.
My muse. Her dress might be from Saks.

The stage was set in its usual way this past Thursday evening. I sat in the library of my suburban Philadelphia home, clad in comfy pajama pants and a sporty smoking jacket, sipping a cup of piping hot chamomile tea laced with two shots of Kentucky bourbon. I was awaiting my weekly visitation from Erratica, my wondrous muse. Erratica, the little-known but essential Greek goddess, and sister of the nine muses who have gotten all the headlines since bursting on the scene about 3,000 years ago. Terpsichore, for instance, the inspiration for dancers, and Calliope, without whom Homer’s Iliad and Odyssey, and other authors’ epic poetry, would be stink-o for sure.

Yes, Erratica. She whose job through the millennia has been to aid countless amateur storytellers and scribes in need of a push, in need of direction, such as me.

My eyes were heavy and my mind was foggy due to the typically poor night’s sleep from which I had awoken that morning, not to overlook the spiked tea. In other words, I was in what for me passes as fighting shape. I was straining my brain, trying to come up with some story ideas for my blog, when a series of sharp jabs on my left shoulder got my attention. I looked behind me.

“Hello, Erratica,” I cheerfully said to the beautiful creature who had delivered the blows, eyeing her flowing robes. “You are right on time. I love your dress, by the way. Where’d you get it? At Saks?”

“I’m in a hurry, Neil,” Erratica answered, as she moved from behind my chair to face me properly. “You’re not the only pseudo-writer in need of help. Let’s skip the small talk.”

This girl gets right to the point. There’s nothing erratic about her. Instead, her name derives from the erratic creative talents of those whom she shepherds. “Okay,” I gulped. “Here’s the situation. A week ago, with your assistance, I got it together to write a piece about Willie Nile, and I published it yesterday. But now I’m stuck, really stuck. I can’t think of a single thing to write about. I’m constipated, for gawd’s sake! My handful of readers won’t know what to do if I don’t publish something next week. Please inspire me, Erratica. Please. I’m on bended knees.”

Erratica gave me one of those long, hard looks. I felt uneasy. I knew what was coming. “Neil,” she said. “You have been a big disappointment to me the last couple of months. Getting you to deliver stories once every week or so has been much too difficult. And now you say that you’re totally out of ideas? Are you kidding? Look at all the movies and other things you’ve seen that you haven’t written about. The world is your oyster, whatever that means, and you’re leaving so much of it on the table. There you were last month at the Philadelphia Flower Show, a world-famous exposition, and you wrote not one word about it. Three hundred thousand people went to that show, but it wasn’t good enough for you? What are you, some kind of elitist? And a couple of weeks ago you took in Hello, My Name Is Doris, a sweet movie with adorable Sally Field. Where’s your review, guy? And I could mention so much more. Neil, you’re frustrating me. Big time.”

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“Oh, Erratica. I know you’re right. You always are. But hear me out. Sure, I liked Hello, My Name Is Doris pretty well. I came close to writing about it. But the more I thought about the movie, the more I saw what I think is a gaping hole in its central logic. I said to myself, ‘Yo, schmuck. Why spend several hours analyzing a flick that’s kind of flabby in its design?’ What I’m saying, Erratica, is this: Doris is what, 65 years old? And she’s been a semi-wallflower pretty much all of her life. And then one day— presto! — she falls in with a bunch of hip millennials who practically adopt her into their tribe. I mean, c’mon. The odds of that happening are about as high as my winning the Powerball jackpot on the same day that NASA accepts me into its astronaut training program.”

Erratica gave me another of those long, hard looks. Obviously she wasn’t buying my explanation. Maybe I wasn’t either.

One of the Japanese displays.
One of the Japanese displays.
Part of Big Timber Lodge, which was the entrance to National Parks exhibits.
Part of Big Timber Lodge, which was the entrance to national parks exhibits.

“And here are my beefs about the Philadelphia Flower Show,” I continued. “Yeah, going in I was primed to write it up. But going out I was muttering ‘nah’ to myself. I mean, the show was okay. I liked some Japanese displays. And the themed exhibits representing various national parks were decent, but that’s all they were . . . representations. You could walk through and around them in seconds. All they really made me want to do was head to the great outdoors and explore the real parks. And don’t get me started on the juried flower exhibits. The flowers in my local supermarket’s flower department look as good, probably better, than what I saw at the show. Grouse and grouse some more, that’s mostly what I would have done if I’d written about the Flower Show. There’s no fun in that for me.”

 

Erratica snorted. Her patience clearly was exhausted. “I don’t know if I can take this anymore,” she said. “I have to have a talk with my father. His name is Zeus, in case you forgot. You amateurs have worn me out. For 3,000 years I’ve been dealing with marginally-talented, confused whiners. I deserve a new assignment. Calliope’s, for example. Amateurs . . . bah!”

And, just like that, Erratica was gone. Possibly forever. I don’t know how I will cope if she doesn’t return. But I do know this: Bereft of ideas, there’s little chance that I will publish anything this week.

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(Doris and flower show photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

Vinyl Night: Collapses Will Happen

“What’s a good night for Dave to come over for Vinyl Night?” I asked my wife Sandy recently.

She rolled her eyes magnificently and exclaimed “Vinyl Night? There is no good night for Vinyl Night!”

And why did she say that? Because when my excellent pal Dave comes over for Vinyl Night, as he does once or twice a year, we listen to a genre of music that Sandy, to say the least, hates. “I don’t consider it to be music,” she explained to me succinctly during dinner not long ago. Understood.

And you know what? Boatloads of people would agree with her, but they can’t, because most folks have never experienced this kind of music. Don’t know that it exists. Here’s what I’m talking about: On Vinyl Nights, Dave and I gorge on jazz of the avant-garde variety. The wild and aggressive type in which melody often is minimal and screeching horns and thrashing drums are the norm. The type that might well be described as seismic in quality and in effect, as will become apparent.

Free jazz. That’s the name that has stuck to this fringe music which began to emerge in the mid-1950s. And liberating it is. The musicians are free to roam far and wide. And the music opens the minds and loosens the emotional chains of those listeners who like it, such as Dave and I, tossing us around like hold-on-for-your-lives roller coaster riders.

Sandy relented and Dave ended up coming over on a Wednesday night, because that was when she had plans to watch a lot of prime time television in the upstairs bedroom. Dave and I, in the living room, would be free to crank up the stereo system’s volume as high as we might. Turns out that wasn’t a good idea.

Vinyl Night's albums photographed on bunker floor before Vinyl Night began.
Vinyl Night’s albums photographed in basement before Vinyl Night began.

In preparation for each Vinyl Night I head to the basement room where my most prized possession resides: my vinyl album collection. I’ve got a ton of albums. Lots of musical styles. Never got rid of any of them, one of the smart calls I’ve made in life. On the afternoon of this most recent occasion I  walked to the shelves holding the discs and made the selections for that evening’s Vinyl Night. Albums by Jimmy Lyons, Roswell Rudd, Grachan Moncur III, Art Ensemble Of Chicago,  Archie Shepp, John Carter/Bobby Bradford, and Albert Ayler. Household names, no? As always, Dave and I would listen to one side of each album.

The three albums that caused problems. Photographed in bunker before Vinyl Night began.
The three albums that caused problems. Photographed in basement before Vinyl Night began.

Dave arrived around 8:00 PM. Sandy gave him a hug and walked upstairs, not to be seen again for a couple of hours. I placed side one of Jimmy Lyons’ Other Afternoons (recorded in 1969) on the turntable and an evening of fun, then mayhem, began. Jimmy Lyons no longer is with us, but his recordings live on with force. And force is what soon blew through the stereo speakers in my living room. The title track, Other Afternoons, began calmly enough. Didn’t take long however for alto saxophonist Lyons and his cohorts to wail and fly as though demons were on their tails and gaining fast (click here to listen). That’s when Dave and I thought we heard the sounds of wood and plaster creaking a bit more than they should in an old house. We put those thoughts out of our minds.

Several albums later a firestorm hit the turntable, Archie Shepp’s The Magic Of Ju-Ju (recorded in 1967). The title song, occupying all of side one, made Other Afternoons sound like a wimp. Shepp, whose career began in the early 1960s and who is alive and kicking, hit the ground at Usain Bolt speed, screaming on his tenor saxophone for 18 minutes over a drumming cacophony (click here to listen). I was amazed, mesmerized and kind of in a daze. Dave too. That’s the power of Shepp. We definitely heard those creaking sounds again, some rumbling ones also, but put them out of our minds.

The problems became undeniable a couple of albums after Shepp’s. Tenorman Albert Ayler, long gone, went stratospheric at around the six minute mark of Spirits Rejoice (recorded in 1966), which takes up all of side three on The Village Concerts double album (click here to listen). My house couldn’t take it any longer. Plaster started falling from the living room ceiling. The living room floorboards began to buckle and give way. Good things weren’t happening upstairs either. Sandy came running down the stairs. “I really, really hate this music,” she yelled as she and I and Dave bolted out the front door. We stood in disbelief on the sidewalk as Sandy’s and my suburban home dropped to the ground. The house’s descent took a long time and was extremely jarring, just like the saxophone, trumpet and other instrumental solos that Dave and I grooved to on that most infamous of Vinyl Nights.

The next day I called my Allstate agent. I described the bizarre situation to her. She said, “You’re out of luck, Neil. Your homeowners policy specifically prohibits you from playing any free jazz above the 80-decibel level. Allstate isn’t going to pay you a cent. We may be the ‘you’re in good hands’ people, like our logo says, but we’re not fools like you!”

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OJR Will Tour With The Rolling Stones (Keith Richards Assured Me Of This)

My cell phone rang in late afternoon on a recent Sunday. I answered and an unmistakable phlegmy voice said to me: “Yeah mate, how ya doin’? I’m OK. Just sittin’ here in my hotel room watchin’ the telly. Drinkin’ milk, munchin’ Oreos. They go good together, ya know?” It was Keith Richards calling from Sao Paulo, Brazil, where The Rolling Stones had played a show the night before.

“I know, Keith, I know. Every time you call it’s the same old thing. Milk and Oreos. Milk and Oreos. Come on, amigo. Switch it up once in a while. Didn’t you ever hear of Chips Ahoy? Vienna Fingers?”

He guffawed. “I’m hooked, son. I can’t switch. I won’t.”

“Okay, Keith,” I said. “So what’s the scoop? How was the show last night?”

Keith Richards. (Photo by Mark Seliger)
Keith Richards. (Photo by Mark Seliger)

“Cool, man, cool. We had fun. Ya got a minute?” As though I didn’t. Before the phone rang I had been cutting coupons for half an hour. And before that, working on a story idea about celebrities’ genomes that I plan to pitch to Science Magazine, I’d spent 90 minutes meticulously plotting the Kardashians’ family tree. I was pooped. I was ready to have a relaxed phone conversation. “Spill your guts, partner,” I said to my old friend, whom I’d met and instantly bonded with in 1978. This was at a Bingo parlor in Philadelphia the day after a Stones gig in that fine city. Keith’s a Bingo man. He has wandered into Bingo halls all over the world.

“What’s the Stones’ signature song?” Keith asked me. “Ya know, the one we’ve played ten thousand times. The first letter is an S. Here’s another hint. It starts like this: dum dum da da dah da da da da da.”

“Let me guess,” I said “Is it Smoke Gets In Your Eyes?”

“I wish,” my friend said. “I’d like to play that one. I’ll run it by Mick. But I got a problem here, bro. No joke. Every show we hafta play Satisfaction. Last night I almost couldn’t do it. I f – – kin’ hate that song. If I hafta play it again I’m gonna plotz.”

“Relax, chum, relax,” I said. “You’ll get through this. You’re a pro. Drink some more milk.”

“C’mon, pal. I need a boost. Talk to me. What’s good? What’s new and happenin’? Clue me in.”

Oliver John-Rodgers. (Photo by David Salay)
Oliver John-Rodgers. (Photo by David Salay)

“Okay, laddie,” I said. “There’s something really good that I checked out the other day. Great music by a young guy named Oliver John-Rodgers. Calls himself OJR. His YouTube videos have gotten about as many views as my blog articles, which means that just about nobody ever heard of him. But I think that’s going to change. For him, I mean. Not for me. His new album is fantastic. I ain’t Nostradomus, but I predict that he’s going to be big.”

“Hold up, Neil. Someone just tapped on my door. It’s Mick, no doubt. I can tell by the secret knock . . . dum dum da da dah da da da da da. You heard that, didn’t ya? He’s been doing that to me for the last 50 years. Gotta go, compadre. Send me an email about OJR. Peace, brother.”

With that, Keith hung up. Before I’d forget I sat down and composed my message to him. Here’s what I wrote:

Hey, boyo. Thanks for calling. OJR’s new album, Nashville Demos, rocks like a mother lode. Catchy melodies, nifty lyrics, guitar licks that wrap themselves around your brain. He recorded the album in, believe it or not, bedrooms all over the world. I guess he’s sort of a vagabond. Played most of the instruments himself. I found out about him from WXPN, a Philadelphia radio station I listen to sometimes. OJR has a song called Numb, and it’s in XPN’s rotation. The song’s a monster. OJR put the whole album up on his website (Keith-o, click here to listen to the album). And I found a primo YouTube video of OJR and his band playing Numb in a slowed-down head-warping version (Keith, my man, click  here to watch it). That’s all for now. It’s almost 7 PM, my bedtime as I’m sure you remember. Talk soon, matey. Oh wait, one more thing. Please ask Charlie, Ronnie and Mick to look at my blog. There’s a chance they might like my stuff. Peace out.

A few days later, at 8 PM, my phone rang. I’d been asleep for an hour. Thanks, Keith, for waking me up. He was calling from his hotel room in Lima, Peru. The Stones would be on stage in Lima the next night. “Yo, what’s up, cool guy?” he asked. “You were right. OJR is the friggin’ bomb. Best rock and roll I’ve heard since the end of the Ice Age. Or maybe it was the Cold War. I forget. Anyway, the boys and me had our managers get in touch with him. OJR’s a sweet dude, they said. And you know what? . . . We’re gonna have him open some shows for us later this year. Thanks for the tip, Bingo Boy.”

“No problem, Keith. Glad to help. How about my blog? What did Ronnie, Mick and Charlie say?”

There was a long pause. I knew the news wasn’t going to be too good. “Well, buddy, I sent them the link to your blog. Sorry mate, let me tell you straight — slow and snoozy are a couple of the words they used about your articles. What can I say? But I’ve got a great idea for ya. You’ve never written a story about Bingo. I think ya should.”

“Thanks, Keith. Maybe I will.”

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Two Million Cheez-Its And Counting

Circa 1970 one of the greatest culinary stories of my life took root: My infatuation with Cheez-It crackers. Just about everyone knows Cheez-Its. They are crunchy and salty one-inch squares, baked amalgams of cheese, wheat flour, paprika, etc.  Back then there probably was only one variety of Cheez-Its. The divine original in other words, the sort I stuck with through the years till recently switching to the Extra Toasty style. Today there are more than 25 Cheez-It types to choose from, including Whole Grain, Cheddar Jack and Mozzarella. They take up a whole lot of shelf space in most supermarkets, so clearly I’m not alone in loving Its. As we’ve been told, great minds think alike.

Cheez-It crackers in two of its many varieties.
Cheez-It crackers in two of their many varieties.

And you know what? I’ve eaten 2,000,000 Cheez-It crackers in my life, give or take a couple hundred thousand. That’s a lot of individual food items going down the gullet. Have I ever eaten more separate pieces of anything over the years? I’ve given this plenty of thought. Who wouldn’t? The only thing I can come up with is grains of rice. Maybe I’ve consumed more than 2,000,000 grains of rice. I’ll investigate that subject one of these days and let an anxious world know the results. But on with the current story.

Two million Cheez-Its. How did I arrive at that figure? It wasn’t easy. The question is deep. And so, at a loss for determining a calculation method, I started where most sensible people would start. That is, I got in touch with someone much smarter than me. I had been in phone contact with Dr. Vinnie Bubalinsky before. He’s head of the mathematics department at St. Louis Institute of Advanced Abstract And Profound Research. I had called him from out of the blue a year ago, explaining that I was wondering about angels gyrating, not dancing, on the head of the average pin. How many might fit there? Vinnie hadn’t a clue, had very little response at all to tell you the truth. I was glad to learn that tough questions don’t necessarily evoke glib answers.

The other day I dialed Vinnie’s number again and told him about my Cheez-It quandary. Vinnie remembered me. “What the f – – k’s wrong with you?” he asked. Patiently. “Get a life, you loser,” he added before ending our conversation. I would if I knew how.

I was on my own. I grabbed my favorite pen, a load of blank paper and a calculator. And I began to work out the numbers. Leave it to the Cheez-It manufacturer to make things difficult. I mean, for decades Its had come in an understandable size, a one pound package. That’s the same as 16 ounces I’ll mention to those of you who left school a long time ago. But in 2008 the Its maker downsized the box to 13.7 ounces, a strange number to be sure. And last year they did it again. The standard Cheez-It box now contains 12.4 ounces of product.

And if all that weren’t bad enough, I had to throw into the equation the fact that my Its consumption habits have changed over time. For years and years I would down three or four pounds of Its weekly. I easily could knock off a box while watching a baseball game on television. But those heights are a distant memory. In the early aughts my intake of Its dropped by half. And it has continued to shrink. For the last few years I’ve eaten about three-quarters of a pound per week.

The tools that I used for my daunting calculations.
The tools that I used for my daunting calculations.

OK. I sat at the dining room table for hours, scribbling, sweating, cursing, punching wildly at calculator keys. The basic fact that I always held onto came from the side panel of each Cheez-It box: Twenty-seven Its weigh 30 grams. And 30 grams, I found out elsewhere, are the same as about 1.1 ounces. Needless to say, progress was slow. But things eventually started to come together, to make sense. Two million Cheez-It crackers was the approximate number that I had chewed and swallowed, I finally concluded. I picked up the phone and dialed Vinnie Bubalinsky’s number, ready to gloat. But I hung up after one ring. He will read about my triumph soon enough, no doubt, on this page. Vinnie, some losers never quit.

I’d like to put my Its consumption in perspective. We all agree that 2,000,000 Cheez-It crackers are a massive amount. In fact, if you placed them edge-to-edge on a flat and straight-as-an-arrow highway, they would extend for 31.5 miles, a very sizeable distance. But wait . . . there’s something I hadn’t thought about: In a car you’d cover those miles in less than half an hour. And yet it took me 45 years to eat the crackers. What does this mean? That cars are about 1,000,000 times faster than the human mouth? That highways inherently are inappropriate places to place Cheez-Its? I really don’t know. I’m confused. I need help.

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(Photos by Sandra Cherrey Scheinin. If you click on a photo, a larger image will open)

Van Gogh, Scorsese And I: A Tale Of Mispronunciations

So, there the three of us were, sitting around a table inside a cozy tavern, chatting amiably about nothing in particular and knocking back a round of beers. Vincent van Gogh, Martin Scorsese and I. Respectively, a powerful and visionary visual artist, a commanding director of moving images, and a plebeian with, by definition, an awfully light résumé.  What the heck was I doing at that table, you ask? And where, by the way, were the table and tavern?

In my dreams. That’s the answer to question number two. As for the first query, I was seated with greats solely because we all had something in common: A lot of people did not know how to pronounce our surnames.

Martin Scorsese (Photo by Jeff Vespa; copyright WireImage.com)
Martin Scorsese
There are several purported photographs of Vincent van Gogh. None are totally authenticated. This is believed to be from about 1886.
A purported photograph of Vincent van Gogh believed to be from about 1886.

We’d made more than enough small talk. Turning onto a substantive route, I said to the gent on my left: “Marty, it must drive you nuts that almost everyone thinks your last name is Score-Say-Zee. I wonder how in the world that messed-up notion ever caught on.”

“Neil,” Marty said to me, “I’ve gotten used to it. But it sure would be nice if they’d get things straight. I mean, we’re talking about my name, for crying out loud.” I nodded understandingly.

“Vincent,” I next said, rotating my head slightly to my right, “How do you deal with this? People call you Van-Go, or maybe Van-Gokh. Doesn’t anyone ever do better than that?”

“I gave up on this a long time ago, Neil. My family and my fellow Dutchmen, they know how to say my name. Just about everyone else, fuhgeddaboudit.”

“Guys,” I said. “I hear ya’. I’m not as hung up on the name thing as I used to be. But it still churns me when people say Shee-Nin or Shy-Nin or Shee-In-In. C’mon, I know the spelling is a guarantee to throw almost anyone off, but still . . . ”

A plebeian.
A plebeian.

Scheinin. That’s my last name. A confusing array of letters. But with a simple two-syllable pronunciation: Shay-nin. To make things easy, maybe I’ll legally change the spelling to exactly that, hyphen and all.

I looked leftward once again. “Marty, the only reason that I know how to say your name properly is because years ago I heard you pronounce it on the Charlie Rose interview show. ‘Score-Seh-See’, you said. And ever since then I’ve been careful to say it that way whenever I gab about your movies.”

“Thanks, Neil,” Marty said. “Finally someone pronounced it right.” And I speedily hoisted my right hand to catch the high-five that he threw at me.

“Vincent,” I then said, gazing in the master colorist’s direction. “Yours is very very tricky. And no doubt I’m not gonna be able to duplicate the from-the-back-of-the-throat nuances of the Dutch language. But, good sir, I’m going to give it my best shot. Vun-Khuhkh. Am I right? Am I in the ballpark?”

“Neil, that’s darn well close enough,” he replied, clapping his hands. “That’s the nearest anyone outside of Holland has come in decades.” He smiled broadly as his eyes examined all the planes of my face. Was he toying with the idea of painting my portrait?

The name situation settled, Vincent, Marty and I began to talk of deeper matters. The meaning of art, for instance, and its value to the human spirit. But almost immediately Vun-Khuhkh and Score-Seh-See left me in their wake. Little could I add to their understandings and suppositions. I was more than happy, though, to listen and hopefully to learn, and to toss in a lame comment now and then.

I eventually shouted over Vincent’s and Marty’s lively conversation. “Waitress, three more Guinnesses please.” A few minutes later the dark brews arrived. We downed them greedily.

The hour was advancing, as it always does. “Gentlemen,” I finally said, gesturing to the waitress to bring the bill. “It’s almost time for me to wake up. It’s been a pleasure. And the beers are on me.”

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(Photo of Martin Scorsese by Jeff Vespa; copyright WireImage.com)

(Photo of a plebeian by Sandra Cherrey Scheinin)